Gallery wrapped prints have the canvas wrapped around wood stretcher bars and are ready to hang. We offer several different stretcher bar depths to meet your needs. All gallery wrapped canvases are hand-sprayed with an archival UV coating of your choice and come with a wired back.
Rolled canvas prints are flat canvases that are not wrapped around stretcher bars. Ideal for shipping to clients who would rather save on postage costs and have canvases wrapped at their locale, or if you are going to mount the canvas to board or another substrate. Hand-sprayed with an archival UV coating of your choice.
Each of the matte smooth papers we offer has little to no texture, making them perfect for a wide range of imagery as they provide a blank canvas, as it were, to show off your artwork. Papers come in a variety of brightness and thickness to meet your needs. We suggest a heavier weight paper when making limited edition prints.
Ideal for watercolors, pastels, and charcoal imagery, our matte textured papers so perfectly mimic ‘real’ watercolor paper that it’s nearly impossible to tell that your print is a reproduction. We offer papers ranging from moderately to heavily textured to meet your needs.
These papers bring a slight sheen to your imagery and work very well with portraiture and landscape photography. They range from smooth, pearlized surfaces to moderately textured gloss surfaces that highlight saturated colors and high contrast black and white images. Our satin and pearl papers have the least reflective properties, while luster and baryta papers are glossier.
Our Baryta papers offer an amazing old school look and feel of a traditional silver print. Very reminiscent of early 20th and mid-century photographic papers, these Baryta papers are made with a special coating of barium sulfate that is used with photographs developed in a traditional darkroom. The textured, glossy surface adds loads of depth and offers some of the best color pop for your imagery.
Truly unique, these metallic papers add depth and brilliance to your imagery. The metallic pearl has a soft, smooth pearlized surface while the metallic silver will enhance any blue tones in your print. Metallic papers don’t work for all images, however, so you may want to talk to us prior to placing an order.
Gloss papers most closely resemble photographs that are printed in traditional darkrooms. The highly reflective, resin-coated surface allows your imagery to pop - especially high contrast and black and white photography. Best for times when you need your colors to be deeply saturated and sharp.
Fine art reproduction begins with understanding the original work, how the reproduction will be used, and which qualities must be preserved.
At Craft Giclée, each project moves through a controlled process of artwork review, professional capture or file preparation, proofing, and archival production. Decisions are made in response to the artwork rather than through a one-size-fits-all workflow.
Color relationships, tonal transitions, surface detail, texture, proportions, and presentation are considered throughout the process. This approach supports individual exhibition prints, limited editions, gallery releases, collector orders, and ongoing collections.
Every project begins with a review of the artwork and the intended result.
We consider whether the project begins with original artwork or an existing digital file, along with the desired print size, quantity, material selection, presentation requirements, and future production needs. A single exhibition print may require a different approach from a limited edition or a collection that will be reproduced over several years.
This initial review establishes the appropriate capture, file preparation, proofing, and production requirements.
If we identify concerns involving resolution, proportions, color settings, material selection, or other production requirements, we contact you before printing.
When reproduction begins with an original painting, drawing, photograph, or mixed-media work, the quality of the digital master file directly affects every future print.
Craft Giclée uses a 102-megapixel Fujifilm GFX100 II medium-format camera system with Broncolor professional lighting in a controlled studio environment. The capture setup is selected according to the artwork’s size, surface texture, reflective areas, and lighting requirements.
The process is designed to preserve:
Controlled lighting helps reduce glare, reveal surface characteristics, and maintain consistent color and density from edge to edge.
After capture, the image is processed through a color-managed workflow. Color correction, tonal refinement, contrast adjustments, and print preparation are completed as needed to create a high-resolution digital master file.
That master file becomes the foundation for fine art prints, limited editions, exhibition work, gallery reproduction, future production, and digital archiving.
A successful fine art print depends on a properly prepared digital file.
Artwork may be captured by Craft Giclée, photographed elsewhere, scanned, or created digitally. Regardless of its source, the file must contain enough usable information for the intended print size and be prepared for the selected paper or canvas.
Before production, we review the file’s resolution, dimensions, proportions, format, embedded color profile, and overall image quality. We also consider the fine details, color relationships, and tonal values that must be preserved in the finished print.
Resolution determines how much image detail is available at the final print size. A file that appears sharp on a monitor may not contain enough information for a large or highly detailed print.
Approximately 300 pixels per inch at final print size is preferred when the source file supports it. However, appropriate resolution also depends on the quality of the original file, the amount of detail in the artwork, the final dimensions, and the expected viewing distance.
A file prepared for a small print may not be suitable for a large exhibition piece. When the available resolution does not support the requested size, we review the file and discuss the most appropriate options before production.
We recommend submitting the original or highest-quality file available.
Preferred formats include:
TIFF and PSD files are generally preferred when they preserve more original image information. High-quality JPEG files may also produce excellent results when they have not been repeatedly resized or compressed.
Repeated saving and compression can reduce image quality. Whenever possible, avoid working from files downloaded from websites, social media, email previews, or other sources that may have reduced the original resolution.
Digital files, monitors, papers, and canvases do not reproduce color in the same way. Accurate printing requires a controlled color-managed workflow rather than relying only on how an image appears on screen.
Important considerations include the file’s embedded color profile, editing environment, monitor calibration, selected substrate, and final viewing conditions.
We use color management throughout file preparation, proofing, and production to maintain the intended relationships between color, contrast, density, and tonal range.
Depending on the file and intended print, preparation may include cropping, proportion adjustments, color correction, tonal refinement, brightness and contrast adjustments, sharpening, or preparation for a particular paper or canvas.
These adjustments are made carefully. An adjustment that appears appropriate on a monitor may behave differently when printed, particularly on textured papers, matte surfaces, or coated canvas.
Before production, submitted files are checked for issues that may affect the finished work, including insufficient resolution, incompatible formats, incorrect proportions, color concerns, unintended cropping, and material considerations.
When we identify a problem, we contact you before printing rather than proceeding with an avoidable issue.
For artists maintaining editions or ongoing collections, the completed master file becomes the basis for consistent color, repeatable print quality, reliable reorders, and easier edition management.
Accurate color is essential to successful fine art reproduction. A calibrated monitor is useful during file preparation, but the final result must be evaluated as a physical print.
A proof is a smaller, color-adjusted print produced on the actual paper or canvas selected for the finished artwork. It allows the printed result to be reviewed before committing to final production.
During proofing, adjustments may be made to:
Every paper and canvas has its own surface, color response, texture, and contrast characteristics. These differences can affect fine detail, tonal separation, perceived saturation, and the overall presentation of the artwork.
A file adjusted for one material may not produce the same result on another. When artwork will be produced on multiple papers or canvases, we recommend proofing each substrate separately.
Proofing is particularly important for original artwork reproduction, limited editions, critical color matching, and projects that must remain consistent over future production runs.
Proofing generally needs to be completed once for each approved substrate.
After approval, the completed production file is retained and used for future orders unless changes are requested. This establishes a reliable production reference and helps maintain consistency across an edition or collection.
A change in print size may require additional preparation or proofing. Artwork proportions do not always scale evenly, and cropping, sharpening, detail, or tonal balance may need to be reconsidered.
Three Paper Proofs — $25–$27.50
Three color proofs are printed on the fine art paper of your choice. The service includes three edited versions, approximately 30 minutes of image adjustment, and shipment of the proofs for review.
Three Canvas Proofs — $30–$32.50
Three color proofs are printed on canvas using the selected UV coating. The service includes three edited versions, approximately 30 minutes of image adjustment, and shipment of the proofs for review.
Local Proofing Appointment — $100 per hour
Local clients may schedule an in-person proofing session at our Scottsdale showroom. Appointments include unlimited color proofs on professional proofing paper or canvas, material evaluation, direct review with our team, and color adjustments during the session.
Appointments generally last one to two hours. Depending on the artwork and the extent of the adjustments, approximately three to five images can usually be reviewed per hour.
Once the artwork file and proof have been approved, the project moves into final production.
Craft Giclée specializes in archival digital fine art printing using professional pigment-based printing technology, fine art papers, and artist-grade canvas.
We use Canon imagePROGRAF PRO printers with LUCIA PRO pigment-based inks. This system provides:
Paper and canvas are selected according to the artwork’s characteristics, surface appearance, color requirements, display conditions, and intended presentation.
Material selection is an important part of the reproduction process because the substrate directly affects the color, contrast, texture, and visual character of the finished print.
Printer, ink, and material specifications can be provided for limited edition certificates, production records, or collection documentation.
Many artists, galleries, museums, and organizations need to reproduce approved work over time while maintaining consistency between orders.
Craft Giclée supports:
Consistency requires more than retaining the original image file. It depends on an approved production file, documented adjustments, established materials, and controlled production standards.
By preserving the approved files and workflow, future prints can be produced to the same established standard as the original run. This provides a dependable foundation for editions, replacements, reorders, and collections produced over an extended period.
Whether you are preparing a single exhibition print, establishing a limited edition, or managing an ongoing collection, the first step is determining the appropriate workflow for the artwork.
Visit Getting Started for information about submitting artwork, providing files, selecting materials, and beginning a project with Craft Giclée.
Before an order enters production, we review it for conditions that could affect the finished print.
These may involve file preparation, image resolution, color settings, artwork proportions, material selection, print size, or special production requirements.
When something requires attention, we contact you before printing to explain the concern and discuss available options.
Addressing these issues early helps prevent unnecessary delays, reprints, and unexpected results.
