provided by: 
Now that we have discussed the most critical aspects of selecting an inkjet canvas in aesthetic appeal and longevity, let's shift our focus to production, more specifically, "how does this canvas work with your operational flow?" Production can and should be shaped around a high-quality, archival canvas, rather than finding a canvas that works with your current production flow. Though it may be more difficult in the beginning, this decision will no doubt pay off in the long term. Nevertheless, there are some canvas characteristics that are more suitable for every printmaker's production flow and should be sought after.
CONSISTENCY — Roll to roll consistency is a vitally important issue. A lack of consistency can cost your business a lot of time and money in defective prints and material waste. It can even cost you customers.
Any canvas manufacturer can tell you that canvas manufacturing is by far the most difficult inkjet product to consistently produce. No canvas is perfect, and at some point in time every printmaker will receive faulty canvas that they must return. For the most part, some canvases tend to be more consistent than others and these are the ones you need to find. If you choose a canvas that is very consistent your business and customers will enjoy smooth production without hassles. This is where the actual make-up of a canvas becomes relevant.
The two most common fine art canvas options are 100 percent cotton canvases and poly/cotton blend canvases. 100 percent cotton canvases used to be the first choice among the majority of fine art printmakers because of its perceived higher quality and natural look and feel. These days, after years of manufacturing inconsistencies, 100 percent cotton canvas is avoided by the majority of the market and hardly any manufacturers produce them anymore. The inconsistencies include shrinking (when coated or when subject to a high humidity environment), expanding (long after being stretched and framed, causing the print to sag and appear off balance on one side), and the presence of visible, black cotton seeds. These black cotton seeds end up in the middle of prints and can make them look dirty or defective. They also have a tendency to fall off, leaving white voids in your print.
Instead, consistent and high quality polyester-cotton blend canvases (or "poly/cotton canvases") have become the most widely used canvas base. Poly/cotton canvases are of not inferior in print or longevity quality, but do lack the natural look or feel of the 100 percent cotton canvases. However, poly/cotton canvases are typically free of cotton seeds and do not shrink or sag after long periods of time. Ultimately, the crucial importance of roll-to-roll consistency has fueled the demand for poly/cotton canvases over the years. Until consistent 100 percent cotton canvases are introduced, these poly/cottons will continue to drive the market.
It is important to understand that roll-to-roll consistency of poly/cotton canvases also vary from manufacturer to manufacturer. Roll-to-roll consistency really comes down to a given manufacturer's quality control. Larger companies always have better quality control because of how costly this process is. There are always defects in canvas productions and the primary role of quality control is to isolate the defects so that they do not reach the marketplace. As a general rule, it is better to stick with a larger manufacturer, provided of course that they have the best product with regard to aesthetic appeal and longevity.
STRETCH-ABILITY — As stated earlier, a finished, coated canvas print that cracks or tears when stretching over frames significantly loses value and also appears cheap in the eyes of consumers. To avoid this, printmakers can test a canvas by coating piece of it, allowing it 24 hours to dry, folding it backwards, completely in half, and then firmly pressing the fold to make a crease. If the canvas does not crack in the creased area, it will most likely not crack or tear when stretched. Nonetheless, the only way to be sure is by sending a print to your framer (unless you frame yourself) who can provide reliable feedback.
COST — In order to be the most competitive, a printmaker must use the highest quality product available at the lowest price, but not if price compromises quality. In this industry, price does not always determine quality. This is because the distribution methods of manufacturers are the primary determinant of the end user price. By researching manufacturers and their pricing structures, printmakers can gain a good understanding of what each has to offer. The goal is to maximize quality and minimize cost.
It is also important to consider buying canvas or other substrates in bulk. Businesses can drastically lower their overhead, simply by buying in bulk and stocking their best selling products. Buying in bulk will also lower overall shipping costs.
As if it hasn't already been stressed enough, printmakers need to know as much as possible about the manufacturer before they start printing on their canvas. First, printmakers need to distinguish between a true manufacturer and a private-labeler.
Private-labelers are companies who conceal the original manufacturer by applying their own names to a product. Due to the exponential growth of this industry there is an overwhelming abundance of private-labelers. It costs millions upon millions of dollars, not to mention rare expertise, to produce and support even one high quality fine art canvas, which is why very few manufacturers really exist.
Many re-branded canvases on the market over the past few years have been produced at a very low cost from unreliable canvas mills in countries where labor costs are low (i.e. China). The problem with these manufacturers is that they lack the financial wherewithal to support a fine art canvas and will turn their back on the first sign of a problem. They have no brand, they are not interested in building a brand and they have nothing to lose. A manufacturer without extreme care of a brand in the delicate fine art industry is a very bad sign and should be avoided at all costs.
The less-informed, poor canvas choices made by regional inkjet suppliers and their printmaking customers have plagued the local markets at times. A recent issue involved a particular canvas that was being marketed and sold within Australia as a "fine art canvas of the highest quality". To the dismay of its users, this canvas began to turn yellow on the walls of its buyers only eight months after it was printed and even coated. This resulted in massive returns, lawsuits, bankruptcies, and ruined the credibility of many of the businesses involved. Normally a bad canvas choice will simply result in a loss of competitive positioning, but the point of this example is to stress how bad it can get.
The only way to be certain is to choose a canvas that comes from a widely recognized worldwide brand with a public reputation. You can confirm this by visiting the manufacturer's website and reading about their company. Read about their products, their values, and their mission. Read their press releases and see if and how long they have been covered by the media. If posted, read their customer testimonials and do further research on the reputation and history of these customers. Then, contact the company directly and speak to a representative who should be interested in starting a relationship with you. Make a small purchase of a sample kit or anything else that will allow you to evaluate how the Company delivers. Take note of the marketing materials they provide, the look of their packaging, etc. Gather some influential industry publications and look at the company's advertisements. There are far less than ten worldwide canvas manufacturers and through this research they will be easily distinguishable.
Reputable printmakers simply do not even waste their time even trying canvases that do not come from long-standing worldwide brands who have been in the industry for years. By conducting some research one can conclude that the more reputable the printmaker, the more likely it is that they strictly use long-standing worldwide brands. Chances are, they have learned "the hard way" at some point in time.
Conclusion
In this rapidly expanding industry, printmakers lose or capture business daily as a direct result of customers demanding individual canvas attributes. The higher volume the customer is, the more sophisticated and knowledgeable they will be, and the more significance each canvas attribute will have to them. Higher volume customers learn faster and earlier than the rest of the market, but eventually, the rest of the market catches up. Therefore, the only long-term strategy is to master knowledge of these attributes and offer the best canvas that the industry has to offer. The best canvas, in and of itself, will always be a subjective analysis but by prioritizing these attributes one can interject a certain level of objectivity into it that customers will understand and trust.
Teddy Blah of MFA Talon Graphics (www.mfatalon.com) of El Segundo, CA says "MFA Talon Graphics has been a one of the largest worldwide fine art printmakers for nearly 20 years now, and to uphold our leading reputation, our substrate decision making process from canvases to papers is extremely intricate and involves many people. The ultimate decision comes from an accumulation of years and years of learning experiences, coupled with constant tests and evaluations of new products, to discover what will continue our reputation and propel MFA Talon Graphics to increasing levels of quality. We know where to find the best materials, we know how to test and evaluate them, and we only use what is logically determined by us to be the absolute best that we can offer our customers. It is a never ending process and by treating it this way we improve our quality every single day."
Finding the best canvas for your business will result from an accumulation of canvas knowledge as brought forth by this article along with your continual research and pursuit of maximum quality. We hope that printmakers all over the world save this article and use the information presented within it, to better their businesses and to better the fine art printmaking industry as a whole.
Nick M. Friend is the president of Breathing Color, Inc. and regularly contributes articles and expertise to key publications in fine art and photography markets.
author: BY NICK M. FRIEND