Printing for art galleries

Proofing with the artist in the room

Colour on an edition is a judgement rather than a measurement. Agree who signs off, ideally the artist, and view proofs in a light close to where the work will hang, since a proof that looks right under a studio lamp may shift in a white cube. Paper changes the result as much as ink does, so test the image on a couple of stocks. Our fine art printing page describes the papers and process. Keep the signed proof as your reference.

Keeping an edition honest

Decide the edition size and number of artist's proofs before printing, and write it down, because collectors will ask. Printing the full run together helps consistency, though some galleries print to order to avoid holding stock, and if so the file, paper and reference proof all need to stay fixed. Ask about archival stock if longevity matters, and ask for the manufacturer's data rather than relying on a general claim. Certificates of authenticity are normally issued by the artist or gallery, and they should state the materials used.

The show around the work

Exhibition openings need more than the art. Wall text in cut vinyl gives clean lettering with no background panel, usually on smooth, fully cured paint, and normally comes off between shows with little repainting. Exhibition posters can double as affordable merchandise if printed on a good paper stock. For older work existing only on transparency, drum scanning can capture detail for reproduction. Make sure you have the rights in writing before reproducing work by anyone other than the commissioning artist.

Related topics

• Giclée printing
• Framed print options