FAQ

1. When will I receive my item(s)?

We deliver within a week in both Denmark and other European countries. Longer delivery outside Europe must be expected.

2. Delivery with UPS or GLS

We deliver to you with UPS or GLS (If you have ordered a MEGA, we will deliver on a pallet with Schenker). You will receive a tracking number when we ship your goods. The carriers will send you an email when the package is ready for pickup. Be sure to check your email spam filter.

3. Exchange

Did you order the wrong size? Or would you rather have a different frame? If you wish to exchange one or more prints or frames, please return your items as described below. Then you can order the new items in our webshop. Please note that it may take up to one week for the money to be transferred to your account for the returned goods.

4. Return

If you want to return an item, you will have to pay for the return shipping. Keep in mind that we only receive returned goods delivered to our address and not in a parcel shop. You can ship the item from your local parcel shop or post office. We do not accept to pay any import fees if you ship to us from outside of the EU.

Please email us at webshop@thedybdahl.com to receive the return address.

5. Complaint

If your item has been damaged during shipping, please contact us at webshop@thedybdahl.com.

6. What is the difference between paper and canvas?

The biggest difference between paper and canvas is the expression. There is no difference in quality between these two versions. Canvas is a thin fabric suitable for hanging in our magnetic oak frames. Canvas must be fitted with staples on our magnetic oak frames to get a durable and beautiful look. Paper is best suited in a frame and gives a more classic look. The picture below illustrates the difference in texture on paper and canvas.

7. Why do my prints look pixelated?

Lithography uses simple chemical processes to create an image. For instance, the positive part of an image is a water-repelling substance, while the negative image would be water-retaining. Thus, when the plate is introduced to a compatible printing ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image. This allows a flat print plate to be used, enabling much longer and more detailed print runs than the older physical methods of printing.

Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a smooth piece of limestone was used (hence the name "lithography": "lithos" (λιθος) is the ancient Greek word for stone). After the oil-based image was put on the surface, a solution of gum arabicin water was applied, the gum sticking only to the non-oily surface. During printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite.

Our collection "Illustrated Encyclopedia Plants" is made with this technique. The prints can therefore easily be mistaken for being "pixelated". They are not. The slightly coarse and smeared expression is precisely what makes these posters absolutely wonderful.

   

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Photocrom: The process was invented in the 1880s by Hans Jakob Schmid (1856–1924), an employee of the Swiss company Orell Gessner Füssli. From the mid 1890s the process was licensed by other companies. In the 1890s it was the leading method in coloring black and white images. The method was used until the Second World War and the last photochromic printer worked until 1970.

A tablet of lithographic limestone called a "litho stone" was coated with a light-sensitive surface composed of a thin layer of purified bitumen dissolved in benzene. A reversed halftone negative was then pressed against the coating and exposed to daylight (ten to thirty minutes in summer, up to several hours in winter), causing the bitumen to harden in proportion to the amount of light passing through each portion of the negative. Then a solvent such as turpentine was applied to remove the unhardened bitumen and retouch the tonal scale, strengthening or softening tones as required. Thus the image became imprinted on the stone in bitumen. Each tint was applied using a separate stone that bore the appropriate retouched image. The finished print was produced using at least six, but more commonly ten to fifteen, tint stones.

Our collection Photocrome collection and "Silk screen prints" are prints from this technique.