Living Prints® Gicleé On-line

Video Landscape - Emeralda Bridge

The first three Gicleé prints this artist created in 1997 were published by DigiColor, in Seattle, as part of their public introduction of the fine art department of their organization. Video Landscape - Emeralda Bridge was the first of the three.

The March of the next year, Gazelle Telecards published the image by yet another printing process to produce Ritchie's first fully-functional collectible, prepaid long-distance telephone calling card. Gazelle is the first company of its kind to produce artworks conceived specifically for the telecard by artists who approach i it as an art medium in its own right.

Ritchie produced two images in this instance (all on his computer) -- one for the front (shown below) and another for the backside that appears as a "watermark" image. The card is limited to a production of 350, with only 40 that are signed by the artist.

The artist was invited to jointly-publish images from his VideoYear Journals. He started with the one at the left. Another artist, Steve Rock, helped Ritchie with both the Gicleé version and the telecard version.

First time visitor?

You may have come into the this artist's studio part-way into the process. You may wish to see what else has happened, or skip ahead by selecting highlighted words wherever they occur. Also, you can read the notes, journals, diaries and papers of the others involved in giclee print making, below.

	Artist's Diary	The artist provides the vision and imagery of the living print, laboring after the compelling image.
	Curator's Log	The curator is seldom seen but is always seeing to it that the living prints' records are correct and rules followed.
	Printer's Notes	The printer performs many tasks to keep prints alive, crafting and designing solutions to problems the artist, curator and publisher propose.
	Publisher's Journal	The publisher produces the bases for living prints by supporting all the players and keeping communications clear and on course.
	Professor's Papers	The professor explains the living print, the history of printmaking, and keeps the academic community informed.