As an artist who sell giclee prints, I feel compelled to offer up some reminders on how to care for them. I am aware of people who just don’t know about the need to be careful on placement of their newly purchased art- so here ya go!
Lets start with giclee prints on canvas. Hopefully they have been sealed with a layer of UV protectant to help filter out harmful lighting, yet as good as that sounds, that’s still not enough. Please don’t hang them on a wall that has direct sunlight streaming in where it will scan across those art prints. UV protection or not, it’s gonna get ’em eventually, and please don’t put a wonderful spot light closely zoning in on those prints either! The spots can do the same damage as the sun. So where am I getting this information? I have a very dear friend who owns Frame -N-Art gallery in Corrales, New Mexico. They are beyond being knowledgable on their trade and can really give you the right info on art conservation. This is not an ad for these folks but most certainly an endorsement for all the “right” information they have passed on to me on all the framing we have done together over the years. They have even lectured to picture framers about this on a national level. Keep reading-
I was shown a giclee print on canvas done by a very well-known western artist that was brought into the Frame-N-Art shop by the owner, to show the shop what had happened to it. It was incredibly faded, like what happens if you put bright red cotton clothes in a hot wash and hot dryer and pull them out dark pink!! The sun had done it. The owners of the print got a replacement from the artist, yes he is still alive fortunately, but the owners got the print as a giclee on paper. Guess they weren’t brave enough to try it again on canvas. It’s where ya hang ’em on the wall folks!!
So this leads me into giclee prints on paper. You can use the same philosophy that I just wrote above on wall placement, and, yes, the sun and spot lights will also affect these. Giclees on paper can have a spray protective coating on them, and be put in a frame that has a uv protective glass or plexiglass layer over the top. That’s double the armor. Sounds like a lot of info, but a good framer will be able to set you up with the right frame works for this. Bottom line is the lighting.
With giclee prints, either on canvas, or paper, as with original paintings of any kind, take a look at how you’re hanging them, how close to them are those spot lights, etc? Your prints will last many generations, yes, with care, they can be passed down the family, over and over again!
Yep! To start off the New Year, I have decided to give away one of my lithographs, “The Lost Rider”. This is a signed and numbered 15″ x 22 1/2″ print of an award winning watercolor. I appreciate my collectors, blog- readers, and Facebook fans & friends, and I think this will be just plain fun! All you have to do is “Like” my Facebook Fan page – www.facebook.com/tamararymer and you will be entered to win. Deadline is Jan. 31, 2012. I’ll announce the winner on Feb. 1. Here is the prize-
*the name & copyright symbol are not on the actual print.
Since WordPress is offering up falling snow for the holidays, I thought I would share an archive watercolor painting to fit the theme. Heres wishing all of you a great holiday season and looking forward to sharing some great art news in the new year! Tamara
To pick up where I left off on “Rethinking Watercolor Papers,” I have tried one that is cooperating! Lanaquraelle watercolor paper 300 lb hot press is great. It has a nice smooth feel and seems to have minimal freckling-oops, speckling. Don’t get me wrong, there still is some. There’s also some streaking, but I can work with that. I like the drag…the way the paintbrush moves across the paper surface.
I have met some watercolor artists that, believe it or not, don’t get as involved with their paper as yours truly. I take it seriously. When I see colors in my head and want to make sure I transfer that image to the paper, the paper needs to hold up it’s end of the bargain.
I will probably be putting more to the test, but like what I see so far. I’ll post a painting in the future done on this paper, and will make sure to let you folks know.
I have been battling watercolor papers, Arches what did you do???? After using Arches 300 lb hot press watercolor papers for many years, I have been at battle with them lately. Seems my blue washes have been “speckling” to the point I felt like I was using a different surface.
First let me explain speckling. In applying a paint wash, you want to see the paint color go on smooth without streaking. When the paint pigment starts to “spot” or accumulate so it looks like freckles, its “speckling”. Maybe it should be referred to as “freckling”, hmm….. Either way, it’s frustrating. You can look at historical watercolors and see the speckles, so why am I taking issue? My blue pigments use to go on Arches hot press papers smoothly, but not lately. Hot press papers are smooth feeling with out a lot of texture, and yes, the texture would cause pigments to freckle, so I like to use smooth paper. In burning thru several sheets, and trying different blue paints (from different manufacturers) I have come to the conclusion that their paper’s sizing has become heavier then it used to be. Elements, such as sizing, are added to the paper production to help their texture, color, weight, all kinds of reasons. A great breakdown of watercolor papers is this link: http://www.handprint.com/HP/WCL/paper2.html Not all, but a lot of the papers have been broken down and processes have been explained. I have over the years, done my own testing, but this site actually put the words down for others to see.
So I am back to paper testing to get my blues the way I want them. I will let you know what I find.
Spending time looking for wild horses in New Mexico can be an interesting task. It helps to go with someone who knows their habits, but even still you may not find them. One morning, last summer after a rainfall, we ventured out to eventually locate one of the bands (herds) that we were looking for. There were about 8 in that group and headed by a magnificent stallion folks had dubbed Juan. The band had stopped at a rainwater pool. To view horses in the wild is not something easily put into words. To watch their behavior with each other is amazing as they act like a big family. These were not horses that had recently been turned loose in the desert, as some folks may think. They have been out there for years surviving on their own. Quite possibly they were descendants of escapee Indian ponies from a lifetime before, or descendants of the ponies used by Spanish explorers, no one knows with this group as know one has been able to do DNA testing on them.
Fresh Rainwater for Juan, Wild Horse of New Mexico
This is a watercolor of “Juan” and will be available in March at the Cowgirl Up! Show at the Desert Caballeros Museum.
"Solarosa of the Monero Mustangs", watercolor 17" x 23"