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FINE ART PRINTS - GALLERY BOARD MOUNTED & DISPLAY READY
This is our latest addition to my print format lineup (May 2019) for displaying Thom Schoeller fine art prints from our curated collections, and we are so excited. Realizing I needed to fill a niche' between the "Print Only" option (no frame or window mat) and my premium Luxury brand DuraPlaq and Acrylic Fine Art Mounted print formats, I chose to make Thomas Schoeller Fine Art print works available on this attractive rigid gallery board substrate.
This is the most affordable, archival quality, ready to hang gallery style fine art print format we now offer. Our print lab surface mounts a fine art print of your choice to a lightweight, rigid, 3/16" thickness mounting substrate with a thin wood-fiber veneer core that adds strength and resistance to moisture and warpage. Next, it is encapsulated with a UV protective laminate in your choice of Lustre or Gloss that also allows you to clean the artwork of fingerprints and dust with a soft damp cloth.
This print format closely mimics the float mount appearance of my Luxurious Acrylic face-mounted prints. We're able to do this by using slim mounting blocks on the back that double as hangers which makes them ready to hang the moment they arrive at your home. You'll get the same minimalistic gallery style appearance. The exposed edges are a handsome mat black and about 3/16" thickness giving the piece visual depth.
This is a superb upgrade to our Print Only option, and we are able to provide these at just a fraction of the investment my premium DuraPlaq or Acrylic mounted prints cost. We are making this print format available to purchase in every size we offer including wide 2:1 aspect ratio and 1:1 square format prints.
THEY ARE FRAMEABLE
You can drop my Gallery Mounts into any common-sized external frame to best pair up with your decor style. You'll save a bundle. I relieve you of needing a custom cut window mat, mounting the photo print (I've already done that for you) a filler board behind the mount, and those costly glass sheets used to cover the prints. The glass covering not only produces a hideous reflective glare, but they are very brittle and add weight. You'll be shocked at how much frame shops mark up those items! Lastly, if you do decide to externally frame them you'll be able to find suitable styles at stores like Michael's, Joann's Craft store or order them online by browsing a wonderful selection of options at wholesale pricing here from Frames USA.
WHY CANVAS PRINTS ARE OUTDATED
The following details are provided to educate you and provide the knowledge needed to make a well-informed art print purchase. Canvas style prints, commonly called Canvas gallery wraps, are a thing of the past for good reason. It's old print technology that was the rage back in the 1990s, way before ultra high-definition and extreme resolution in camera technology was a thing. The artwork was printed onto a thin pliable canvas/linen material, then stretched over an internal frame and stapled on the reverse side.
Let's Begin with Detail and Resolution.
- I use extreme high-resolution professional camera equipment and a very deliberate technical exposure process to create my imagery. The final results of my work are best suited to be printed on slick high-quality HD print papers using modern-day laser printing technology. Not a heavyweight, grainy canvas linen material. Why would you want to lose out on all the beautiful details, colors and tones in my work?
- Longevity is another issue, and if you own a canvas print in your home and it's just a few years old take a closer examination of it. Where the canvas is pulled and stretched around the internal stretcher bars, you'll see that the inks applied on the canvas are flaking off and cracking as the linen material continues to dry. This is extremely common.
- Ambient humidity also plays a roll in deteriorating canvas prints. As the weather changes and moisture in the air fluctuates, it wreaks havoc on stretched canvas. The linen absorbs moisture rapidly causing expansion, and when they dry it tightens. This causes two issues. The larger your print, the more the stretcher bars will warp noticeably and not lay uniformly to your wall surface. If you care about your home or office appearance, this is an eyesore. In addition, the tightening of the linen will either pull the staples out of the stretcher bars or will tear. If you've ever looked at the backside of a canvas wrap, you'll see how cheaply constructed they are! Some canvas print labs even go so far as to try and hide the fact by attaching a cover before adding the hanging wire.
- Routine maintenance and cleaning is another factor to consider. Canvas linen attracts dust and dirt. It is porous and will hold onto dust particles indefinitely. Can you take the canvas print off the frame and wash it? No, you cannot. Each time you wipe it with a damp cloth you are removing ink pigments and pushing dust further into the pores of the linen.
- Lastly, the weight of the final piece is an issue and adds significant cost to ship them. Internal stretcher bars are quite fragile and are frequently damaged during transit. Simple handling by shipping employees and freight movement while over the road is all it takes.
I determined that the sublimation process (heat transfer dye-infusion) was not providing the consistent results that I demand for a fine art print. There are a few undeniable quality issues with metal prints I notice with my discerning eyes. For example, moody images including darker shadowy areas in the scene lose fine detail that I can see on the same artwork printed on fine art papers or my acrylic format.
I've also seen cases where the metal print was not as tack sharp as my other print formats. This happens when the "transfer sheet" has minor slippage during the heat press process. Here's yet another imperfection I've noticed viewing other artists metal prints on display while exploring many Fine Art fairs and Shows during the warmer months. Glossy metal prints of 24" and larger almost always show waviness, dimples and other imperfections in the aluminum panels when the light hits at an angle whereas Acrylic Face Mounted and Gallery Board top-mounted pieces do not.
Overall, it's been said on several professional print lab sites including Art Beat Studio and Bumblejax that as a general rule, any dye sublimation process (including metal prints) will not achieve the same level of detail, color accuracy or permanence than at Acrylic face Mounted print or a piece using pigment inkjet ink top-mounted (Gallery Board-DuraPlaq) to a rigid substrate.
I decided to replace the Chromaluxe Metal Prints by opting to add both the Gallery Board format and my premium DuraPlaq displays. The DuraPlaq represent a similar price point to ChromaLuxe Metal Prints and Gallery Board is clearly far-less costly than a Chromaluxe Metal Print while delivering superior clarity, detail, brightness, and color.
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