About Giclee Prints, Print History and these images For the last ten years I have been working again in paint. Dur- ing the previous 30 years I spent the better part of my Art Ca- reer as a Sculptor and building an Art Foundry. My early child- hood training was in oils; the fundamentals of drawing and anatomy. I have always had a special interest in Maritime sub- jects and portraiture. I have actively taught life drawing and portrait sculpture throughout my career. I have always been interested in intro- ducing color to my sculptured bronzes in the form of poly- chrome patinas.Print-wise I have produced a number of hand-cut serigraphs and I have a great respect for theprocess of various types of manual printing, such as etching and engravings as well as wood-cuts.These are all labor intensive and can be defined as their own art;- really they go far beyond the re-production process of say a photo-lithograph, which is designed to faithfully reproduce a work of artwithout much deviation.Recently, in the lexicon of art processes, comes the Giclee print. Which means to literally ‘spray’ theink onto a page. Everyone who has printed with a computer is familiar with that process. As the Gi-clee has developed the images have become more and more vibrant and the overall print qualityfiner than or equal to the very best photo-lithograph.
The main difference for both the artist and consumer is lithographs are printed in bulk and Giclee’scan actually be printed one at a time. In both cases a high resolution photo of the artwork can beused for the original positive. With Giclee preparation process, artwork or photography, can bescanned to create a master file of the painting.It might be interesting to note, in history, the print, in the form of the etching or stone lithographwas used to present a finished artwork, I.e. large painting, to a potential patron or purchaser ofthat art. This was introduced during the 12th and 13th century throughout cultured Europe.Very often the Artist thought he had maybe a dozen potential sponsors for the Artwork and hewould make a finished study of the Art to be created; -make a plate for an engraved print whichcould duplicate copies of the design to be sent on to as many clients who might purchase the Art-work, with a letter describing the project.As time went on a great appreciation rose out of these prints and they were looked at as Art inthere own right. The 19th century artist, such as Toulouse-Lautrec used the stone lithograph mediato advertise Moulin Rouge and he would also number and sell the prints as did many of his contem-poraries.In the late 1800’s many very accurate etchings were hand colored for books and prints. By the mid20th century the Off-Set press which with a 4-color photo-separation process and lightweight platesfor printing really ramped up the possibility of large and consistent print runs. Enter the Giclee proc-ess about 10 or 15 years ago and now you have an even greater color and duplication control.
For me these images produced in print and on my web pages are highly autobiographical. They fol-low friends I’ve met and places I have been to. In every case I knew the subject or individual;- livednear or around the location that I painted.About the Limited Edition Print:- Paper, Ink and preparationThe paper I have chosen for this print collection is Arches ‘Aquarelle’ Rag Paper. It is a heavy stockwith a nice open tooth on it. This allows the ink to sink in and play off the paper at different angles.Although minute, the textured surface, produces a richer print much like paint on a canvas.The sizes given are for the image and there is ample white paper area around that. As it is a num-bered and signed print, the signature is made under the image in pencil and traditionally is leftwithin the matted or framed area along with some of the corresponding white paper.When you see a Limited Edition print the bottom number indicates the total quantity of Art Printsthat will be made. The top number is consecutive to the number of prints issued. The numberingwill look, for instance, like this: 5/500, the 5th print made in a series of 500.The bottom number is a good indicator to let collectors know there are only say 500 prints to bemade in the edition. So you own one of 60 or 150 or 500 that number will guarantee you as thecollector, of the limit of the edition and of future rarity which should translate to greater value forresale, if you desire, further down the road.
To insure that your print purchase is of lasting quality the paper is acid-free and has a 100% ragcontent. The Rag content, which is the cotton or linen used in making the paper, makes a strongerand more durable paper; It also indicates the best and most expensive papers made:- 100% beingthe highest Rag content.Acid is the devil to paper; that’s why old manuscripts are handled with gloves. The acid will discolorand eventually destroy the document. The Arches paper we are using is certified acid free and thisis supported by the ISO 9706 Standard for galleries and museum longevity for papers.The printing is done on a high end Epson Printer, inks are guaranteed for 75 years.If you matt your print please follow suit and use an acid free matt as that can discolor the printsecond hand.Bill OsmundsenMarch 2011Greenwich Village,New York
“O N V IRGINIA B EACH ”Virginia Beach and the Hampton Roads Area has long been a draw for me.My first experience with the Virginia seacoast goes back to my Navy enlist-ment;- I was stationed at the ‘Little Creek’, Amphibious Base which lies onthe Chesapeake Bay between Norfolk (which it is part of) and Virginia Beach.While in the Navy I often visited ‘the Beach’ for recreation, where I was rep-resented by a fine Gallery, owned by George and Ruth Laakso, who were wellknow artists’ in the area. That was from 1969 til 1972. When my enlistmentwas over, I returned home, to the NewYork area, to pursue my art full time.Always fond of Virginia Beach I relocated there in 2005 where I was just ashort walk from the Boardwalk. I looked for subjects which would be the es-sence of my immediate surroundings.In the Fall, Winter and Spring the beach is quite disserted. You always find lo-cals walking their dogs on the Boardwalk; cyclists peddle by and people walkthe sandy broad beach as the seasons change.
On these walks I found a wonderful continuum of nature. A cycle of migra-tory birds and weather that repeats and continues with the rhythm of theocean waves. Looking minutely at some of the smallest of the residents thatlingered into the Winter I found the Gulls. In the bright sun they cast darkshadows and on the beach, fresh from the last wave, where they cast theirown reflection. This only lasts for a moment, as the water dries the reflectionfades and then a new wave comes in, the gulls scurry up beach and back as thewave reseeds.On one of these walks I met a surf fisherman. I always wonder if they catchanything and he had. I don’t remember what kind of fish though, maybe abass or a blue. It was kind of a stormy day and the surf was really churningup. A chill in the air and gray in the sky reminds me that the ocean canchange abruptly in a short amount of time. This was the same emotion Iwanted to capture in “Swan’ a wonderful old wooden Sloop with a traditionalrig, out on a blustery day.
The Grey Goose was created in response to the environmental clean-upof the Elizabeth River.In the words of the late CBS commentator Charles Kuralt who was a friendto the river:"When the wetlands really come back, when the forests return to theshore, when healthy fish, clams and oysters find a home in the Southernreaches of the river again, and the sun rises off the Atlantic in the morningto reflect itself in the serene pure waters of the Elizabeth River, our chil-dren and grandchildren will know that we had them in mind."