About Ready to Hang
Archival inks are used for the prints and each giclee print receives a special coating to prevent yellowing and to preserve color and durability. Only high quality poly/cotton canvas is used . Upon receiving the giclee print,which arrives in a tube from a professional printer, Linda’s husband, Larry, stretches the giclee print around professionally made stretcher bars (Larry likes to call this ,the inside frame). Using special hand pliers,the canvas is stretched and stapled around the stretcher bars with stainless steel staples. All giclee prints are gallery wrapped (a mirror image of the painting is placed around the edges of the giclee print so there is no white canvas showing after the canvas has been stretched over the stretcher bars). This allows the print to be hung as is or able to be professionally framed. Brown paper is glued to the back of the giclee. D-ring hangers are attached to framing wire and a hanging hook is taped to the wire to enable the customer to be able to hang the beautiful artwork as soon as it arrives.
Giclee prints will last and the process has been in use for over 30 years and has proven to be very resilient. If giclee prints are not displayed in direct sunlight and protected from abuse they are expected to last a very long time. Giclee prints may be scratched or damaged quite easily but this is generally not an issue, for once hanging on a wall it is out of harm’s way.
Larry says "If one of our giclees is damaged during delivery, the giclee print will be replaced. We have not needed to replace any of our giclee's purchased to date".
Each print is signed by Linda and comes with a numbered and signed certificate of authenticity along with a short description of the painting.
More information about Giclée
Besides its original association with IRIS prints, the word giclée has come to be associated with other types of inkjet printing including processes that use fade-resistant, archival inks (pigment-based), and archival substrates primarily produced on Canon, Epson, HP and other large-format printers. These printers use the CMYK color process but may have multiple cartridges for variations of each color based on the CcMmYK color model (such as light magenta and light cyan inks in addition to regular magenta and cyan); this increases the apparent resolution and color gamut and allows smoother gradient transitions. A wide variety of substrates is available, including various textures and finishes such as matte photo paper, watercolor paper, cotton canvas, or artist textured vinyl.
Artists generally use inkjet printing to make reproductions of their original two-dimensional artwork, photographs, or computer-generated art. Professionally produced inkjet prints are much more expensive on a per-print basis than the four-color offset lithography process traditionally used for such reproductions. (A large-format inkjet print can cost more than $50, not including scanning and color correction, compared to $5 for a four-color offset litho print of the same image in a run of 1,000.) Four-color offset lithographic presses have the disadvantage of the full job having to be set up and produced all at once in a mass edition. With inkjet printing the artist does not have to pay for the expensive printing plate setup or the marketing and storage needed for large four-color offset print runs. This allows the artist to follow a just-in-time business model in which inkjet printing can be an economical option, since art can be printed and sold individually in accordance with demand. Inkjet printing has the added advantage of allowing artists to take total control of the production of their images, including the final color correction and the substrates being used, and it is even feasible for individual artists to own and operate their own printers.