Testimonial

As a full time artist, when it comes to reproducing my artwork I rely on the professionalism of Dean Davis and his crew. I realize that I do not have â€œeasy to reproduceâ€ artwork. It is both heavily textured and contains metallic and iridescent paint. Dean takes the extra time to work with each piece on an individual basis, photographing the work both polarized and not to achieve maximum results with the highest resolution camera available. In the studio his staff is highly skilled with digital work, and the printers, paper and canvas are of top quality. The end result is rich, velvety giclee prints, which I have always been more than satisfied to offer to my customers.—Melissa Cole

FAQs

How long will my prints last?

Review the latest information on permanence. http://www.wilhelm-research.com/

What kind of turnaround time can I expect?

The typical turnaround time will be 5 to 10 working days. Larger orders may require extra time.

What is the best way to handle my prints?

Care & Handling: Suggestions Regarding The Care Of a Fine Art Print

The following are excerpts taken from The Care and Handling of Art Objects based on practices at The Metropolitan Museum of Art.

Handling

If the work itself is to be handled, support the long sides of the sheet with both hands and, if possible, protect the area to be touched with folded tissue paper. Only rag board and other high quality acid free materials are to come in contact with works of art on paper. Epson prints are water resistant but not water proof. IRIS ink jet prints are water miscible from both sides. Do not apply materials containing water to either side of an Iris print, especially in the printed image area.

Framing

Where a composition is in no danger of flaking, acrylic sheeting, such as Plexiglas or Lucite, with an ultraviolet absorber (UF3) should be used in preference to glass. This will protect the work of art against photochemical or light damage and to avoid physical damage in the event of the glass shattering.

Dry Mounting

A chemical reaction occurs between certain dry mounting tissues and the coating on Somerset Enhanced paper. A yellow mottled discoloration in the white borders appears a few days after dry mounting with heat. Legion Paper, our distributor, says this is an unknown chemical reaction. They recommend using Seal's ™ Fusion 4000 mounting tissue. This is the only dry mounting tissue that yields excellent results.

Lighting

Works on paper are highly sensitive to the effects of any type of intense illumination and should not be exposed to direct sunlight, unfiltered fluorescent lamps, or the heat of incandescent bulbs. Light levels in gallery and storage areas should be kept low, at 5-8 foot candles. The eye is capable of adapting to low illumination, and limiting light exposure will protect paper and pigments from chemical and physical deterioration. Works on paper must never remain uncovered. If not on display or being examined they should be in storage protected from all light.

Relative Humidity and Temperatures

Maintain 68°- 72° F (20°-21° C) temperatures and 45-55 % relative humidity. Excessive dampness, dryness, or heat, and fluctuations in relative humidity and temperature, will have a detrimental effect on works on paper.

Exhibition and Transport

Experienced persons should do preparation and handling of works on paper for exhibition, matting, framing, storage, or shipment only. A three-month exhibition period should not be exceeded in any calendar year. Marjorie Shelley with contributions by members of the Curatorial and Conservation Departments of The Metropolitan Museum of Art, The Care and Handling of Art Objects, (New York: The Metropolitan Museum of Art, New York, 1987), pp. 31-33, 38, 43, 68.