PRINTING PROCESS

The Anne Geddes fine art Limited Edition Prints are exquisite collector's items of the highest possible quality. This superb collection has been meticulously produced under Anne’s close direction over the past eleven years.
Anne uses two printing processes for her Limited Edition Prints. Her specialist black and white hand-printers, have created the silver gelatin prints using traditional darkroom techniques, and the archival digital inket prints have been produced by her print expert who she has worked closely with for 15 years. Every print is produced with beautiful tonal qualities, detail and creative interpretation using museum standard materials and processes to ensure their maximum archival stability.

ANNE'S DIRECTION

When Anne has selected an image to become a Limited Edition Print, the first step is in consulting with her printers to explain precisely how she wants the image to be printed. It can sometimes take days to achieve what she is looking for, and Anne is shown the print at every stage until it looks exactly as she had imagined it. After years of printing herself, Anne knows exactly what can be done to enhance a print, and get the most out of an image. Once completed, a reference print and print plan is prepared to ensure that her technicians can replicate the print perfectly for the Limited Editions.

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THE COLOR PRINTING PROCESS

The archival digital inkjet process Anne uses to produce her color Limited Edition Prints sprays archival inks onto 100% cotton rag paper in very fine droplets. Pigmented ink was selected over dye-based ink as comparatively it excels in permanence, and when combined with the museum quality paper stock, ensures the prints stability and long life. Anne’s long term working relationship with her expert printer and the choice of paper, ink and digital technology ensures that the resulting print is an exquisite collectors item of the highest possible quality.

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QUALITY CONTROL

Because Anne’s black and white prints are made using a negative in an enlarger, tiny dust particles clinging to the film can sometimes show up as white specks on the print. These are very carefully “spotted” out of the finished print, using a small brush and photographic retouching dye to make the tiniest of dots that match the tones of the print. Producing an edition of 25 prints and 5 artists proofs can take some time when they are created under such exacting conditions. Numerous prints are rejected, whether because of inconsistencies against the reference print, flaws in the paper or variations in the toning process, any prints that do not match the initial reference print exactly are all destroyed.

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