Frequently Asked Questions
General Questions
Q: How do you pronounce giclée?
Q: What is your green policy?
Q: What is giclée?
Q: Is giclée just the same as a bubble jet printer?
Q: Where does the word giclée come from?
Q: What kinds of inks do you use?
Q: How long do giclée prints last?
Q: What if I have a slide, or film of my artwork, but the original is no longer available?
Q: What if I can't send my original, and the art is too large to scan?
Q: What kind of medium reproduces well using giclée?
Q: What are the advantages of giclée over lithographs and serigraphs?
Q: What about copyright considerations?
Q: What is Art? (we have the answer)
Q: What does it mean to color manage my computer?
Q: Are there paints or paintings that don't reproduce well?
Q: Can you reproduce iridescent colors?
Q: Where is a good art supply store in the Seattle/Bellevue area?
Q: Can you recommend some canvas pliers?
Q: What monitors are best for graphics and photography?
Q: I'm making a portfolio. Do you have any recommendations?
Q: I'm going to be displaying my work at a show. Shoud I frame it?
Giclée Print Service Related Questions
Q: Is there a minimum order fee? Why?
Q: What is your turnaround time?
Q: How can I participate in your artist galleries?
Q: Do you do rush orders?
Q: At what resolution should I scan my work? How many megabytes should the file be?
Q: How should I prepare my digital files?
Q: How long do you store my files?
Q: Do you offer any kind of warranty?
Q: Do you provide canvas stretching?
Q: Can you accept digital scans or digital files directly?
Q: How is my artwork captured, or scanned?
Q: What kind of papers do you print on?
Q: Can you tell me if my file is going to print poorly?
Q: Do you do art restoration?
Q: How do you pronounce giclée?
A: Do you feel silly because you're not sure how to pronounce giclée? Well, you're not alone. This is perhaps the most common question we get, and possibly a reason for people being shy on the phone. Giclée is pronounced (jee-clay). Here's a little sound file for you to play:
A: Giclée is a printing process that uses very high-end bubble jet technology to reproduce fine art graphics. The first giclée printers were produced by Iris Graphics in the 1980s, and was first used as a system to proof commercial pre-press before going to plate. However, Nash Editions in California saw the new machines as having potential to be more than just proofing devices, and started using them to reproduce fine art prints.
Since that time giclée printing has come a long ways, and many improvements have been made in the accuracy of the printing technology, and the longevity of the inks. The leading printer manufacturers such as Epson, HP, Mimak and Roland have all spent millions of dollars perfecting the ink technology, creating archival inks to assure rich color and longevity.
For further reference see:
A: We strive to be green wherever possible. We are continually adding green substrates as they become available, such as the Hahnemhule bamboo and sugar-cane papers. We also use recycled paper for wrapping and things like invoices, and we recycle our ink cartriges and packaging. Finally, every fine art print is personally inspected by a Northwest Spotted Owl, and then hugged by a free range tree squirrel.
Q: Is giclée just the same as a bubble jet printer?
A: No. There are many differences that make giclée printing superior to a standard home printer. First, the large industrial printers have finer print heads, and are capable of using thicker and more varied substrates. In fact many of the top art paper and canvas manufacturers have made special paper just for giclée printers, that better hold the ink and ensure longevity and archival quality of the prints. Secondly the ink is different, and is of a much higher quality than standard printer ink. Lastly, the printers themselves are very large, allowing for printing of up to 44" wide, with virtually no limit to the length.
Q: Where does the word giclée come from?
A: Giclée is a French word that means to squirt, and is pronounced 'ghee-clay'. The reason it is call giclée is because the printers digitally dispenses tiny squirts of ink onto canvas or paper in a million droplets per second. This produces a print with a resolution higher than the traditional lithograph and with a wider color gamut than serigraphy. None-the-less, the word was in fact coined by marketers who feared the art world wouldn't accept this new medium as being valid. These days, however, much of the limited edition art you see in galleries is produced using giclée, and many of the top name artists use this method of printing.
Q: What kind of inks do you use?
A: We use Epson HDR Ultrachrome archival inks. We always use new cartridges. We only use the best archival inks. Some gilcee printers will use boxed inks and refill cartridges but we always use new factory sealed ink cartridges from reputable distributors.
Q: How long do giclée prints last?
A: We use Epson K3 Ultrachrome archival inks and only the finest acid free substrates, so you can count on your print lasting for well over 100 years. If your print is framed and hung in a location with no direct sunlight, it will last even longer.
A: We have high end graphic scanners that use ICE technology to digitally capture your film or slides. The quality and size of the negatives we receive will dictate how large your work can be printed. This needs to be evaluated on a case by case basis, and we will consult with you and make recommendations on the maximum printing size, and give you expert feedback on our evaluation of the final quality and size of print that can be achieved.
Q: Can you accept digital scans or digital files directly?
A: Yes. We have a file upload site so that artists not in the Seattle area, or artists who are tech savvy can provide us with digital files directly. Of course we can't do direct color matching without the original, but we will always do our best to produce a good looking print, and consult with the artist before doing a print run.
Artists and Photographers who submit their own digital files are responsible for the quality and integrity of the images. We print what we get. If we see something glaring, we'll stop and point it out to you, but digital submission is "as is".
Q: What if can't part with my original, and the art is too large to scan?
A: You can take the art to a photography studio, and have a positive transparency made using large format cameras. In this case we want a 4x5 transparency with a color card and or 18% gray card to allow us to do color matching.
Q: What kind of medium reproduces well using giclée?
A: Virtually all mediums reproduce well using giclée, and if done well they are hard to distinguish from the original. Oil paintings with high relief and texture will not look like the original due to texture. However, most oil paintings reproduce well, as do acrylic, pencil, pen & ink, watercolor, collage, charcoal, pastel, monotype and photographic mediums.
Q: What are the advantages of giclée over lithographs and serigraphs?
A: One of the greatest advantages of giclée over lithograph and serigraphs is that you don't have to do a full print run all at once. If you want to offer limited edition prints, but don't want to commit to the upfront cost of doing a large print run, then giclée is for you. The first couple of prints you sell should easily pay for the initial digitizing and printing costs, and then you can place additional orders as they are needed, without the cost or hassle of maintaining large stocks of prints.
The initial setup costs of lithography and serigraphy are very high, and often cost-prohibitive for artists beginning their careers, or artists who only want to produce small print runs. However, if you are selling hundreds of prints at a time, then you may wish to consider lithography, and we can certainly help by introducing you to a good printer locally. Also, if you start with giclée, and then find a particular piece is selling extremely well, and want to create a limited edition using lithography, we can give you the digital file all ready for the printer to use, thereby reducing setup costs.
Q: Are there paints or paintings that don't reproduce well?
Some colors will not reproduce well, or at all using the giclee print process. Although giclee printing has a wider gamut than four plate lithography, certain colors can't be produced with a printer. Things like iridescent colors, duo-chrome, and fluorescent colors are out of the printer's gamut. Another way to think of it is non-natural colors.
Metallic paints are also problematic and can't be reproduced, as they represent the reflective properties of a metallic element, as opposed to a color range. Any silver, gold, copper, or metallic car paints won't reproduce well at all, and should be avoided. However, some options for reproducing metallics, foils, iridescent, fluorescents and such is serigraphy, hand touched giclee, or offset lithography using extra plates for the colors in question. All that being said, we've managed to produce a few that looked spectacular, so it's hit and miss.
Q: Can you reproduce iridescent colors?
No. This should be explained in the previous question, but we're getting this question a lot due to increased availability of iridescent paints, especially acrylics.
First, it's important to understand what iridescent is; it is an optical phenomenon characterized as the property of surfaces in which hue changes according to the angle from which the surface is viewed.
Iridescence is caused by multiple reflections from multi-layered, semi-transparent surfaces in which phase shift and interference of the reflections modulates the incident light by amplifying or attenuating some frequencies more than others. 1
From a physics standpoint this is rather uncommon behavour, and in man-made objects this is usually only found in paints that are specifically designed for this effect. Therefore, iridescent behavior is the behavior of a special property not found in regular pigment or dye based inks. Also, because the apparent image changes with the angle of observation, iridescence is not fully reproduced by conventional photography.
If we do reproduction work and your image includes iridescent paint, then you will get whatever color the camera sees when the work is perfectly perpendicular to the artwork.
Q: Where is a good art supply store in the Seattle/Bellevue area?
A: There are several art supply stores in the Seattle area. There is Daniel Smith, which has a store in both Seattle and Bellevue. Their website is www.danielsmith.com. There is also Ultrecht, and the newly arrived Dick blick.
Q: Can you recommend some good canvas pliers?
OK. We don't know what the deal is with canvas pliers, but they're either really cheap and fall apart (like the Fredrix Canvas Pliers), or they're really expensive. There seems to be no middle ground for canvas pliers, and we looked high and low. So as strange as it is, the canvas pliers we chose were the Holbein Extreme Pliers, made of molybdenum alloy (whatever that is). At $130.00 they had better be durable! So far we've had no problems.
We also found this guy on the internet, John Annesley Company, who makes canvas pliers. We haven't tried them yet, but the description of why he went and designed custom pliers matches our experiences. There just is no middle ground. His canvas pliers aren't cheap, but they look fantastic.
What monitors are best for graphics and photography?
Increasingly PCs (Windows) and MACs can use the same monitors, so what follows is applicable to both platforms. Linux as well I'm sure...
Since CRTs are nearly a thing of the past, we'll focus as well on just LCD monitors.
Monitor types: There are IPS panels, VA panels, and TN panels. The IPS monitors have the best color resolution, and the best viewing angle of all the monitor types. S-IPS (In Plane Switching) panels are generally considered the best overall LCD technology for image quality, color accuracy and viewing angles, however they are very expensive. They are well suited for graphics design and other applications which require accurate and consistent color reproduction. The Apple cinema displays are all IPS LCD monitors.
VA (Vertical Alignment) Panels can also have high quality image ratings, but have issues with contrast degradation at viewing angles greater than 160 degrees. VA (Vertical Alignment) technology such as S-PVA/MVA are middle of the road LCD panels. They offer better color reproduction and wider viewing angles than TN panels, but have slower response times.
TN panels (Twisted Nematic) are the cheapest, but are the most popular with consumer based systems, particularly Windows systems. The response time, however, is generally faster on the TN panels, which meets the demand of gamers and home media systems.
Hardware calibration: allows a calibration device and software to create a unique ICC color profile to that monitor and computer, which best displays colors accurately. Some monitors do not allow for hardware calibration. The Apple monitors, for example, do not allow for hardware calibration (In most cases they don't need to).
If you're workflow requires you to have very fine control over your CSM (Color Managed System), then you'll want to pay close attention to this, and select a monitor that allows color calibration with systems such as xrite (greytag macbeth)products like the the eye one, Colorvision's monitor Spyder, and others.
Monitor Brands:The monitor brands to watch for in our opinion are NEC Multisync (LCD2690Wuxi), La Cie, and Eizo. The Eizo is the top of the line, but at thousands of dollars of cost for slightly better color performance, most people wouldn't know the difference. So if you need a good graphics monitor that can be hardware color calibrated, this should give you a starting point.
Q: I'm making a portfolio. Do you have any recommendations?
A: Absolutely. You should make a portfolio and keep it current. It should include quality prints of your work, and should be clean and simple. Have business cards to pass out as well. You can't expect to generate interest in your work commercially unless you represent yourself well, and a good portfolio leaves a great impression.
Q: I'm going to be displaying my work in a show. Should I frame my work?
A: The question of framing comes up a lot. Framing is expensive, and many artists want to avoid the cost of framing, especially for art shows and exhibitions, as the costs can sometimes be prohibitive.
While it's understandable that artists want to save money on framing, there are none-the-less good reasons to do so, including a nice presentation of one's work, and of course preservation. Anytime a work is being moved around from one place to another the risk of damage increases. From a strictly practical viewpoint, framing is about conservation and protection. But there are many different schools of thought on the matter. We asked our secret expert, Sven, member of the famous World Artist Network, to add his scholarly input on the matter:
Ever since sculpture came off the plinth in the fifties, i feel that art has been reified into the space of the actual (real space piercing the theatricality of the explicitly privileged). This has put a fine point on the issue of framing. The archaic ornate and gilded frames of the renaissance underlined the already obvious privilege of owning paintings. in the nineteenth and twentieth centuries there was an interesting and often beautiful artistic expression in choosing and creating frames, from interesting patinas on artificially aged metals, to wide solid wood adding a blue chip minimalist cache, or crude painted shadow boxes.
Matthew Barney's self lubricating plastic frames (what a great name for a material) are an incredibly successful contemporary solution. Stretched canvasses have the easy options of painting over the sides, thus having both a frame and no frame, of painting black or more sensitively painting a solid color in the palette of the painting. Ever since the over commercialized excess of the eighties, the commodification of art which had been deconstructed in the seventies, has become a benchmark of the importance and seriousness of the artist. The ability to distill material worth from your work is a popular measure of artistic merit, whether it be grant writing or creating fetish objects. Money follows money. Spending hundreds of dollars professionally framing your work or up to or over a hundred dollars on materials and labor doing it yourself (after buying a matt cutter and several power tools) necessitates a certain value (after all, you could always throw away the art and use the frame for something you actually like). The ubiquitous simple black metal frames that are available commercially in standard sizes disappear to some extent (much like people wearing all black in theater and restaurants) and could be considered an acceptable dodge of the issue. There is also an archival issue of hermetically sealing a work behind UV resistant non-reflective glass that may be significant to your work.
We hope this helps...
Q: What does it mean to color manage my computer?
A: Color management is the black art and science of matching all of the input and output devices so that color is consistent. This means that your monitor displays the same color that you see when you print, and when you scan a color document, the resulting image looks the same on your screen, and again output from your own printer.
There are a number of tools you can purchase to calibrate your equipment, and if you're serious about digital art and photography, you should definitely invest some money in doing some simple calibration. The simplest tool is a monitor calibrator, and they range anywhere from under $100, to thousands, depending on your needs. We use the i1 by X-Rite, but you can search for monitor calibrators on ebay and find decent ones for $100-$200.
Q: Do you offer any kind of warranty?
A: Yes. First we gaurantee you will be satisfied with the quality of the print, or we will remake it or refund your money in full. We believe in the quality of our work and stand behind it 100%
Secondly, we gaurantee the longevity of the print. We use the finest giclée papers and Epson K3 archival inks that will last at least 100 years. We also offer finishing services that include protective coating on top of the finished paper or canvas. All of this combined adds up to a quality print that will last a lifetime or more. If for any reason the print fades or displays imperfections, we will replace it.
Q: Do you offer canvas stretching?
A: Yes. We do offer canvas stretching. We have various canvas stetching options. You can have a standard wrap (white on the sides), a gradient wrap, or a cloned image wrap. We offer stretching on both standard stretcher bars (3/4" thick) or medium stretcher bars (1 1/2" thick). We offer stretching in any size. Unlike some of the online retailers that offer canvas prints to the masses, we are able to make and cut our own stretcher bars to any size you need, and we aren't limited by standard sizes.
The options for stretching (standard, gallery, museum) look like this:
| Standard | Standard Gallery Wrap | Museum Wrap on 1 1/2" medium stretcher bars |
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Q: Is there a minimum order fee? Why?
Yes. We have a minimum order of $100. The reason is that we are a custom fine art printmaker and to do a quality job requires time, care, and expertise. We're not setup to do quick and dirty, cheap printing. We prefer to have a minimum order fee, rather than nickel and dime our clients for things like setup fees and minor proofing. If all you need is a $35 single print, then you would be better served by Kinkos. If you want a quality fine art printmaker, then we are your printing solution.
Q: What is your turnaround time?
A: Normally our turnaround time is 1-3 business days depending on our queue at the time.
Q: How can I participate in your artist galleries?
A: We offer the ability to have your work added to our online galleries so that you can offer your prints for sale over the internet. Artists and Fine Art Photographers can also hot link images on their own web sites directly to the shopping cart on our website, in order to lead viewers on your own website to a buying mechanism. This is a service we offer to clients who are interested.
There is no charge for having your work added to the galleries. Artists and Photographers receive 80% of the commissions above print cost, and Bellevue Fine Art Reproduction maintains the galleries and handles all fulfillment. We can also represent artists to prospective buyers through other channels, such as galleries, interior designers, real estate staging and promotional events. If you are interested please ask about being added to the galleries during your order process.
A: Yes and no. Everyone is always in a hurry and we understand that. If you're in a hurry and need the job done immediately, please ask us and we'll work with you to meet your deadline. We don't charge extra for "rush orders"; we simply balance your needs with our other clients needs and get the job done when you need it.
However, there is a caveat to all this. If you are up against a deadline and you are ordering prints at the last minute and find a problem, such as a misprint or error that we didn't notice, then we can't be held responsible for the fact that you're missing your show, etc. This means that we don't cancel our dinner plans, or our weekend plans to help you meet unreasonable deadline requests due to your lack of planning. This means that we make our very best effort to help you, yet we draw a line when it comes to "emergency printing". We're not Kinkos, and we're not the fire department. We want to spell this out very clearly because we have in fact lost a couple of clients over last minute emergency orders (including emails and calls at midnight!) where we could not or would not meet last minute deadlines.
So, while we will do our very best, please understand that if you are calling late in the evening and need a reprint by 8:00 AM, or some similar unreasonable deadline, we may very well say no. And please understand as well that our refusal to meet such deadlines isn't because we are not customer focused, or because we're unreasonable or don't care. It's because in situations like this, we're often the scapegoat for a missed show or missed deadline, which leads to customer dissatisfaction despite our best efforts. So please plan ahead. You can have it right, or you can have it now, but you can't have it right now.
Q: How long do you store my files?
We keep your files for 2 years if there is no printing activity. In any event we will always backup the files to DVD before taking them off our servers. For our active customers, files are kept on our servers and regularly backed up.
Q: What about copyright considerations?
We keep your images strictly confidential. Bellevue Fine Art Reproduction does not allow any images to be printed without the artist or copyright holder's authorization.
We're often asked if we require artists to sign a form stating that the work is theirs. In general the answer is no. We generally don't check, and we can't really be the copyright police. However, if it's quite obvious that you don't have rights to it, then we can't reproduce it.
We do have some copyright release forms for various reasons, and if we're not sure then we'll ask you to sign a liability release form, and you're on your way.
The exception to this is art collectors who have rare pieces in their collections and want to have a digital backup and a copy for various reasons. In some cases collectors need high quality scans to show in catalogs on the internet, or for portfolios, which may fall under fair use. In some cases older works are no longer copyright protected, and the owner is free to do what they want with them.
Q: How should I prepare my digital files?
Some artists scan and prepare their work themselves, and send us the digital files. There are other "digital" artists who's work is computer generated (CG), such as fractals, photoshop collages, Corel Painter images, etc. And of course there is no shortage of photographers out there who want to see their work printed on high quality art paper, canvas, or on large format photo paper.
If you are one of these people, then the answer to this question is for you!
First, there is a large debate about what DPI is acceptable, and what formats are acceptable. We won't go there for now. Instead we'll try and make this as simple as possible to get your job done, and save the theory and debate for a white paper.
We will take jpg, bmp, ai (Illustrator), and other graphics format files. However, what we prefer is to have uncompressed TIF format images, with an embedded ICC profile. In most cases this will be your working profile. In some cases it may be derived from your camera profile, or your monitor profile. In Photoshop when you "save as" you will see a dialogue that comes up to save the image with an ICC profile, like this:
The next dialogue you'll see (in Photoshop, other programs will vary) is the compression. Select no compression, and IBM byte order.
This is where JPG files can yield sub-standard printed images, as JPG files compress the image, and in many cases degrade the image quality. If you can, go TIF.
Q: At what resolution should I scan my work? How many megabytes should the file be?
A: This is a question of great debate, and you will get different answers from different people. But in general, a 300 dpi file will produce excellent results. A 270 dpi file will produce very good results. A 150 dpi file will produce decent results depending on the subject matter. As for file size, the size of the file in megabytes will depend on the amount of detail in the file, the amount of color and the color depth. What is really important is that you pay attention to the DPI, or PPI (dots per inch, or pixels per inch).
So for example, if you have a file that is 3000 pixels by 2000 pixels, then it will print with excellent results at 10" x 6". A good 8 Mpixel camera like the Canon 20D will produce a file that is 3504 x 2336 pixels, and you can make fine prints of up to 20" x 16". In that case you will be printing at 175 dpi, and that's about as high as you can really go with that format and still have it look good and crisp. But fine art is usually more demanding, and if at all possible we would prefer to print images within the 360dpi to 270 dpi range. Anything lower than that and you'll often get quality degradation.
But there are other factors as well, such as file compression and bit depth, all of which go far beyond the ability of this FAQ to explain. In short, scans should be 300 dpi with at least 8bit depth, and should be saved as TIF, or JPG with no compression. In the best of all worlds your file will be 300 dpi at the size you want to print.
File Resolution Chart
The table below shows a resolution chart to help you understand at what size your digital image can be printed and still get good results. Optimal printing occurs at 300 dpi. 150 dpi usually yields very good results. At 72 dpi we can't guarantee that the image will yield a great print. While most online print operations will print this for you, we will evaluate the image and warn you before printing.
| Print Resolution | Fair (72 dpi) |
Good (150 dpi) |
Excellent (300 dpi) |
| dimensions (width or height) | Number of Pixels | ||
| 5" | 360 | 750 | 1500 |
| 6" | 432 | 900 | 1800 |
| 7" | 504 | 1050 | 2100 |
| 8" | 576 | 1200 | 2400 |
| 9" | 648 | 1350 | 2700 |
| 10" | 720 | 1500
|
3000 |
| 11" | 792 | 1650 | 3300 |
| 12" | 864 | 1800 | 3600 |
| 13" | 936 | 1950 | 3900 |
| 14" | 1008 | 2100 | 4200 |
| 15" | 1080 | 2250 | 4500 |
| 16" | 1152 | 2400 | 4800 |
| 17" | 1224 | 2550 | 5100 |
| 18" | 1296 | 2700 | 5400 |
| 19" | 1368 | 2850 | 5700 |
| 20" | 1440 | 3000 | 6000 |
| 21" | 1512 | 3150 | 6300 |
| 22" | 1584 | 3300 | 6600 |
| 23" | 1656 | 3450 | 6900 |
| 24" | 1728 | 3600 | 7200 |
| 25" | 1800 | 3750 | 7500 |
| 26" | 1872 | 3900 | 7800 |
| 27" | 1944 | 4050 | 8100 |
| 28" | 2016 | 4200 | 8400 |
| 29" | 2088 | 4350 | 8700 |
| 30" | 2160 | 4500 | 9000 |
| 31" | 2232 | 4650 | 9300 |
| 32" | 2304 | 4800 | 9600 |
| 33" | 2376 | 4950 | 9900 |
| 34" | 2448 | 5100 | 10200 |
| 35" | 2520 | 5250 | 10500 |
| 36" | 2592 | 5400 | 10800 |
| 37" | 2664 | 5550 | 11100 |
| 38" | 2736 | 5700 | 11400 |
| 39" | 2808 | 5850 | 11700 |
| 40" | 2880 | 6000 | 12000 |
| 41" | 2952 | 5904 | 11808 |
| 42" | 3024 | 6048 | 12096 |
| 43" | 3096 | 6192 | 12384 |
| 44" | 3168 | 6336 | 12672 |
Q: How is my artwork captured, or scanned?
A: This depends on the individual piece of artwork. However, we prefer to scan the original artwork using our Better Light large format scanning back camera. We have invested many thousands of dollars in the finest fine art digitizing equipment in order to ensure that your artwork is captured perfectly. We are even capable of scanning very large pieces of artwork with our equipment.
The scanning back camera uses a 4x5 large format camera, and specially calibrated equipment to ensure that the camera lens and the artwork are at perfect right angles. We also have special lighting that produces full spectrum light, and polarizing panels and lenses, in order to accurately capture the full color spectrum in your artwork.
In some cases, with very detailed and minute drawings, it may be better to use one of our high end flatbed scanners. In either event we prefer to do direct digital capture of original artwork whenever possible.
Q: What kind of papers do you print on?
A:We print on art papers, photo papers, and canvas. Although brands may change due to availability or quality issues, we keep the following categories of media in stock: Epson Photo Lustre, Epson Photo Glossy, Photo Matte. For Fine Art Paper we keep a Velium (velvet) stock, and a textured stock, and generally like heavy papers (310 gsm). For canvas we stock a matte and a gloss. However, the gloss is more difficult for us to keep in stock. For more detail see our papers and canvas page.
Q: Can you tell me if my file is going to print poorly?
A: Usually we can warn a client if a file doesn't look like it will print well. We are not a massive online printer that goes straight to the printer with no human intervention. This and our overall service and attention to detail for discerning artists and photographers is what sets us apart. At Bellevue Fine Art Reproduction you're actually dealing with human beings, and we actually look at everything we print. In some cases we can't tell if what we're seeing was intended or not, but we'll always ask if we have a doubt.
A:Yes, we do digital restoration. That is to say, we can scan an in original painting that is damanged, then digitally remove cracks, fire damage, fading, and other problems before it is printed. We can also restore photographs in this way.
However, if you're looking for a service that does art restoration on the original, then you're probably looking for someplace like http://phoenixartrestoration.com/.
If you have questions that are not addressed on the FAQ, please go to the contact page and send us your question. We will answer your question promptly and in many cases add the question and answer to this FAQ.
