Reproducing a painting
A reproduction copies how a painting looks from the front, under one light. It will not copy the ridges of the paint, so plan around what a print does well.
What a copy can carry, and what it cannot.
Colour, composition and fine mark-making all come across well. Physical texture does not: an impasto ridge turns into a picture of a ridge. Gold leaf, metallic paint and some very bright pigments are also hard to match with inks. Knowing this at the start stops disappointment at the end.
Six steps to a good reproduction
- Check the rights. Your own work is usually straightforward, unless you have sold the rights. For anything else, get permission from the artist or rights holder first.
- Get the capture right. Have the work photographed while dry and out of its frame. We do this with Hasselblad equipment at A4 and A3. For bigger canvases, tell us the size and we will discuss how to approach it.
- Compare with the original. Check the file against the painting and not against your memory of it. Daylight and studio lamps will each tell you something different.
- Proof at full size. Print a section on the final material, ideally the most difficult area, such as a subtle skin tone or a deep blue.
- Pick the surface. Use the table below.
- Sign off and record. Keep the approved proof and note the file version, so later prints can match.
| Original | Usually suits | Why |
|---|---|---|
| Oil or acrylic on canvas | Heavyweight artist canvas | The weave echoes the original surface |
| Watercolour or gouache | Art paper | Paper is the honest match, with soft tonal washes |
| Drawing, pen or pastel | Art paper, or photo matt | No gloss to fight fine lines |
| Bold graphic work | Photo silk or matt | Clean edges and strong colour |
Guide prices for the main stages
| Stage | A3 | A2 | A1 |
|---|---|---|---|
| Digital photography of the original | £40.00 | Ask us | Ask us |
| Heavyweight artist canvas, print only | Ask us | £34 | £48 |
| Canvas print, stretched over a 36mm frame | £49.00 | £59.00 | £79.00 |
Guide prices from our price list. They exclude VAT and delivery and assume print-ready artwork.
Same size, smaller or larger?
Smaller reproductions usually flatter a painting, as the marks tighten up. Same size is the true test of your capture. Going larger than the original magnifies brush hairs, canvas weave and every limit of the file, so proof it first. Keep the proportions too: if a painting does not match a standard size, the extra can become a border in place of cropping the artist's edges.
Be clear about what it is
If you sell reproductions, describe them as such on the listing and on the back of the piece, so that nobody mistakes them for the original later. For a set of numbered prints, carry on to printing limited editions. If you are weighing up print methods, see giclée or photographic print.
Paintings, reprinted.
Your questions.
Can you match a very bright or fluorescent colour?
Often not exactly, as printing inks have a limited range. A proof shows how close it gets, and it is better to find out on a test section.
Should the painting be varnished before it is photographed?
A glossy varnish can add reflections, so tell us what you plan. If a painting is already varnished, say so when you book.
Can you add a varnish-like texture to the print?
Ask us what is possible for your piece. We offer sealing and laminating, and we can tell you how each one changes the surface.