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Monthly Archives: January 2018

  • The Places That Time Forgot: Gina Soden’s Reverie of Architectural Decay

    Written By Mae Losasso Badekultur By Gina Soden The blue tiles of an abandoned swimming pool have lost their lustre, exposed in an arid setting where rippling water has long-since drained away, paint peels from decorative arches, and only ghosts inhabit the darkened niches. In another locatio....
    Written By Mae Losasso Badekultur By Gina Soden The blue tiles of an abandoned swimming pool have lost their lustre, exposed in an arid setting where rippling water has long-since drained away, paint peels from decorative arches, and only ghosts inhabit the darkened niches. In another location, a wheezing bed crouches at the centre of a decaying room, pocked with mould and mildew, black spots spreading across once-white walls, as caving mattresses heave themselves from the forlorn setting. Whoever inhabited this boudoir in better times has long been gone, their history traced across the space, their presence palpable in their silent absence. Welcome to the world of Gina Soden: photographer, urban explorer, and rising star of the contemporary British art scene. Who is Gina Soden? Based in London, Soden scours Europe for abandoned, man-made sites, focusing her lens to capture their ethereal qualities. This is ‘urban exploration’ - AKA ‘urbex’ - at its very best: pushing beyond factual documentation of ruinous structures, Soden suffuses every photograph with a painterly lyricism that breathes life into decrepit spaces with haunting allure. Romantic with a capital ‘R’, Soden's work is a reverie of architectural decay, exploring the transcendental possibilities of entropy and transiency, the slow, creeping passage of time, and all of the beauty that accompanies spatial decrepitude. Bedroom By Gina Soden Soden graduated from Thames Valley University in 2007, before being swept up in a string of group shows, which took her from Windsor to Hong Kong. In July 2012, Peter Blake spotted the rising talent, featuring two of her artworks in ‘Things I Love at The Fine Art Society’, a show at London’s oldest commercial dealership, curated by Blake to mark his 80th birthday. For the exhibition, Blake selected nearly 100 works of art, resulting in one of best attended shows on record for The Fine Art Society, with features appearing in The Times and on BBC News. From here, Soden's career exploded: a succession of prestigious awards poured in, from Emerging Artist of the Year, National Open Art, in October 2013, to finalist for Sky Arts Master of Photography TV competition, in May 2016. Meanwhile, group shows accelerated, allowing Soden’s work to seep across the continent, from London to Paris to Russia. Solo shows gathered in the spaces in-between until, in May 2017 ‘Art in Ruins’ was revealed, Soden’s flagship solo show at Blacks Club, London. The press were enraptured, with features appearing in Financial Times, Dazed and Confused, Aesthetica, CNN, and GQ. Today, Soden’s work can be found in a number of high profile London haunts, including The Ned, Groucho Club, Goldman Sachs, Century Club, and Home House. In other words, Soden’s career soared form strength to strength in a heartbeat: and there’s no mystery as to why. From derelict asylums to long disused schools, ex-military complexes to crumbling chapels, Soden draws out the haunting character of the empty space, in a way that implicates the viewer: here you are, alone in this silent setting, lost and forgotten. An experience of Soden’s work gives you one of those rare moments of transcendence, as you find yourself shifting beyond the surface of the frame, the reality around you falling away as the image reels you in. History of Urban Exploration ’Urbex’ may be a contemporary term, in its relation to photographic documentation, but a fascination with abandoned space stretches far back across history. In the seventeenth century, a European obsession with Greek and Roman ruins inspired the work of pastoral painters Claude Lorrain and Nicolas Poussin. This was the dawn of a preoccupation that would carry firmly through into the eighteenth and nineteenth centuries: faux ruins, in the shape of grottos and follies, popped up in landscaped gardens, while Romantic poets roamed the countryside, seeking out “the darksome windings of a broken stair,” or “ridge of fractured wall,” as William Wordsworth wrote in ‘Monastic Ruins’. Though staunchly contemporary, Soden’s work is in direct dialogue with these historical musings, lending it the depth and conceptual complexity that sets it apart from documentary urbex photography. Yet the question remains: why are we so fascinated by abandoned spaces? Why do artists find themselves drawn to these sites, gathering inspiration from their emptiness? As Soden’s oeuvre testifies, the abandoned space mingles fear with beauty, humanity with the inanimate. We are compelled by the controversies that surround these spaces - not only the public failure to maintain and conserve striking works of architectural importance, but the artistic audacity in gaining unlicensed access to off limits areas. Quattro By Gina Soden The sites remain anonymous in Soden’s work: nameless and placeless, all love and purpose has drained from these once-convivial corners. Aesthetically, as Soden’s work highlights, decay softens the textures and colours of the images: plumes of sunlit smoke dance on piano tops, wreaths of ivy wrap themselves around stolid pillars, and layers of dust besmear surfaces that used to shine. In the abandoned space, the spectacle is not only notional, but emphatically visual, too. Looking at these moments, stilled in time by Soden’s powerful lens, we confront our deep-set enchantment with the places that time forgot, revealing something of our own humanity, and our need to create lasting and lively impressions. Soden's pictures tell a story of human histories, suffused with the presence of all those whose absence is writ large on these decaying spaces. $test =
  • Ben Eine Unveils His Biggest Mural To Date

    We have some exciting news about one of our artists Ben Eine. He has created his largest work to date in Stratford, London! Whilst creating the mural, the only way he could check his progress was by using drone footage. He commented that: ''Painting on the ground was a challenge because you can....
    We have some exciting news about one of our artists Ben Eine. He has created his largest work to date in Stratford, London! Whilst creating the mural, the only way he could check his progress was by using drone footage. He commented that: ''Painting on the ground was a challenge because you can't just stand back and see what you're doing.'' This work required 2850 liters of paint mixed in a bath tub! This painted mural spells the word 'create'. His intention is to capture the essence of east London. Lee Bofkin, co-founder and CEO of Global Street Art, who helped produce the mural commented: ''The last decade has seen an explosion in the number of street art murals around the world.'' We have limited edition prints by Ben Eine available now at the artrepublic Brighton gallery. Create - Edition of 200- 50 x 70cm Love Lenticular 1 - Edition of 75 - 60 x 60cm Circus Alphabet Black and White- Edition of 75 - 60 x 60 / 100 x 100cm To discover our latest Ben Eine prints, please call 01273 724829 or email brighton@artrepublic.com. For more news stories and events visit our Brighton Gallery page. $test =
  • 25 Years of artrepublic

    2018 sees artrepublic celebrate 25 years as an independent gallery in Brighton. In recognition, we thought we’d take a look at our colourful history.   artrepublic gallery 2018 It all started with the selling of contemporary art posters (a very important market back in 1993). We were (....
    2018 sees artrepublic celebrate 25 years as an independent gallery in Brighton. In recognition, we thought we’d take a look at our colourful history.   artrepublic gallery 2018 It all started with the selling of contemporary art posters (a very important market back in 1993). We were (as we still are) rooted in the heart of Brighton’s iconic North Laine, where independent businesses and community driven projects are the lifeblood. Bomb Hugger By Banksy Pretty soon, we were in touch with a whole new generation of street artists who had something important to say. Instead of confining their messages to their favourite canvases of choice - concrete walls, shopfront shutters - they started to produce limited edition prints, which we started to sell, and you started to buy. And it’s not hard to see why: with a first wave of artists including Banksy, James Cauty, Jamie Hewlett, Dan Baldwin, Dave White, and Peter Blake, it became clear that small run editions by brilliantly talented, up and coming artists, at affordable prices, were in high demand.   Marcel Duchamp’s World Tour – DC Thomson Reunion at the Tower Ballroom Blackpool By Peter Blake The ethos has always been important to us: Our artists have a voice, and it’s important that we make that voice heard. Often driven by politics - think Shepard Fairey, Billy Childish, Blek le Rat - and always conceived with breathtaking visual prowess, it’s the art flowing through our veins that makes artrepublic the success that it is today. Obey Lotus Crescent- White and Gold By Shepard Fairey But it’s also very much you - our visitors, our viewers, and our buyers - and that’s precisely why we called it artrepublic. Creating a space in which everyone is of equal status: a republic, in other words, that would re-democratise art, and where everybody who walks through our doors could feel welcome. Cosmo Sarson and his Angel mural in Regent Street, Brighton Maybe you’re just after something to be framed; perhaps you want a limited edition print; or even a full scale original from a well-known contemporary artist - in any case, our aim is, and always has been, to make art accessible and enjoyable to all. Cherry Blossom II By Dan Baldwin But we didn’t stop there. The last twenty-five years has seen a constant drive to find new artists, to keep thinking one step ahead, and to keep innovating. We’re always keeping up with the latest releases, and its key to our business that we keep discovering fresh and exciting new forms, that we keep changing, and that we keep opening new spaces, for new types of art. Always, our aim is to introduce to you more artists - not just the ones whose names you’ve already heard, but those who are still looking to get their voices heard. As the main sponsor of the acclaimed Brighton Fringe Arts Festival, we have spent the last 25 years investing in Brighton’s vibrant art sector, because we think it’s one of the most important parts of the city’s creative character. Every year, we run the artrepublic Art Yard Sale - an opportunity to buy specially produced prints, often from the artists themselves - and every year it gets bigger and better, with people travelling in from far and wide. Who knows what the next twenty-five years may bring. Our aim is to make it even more exciting, even more colourful, and ever more encompassing. Here’s to a very bright future - we hope you’ll be joining us. Keep checking our artrepublic Brighton gallery page for details of special 25 years celebratory events. $test =
  • Staff Recommendations

    Take a look at our staff recommendations for some insider perspective on our favourite prints in our Brighton gallery. Things come and go quickly however, so call the gallery on +44 (0)1273 724829 or email brighton@artrepublic.com to avoid missing out! “Poolside Gossip” by Slim Aarons We lo....
    Take a look at our staff recommendations for some insider perspective on our favourite prints in our Brighton gallery. Things come and go quickly however, so call the gallery on +44 (0)1273 724829 or email brighton@artrepublic.com to avoid missing out! “Poolside Gossip” by Slim Aarons We love everything about this piece. Slim Aarons was known for “photographing attractive people, doing attractive things, in attractive places” and this 20th Century piece is a perfect representation of that. The dusty desert hills of Palm Spring’s look almost other-worldly against the lush green, meticulously landscaped garden. Perfectly yellow sunflowers and a glassy turquoise pool take center stage, when more interestingly, the modern glass-and-stone house in the background was designed by famous architect Richard Neutra for Edgar J. Kaufmann. The glamorous women you ask? Nelda Linsk, in yellow, owned the home when the photo was taken in 1970. Her friend, Helen Kaptur, lounging in the white lace co-ord, was married for many years to the mid-century architect Hugh Kaptur. The third women with fabulous legs? Actress, Lita Baron. Elite wives and socialites, quite a suitable subject for a photographer who made regular acquaintances with the likes of Grace Kelly, Marilyn Monroe and the Kennedy family. Now widely recognised as the master of modern photography, Slim Aarons has gained new interest following the publication of his books, celebrating a career spanning over 6 decades. He is admired by many top fashion designers, including Tom Ford and Paul Smith for the unusual fact that he did not work with stylists or make-up artists but on the contrary, preferred that his subjects styled themselves. This gives pieces like ‘Poolside Gossip’ insight into the characters and their interests. Just look at those immaculate blow dries! To share your ideas and find out more about this piece and other works by Slim Aarons at artrepublic Brighton, call us on 01273 724829 and speak to one of our personal art advisors. ‘The Reclaimed Icons’ by Sir Peter Blake If glitter was ever to make an ‘iconic’ come back – it would be now. Sir Peter Blake’s vibrant set of glitz and glitter-filled prints are a sparkly celebration of historically iconic images – once seen in large volumes on a daily basis. Classic icons such as: travelling circus clown and a cat in a sash have been reworked and revitalised into striking works of art using vibrant inks and metallic glitters. With 5 nostalgic prints in the set, Sir Peter Blake has re-injected a burst of energy and life into these icons, winning over our 21st Century hearts. Knighted back in 2002 for his services to Art, the prolific painter, printmaker and collage artist has revealed that ‘The Reclaimed Icons’ may eventually be a set of 10 glittery prints. We are excited to see which icons he will choose to jazz up next. Read more about Sir Peter Blake on our blog and discover more about these limited edition prints at artrepublic Brighton. Call us on +44 (0)1273 724829 and speak to one of our personal art advisors. ‘Proteus’ by Paul Huxley Acclaimed British artist, Paul Huxley has created a limited edition of 50 ‘Proteus’ silkscreen prints. Best known for his experimental perspective with linear lines, distorted geometry and dynamic illusion, the Royal Academy of Art graduate was a key influencer in the development of the 1960s abstract painting movement. Looking closely – panels of colour in dusky-pink, violet, and inky black create a soft palette, making this print complementary to any interior space. Huxley isn’t one to shy away from optical illusion but manages to use it in a way that is intriguing and not overwhelming. Swirling monochrome semi-circles hypnotise us as the sky-blue block just adjacent, perfectly balances this intense, yet spacious abstract experience. If you are interested in any of our staff recommendations, please call the gallery on +44 (0)1273 724829 or email brighton@artrepublic.com for enquiries or more information. For more news stories and events visit our Brighton Gallery page $test =
  • Collector's Corner

    Our Collector's Corner is a treasure trove of highly collectable, awe-inspiring artwork. Things come and go quickly at our Brighton gallery and are snapped up by avid collectors, so call us today on +44 (0)1273 724829 or email brighton@artrepublic.com. Sir Peter Blake – ‘Four Seasons’ A gr....
    Our Collector's Corner is a treasure trove of highly collectable, awe-inspiring artwork. Things come and go quickly at our Brighton gallery and are snapped up by avid collectors, so call us today on +44 (0)1273 724829 or email brighton@artrepublic.com. Sir Peter Blake – ‘Four Seasons’ A great potential entry-level investment by an iconic hero. This collection of prints is nothing short of wonderful. Often called the ‘Godfather of British Pop Art’, Sir Peter Blake has developed a well-loved style over the last half a century. Best known for the iconic album cover he produced for the Beatles: 'Sergeant Pepper’s Lonely Hearts Club Band', Blake's work is inspired by his love affair with icons of popular culture. Born in 1932 in Dartford, Kent, he studied at Gravesend School of Art before earning a place at the prestigious Royal College of Art London in 1956. The concept of ‘found art’ was an aspect that excited Blake and the notion of finding beauty within banal everyday objects has been a long-standing muse behind the artwork we see from him today. In 2002 Peter Blake received a knighthood for his services to art and his work continues to bring a contemporary aesthetic with every new piece created. ‘Four Seasons’ is an uplifting, pop kitsch box set of 4 giclée prints, beautifully depicting each seasonal phase of the year. Spring, Summer, Autumn and Winter feature a panoply of vintage collaged elements – a fantastic mix of Victorian figures, 1950’s pin up girls and every vintage icon you can imagine, in between. The character-full prints come alive alongside the intensely saturated, illustrative landscapes, blending into a joyful cocktail of surrealism and tongue-in-cheek irony. All prints are signed by Sir Peter Blake and presented in a bespoke, British Racing Green portfolio box with colophon and title pages. Call our Brighton Gallery on +44 (0)1273 724829 or email brighton@artrepublic.com to get your hands on this fantastic portfolio set. David Spiller – ‘Somewhere Over The Rainbow’ Striking, love-infused scribbles and colourful typography embody this lively silkscreen print from the late, David Spiller. Produced just before he sadly passed away, this pop art print is from a limited edition of 95 and is the last in his portfolio collection that is signed personally. ‘Somewhere Over The Rainbow’ is a true celebration of all things positive. In one of his last interviews, Spiller explained: “I really want to make paintings that put some magic on the wall. Some of them are straightforward things. Some are wild things. But underneath, it says ‘I love you”. This bold and emotive print is unique in its creation. Spiller wanted to produce a new work of art from one of his original paintings. So, the piece started out as a photograph of a painting, of which he then added shapes and colours to the background. Layering on top, he then hand drew onto acetate, preparing screens for the final print. The finished artwork is such a joy to look at and combination of two creative processes – one by artist and the other, by the printer. Passing in 2018, he was famous for mixing well-known and loved cartoon characters with elements of autobiography, songs, stories and memories. Spiller would often scribble down lines from his favourite songs on his artwork, giving us an insight into his character and personal interests. Over the course of his career, Spiller held many solo exhibitions around the world, gaining a loyal following. His works are now in many private and corporate collections worldwide. An artist that always warmed our hearts at the gallery, he is missed but his positive messages continue to live on through his uplifting artwork.   Call our Brighton Gallery on +44 (0)1273 724829 or email brighton@artrepublic.com for further information on this or any of the other artworks featured in our Collector's Corner.   For more news stories and events visit our Brighton Gallery page. $test =
  • How to Buy Art Prints

    A guide to buying Artwork When purchasing a piece of art, there is a lot of terminology that come into play which you may not have come across before, with a lot of aspects to consider. In this guide, we break down each feature of the artwork and briefly describe the key features of each. ....
    A guide to buying Artwork When purchasing a piece of art, there is a lot of terminology that come into play which you may not have come across before, with a lot of aspects to consider. In this guide, we break down each feature of the artwork and briefly describe the key features of each. A visual guide to art print terminology Contents 10 Tips for buying art online Own Art Edition Type Limited Editions Artist / Printers Proof Open Edition Originals Timed Release Box Sets Hors Commerce Edition Size Paper & Image Size Paper Edge Print Types Giclee Silkscreen Etching Lenticular Photography / C-Type Lino Cut Mixed Media Paper Types Finishes How to Store Your Art Work Sleeve Storage Framed Storage 10 Tips for Buying Art Online 1. Get to know what you’re buying – Brush up on key terms like Limited Editions, Paper types and finishes so you know exactly what you’re buying. An Open Edition Giclée and a Limited Edition Silkscreen can be entirely different, but may look similar to the untrained eye! 2. Research the Artist – Every artist is different and will have a personal story with their work. Researching their style and evolution will bring understanding and value to the artwork you are considering. 3. Where is the piece going? – Are you after Square, Portrait or Landscape piece? How big does it need to be? This will help you refine your search. 4. Be Open – There’s so many different styles out there, it’s hard to pin artwork into a single box. Browse around, using categories and filters to hone your budget and tastes. 5. Budget – Consider Own Art Finance if a piece you’ve found isn’t within your budget. It can spread costs of artwork over many months at no additional cost. 6. Consider newer artists – The big names attract big money. However supporting emerging artists can secure you a similar style of work at a lower price. 7. Don’t try to guess the market – It’s difficult to know whether artwork will increase in value, and it’s best to purchase for your own pleasure and enjoyment. 8. Consider Framing – Framing protects your print against damage. If purchasing a piece to put on your wall, purchase framing at the same time to have your piece professionally handled and framed. 9. Pay attention to size – Unlike in a gallery, getting an idea of size can be extremely difficult with a 20 x 20cm piece looking similar to a 80 x 80cm when viewed on a screen! We list paper sizes for all our pieces and provide mock-ups where possible. 10. Buy what you love – Remember, art you buy will be on your walls for a long time! Make sure you enjoy the art you buy above all else. Own Art - Affordable Art Financing Scheme Own Art is a scheme which makes art from contemporary artists more affordable by spreading the cost out over 10 months. It is backed by the Arts Council via the UK Government, and is available on a wide range of selected works. For more information on availability and eligibility, please see our full guide. Edition Type These are the most common edition types that you can find on artrepublic: Limited Edition Artist / Printers Proof Open Edition Original Timed release Box Set Limited Editions These are prints that, unsurprisingly, are limited in their production. The amount they are limited by depends entirely on the edition. Limited editions are always numbered but not always signed by the artist. Special edition prints, such as those with Gold Leaf, Diamond dust or other finishes, are usually limited to smaller edition sizes compared to the main edition, such as 5 or 10. Sometimes they will be the first 5 or 10 releases of an edition. Edition Numbers – Edition numbers are normally written in the format xx/yy. The first number is the number of the print in the series. The second number is the total number of prints in that edition. Special edition prints, such as those with Gold Leaf, Diamond dust or other finishes, are usually limited to smaller edition sizes compared to the main edition, such as 5 or 10. Sometimes they will be the first 5 or 10 releases of an edition. Artist / Printers Proof When producing limited editions, an extra number of prints, excluded from the main edition size, are printed as an additional proofing for the artist and / or printers to ensure the intended results are achieved. These can be around 10% of the edition size, and can vary in appearance from the main edition. They can include blemishes or colour variations that were “fixed” for the main edition, due to the proofing process. Open Edition These are editions that have no fixed production volume – and can run indefinitely. For this reason they are usually not signed. Originals Originals are artworks produced by the artists. They can be 1/1 hand finished prints. These are 1 of 1s, originally produced by the artist and include hand-finished details. It may be that limited edition prints are produced from this original piece. Timed Release Timed releases are a new format that has taken off in recent years, especially for online retailers. A print is made available for a set time – usually 24 or 48 hours, and the edition size is then determined by how many prints are ordered and produced. Box Sets Box Sets are collections of limited edition works, in a special presentation “box” which is often a piece of work in itself! The collections can be available as individual prints or they may only be available as a set. Sometimes only part of an edition is in a set with matching numbers. Hors Commerce (HC) Prints printed not for commercial sale will be marked with HC. They are often the same as the original edition, but were not originally printed for sale. Edition Size As the name suggests, this is the amount of prints that have been produced in a set edition. It’s important to note that variations on a print will have their own edition sizes. For example an artist may produce a standard edition with a size of 50, while also releasing special gold leaf or diamond dust editions at smaller edition sizes and print sizes. So the image used may have a total print run of 90 plus, consisting of 50 standard editions, 20 gold and 20 diamond versions. Paper Size + Image Size All of our paper sizes are displayed in the format Width x Height, in cm. If the first number is larger than the second, the print is in landscape format, and vice versa is portrait. The image size will sometimes be smaller than the paper size, suggesting a border around the image. Where possible we try to show this through the product image. Paper Edge Papers will have either straight cut edges, or “deckled”, hand torn edges. This mostly influences how you may frame the print. Straight cut edges can be framed to the edge, where as deckled prints will look impressive with a shadow float mount. Deckled edge with Float mount Straight cut paper, Framed to the paper edge   Print Types Artists work using a wide variety of print methods, all producing slightly different styles. Giclée (Archival Print) Giclée’s are a digital form of printing, using high resolution inkjet printers to produce quality archival prints which can last for decades. These can be finished with hand-applied details, or hand finished silkscreens and finishes. Silkscreen Silkscreen, also referred to as screen printing or serigraph, is a process where screens made of stretched silk are exposed to light to produce certain patterns, through which ink is then pressed onto paper. It is a manual process where each colour is applied by hand, often involving many layers. A fabulous example of an artist who pushes this to the limit is Bonnie and Clyde who have produced 30-layered screen-prints.Silkscreens can also used to finish / glaze other types of print. Close up of a Silkscreen Close up of a Giclee Etching Etching is a method of placing an image onto a metal plate using acid. The plate is covered in an acid-ground or wax, protecting the plate from the acid bath. Into this, the artist scratches a design. When submerged the acid eats away at the exposed metal, leaving an indented area to which ink can be applied for printing. As a method it dates back to the 14th century, and was widely used for printing in the 16th century. Lenticular A lenticular is a technology that allows the viewed image to alter, based on viewing angle. This is achieved through a layer of lenses (lenticules) on the surface of the print which only allows the viewing of one of the interlaced images. This creates prints that change based on where the viewer is standing.Artists use this effect to make images appear 3 dimensional, convey movement or change the colours in a print entirely. Photography / C-Type Photography prints use a different printing process. The result is a more analogue feel to the prints, due to the chemical process that prints are exposed to. They are preferred due to the glossy and metallic results achievable with certain paper types not available for Giclée. Note that silkscreens may be used to apply finishes such as diamond dust, varnishes or glazes to Photography prints, but are rarely used to print the image itself. Linocut Linocuts are produced through ink flowing into a relief carved within a sheet of linoleum. Mixed Media Mixed media works are produced using a variety of mediums / methods. For example a print may be a Giclée print with a silkscreen varnish, along with spray painted and hand drawn elements. Some artists may use 3D objects to enhance an image. Glitter, plastic models, glass, spray paint, oils and more can all be utilised to create a unique hand finished artwork. Or an artist can create an original work with oilpaint collage and spray stencils. Paper Types The paper type is specified where available on our prints. The style or make of paper usually varies based on artist preference, with different paper types creating different end results due to the absorption of inks.It is important to wrap prints in tissue paper that is acid free to prevent the yellowing of the paper.We always describe paper used in the following format: “300gsm Somerset Tub” – “Weight, Make, Style”. Weight Weight refers to the paper weight, with many of the prints being produced on paper between 300 and 400gsm. This makes for an extremely thick, quality paper which absorbs inks much better than thinner papers and lasts much longer. GSM stands for Grams per Square Meter. Standard office printer paper is around 80gsm. Make There are several makers of paper, with Somerset and Hahnemühle and Fabriano the most popular. Style The last piece of information is the style, such as Satin, Cotton Rag, Satin, Smooth, Velvet etc. These all vary on the production process of the paper. Finishes Prints may be finished with varnishes, glazes and other layers to give a piece a special finish. This can be to highlight certain areas of the print or to give the whole print a certain aesthetic. They can be applied by Hand or as a Silkscreen layer. How to Store Your Art Work Effective storage of your prints ensures protects your prints and lets you rotate and freshen up the art you display on your walls. The best way to store prints is either in a sleeve, or framed. Sleeve Storage Folders or Sleeves are a safe way to store prints long term, as they ensure flat, separated storage in an easy to manage form. Portfolio sleeves are relatively inexpensive, and can be purchased with firm separators to keep prints flat. Once sleeved, ideally store in a large metal cabinet, as metal is cleaner won’t harbor any organic materials which may damage your print. Things to be aware of: Humidity – Keep in an area with good air flow and stable temperatures. Avoid basements or similar areas where excessive heat or mould can warp or discolour / eat the print Light – UV Glass for framed items is highly recommended as it protects from discolouring and fading of colours. If storing long term, try to avoid direct sunlight Heat – Like humidity, heat can cause prints to warp or go brittle if the air is too dry. Keep at a stable temperature and avoid placing artwork above radiators. Acid – Make sure packaging and framing is all acid free Framed Storage Once work has been framed and cannot safely be removed from the frame, the best option for storage is to wrap in protective packaging such as bubble wrap, and tightly tape sealed shut.Top tips: Avoid storing prints near / above radiators Avoid storing prints in direct sunlight (use UV glass in frames where available) Do not store in areas without airflow that may attract humidity. Use acid free storage / tissue paper when wrapping $test =

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