Substrates (paper and canvas) in digital Fine Art Print

Today, the range of fine-art papers available in the international digital printing market is highly diverse. In this new situation, it is challenging to determine which substrate is most appropriate for a Fine Art print. When this technique emerged in the digital world, substrate choices were limited, primarily reduced to matte and glossy canvas and matte cotton papers, with or without texture. 


In its original digital context, Fine Art print was widely known as Giclée. Such a denomination referred to the combination of pigment-based inks and archival papers, supported by proper color management and artist supervision.


The word Giclée comes from French and means “spray of ink,” a term that added a sense of elegance to the process. Over time, the professional printing community moved away from this term, as some printers began using it irresponsibly—printing on any type of substrate and labeling it as giclée. This misuse necessitated a more precise designation, leading to the widespread use of the term Fine Art Print.


Many printing companies have attempted to introduce terms with greater technical clarity, such as Digital Fine Art Print, Inkjet Print, Archival Pigment Print, and Digital Pigment Print, among others. All of these terms are valid; however, at Artmedia Studio, we consider Archival Fine Art Print to be the most accurate and appropriate term.

Our decision is based on this trait of the process: Fine Art Print is produced exclusively with pigment-based inks; the image source may be either digital or analog; and all large-format printing systems involved are inkjet. However, the paper must be strictly archival. It is this combination that defines the process—without it, neither Giclée nor Archival Fine Art Print truly exists.


Choosing a substrate for printing with pigment inks—even when using cotton-based papers—does not automatically guarantee archival quality. If the paper does not meet certified archival standards, it may yellow within as little as three years. This is a clear example of why it is essential to evaluate not only the type of ink being used, but also the type of paper or canvas selected: what guarantees it offers, what coatings are required for printing, its luminance level, and the degree of whiteness it provides. All of these factors are critical—not only to ensure a true archival combination, but also to achieve maximum color expression.