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Giclee and Taiwan's Climate: Analysis of the Durability of Giclee
文章更新於 2024/9/8
We believe that giclée is one of the excellent options for displaying digital images. Its advantages include excellent color rendering and high resolution presentation.
In terms of durability, the official statement of art giclee prints is that they can be "preserved for 60 years without fading", but I have heard friends complain that art giclee prints have become moldy and deteriorated after only a few years...
This article details our research into the durability of giclee prints. In the first half, we will first introduce foreign professional research institutions, briefly explain their research methods and testing items, and the test results. In the second half, we will collect Taiwan’s historical climate data and present our views to summarize whether the foreign test results are applicable to Taiwan’s actual environment.
If you want to fully understand art micro-spraying, please refer to the article: " What is art micro-spraying? " Details you must know when choosing art micro-spray " includes an introduction to art micro-spray, its application range and paper materials, and a price comparison of major art micro-spray output centers, to help you quickly and comprehensively understand art micro-spray and make the best choice.
Summarize
Whenever art micro-spray paper or printer/output machine manufacturers describe that the art micro-spray works they print can "be preserved for more than 60 years without fading", "be preserved for 70 years without fading", or "be preserved for 100 years without fading", we must understand that these art micro-spray manufacturers actually mean the collection period that can be achieved in professional institutions such as art galleries, under strictly controlled constant low temperature (24°C) and low humidity (relative humidity 50%) environments.
If our real living environment does not have such temperature and humidity conditions, that is to say, when the general indoor environment in Taiwan cannot continuously maintain a temperature of 24°C and a relative humidity of 50%, the art micro-spray works will not be able to be "preserved for more than 60 years", "collected for 70 years", or "collected for a hundred years" without deterioration!
Get to know "William Imaging Research Company", a specialized research institution
Why should you know "William Imaging Research Company"? Because this institution is an authoritative institution that studies and tests the durability of giclée preservation and display, all the sources of opinions about how long giclée can be preserved are based on the research results of this research institution, so we must spend some space on it. A little introduction.
Wilhelm Imaging Research, Inc. (full name: Wilhelm Imaging Research, Inc., hereafter referred to as WIR) is an independent research institution co-founded by Henry Wilhelm (hereinafter referred to as William) and others, specializing in traditional color photography, digital Color photographs, and film stability and preservation. WIR publishes durability data for different brands of desktop and large-format inkjet machines and other digital output devices on the market. WIR also provides consulting services for the long-term preservation of photographs and film footage at sub-zero temperatures for museums, archives and commercial collections.
William received a one-year Guggenheim Fellowship in 1981, which later transitioned into a ten-year study of color print fading and staining under low-level tungsten lighting simulating museum exhibition conditions. Meanwhile, in the early 1980s, while working as a technical advisor to film director Martin Scorsese, William successfully persuaded Eastman Kodak and Fuji Photo Film to Co. Ltd.) to improve the stability of their color negative and color films.
Co-founder Henry William, who is also the president and research director of the organization, is still very active at industry conferences, trade shows, and museum preservation-related conferences, giving speeches on digital giclée technology and the durability of works.
In summary, WIR has been a very important research institution in the image output industry since the early 1980s. The institution continues to conduct research and publish results, allowing us to understand the different types of giclée photo papers and inks provided by various brands. Number of years of storage in various testing environments.
Learn how to interpret the "Giclee Display Durability Rating" report
Each WIR research report will test and research a specific brand/model of printer (such as Epson's SureColor P20570 printer, Epson's SureColor P5370 printer, etc.), different types of ink, and different photo paper brands and types of paper, and publish the results report in the same format.
Therefore, each WIR "Giclee Artwork Display Durability" test report includes the following parameters:
- Brand of printer or output machine
- Printer and output machine models
- Type of ink used by the output machine
- Types of Paper for Giclee Printing
- Designated test environment
That is to say, when different brands and models of microjet printers use different inks and the display and preservation environment (temperature, humidity) changes, even if the output is printed on the same microjet paper, different results will be produced.
In these professional studies, each test is conducted in a controlled environment, so all research reports have detailed notes to describe the test environment and conditions. We should be able to draw such a conclusion that even if the same printer model and the same ink are used, if the storage environment is different from the WIR test environment, it is impossible to refer to the storage durability shown here by WIR.
Therefore, only when all parameters are exactly the same can we claim that XX art microspray has such and such display and preservation durability.
We use a research report of WIR as an example to analyze its research results. This type of research report will be printed on a specific brand of designated photo paper for a specific printer and ink, and tested under specific conditions. Based on the results, a research report and analysis will be presented. For example, an article published in February 2019 The report is the result of Epson large-size printer SureColor P7000/P9000, using Epson 11-color UltraChrome HDX pigment ink, printed on Epson 13 types of photographic art paper.
Because the organization does not allow readers to post their information on other websites, so here we only attach the link to the original text (below), please click the link to read the original text!
WIR test environment and conditions description
Since the industry does not have a standard indoor display and storage conditions (such as lighting brightness, ambient temperature, humidity and indoor ozone concentration), as well as a standard for judging color imbalance at the fading level, WIR uses its own standards.
All WIR-related tests are conducted under the following unified conditions:
- 24°C constant temperature
- 50% relative humidity
- The work is in a glass-framed environment
- Based on the lighting conditions of 25,000 lux (25 klux) and cool white fluorescent lamp, it is extrapolated to the conditions of 12 hours per day and 450 lux.
- The judgment criterion is the "Visual Weighted Endpoint Criteria v3.0" customized by WIR.
WIR test project description
Based on the above test environment, WIR measured the durability of works printed on Epson's large-size printer SureColor P20570 using Epson UltraChrome Pro12 pigment ink on different Epson giclée art papers.
"Shelf life" refers to the number of years before slight fading or changes in color balance that may be noticeable to the naked eye when compared to newly output images.
(Note 2 of the original Years Before Noticeable Fading and/or Changes in Color Balance Occur)
WIR test results detailed description
Taking "Epson Exhibition Fibre Art Paper" as an example, the test results of WIR display durability are as follows:
- The display of art giclee prints in glass frames has a "durability" of 122 years .
- Giclee works are displayed in UV-protected glass or acrylic frames and have a "shelf lifespan" of 184 years .
- If the giclee print is not displayed in a glass or acrylic frame, it has a "shelf life" of 77 years .
- Artworks can be preserved for more than 300 years in a dark environment at 22.7°C and 50% relative humidity.
At first glance, the results are very attractive, but don't forget that the premise for obtaining these test results is to have such a saving environment:
"WIR test environment: 24°C temperature & 50% relative humidity"
Just based on this point, the research results should be difficult to apply to the general environment in Taiwan...
Of course, if the display and preservation space can have 24-hour temperature and control devices like large professional institutions such as art galleries and museums, then the results of this research report will still be of reference value.
If you are interested in learning more about the detailed notes of this WIR report, we here focus on the notes of the report (short Chinese translation), welcome to refer to it.
Explanation of notes in WIR report (short Chinese translation)
For all giclee works intended to be displayed in an indoor environment for a long period of time, this data is considered the most important of the three. All output works should be placed under a glass frame or an acrylic frame to prevent dirt, fading, and quality deterioration caused by long-term exposure to cigarette smoke, kitchen fumes, and insect residues.
(Note 3 of the original text Displayed Prints Framed Under Glass)
Output works framed with UV filtered glass or UV filtered acrylic frames will generally last longer on display than works framed under regular glass, with some ink/paper combinations benefiting more than others. It is important to note that although UV filters may slow fading, they cannot prevent it. The WIR test uses a "museum grade" Acrylite OP-3 acrylic UV filter provided by Cyro Industries.
(Note 4 of the original Displayed Prints Framed With UV Filter)
Fluorescent lamps emit ultraviolet light with a wavelength between 313nm and 365nm, while ordinary glass or acrylic can absorb ultraviolet light with a wavelength below 330nm. Therefore, without glass mounting, the fading rate of the work will be higher. Different output materials are affected by ultraviolet rays to varying degrees, and some have significant effects in the 313nm and 365nm range.
- "Gas fading" is another potential problem, especially when displayed on magnetic kitchen refrigerator doors, office walls, or in daylight glass display cases where dye ink is output on microporous, quick-drying phase. Paper, least resistant to exposure to ozone in the air.
- Dirty outdoor air is the source of most ozone in homes, offices, restaurants, and public buildings. Ozone may also be produced by electrical equipment, such as electrostatic air filters, electrostatic precipitator systems, or even desktop electrostatic air filtration devices, among others. Pollutants that exist in the air also include kitchen fumes.
- If the "durability life" of a work's ozone resistance is lower in the same report, the lower age data should be used as the main one. Finally, regardless of the output ink and output material, all works should be protected with a glass or acrylic frame.
(Note 5 of the original text Displayed Prints Not Framed (Bare-Bulb))
Place the work under high humidity and high temperature conditions to observe the image color, color concentration, and the degree of ink bleeding into the image.
- Conduct moisture resistance test of the work in an environment of 30°C and relative humidity of 80%
- Depending on the combination of ink/paper materials, image color, density, and ink can be affected by moisture even at much lower humidity, such as 50–60% relative humidity.
- The waterproofness of the works was tested using "drip water" and "gently wiped" works. Based on the test data, the results were displayed according to three subjective categories: "high", "moderate", and "poor". .
- When testing the waterproofness of the work, although the water resistance of the work itself is very high, the absorbent paper matrix itself may warp, curl and physically deform after contact with water. Therefore, the water resistance of the paper and ink combination is limited. Listed as "moderate".
- Since 1996, WIR's Mark McCormick-Goodhart and Henry William have been developing test methods for the moisture resistance of works, as well as related test methods for assessing the "short-term color cast" of inkjet works, which are also listed in the notes to the test reports Several research reports from 2000 to 2005 were used as references.
(Note 8 of the original Resistance to High Humidity, and Note 9 & 11 of Resistance to Water)
Taiwan’s climate data over the years
After understanding the test environment used by the research organization WIR for the study, although we intuitively feel that these data cannot be applied to Taiwan's environment, such a conclusion is too hasty and unscientific. Therefore, we must first obtain data from Taiwan's real environment. After all relevant data is compiled into the information we need, we can judge whether this WIR type report is suitable for Taiwan.
From the WIR research report above, we can see that the report is very detailed, such as indoor lighting brightness, ozone concentration, and kitchen fume, etc. Although they are variables in a micro space, their views are listed in the report, so that We understand.
It is worth noting that WIR clearly lists the two data of ambient temperature and ambient humidity controlled during the test. This is also the general environmental climate condition for which we can obtain official data for comparison and analysis. Therefore, we decided to start from Let’s start with the two standards of “temperature” and “humidity” to see if the WIR research report is applicable to Taiwan’s environment.
The following is the 30 years of official data obtained after our investigation.
| 1991 - 2020 | 平均氣溫 |
每年氣溫
≥25℃的天數 |
每年最高氣溫 ≥30℃的天數 |
相對濕度 |
| 台北 | 23.5°C |
151.1天
|
135.7天 |
74.8%
|
| 花蓮 | 23.7°C |
160.0天
|
123.5天 |
77.3%
|
| 宜蘭 | 22.8°C |
145.3天
|
122.4天 |
80.7%
|
| 高雄 | 25.4°C |
223.8天
|
173.7天 |
75.0%
|
| 臺中 | 23.7°C |
179.6天
|
170.9天 |
74.5%
|
From the above table, we can summarize the climate profile of Taiwan in the past 30 years (1991 to 2020):
Taiwan temperature
From 1991 to 2020, the number of days exceeding 25°C in the whole year, although the five cities in Taiwan's east, south, west, north, and central are different, they all exceed at least one-third of the year, with 145- 223 days, including at least 122 days.
humidity in Taiwan
From 1991 to 2020, the average relative humidity in five cities in Taitung, south, west, north, and central was above 74%, with the highest in Yilan being over 80%.
Can WIR test results be applied to Taiwan?
WIR's tests are all conducted in an environment with a constant temperature of 24°C and a relative humidity of 50%, which is not consistent with Taiwan's climate environment. We can further reasonably speculate that if the tested output material can show high temperature resistance (for example, the material can prevent flames) and waterproof (for example, the material can be sprayed with water and easily wiped dry), it proves that the material is not afraid of high temperatures and is waterproof. , the WIR test results can be applied to the relatively high temperature and humid environment in Taiwan.
Note 11 also mentioned that the paper base of giclee works is also one of the elements to consider and judge. It is reasonable to infer that the ink must adhere to the coating layer, and the coating layer must adhere to the paper base (or called paper material), if the paper material will be negatively affected by high temperature and humidity, the giclée works will also be affected. This also coincides with our general knowledge of life. Just imagine, how can any paper remain intact after getting damp or exposed to water? Therefore, if the paper deforms, the ink and images on the paper will inevitably be affected.
In summary, WIR test results are suitable for reference by professional institutions, such as art galleries, museums, etc., because these institutions have the ability to maintain storage and display conditions at a constant temperature of 24°C and a relative humidity of 50%. For you and me in general life In homes, commercial offices, and open public spaces, if the display conditions cannot be maintained at a temperature lower than 24°C and a relative humidity lower than 50% in Taiwan, the display age of the work is not suitable for applying WIR test results. Such a conclusion should not be difficult to understand.
In other words, whenever photo paper and ink manufacturers quote WIR’s research data, they tell us that the photo paper/ink they use can “preserve for more than 60 years without fading”, “keep it for 70 years without fading”, “keep it for 100 years without fading” , we should understand that what they really refer to is the storage life that can be achieved in an environment with strict temperature and humidity control such as an art museum. Because our living environment does not have such temperature and humidity conditions, it is impossible to "save for more than 60 years", "store for 70 years", or "store for a hundred years" in Taiwan's general indoor environment!
This article discusses the issue of shelf life/durability of giclee works by studying and analyzing original data and based on Taiwan’s official data, and lists complete information for reference by friends who are interested in learning about this!
New Proposal: ChromaLuxe Metal Photo
If you are also troubled by the shortcomings of the above giclee works, you may be interested in exploring how a new type of photo medium: "metal photos" can solve your troubles!
Here we have briefly listed the "characteristics" comparison table of the two printing media of "giclée" and "metal photo". You are welcome to get to know ChromaLuxe metal printing together.
| 特性 |
藝術微噴
|
金屬印像 |
| 基材 | 相紙紙張 如EPSON, ILFORD等 | ChromaLuxe 金屬鋁板 |
| 製程原理 | 直接輸出 墨水停留在紙張表層 |
以熱壓轉印技術印製 墨水融入表面特殊塗層 |
| 典藏等級 | 典藏等級 | 典藏等級 |
| 解析度 | 高解析度，影像銳利 | 中等解析度，自然呈現 |
| 保存條件 | 最佳：保持在21℃／相對溼度50%以下 (不適合台灣高溫潮濕環境) |
不需要特定保存條件 （合適台灣環境，即使浴室及廚房也OK） |
| 防水性 | 不防水、不耐潮 （紙張有毛細孔，水氣會滲入紙張） |
防水、防潮濕 （表面塗層沒有毛細孔，水氣無法滲入） |
| 抗褪色性 | 不耐褪色 （紙張有毛細孔，會接收空氣污染源） |
可抗褪色 （表面塗層沒有毛細孔，杜絕空氣污染源） |
| 抗刮傷性 | 不耐刮 （紙張不耐刮，尤其黑色墨水易磨損） |
防刮傷 （表面塗層為硬質材質，平滑無毛細孔） |
| 耐污染性 | 不防化學藥劑不耐污染 （紙張有毛細孔，會接收化學藥劑） |
抗化學藥劑、耐污染 (表面塗層無毛細孔，化學藥劑無法滲入） |
| 可清潔性 | 無法清潔擦拭 |
容易日常清潔 （可使用清水或潔用酒精輕拭表面清潔保養） |
The author of this article, Weisi Image
Weisi Imaging was established in 2016 and specializes in ChromaLuxe metal photo production.
The person in charge of Weisi Imaging studied photography in Vancouver, Canada from 2011 to 2014. He was an artist-in-residence and also held photography solo exhibitions. Because I was amazed by the visual effects of ChromaLuxe metal prints, I decided to focus on the research and production of metal photos.
Weiss Imaging not only prints high-quality metal photos, but is also the first printing center in Taiwan to assist artists in producing metal photos. Many of the artist's works have been collected by Taiwan's Art Bank.
