Limited Edition Digital Prints
What's Up?Limited Edition Digital Prints made from the original digital-acrylic-encaustic (mixed media montages...some with scratch boards) file are available for purchase in three sizes…small, medium and large (Giclée). A maximum of 200 prints will be made for any single image size. Currently, there is a single variation on each of the 12 image themes in the "Infinite Dimensions...without borders" montages (new work from 2005, page 0 of digital2D works). The exception is that one of the original image themes has two variations. More variations are planned in the future.
Limited Edition Digital Prints are generally available for purchase in three sizes…small, medium and large (Giclée). A maximum of 200 prints will be made for any single image size. There are no variations on the image theme in the "9-11, montage series" (new works from 2002, page 1 of digital 2D works). There are five variations on each image theme in the "9-11 individual works series" (new work from 2002, page 2 of digital2D works).
Limited Edition Digital Prints are available for purchase in three sizes…small, medium and large (Giclée). A maximum of 200 prints will be made for any single image size. There are fifty variations on the image theme in the "GoDNA series" (new work from 2001, page 3 of digital2D works).
Limited Edition Digital Prints made from the original digital-encaustic file minus the scratchboard are available for purchase in three sizes…small, medium and large (Giclée). A maximum of 200 prints will be made for any single image size. There are five variations on each image theme in the "EP series" (new work from 2000, page 4 of digital2D works).
Additionally, we are offering original works in different themes from 1998-99 (page 5 of digital2D works), though the large size is only available for the "Elephant" and "Fates" themes. In these digital prints, the variations on the theme are derived using image editing software.
How do I order? (see towards the bottom of this page)Easy. Just go to the "Orders" page, read and fill out the form. Select from the< A HREF="digit2Di.htm">Digital2D Indexof galleries below or Drawings/Prints Portfolio page(s) (1998-2020) :
Print Warranty What about Giclée prints?
What are the sizes?Typical image sizes: small image 4" x 5 1/2" - 3" x 8", medium 6 1/2" x 9" - 6" x 13", and large 13" x 21" - 21" x 30". All sizes are approximate.
What about framing?Quality professional framing is provided independently by Lara Sydney Custom Framing. All of our prints are sold unframed. However, we will happily work with getting your purchased print framed by Lara Sydney Custom Framing.
What type of image resolution can you expect?150-300 dpi.
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What about the printing paper; matte, glossy, or canvas?Yes, you may order your prints on matte (default), glossy, satin gloss, cotton rag or canvas fine art paper. The default archival, fine art matte paper (Somerset Velvet, 250 gsm, or grams per square meter) gives excellent color, detail and tone fidelity in an archival paper.
Here's a brief summary: Fine art papers come either natural (uncoated) or coated. The natural papers include the well known watercolor papers (i.e., Arches, Lanaquarelle, Red Tail and Somerset Velvet). They are 100% cotton, acid-free and the most stable and archival of the papers. Because the fibers in the paper absorb more of the ink dye, the resultant image is softened and often less intense in detail and contrast. This tends to harmonize the image even more than the original.
The coated papers are designed to keep the ink dye in place, retaining the truest image fidelity as to color, tone, contrast and detail, but with some tradeoff in permanence. All are acid-free, and some, like the Lysonic media that we like, offer a whole range of coated fine art papers from photo-gloss, -satin,and -matte to textured canvas, parchment and 100% rag, matte papers.
So for a few dollars more, you can have your print on fine art paper. And now the decision.
For the truest photographic-like image...choose a coated paper. Lyson Photo Satin (265 gsm) is our favorite photo paper. For the textured, matte papers we like the Lyson 100% Rag (300 gsm)best, followed by canvas paper (210 gsm).
For the slightly softened, slightly muted image...choose a uncoated paper. Somerset Velvet (250 gsm) is our favorite, followed closely by Red Tail Archival (250 gsm), both having a vellum or slightly textured surface. Lanaquarelle or Arches, hot (smooth, 185 gsm) or cold (textured, 300 gsm), are also available upon request. These latter two beautiful papers produced even more muted imagery in our tests.
In the end think about the final effect you want. In some cases the image needs to be strong, vibrant and full of detail, in others the overall effect may be that in which slightly muted colors interplay with the texture of the paper to evoke a more tactile response.
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What about the printing inks?High quality TMUltraChrome pigment inks from Epson provide a great balance of great color quality and archivalness. The tradeoff between quality and quantity must be addressed. The final output quality of a print must ultimately be judged on the print itself...not on its fidelity to the image seen on the screen.
In a nutshell: The subtractive CMYK (cyan, magenta, yellow, black) colors used in printing must, in effect, translate the additive RGB (red, green, blue) colors typically seen on your monitor. Subtractive colors...like paints, inks and pigments...generate their color output by first adsorbing out the unwanted color wavelengths in the actual physical mix of paint, ink or pigment, opposite to the additive colors which generate their color output by inclusion, that is, these colored lights add their color wavelengths to the final optical mix that reaches our eyes. Thus adding up all the additive color primaries (RGB) produces the sensation of white light, while combining all the subtractive color primaries (CMY)excludes, or filters out, those color wavelengths responsible for the perception of light giving us a very muddy brown (ideally black) instead. The impressionists and post-impressionists used divided brushstrokes and "broken color" to allow the normally subtractive paint to act as additive colored lights by the juxtaposition of often complementary colors in the form of small dabs, allowing the viewer to optically mix the final color sensation in their own eyes, thus raising the overall color tone and, in my mind, color quality, of the work. The final color quality is built on the harmonious balance of the color hue, chroma (saturation) and value (brightness)...giving the overall color tone of the work. It is this often elusive quality that must be sought. The color tone quality of the RGB colors seen on the screen will, in their translation to the CMYK print colors, require individual adjustments in the hue, chroma and value components so as to recreate the color tone quality on paper. So quality first, quantity second.
Epson UltraChrome inks are rated 100+ years on Glossy Photo paper, and 200+ years on uncoated matte paper (our default paper selection). See our print warranty above.
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What about protecting the print surface?Ordinarily, yes you should allow for some kind of surface protection to prevent moisture and other vapors from interacting with the surface. Plexiglas (or glass) is the standard. You may also have the print laminated (3-5 mil, a temporary solution) once it has been mounted to a backing board such as museum board and foam core. Additionally there are spray varnishes available at your art supply store.
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What about displaying prints?As per well accepted museum practices, no prints should be exposed to direct sunlight, strong light, UV rays, high or variable humidity conditions, or in any location subject to harsh conditions, including physical contact.
What about shipping?We can ship to most any location. Naturally an unframed print rolled into a shipping tube will ship at a rate different from a large framed piece.
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What about prices?
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Where can I see and buy these prints?View and buy online here at : www.brooksdesign-cg.com.
How do I order?Easy. Just go to the "Orders" page, read and fill out the form. Select from the of galleries below or Drawings/Prints Portfolio page(s) (1998-2020) :
Once you have selected the work(s) and reviewed your options you should go to the Orders page. This page walks you through a few of your ordering and payment options. It makes a sincere effort to inform you of your choices and then asks you to fill out a very simple order form. In the comments box you will need to type in your choices.
For example: to order a medium digital print simply enter the Image Theme Title and Variation #. That will identify which actual work you are interested in.
Next enter the size (small, medium or large) and framed or unframed.
Next enter the type of paper you want the work to be printed on. The default Somerset Velvet -Radiant White Paper (250 gsm) paper prints and looks great for a natural, high quality archival print. For a few dollars more order your print on one of the archival papers described above. Here you must decided on the look and feel of the work that you are after. The coated papers will give you the sharper, more saturated and higher contrast image, increasingly so as you go from fine art to photo matte to satin to glossy. The archivalness of these coated papers may be reduced somewhat over that of the uncoated papers. The color tone quality of the coated papers is more photographic-like than the uncoated papers. Choose the uncoated fine art matte/vellum papers for a more tactile, art print color tone quality.
Finally, there are considerations for framing, matting and protecting the print. This will be independent process, but we can help facilitate. Decide if you want your print to be protected with a laminate (temporary protection only). The laminate will include mounting the work on acid-free museum board. Normally there is no matting. Or you may choose to have your print matted and framed, with glass or acrylic, in a traditional manner. You can save money by ordering your print without any framing, matting or protection, allowing it to be shipped economically in a tube, later framing it yourself. This is our current method. If the print requires mounting to a panel or museum board for protection and/or our framing, the cost of shipping will naturally be higher than the same print rolled into a shipping tube. We offer professional framing as a service option to you...if you want to skip the fuss...but truthfully, this option takes away a valuable choice of yours...the well-selected frame to coordinate with your tastes and the setting in which it will be displayed. This will add immeasurably to your long term enjoyment of the artwork.
You may want to simply copy and paste the following into the comments box on the order form and then add your choices:
COPY and PASTE THE FOLLOWING INTO THE COMMENTS BOX ON THE ORDER FORM
(1.) Title & Variation #:
(2.) Size (small-$195, medium-$295, large-$enquire see Giclée prints? ):
(3.) Paper: default matte paper [Somerset Velvet -Radiant White Paper (250 gsm)] or:
(4.) Surface protection: Framing, matting and service protection is done independently by Lara Sydney Custom Framing or your own framing service.
(5.) Framing: Framing, matting and service protection is done independently by Lara Sydney Custom Framing or your own framing service.
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