“Printing is the final and most difficult step. It begins with color management, which is the process that ensures what you see on the computer screen is duplicated exactly in final print.

“Called ‘workflow,’ this involves following various strict protocols in a particular sequence. Both scanner and computer screen must be calibrated to a certain color space. The file or image must also be in the same color space. Printer and each paper or canvas must be profiled individually to that color space as well. Today’s high-end giclée printers produce incredible results, but only if you have all of your ducks in a row.

“Paper selection is another important consideration. Every image under glass is printed on German watercolor paper.

“Inks are archival and colorfast for 115 years, which means they won’t fade. As a test, I once printed a small image, and then shrink wrapped it in plastic, and left it on the dashboard of my truck for a year. I then printed the same image again for comparison; the two were identical and several people who viewed both prints could not detect any difference between the two.

“Finally we get to framing. I have a complete high-end frame shop. Mats are cut on a computerized mat cutter. Frames are assembled with air-operated underpinners. All of the materials used in this process are archival. Mat and paper are of cotton, with museum conservation glass that has a UV coating and will protect both mat and paper. The end result is a product that will give years of enjoyment without degradation.” – J.S.


“Any print can be custom ordered to fit the customer’s specific needs and space requirements. Typically, all prints come framed due to the delicacy of the ink on the paper; however, matted, unframed, prints are available.” – Jeff Serusa.

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