Altron's Fine Art Reproduction images are printed on the highest quality archival fine art papers and canvas. We use highly transparent dye based inks that are formulated to render millions of colors with exceptional densities.

To provide an extended image life, our Fine Art Prints are coated with a non detectable, flexible acrylic, UltraViolet Light Stabilizer, colorless, odorless application of Lumina™ Mirage. It has been proven that this treatment will, under gallery conditions (450 Lux), provide a print life of more than 75 years. It also protects the Giclée against mold and fungus.

Care should be taken, as with any piece of fine art, not to expose the image to high levels of direct sunlight and moisture. Choosing a location having minimum levels of nature's destructive elements will provide many years of pleasurable viewing. You therefore treat a Giclée as you would a fine art watercolor and oil etc. original.

What is Photo Degradation?

Inks, pigments and underlying media are all degraded by exposure to heat, oxygen, water, gas vapors and especially light. UltraViolet (UV) light causes damage by breaking down the chemical bonds in the ink and substrate. This photo degradation is caused by artificial light, sunlight and nature's other harmful elements.

When substances absorb UV light, molecular bonds are broken to form "free radicals" to bond with oxygen and other pollutants. The new molecules thus formed no longer reflect their original color.

How does Lumina work?

Lumina™ Mirage contains UV light absorbers that absorb UV radiation, dissipating it as harmless levels of heat within the coating. Lumina combines these free radicals, created by the pollutants, to there original state, thus retaining the original reflected color. UV light absorbers are a very effective protectant against UV light but they can not absorb all incident light that causes free radical molecules to spread. To correct this, Lumina contains Hindered Amine Light Stabilizers to go after the free radicals to stabilize them back to their original state.

Transparent -VS- Opaque (Pigmented) Inks

Many advanced artists use a technique called glazing. Several layers of near transparent paint and medium are applied to certain areas of a painting to obtain a required effect.

To reproduce this transparent appearance, the printmaker must use highly transparent inks. The combination of substrate and ink, when properly composed, will now simulate the artists original effect.

When printing one ink over another it is required that the first ink applied, remain persistent throughout the whole process. Using a transparent ink allows colors to blend without blocking the underlying colors. Highly saturated, transparent ink sets are essential to print an extended color gamut (millions of colors.)

Visual Display of Color

The color displayed on the computer monitor is an RGB (red, green, blue) additive light source. A printing device requires the use of Cyan, Magenta,Yellow, and Black, a subtractive color process. For imaging purposes, Inks, printers and substrates are calibrated to provide an optimum colorgamut and contrast range.

Another factor to consider is the way a print and original is viewed under different lighting conditions. This effect is known as metamerism and is a significant issue when balancing the color of original art to the display environment of the printed piece.

Example: You would expect that when you move a print and original from one type of light source to another that both would display the change equally. That is not always the case because the type of paint and substrate used by the artist will exhibit different characteristics under similar lighting conditions.

The light will affect the painting if you have applied glazes and washes, where as the proof can only simulate this technique. Therefore, what your proof is printed on compared to the original can play a large factor in the final visual outcome.