We are often asked the correct procedure to be used in caring for giclée prints. There are several things that should always be considered to insure that the prints enjoy a long life. The following steps should always be taken when you receive your fine art prints from West Bay:

1. Remove the prints from the shipping container immediately upon receipt and allow them to relax on a flat surface. Inspect for damage in shipment and report any defects to West Bay. Allow the prints to relax at least 24 hours in their new environment. Remember, they have been exposed to high or low temperatures during shipping.

2. Stretch the canvas as soon as possible after the relaxation period. All inks and coatings tend to harden a bit, and you will find it easier to do a damage free stretch if done within the first week. When stretching, consider the following:

a. Use stretcher bars that have a rounded edge on the outside. This allows the canvas to follow a smooth curve instead of a sharp edge. If necessary, slightly sand the outer edge to achieve a rounded surface that is at least 1/8".

b. Warm the canvas slightly before pulling it around the edge. This can be accomplished with a hair dryer or similar tool. Do not get the edges hot - simply warm them to make the inks, coatings and gels slightly flexible. Be sure and have a soft surface if you lay the image printed side down during the stretching process.

c. Do not attempt to bend the printed surface except when a gallery wrap printed area is provided. Make the bend in the white area if possible. When stretching a gallery wrap, insure that you warm the inks and coatings adequately.

3. Store the prints in an area that is relatively dry and dust free. While some humidity should be maintained (too dry is bad), an excessively moist environment will ultimately damage the print.

4. When displaying the prints, be sure to keep them out of direct sunlight. While the new inks have a high resistance to UV damage, and the coatings provide additional protection, direct exposure to sunlight will almost always cause some damage. Be sure and advise your customers to hang the finished and framed images in an area that is not exposed to direct sunlight. It's generally a combination of sunlight, humidity and dust that causes damage to the image.

Our successful galleries indicate that several things can be done to maximize sales of fine art prints. These are generally a little more expensive than lithographs and other mass produced art, and therefore need to be displayed in a manner that suggests they are more desirable. Some of these include:

1. If you plan to display the print, take the time to frame the image in a tasteful manner. While everyone might not like your choice in framing, most of us have the experience and taste required to choose a frame and technique that adds both appeal and value to the image. Showing the image in a "finished" format adds to both the appeal and the perceived value.

2. Hang the framed image where the center of the image is between 5' and 6' above the floor. The purpose is to place the center of the image at an "average" eye level. Don't make the potential buyer have to look up or down if possible.

3. Don't "crowd" the image. Leave at least 6" to 12" of bare wall space around the framed image. This makes a statement - I stand alone!

4. Hang the fine art in it's own area - avoid hanging a $700 fine art print with $49.95 cheapies. Once again, make a statement with the fine art.

5. Avoid signs that say SALE, PRICE, etc. Use "Offered For" or something similar to provide a touch of class to your offerings. A small printed plaque with the title, medium, artists name always adds cachet.

6. Display several images from the artist together. This should be a least three images. The rationale for this is it shows a commitment to the artist and his/her work by the gallery.

7. If featuring several images from a specific artist, provide signage and biographies to allow the buyer to learn a little about the artist. If the artist has been featured in a major publication, have a copy of the article available for the buyer to read. Make sure that your sales staff are well versed and knowledgeable with regards to the artist and the process used to make the print.

What really makes the initial verbal exchange between the customer and the gallery representative effective? While no two presentations will ever be exactly the same, possibly due to the knowledge and expertise of the buyer, several elements should always be included. Consider the following:

1. The presentation should include detailed information regarding the artist. This should include information about the artists history, his preferred medium for originals, recognition and awards received, etc. The motivation behind the image is also generally of interest. It should also be short - don't give a 15 minute dissertation.

2. The presentation should include information about the original when you are presenting a limited edition print. While you might not know where the original is hanging, you can ascertain the medium and substrate from the certificate supplied with the print. You can also extrapolate the estimated price of the original - West Bay will be happy to provide these guidelines.

3. The process used to create the limited edition reproduction is always an important issue. The fact that West Bay uses only fine quality artist canvas for example, and now prints using UltraChrome K3™ ink is significant. This ink produces archival prints with amazing color fidelity, gloss level, and scratch resistance, while providing consistently stable colors that significantly outperform lesser ink technologies. The giclée process, and a working knowledge about the process is also an important aspect of the presentation.

Giclée is the use of the ink jet printing process for making fine art large format digital images. The term, from the French verb gicler meaning "to squirt, to spray", first applied to "Iris prints" created in the early 1990's on the Scitex "Iris Model Four" color drum piezo head inkjet proofer, a commercial printer designed to preview what a print will look like before mass production begins. The term, sometimes anglicized as giclee, is used to describe any high resolution, large format ink jet printer output with fade resistant dye or pigment based inks. It is common for these printers to use between six and twelve color inks.

Though originally intended for proofing, many artists, photographers and publishers use ink-jet printers as an alternative to lithography, serigraphy or serilith for limited edition original prints or reproductions. Giclée is pronounced zhee-clay or sometimes jee-clay.

Condensed from Wikipedia, the free encyclopedia.

4. The presentation should include language that indicates a product worthy of consideration. Adjectives like; brilliant, outstanding, magnificent, superb, significant, superlative, spectacular, striking, vivid and others sprinkled into the presentation elevate the image to a new level.

5. Finally, the presentation should be tailored to the buyer's level of interest - if you see a glazed look, it probably means that too much information is being provided. Listening and eliciting responses from the potential buyer will give important clues as to how much and when - read the body language and tailor the presentation. Properly executed, a tailored presentation will result in more sales and increased customer satisfaction.

FINDING YOUR NICHE

One of the most important factors to consider in today's art market is positioning. With the influx of cheap "originals" from the far east, to mass produced art that is marketed and sold through "big box" retailers, the independent art gallery owner is finding it hard to compete. This market trend is sure to continue, and will shape the structure of art sales for many years to come. Things to consider include:

1. The demographics of your galleries location. This information will assist you in establishing the type and maximum retail price of art offered in your gallery. Median income can often be translated into expendable income.

2. Competition in your immediate area. Normally, people will drive no more than five miles to shop and "take care of business". Take the time to explore a radius of three miles radius from your location. Visit the competition - talk to clerks and salespeople. You might discover weaknesses that can be used to your advantage.

3. Marketing. Once you have established the parameters of your market, target your marketing efforts to the geographic area that has been defined. Use methods that reach your "target market", and measure results. Things that work - repeat on a schedule. Things that don't work - remember them and don't repeat your mistakes.

Images and information on this website are the property of West Bay Fine Art.
No copies may be made or digital files saved without the
express written permission of the artist or West Bay Fine Art.