All Richard B. Hall fine giclée prints are created at the studio’s in-house printing and framing workshop under the auspices of both Richard and his wife Sharon, an industry professional with over 30 years framing and printing experience.
Once Richard finishes a painting, he has it professionally photographed with a high resolution digital camera by an award-winning photographer.
Sharon then takes the photographer’s raw image file and performs color correction and print tests on both paper and canvas to ensure that the resulting print closely matches the original artwork. Richard makes the final determination of when the print has satisfactory brightness, color, and saturation.
Since paper and canvas have different textures and absorbency properties, two different files must be finalized, one for paper and a different one for canvas. Other differences in the files can include slight sizing changes so that paper prints can fit into standard-size frames.
Although image processing is laborious and can take several days per image, Sharon and Richard are committed to creating giclée prints that are worthy reproductions of the original paintings.
Depending on the client’s wishes, Sharon prints the giclée on either high-quality paper or canvas and then allows the print to dry.
After drying, the prints are inspected for quality, first by Sharon and then by Richard. Any prints that do not pass muster are remade.
Once the prints pass inspection, they are signed, numbered, and finished:
For giclées on paper, Richard signs and numbers the print on the front (under the image). Sharon then archivally mounts the print in the professionally cut mat and wraps it tightly in protective plastic and records the number. Paper prints are in editions of 125 or 250.
For giclées on canvas, Richard hand-mounts the print onto gatorfoam board to ensure an even, smooth finish. Sharon then varnishes the canvas with two or three coats of water-based, light-protective coating and, once it has dried, frames the giclée with the studio’s signature espresso moulding with gold trim.
After framing, Richard hand signs the image on the front, and signs and numbers the print on the back; Sharon records the number and date of the print. Canvas prints are in editions of 50.
After printing, finishing, and signing/numbering the prints, Sharon securely packages and ships the print to its new home. Rolled canvases are rolled and shipped in a tube.