Production comes before transit

A print order is not dispatched the day it is placed. The work first has to be produced to order, and that window is separate from the courier leg. A framed poster and a canvas edition move through different production lines, which is why the same destination can yield different dates. The buyer who needs a specific delivery date should treat the production window as the first commitment, not the second. A courier can be tracked once it leaves. Production is the part that is hardest to pin down in advance.

Auvrique publishes its shipping policy separately from its production notes, which is why the two numbers are often read as one. They are not. A framed poster usually needs finishing and packing before it enters transit. A canvas edition has its own curing and wrapping steps. Neither step is visible to the buyer until the order is in motion. The practical move is to ask for the production estimate first, then add transit from there. That is the only way to turn a vague promise into a date you can plan around.

Transit is the part you can track

Once the order leaves the studio, the timeline becomes a courier question rather than a production question. Transit time depends on the destination and on whether the shipment is domestic or international. A domestic delivery is usually the shorter leg. An international delivery adds customs handling, which is the variable most buyers forget to budget for. The anxious buyer should assume the international leg needs more padding than the domestic one, not the same amount.

The framing option changes the package, not the courier. A framed poster is heavier and more vulnerable in transit than a rolled canvas, which is why the packing method matters more than the destination alone. A canvas edition travels differently and is often easier to handle at the destination. Neither format changes the courier's schedule, but both change the risk profile. If the buyer needs the work by a specific date, the framing choice is a real variable, not a cosmetic one. Plan the date around the format you actually want.

The real risk is the date you need

The buyer who arrives with a fixed date in mind is the one most likely to be disappointed. Production windows are estimates, and transit estimates are ranges, not guarantees. A date that matters for an event or a move needs more buffer than a date that is merely convenient. The honest answer is that a precise delivery date is only as good as the production estimate behind it, and that estimate is the part the buyer cannot see in advance.

Auvrique does not currently offer editions by Kim Tschang-yeul, which means there is no live production or transit figure to quote for this artist. The timeline above is the general shape of how a print order moves, not a promise for this specific name. If the buyer wants a work by Kim Tschang-yeul, the first question is availability, not delivery speed. The delivery question only becomes concrete once the edition exists to be ordered.