Understanding Value Creation in Printmaking

Sometimes talking about printing with other people reveals how little most people understand about the process of making a good print. Somewhere along the line, photography and print became blurred into a single idea. It used to be that all photographs were prints—there was no other way, and the words photography and print were interchangeable. Photography meant print. Period. Today billions of digital images are created each day, yet only a tiny fraction ever make it as prints, and those few that do, often end up as prints stuck to a fridge.

And this attitude isn’t limited to casual viewers—many photographers themselves no longer print their work or even see the point in trying. Too often, printing is dismissed as trivial, unworthy of a “serious” artist. Part of the blame lies with printer manufacturers and their decades-long marketing campaigns. We’ve been led to believe that printers are smart, almost magical machines: buy one, press a button, and a flawless print appears. Yet, anyone who has actually used a printer knows it’s nothing like that. You might get is a print, but it will not be what you’ve expected to see at all.

The truth is that a print is never simply ‘pressed out’ of a printer. A printer is a dumb machine: it knows nothing about the image it is producing, the paper it is using, the conditions in which it will be viewed, or whether the artist wants it more vivid, softer, or higher in contrast. It has no understanding of whether it is printing a volcanic landscape in Iceland or a cat. All of this must be decided and set by the printmaker. That’s why the same printer can produce a brilliant print in one person’s hands and a muddy, lifeless one in another’s. The artistry lies not in the machine but in the judgment and knowledge of the person guiding it.

The other reason for lack of understanding is the rise of fulfillment services with their enticing promise: “Just send us your file and we’ll ship the print to anyone, anywhere.” It’s a good pitch that many photographers fall for, but the product often falls short. The artist has no control, no visibility over what the customer receives, and the customer - believing the print came directly from Photographer X - rarely questions the quality. And without strict quality control - a print is no better than a poster. It is treated as a commodity and inevitably becomes one.

Printing is part of a larger act of translation. It starts from reality translated to a two-dimensional digital image, and back again into a physical object on paper as a print. Every stage of that translation requires both technical skill and artistic judgment. Every print carries the hand of the maker in every decision, and there is real art in that. And of course, none of it would matter without a strong image to begin with.

And here lies the paradox: the better the image and the better the print, the less visible the expertise behind it becomes. Canon and Epson understand this well, which is why they employ armies of brand ambassadors—photographers with strong source material whose work can be translated seamlessly into brilliant prints. That invisibility of labor and effortless success is one reason why prints are so often undervalued compared to drawings or paintings. People know far more about painters, paints, and their struggles than they do about photographers and printing challenges.

Yet understanding the full process might change how prints are seen. If more people grasped what goes into each print, more would value them, recognize them as art, and perhaps even fall in love with them. It is for this reason that I’ve written this guide. What follows is not a universal formula but a map—a sequence of five stages that begins with importing files from a shoot and ends with the framed artwork. Not every photographer follows all of them. Some stop at step1 or 3, others outsource certain steps in between. What matters is that each stage involves conscious choices, and those choices shape both the final result and the value of their art.

A high-level overview of the complete printing process.

Step 1: Selection

The first step is about narrowing down the images into a strong set of candidates for print. Most photographers are used to culling—sorting through and selecting their best shots—but evaluating with print in mind adds another layer. It’s no longer just about asking which images look great on a screen, but which ones will hold their strength on paper. Which images will look good on a wall? Which will stand the test of time?

This is also the stage where the selected files are batch-processed and given a first round of editing in software such as Lightroom: correcting white balance, adjusting the histogram, straightening, cropping, and removing obvious distractions. More detailed local edits, like skin retouching, are usually left for later steps.

To make this more concrete, let me give you an example. After a day of shooting I might come back with 2,000–3,000 images. Through several rounds of sorting, I cut about 90%, which leaves me with roughly 200 images. I process these in Lightroom, export them, and refine the selection again, this time with print in mind. At that stage, I might select only 30–50% as candidates for printing. Before moving on, I also try to form an idea of what kind of print each image might become - whether it’s something small, large, or better suited for an alternative process.

Step 2: Printing

Once images have been selected for printing, the next decision concerns how to produce them. This stage is often what people imagine when they think of “printing”: choosing the paper, the size, printer settings, and managing color. Most literature and workshops focus almost entirely on this step. Yet inkjet printing at home is not the only option. Options range from printing at home, sending files to a professional lab, or preparing digital negatives for alternative processes. Professional labs typically offer a far wider range of materials and the ability to produce larger sizes. They are also specialists in their offerings—papers, aluminum plates, acrylic glass, wood, canvas.

Paper choice introduces another layer of complexity to navigate. In an ideal world, one might print each image on every type of paper and at multiple sizes, then evaluate which combination works best. Reality, however, makes that impossible. Few can afford to test every option, which is why experience and competence are essential: they save both money and time while selecting the best medium for each image.

Knowing the intended use of the print—personal display, a gift, an exhibition piece, or a print for sale - influences which paper is most appropriate. Each scenario has different requirements and expectations. Conservation aspect is critical for prints intended for sale. Cotton-based papers are archival and long-lasting, but more expensive; wood-pulp papers are cheaper but less durable, yet perfectly fine for home prints where cotton based papers will be on overkill.

Example: From 100 candidates selected in the previous step, I will print 15–20 small 10×15 prints on different paper types. This first round eliminates weaker images and highlights the most suitable papers. The strongest 50 might then be printed at 10×15, from which around half are chosen to test at A4. At this size, flaws become more visible: focus issues, subtle distractions, or tonal imbalances that were not obvious at smaller scales. Some images return to Photoshop for correction and local edits before being reprinted. From the A4 prints, perhaps half progress to A3 prints. By the time printing reaches A2, only a handful images will remain. Many images have natural size limits: they work at 10×15, remain strong at A4, but begin to collapse at A3 or beyond. For an artist, it’s essential to know the point at which an image starts to degrade—and never offer prints beyond that threshold. Today’s AI upscaling tools can extend resolution, but resolution is not the real issue. What matters is how busy, engaging, and interesting the image remains at scale. The human eye adapts quickly: what looked striking when first seen at scale can become visually monotonous once the initial “wow” factor fades. That’s why painters and printmakers have long thought about “viewing distance” and “scale integrity”—the ability of a work to keep rewarding attention at different distances and over time.

In this workflow, my home printer capable of A2 is sufficient for most prints. Anything larger is sent to a professional lab. I have already printed an image in A3/A2 size and know that the image can hold its strength at larger size. Without this initial testing, ordering directly from a lab can feel like a gamble - you can never know what you’ll get back.

Step 3: Post-Print Modification

This stage is often overlooked, yet it opens an entire world of possibilities. A print doesn’t have to be “finished” once it leaves the printer. It can be toned, hand colored, overprinted, aged, or cropped. Gloss layer can be added to matte prints, or matte applied to glossy. Creativity is the only limit here. Post-print interventions have a long tradition in art photography and printmaking. Photographers and printmakers have often modified their work after printing to add uniqueness or character.

The reason many photographers skip this step today is simple: post-print processing is not part of the traditional photographic workflow or education. To do it well requires multidisciplinary knowledge, something few photographers possess. Broadly, these interventions fall into two categories: freehand modification and full-image manipulation.

Freehand modification includes drawing or painting directly onto the print. This demands a clear understanding of how different media interact with paper and ink: acrylic, oil, watercolor, inks, as well as the tools—brushes, markers, cotton swabs. It requires knowledge of color theory, blending, and application. Full-image manipulations, by contrast, are less demanding of artistic draftsmanship. Techniques like toning or second exposures rely more on chemistry and process than on hand and brushwork.

With post processing 10 identical inkjet prints can become 10 very different art objects. That’s what gives this step its creative potential: it breaks the idea of the print as a fixed, endlessly repeatable object. If two photographers print the same file, they will produce nearly identical images. But once post-print processing enters the equation, those same prints may diverge completely—each bearing the unique mark of its maker.

Example: I have toned prints in coffee, hand-colored with acrylics, watercolors, and inks, aged with heat or water. Of course, digital tools can replicate some of these effects, but the point here is not consistency—it is uniqueness. Each intervention adds individuality. It isn’t scalable, and from a business perspective it may not be efficient, but as a creative step it transforms a print into something truly unique.

Step 4: Matting

Matting is often dismissed as something outside the printing process. It is seen as uncreative, something to skip entirely or outsource to a framer. But this could not be further from the truth—matting is the step that transforms a sheet of paper into a work of art. Done well, matting elevates a print from paper into something special. It becomes a permanent part of the artwork, not just a decorative border.

Matting is both perception and preservation. Think of packaging: the way a product is wrapped and presented shapes how we value it. Matting functions the same way for a print—it frames the image, sets the stage, and creates the context in which it will be seen. At the same time, mats create a physical barrier, protecting prints from touching the glass, from fingerprints, and from environmental wear.

The obvious question is then - if standard mats are available everywhere, why bother making your own? The answer is that doing it yourself teaches you about your images. Cutting and fitting mats builds an eye for proportion, balance, and how presentation changes meaning. Custom mats give you full control over framing, and the difference is immediately visible. This knowledge also makes you a better judge when you order matt services form someone else. With large editions, economies of scale inevitably demand outsourcing and uniformity, which dilutes the sense of uniqueness collectors value. Historically, this is exactly why smaller editions with visible signs of craft command higher prices.

Example: For me, matting is the ultimate commitment to the print: dressing it to impress, making it truly unique. I often cut and paint my own mats, experimenting with non-standard window ratios. This gives me complete control over how the print is presented.

Of course, practicality has limits. If I had to produce 50 or 100 identical mats, I would outsource them to a framer with cutting machines—after first designing the mat myself. There is no need to manually create 50 identical mats, but designing the first one by hand is invaluable process. Outsourcing only makes sense once I already know what I want. It is like a designer who spends months creating a chair or a dress but once the winning design is found, it can be reproduced in a factory on a mass scale and at a fraction of a cost.

This is also why I resist producing large editions in principle. With 10–15 prints, every copy can be made by hand. With 50 or 100, the pressure to automate and outsource grows, and the collector ends up with something less personal. A small edition means I spend far more time on each print than someone who is using a print fulfilling service. That additional time is my investment in the “best print” for the most demanding collector and it is why my prints are priced higher.

Step 5: Framing

Up to this stage the process has taken a digital file and turned it into a physical print on paper. Mixed artistic skills may then be applied to modify the print, and matting gives it both presentation and protection. Framing is the final step in this interdisciplinary process.Framing determines how an artwork will live in the world. It is what separates a poster from art. The same image, unframed, can feel casual or temporary; once framed, it gains weight, permanence, and status. That’s why even inexpensive prints or posters look “upgraded” when placed behind glass in a proper frame.

Framing is both protection—against dust, moisture, pollutants, and UV light—and the permanent home for a print. Creatively, it is also one of the most open-ended steps, capable of either elevating or undermining a piece. As the saying goes, bad framing kills great art. The framing options are nearly endless: materials, colors, sizes, depths, glazing.

The choice of frame depends on the type of print and where it will hang. Where will it be displayed? What color are the walls? What else will share the space? What kind of glass does it need—or should there be no glass at all? An artwork never lives in isolation; it is in constant dialogue with its surroundings, and the frame is what facilitates that dialogue. Museums and collectors invest in framing not only for its appearance but also to safeguard a work’s lifespan. For rare or valuable pieces, conservation framing is worth the investment, with museum-grade materials that protect a print for generations.

Today most people settle for thin, industrial metal frames. They are stylish, functional, and draw little attention to themselves. But historically, frames were treated as an art form in their own right—often inseparable from the artwork. That doesn’t mean a print today needs an ornate Rococo frame, but it does mean there is creative potential here. With modern 3D printing, and with skill in wood or metal work, highly sophisticated frames can be made today.

Ready-made frames are often sufficient, but custom framing is a completely different undertaking. A skilled framer blends craftsmanship with design and conservation knowledge, often advising on interior presentation as well as technical protection. Even a quick visit to a local frame shop reveals hundreds of possible custom frames—an easy way to see how different choices might reshape the way a print is perceived.

Example: I rarely ship framed prints. Framing is highly personal and best left to the collector’s own preferences. For personal prints that I hang at home, I often use Nielsen or Halbe premium frames. They are high quality and allow for easy image swapping. The original glass can be replaced with UV-protective acrylic, which also makes the frame lighter. Sometimes I omit glass altogether, letting the print be touched and experienced directly. I’ve also experimented with painting white frames in other colors, using both sprays and markers.

Conclusion

The point of this guide and overview is to give a bit more understanding of the steps involved in printmaking, but also to highlight the difference between photographers who handle every stage themselves and those who do only a few and outsource the rest. In art, the story behind the work is often as important, and sometimes more important than the object itself. If the image alone were what mattered, high-quality reproductions would sell for far more than they do. What we truly value is the connection to the artist. That’s why signed prints, hand-modified works, or editions with COAs (Certificates of Authenticity) command higher value.

There is a big difference between buying a print that has been made and sent by the artist and buying one shipped directly from a fulfilment lab. Knowing that an artist has mastered matting or post-print modification techniques helps explain why such prints cost more than something fresh from the printer. Skills like matting, alternative printing, or hand-finishing require practice, which costs time and money. Each adds an extra layer of uniqueness to a print. But if the market only rewards cheap standard output, there’s little incentive for artists to develop or maintain these skills. The result is a race to the bottom, where the cheapest print wins. This is a real dynamic - the abundance of cheap prints and automated fulfillment has pushed down prices, making it harder for handcrafted or deeply considered prints and artists to compete. This trend helps no one: photographers cannot sustain themselves or refine their skills, and collectors end up with mediocre prints that carry little artistic weight. In such a scenario, the art print competes with a poster as disposable home décor.

This framework can also be applied to other roles to understand value-creating activities in the production chain. A lab, for instance, doesn’t need to engage in image selection—their expertise lies in how best to print what is sent to them. A framer doesn’t need to know the printing process, as their specialization is in matting, framing, and glazing. Each stage has its own craft, and recognizing this helps reveal the full value chain.

An example of a photographer whose engagement with an image ends after the printing stage, outsourcing the rest.

An example of a lab’s full-service offering - only what to print is selected by a customer.

An example of a framing store offering.

What is a good print?

This guide takes you through what goes into creating an art print, how to choose one that fits your space and taste, and what is really worth paying for. When you’re done reading, you’ll have the confidence and know-how to start your own print collection.

Buying an art print should be a simple and enjoyable experience, something you look forward to with excitement and anticipation. After all, art is about emotions and conceptual ideas that resonate with you. What makes owning art so appealing is its power to alter our mental states.

Yet, too often, buying art ends up being confusing or intimidating experience, especially if it’s your first print. People often see buying art as a gamble, where the only way to avoid losing is not to play at all. So, they steer clear of purchasing art altogether, fearing they’ll be taken advantage of or end up feeling duped. That is just sad, but it’s understandable given the nature of the art market.

Buying prints is really not hard. Find an image you love, pick the right size to fit your space, ensure it’s printed on quality materials, frame it, and you’re all set. That is all there is to buying a print. Unless of course you wonder if the price you’ve paid for it was fair.  And it is a valid question. How can you tell if you’re getting a premium print at a fair price or an overpriced, low-quality one? How do you figure out what’s truly worth it? The truth is, you probably don’t, at least not when you’re just starting out. But that’s where this guide steps in, here to help you get up to speed quickly.

Remember, the goal of any purchase is to get the right thing at the right price. In the world of art, that means understanding the printing process and how value is created along the way. Once you learn what makes a print good, bad, or truly exceptional, you’ll never unlearn it—and you’ll be able to recognize exactly what’s worth paying for. Let’s get started!

WHY BUY PRINTS?

Size doesn’t matter. At least not for prints. Actually, scratch that. The bigger, the better… if bigger is better. What? You see, not every image is meant to be printed large. Some are designed to be small, intimate, and personal. Others demand to be showcased in grand sizes and lose their appeal when scaled down. And then there are those that work beautifully in any size. Welcome to the art of choosing the perfect print, and yes, the perfect size too.

Welcome, and let’s address the big question: why buy prints at all? Why do some people choose to spend money on prints when they could use it to buy other things or experiences? Are they wealthy? Art scholars? Social media influencers? What makes them see value where others don’t? These are excellent questions to kick off this conversation.

If we exclude art posters, nearly 99% of people have never bought a print in their entire lives—in fact, not just prints, but no art at all. Ever. This makes print collectors a truly rare breed. But luckily, we have some data to help us understand them better. According to Art Basel’s 2018 Report (which focuses mainly on paintings, not prints), the top five reasons people buy art are aesthetics, passion, supporting an artist, expected return on investment, and portfolio diversification. When it comes to prints, financial motivations can almost entirely be ruled out—very few prints will ever appreciate enough in value to be considered a true investment asset. That leaves aesthetics, passion, supporting an artist, and social reasons. Let’s look at them closely.

Aesthetics often come down to a simple desire: filling a space with art. This might mean choosing a black-and-white print, a bold red or blue piece to match an interior, or even opting for an image of a female figure that complements the room’s vibe. In these cases, the art buyer is rarely an expert in what they’re acquiring, the goal is on filling a spot on the wall rather than acquiring any particular art itself. For instance, a home decorator might recommend or purchase art for a client to create a specific mood or atmosphere within their home. You might be surprised by how often art is purchased simply based on a specific color or combination of colors.

Passion, on the other hand, is purpose-driven and fueled by curiosity. It might arise from a fascination with a certain topic or place, specific print techniques, unique materials, particular models, or the work of a favorite photographer. This type of purchase is often calculated based on the personal joy or meaning the piece will bring over a lifetime. A print can become a powerful reminder of something significant, transport the collector to a particular time or place, or serve as a gateway to something greater—an exploration of craft, art, creativity, the human drive for expression, self-discovery, and authenticity.

For these collectors, a print becomes more than just an object; it’s a story, a piece of their life, and a reflection of their values. They can spend hours talking about their favorite prints, passionately recounting the emotions and connections tied to each piece. These individuals draw energy from art—it’s their escape, their solace, and their way of coping with the ordinary grind of life. For them, art is not just decoration; it’s a bridge to something bigger than the everyday. Many collectors who buy landscape art prints often have a personal connection to the place depicted, which inspires them to have it framed and displayed in their home. Fans of nude models do the same—each new purchase becomes part of their collection, deepening their unique story and personal connection to the place or person captured in the art.

Supporting an artist is a straightforward motivation. This happens when a purchase is made not for the print’s aesthetic appeal or a personal passion, but out of a belief in the artist and their work. It’s a value-driven decision, rooted in thoughts like, “I’m not a fan of their style, but I believe in their vision and want them to continue.” In such cases, buyers may not fully understand the artistic or monetary value of what they’ve purchased. Instead, the act is one of patronage, sometimes resembling charity, driven by a desire to support creativity. Many friends and relatives of artists fall into this category—they buy art, but rarely grasp what it is they’ve acquired and what to do with it.

Finally, there’s the social aspect, where people buy art because they feel it’s expected of them. Whether it’s a status symbol or a situational decision, social motivations are often influenced by external pressures or trends. For instance, certain institutions or families might purchase prints on a trendy topic, not because the art brings them joy, but because they don’t want to appear out of touch or be left behind.

Clearly, out of the 4 main reasons to buy art, it’s the passionate collector who experiences the most joy from purchasing, owning, and curating a collection. This is someone who consciously chooses to spend money on specific pieces, guided by their own criteria and personal satisfaction. Which brings us to the next big topic - money.

There’s a common misconception that collecting art has to be an expensive hobby. Or that is some upper class, bohemian, or academic activity. It is not, and specially not art prints. By eliminating the idea of art as an investment, what’s left is art for pure pleasure. And most prints don’t have to break the bank to have an impact on you. While there are very expensive prints, like large-format prints on metal or premium plexiglass for $3,000 or more, most prints cost under $1,000, with the vast majority priced below $500. This isn’t an insignificant cost, but it’s attainable for many people with the right prioritization. What I mean is that it’s absolutely possible to acquire a very good print for $500, and in this article, I’ll show you exactly how to do it. Remember, the true value of a print isn’t just in its appearance or price—it’s in who you become by owning it. Few things can enrich your life in the same way art does.

Collecting art as an emotional journey

Ultimately, collecting art is not a destination but a journey. As we grow and evolve in our social, economic, and personal lives, so too do our motivations and needs for art. Art is more than something that simply hangs on a wall—it transforms the spaces we live in, provokes thoughts we might have been afraid to explore, and becomes an integral part of our existence. It speaks to who we are, challenges us, and dares us to dream. Collecting art is about moving forward, discovering, and becoming.

Collecting art is a dynamic and deeply personal process. It’s not just about accumulating pieces; it’s about allowing art to influence and enrich your life, while discovering what resonates with you in the moment. Some artworks enter our lives at just the right time, creating an immediate impact and adding meaning we didn’t know we needed. Others grow on us gradually, becoming more significant as time goes on.

Over time, some pieces may fulfill their purpose, paving the way for something new. This evolving relationship with art requires an openness to new experiences, perspectives, and potential acquisitions. Collecting art means planning to expose yourself to new works, exploring possibilities, and remaining open to the unexpected power art can have on your life.

The 4 elements of a good art print

Now, let’s talk about the four key elements that define a professional art print. If any of these components are poorly executed or missing, the value of the print is significantly diminished. Understanding these elements will give you a clearer picture of what makes an art print distinct from an IKEA poster and help you know what to look for when selecting one. These four elements are: the image (or negative), the printer, the paper (or medium) used for printing, and the presentation (including matting, framing, and glass). Before we go any deeper into each of these elements, let me introduce you to a few concepts that will guide us along the way.

Print as a product

At its core, an art print is a product. And like any product, it involves three key components: an idea, execution, and presentation. A shot was taken, the print was created, and it was framed with a specific goal in mind: to become something desirable and meaningful. Ultimately, each print has, or at least should have a purpose to exists. It might aim to decorate, inspire, delight, or provoke deeper emotions. It has to do something, otherwise it is useless as a product.

Think about it: why does an IKEA poster cost a fraction of a professional print? After all, it might even be the same image. The difference lies in the job it’s meant to do and the care that goes into its creation. A print sold at IKEA is "hired" to do a very different job than a professional photographer’s print. These cater to distinct demographics with entirely different motivations. IKEA knows this, and so does the photographer.

The concept of "hiring to do a job" is a marketing idea that emphasizes how customers don't just buy products or services; they "hire" them to fulfill a specific need or solve a problem. For example, when someone buys a drill, they’re not interested in the drill itself but in creating a hole in the wall—a means to a deeper purpose, like making their space feel cozier or more organized. This concept underscores that every purchase satisfies not only functional needs but also emotional and social ones, such as projecting a certain image, fostering comfort, or achieving personal satisfaction.

At IKEA, customers buy prints as convenient, affordable wall decorations. A professional print, however, is an entirely different product. It delivers the full experience—the craftsmanship, the quality, the story behind its creation, and the emotions it evokes when displayed. It is not a casual purchase to fill a kitchen wall. A professional print embodies the skill of the photographer and printer, the meticulous selection of materials, the precision in its presentation, and the authenticity in every detail. It is designed to communicate emotion, with no compromises made to achieve this. What you pay for is purity—comparable to lossless audio or 4K video. A professional art print exists in its purest form, delivering unmatched quality and detail.

By contrast, an IKEA print is "optimized" to be affordable and widely appealing. Its image, size, and colors are "compressed" to meet mass production criteria, ensuring it fits into any setting without challenging its buyers. This approach makes it accessible but strips away the individuality, craftsmanship, and depth that define a true art print. Despite originating from the same source material, these are two entirely different products. They might appear similar at a glance, but they couldn’t be further apart—differing vastly in price, quality, and the emotions they evoke. One is a disposable decorative item, the other is a carefully crafted piece of art.

1.NEGATIVE - THE ORIGINAL SOURCE

The main reason anyone falls in love with a print and wants to own it is, of course, the image itself—the negative. If the original image isn’t strong, no amount of technical perfection in the printing process can save it. By “high quality,” I don’t necessarily mean technical flawlessness. It’s about the energy, vision, and connection the image conveys—something that resonates, inspires, or moves you. A great image retains its power, whether it’s printed on cheap poster paper or as a small 10x15cm print. This is the same principle behind many successful ads and branding campaigns: hire the best photographer you can afford, and everything else falls into place. A great shot can communicate an entire story or emotion, whether it’s featured as a page in a magazine or displayed as a billboard the size of a building. Ultimately, it’s the image and what it represents that draws people in, far more than the print itself.

So, the first step in collecting print art is finding an image that truly speaks to you. It should evoke positive emotions, connect with your memories, or reflect something deeply personal. With nudes, for example, the image might remind you of someone you know, stir memories of youth, or evoke admiration for the human form. Art can also shift your perspective, awaken dormant dreams, or draw you into the artist’s raw intent and emotions, making you a part of their vision. When the energy of an image aligns with you as a viewer, that’s when art becomes powerful and personal.

Consider this: compared to all other types of photography, nudes are an incredibly challenging area to master. There are no YouTube channels dedicated to discussing what makes a good nude, and online courses are almost nonexistent. While there are excellent photo books on the subject, there’s a noticeable lack of theoretical texts and foundational principles, unlike other genres of photography. That said, there are a few insights that can be distilled into key principles.

Rule 1: most nudes that look appealing on a screen won’t translate into good prints. The power of a print lies in its ability to resonate with your shifting states of mind, day after day, as it hangs on your wall. In contrast, images on a screen are designed to be swiped past or viewed for just a few seconds. They tend to be simpler, more direct, and often more explicit. For example, an open-leg nude might grab your attention on a screen, but as a wall print, it will likely bore you within a week.

Rule 2: most images in photo books won’t make great wall prints either. Images in books are curated to follow a sequence and tell a story. Some might work as standalone prints, but many are included to provide context or support the narrative. You may love an image because of how it fits within the book’s flow, but take it out of that context, and it can fall flat, losing all its energy. Even in a highly curated photo book, where only the best images made the cut, perhaps one in ten—or even one in twenty—might have the strength to stand alone as a wall print. This highlights just how difficult it is to find a truly good print.

Rule 3: good nude print is almost always a black-and-white print. This isn’t due to some outdated notion of what qualifies as art or nostalgia for classic prints, or some other BS. It’s because bare skin inevitably triggers specific thoughts in our brains, and we want to steer clear of those predictable patterns. A great print should evoke something new each time you see it, not lead you back to the same thought day after day. Black and white strips away distractions, inviting a deeper, more layered engagement with the image. It makes the familiar less familiar and removes the visual hierarchy created by colors that we learned to respond to.

Rule 4: Not all black-and-white prints are art. Beware of pseudo-artists who rely on the black-and-white aesthetic to disguise mediocre work. Converting a bad image to black and white doesn’t magically transform it into art. The essence of a great photograph lies in its composition, lighting, the model’s expression, pose, and attitude—not in the presence or absence of color. Black and white can only enhance what’s already there; it cannot create substance where there is none.

Rule 5: Don’t mistake a model with great genetics for a great print. Many beginners fall into the trap of confusing an image of a genetically blessed model with a strong photography. But that’s not how it works. While exceptional genetics is a gift, hand a camera to 50 people, and you’ll end up with almost identical “great shots.” of that model. She will likely look good in all of them, but that doesn’t demonstrate skill—it merely showcases access. If the measure of a photographer’s talent is reduced to having access to the best models, it misses the true essence of the craft entirely.

The reality is quite the opposite: a great photographer doesn’t rely solely on exceptional genetics; they discover unique and unconventional ways to convey beauty and express their vision in any setting. The art often lies in the contrast between what’s expected and how it’s executed. Ask yourself: if a different model were in this shot, would it still be a strong photograph for you, or is it just the genetics that draws you in? And take it a step further: if it’s the genetics, could another photographer have captured this person’s beauty even better?Don’t reward mediocrity with your wallet. Pay for work that reflects real creativity, skill, and vision.

Take your time. Explore a variety of prints. Let yourself be drawn to something that stirs something deep within you—something you feel will enrich your life simply by being a part of it. That’s the true essence of art: not just decoration, but a portal to another world, a reflection of another self, offering a glimpse into something deeper and transformative. When you discover that image—one you can analyze, defend, and truly desire to own—it becomes personal. It becomes yours.

When you’ve chosen an image you love, the next step is to consider the aspect ratio—essentially, the image’s proportions—and the size of the print you want. These two factors work together to shape how the artwork will look and feel in your space, influencing both the composition of the image and its overall presence in the room.

Different croppings of the same image create slightly different stories. The traditional ratio on the right includes more ground and sky, but does this extra context add value, or can we do without it, as seen in the square crop on the left? Which one is more appealing to you? Why?

A camera’s original rectangular photo can be cropped into different ratios, each highlighting specific parts of the image and altering how you experience it. You see this all the time in fashion ads: the same photo might appear vertically in a magazine but horizontally on a billboard. This process, called cropping or trimming, can dramatically influence the focus and balance of an image.

For example, a square crop feels balanced and harmonious, drawing attention to the central elements, while a wide panoramic crop might isolate the subject from its surroundings, creating a sense of space and expansiveness. Cropping is all about controlling where the viewer’s attention goes and reshaping the story the image tells.

The original aspect ratio isn’t always the best choice. In some cases, thoughtful cropping can elevate an image’s impact by focusing attention or removing distractions. As discussed before, nudes that grab your attention on a screen might not translate well into prints for your space. Cropping can emphasize or downplay certain areas of an image, significantly influencing how it’s perceived.

As the medium shifts from screen to paper, aspect ratios often need to adapt. Exploring different variations of the same image can reveal the format that best aligns with your vision and suits the environment where it will be displayed. For instance, one room might call for a square format, while another could be better suited to a panoramic layout.

Once you’ve settled on your preferred aspect ratio, you’ll often have a clear sense of the image size you want to own. Few apartments can comfortably accommodate very large prints, and even when budget isn’t a concern, mid-sized prints—like 30x40cm or 40x50cm—remain the most popular. These sizes are versatile, easy to hang, and fit well into a variety of spaces—40x50cm, for instance, is often considered a gallery-sized print, striking a balance between presence and manageability. Smaller prints, such as 10x15cm or 13x18cm, are perfect for tables or shelves, offering a more intimate, up-close experience. They also serve as an excellent introduction to different paper types or printing styles, making them a smart choice before committing to a larger piece.

Print Sizes Chart. Each size follows the principle that the next size is roughly twice the size of the one before it. Starting with XS, a standard 10×15cm (A6 or 4×6in) print, the progression leads up to A1, which is equivalent to 32 A6 sheets.

After choosing your image, ratio, and size, the next step is determining whether the asking price is fair. To do this, you need to understand how the print was made—what materials were used, the printing process, and the craftsmanship behind it. These details are crucial in assessing its true value. After all, simply cropping an image and printing it on a home printer isn’t art—it’s just reproduction. True art prints are the result of deliberate choices, skilled techniques, and a dedication to quality that elevates them beyond simple prints.

2.PRINTER – THE MACHINE’S QUALITY AND CAPABILITY.

The next element is to understand the printer and inks used to bring an image to life. Since most prints are purchased online, assessing quality firsthand isn’t usually an option—you’re left relying on the information provided in the product description, which isn’t always as detailed as it should be. This lack of transparency can make it difficult to evaluate the true craftsmanship behind a print before committing to buy. Many high-quality art prints come with a Certificate of Authenticity, which typically details the method of production. This certificate not only provides assurance about the print’s origins but also adds credibility to the craftsmanship, making it an important factor to look for when browsing prints online.

What really matters in this step is whether the print you are considering to buy will stand the test of time. A beautiful image printed with low-quality inks might look stunning initially, but it will fade quickly, losing its vibrancy and contrast. Even when printed on high-quality paper, non-genuine or experimental inks can compromise both the quality and longevity of the print. This is exactly the kind of information you need to know before making a purchase. After all, spending $30 on an image you like, even if it might fade in a year, can feel like a reasonable gamble—after all, you might not even like it anymore by then. But paying $300 for the same print, believing it’s a true art print meant to last, only to discover it will fade quickly, is a painful experience.

Printers are essential tools in the art creation process, playing a role as significant as oil paints or chisels did for the masters of the past. While art prints can also be made using methods like chemical development or silk screening, this guide focuses exclusively on inkjet printers—the most popular method for creating modern, high-quality art prints.

Note, the next section might feel a bit technical, but I assure you it’s all very straightforward and easy to follow. It is for your own best.

Printers. Today’s printers are vastly more advanced than those from just a couple of decades ago. Comparing a professional digital print from 2005 to one produced today reveals a striking difference in quality that anyone can notice. What once seemed like magical results can now be surpassed by even inexpensive home printers in 2025. The progress is undeniable.

However, even with today’s advancements, not all printers are created equal. High-end printers utilize cutting-edge technology to achieve exceptional results, while consumer-grade models still fall short in key areas. The same applies to inks—some are not designed for producing archival-quality prints and may fade after just a few months. Ensuring your print retains its vibrancy and detail over time means understanding the printer and inks used in its creation.

There are two main types of inks used in modern printing, each with many variations ranging from budget options to professional-grade formulations. Knowing the differences can help you make an informed decision and ensure you’re investing in a print that will truly stand the test of time.

The 9-ink pigment palette of the Epson P800. Note that only 8 inks are active at a time, as Matte Black and Photo Black (for glossy prints) cannot be used simultaneously.

Pigment inks are renowned for their durability and deep penetration into the paper. Made from solid particles suspended in liquid, these inks bond with the paper by embedding themselves into its surface. This process provides exceptional resistance to light and environmental factors, ensuring the print’s stability over time. Pigment inks are ideal for art prints, as they can last for decades without fading, making them the preferred choice for high-quality, long-lasting work. Most photographers, particularly those working with black-and-white images, rely on pigment inks for their superior archival properties.

Dye inks, by contrast, are water-based and known for their vibrant colors immediately after printing. Unlike pigment inks, they sit on the surface of the paper rather than embedding into it. They excel on glossy paper, producing vivid, eye-catching colors with smoother rendering than pigment inks. However, they fall short in longevity compared to pigment inks due to their vulnerability to fading when exposed to light.

While dye inks are an excellent choice for temporary or high-impact prints, they are less suitable for artwork meant to last for decades. That said, advancements in dye ink technology have introduced additives that can significantly improve their longevity, making them a more viable option for certain applications where durability is still a consideration.

The primary threat to your prints over time is UV light exposure. UV rays can degrade inks, causing colors to fade and lose their vibrancy, especially if the print is made with non-UV-resistant inks or displayed without UV-protective glass. Even prints of the highest quality can deteriorate when exposed to prolonged sunlight, diminishing their beauty and detail.

This is why prints stored in photo albums or other light-protected environments tend to retain their vibrancy far longer than those displayed on walls with direct sunlight. For prints intended for display, using UV-resistant inks and framing materials, such as UV-protective glass or acrylic, is crucial to ensuring their longevity and preserving their original brilliance.

The printhead. The type of ink—pigment or dye—is just one input in print production. Other critical factors include the number of inks a printer uses and the printhead itself.  Over the past two decades, the printing industry has evolved significantly, moving from 3-color inks systems to models that now utilize more than 12 inks in 2025.

Having more inks allows printers to achieve a wider color gamut, enabling more accurate and nuanced reproductions of shades, gradients, and details. This results in smoother color transitions, more vibrant and lifelike images, and greater depth and realism in the final print. Consider this: the latest professional printers with expanded ink sets are now rapidly approaching the color range of high-end RGB monitors—about 50-60% of human vision. This marks a significant improvement from just a few years ago, when printers could only achieve around 30-40% of the colors visible to the human eye.

For black-and-white art prints, printers with more ink options often include multiple shades of black and gray, along with subtle tints like light gray or warm and cool tones. These additional shades create smoother gradients and add depth, resulting in a richer tonal range. Instead of relying solely on black ink, the extra gray inks enhance details in shadows, mid-tones, and highlights, avoiding harsh transitions and producing a more refined image.

For example, a black-and-white image printed on a 10-ink printer will generally outperform one printed on a 6-ink printer. The increased tonal precision and smoother transitions make the final result more balanced, sophisticated, and true to the original artistic intent.

The printhead plays a crucial role in the printing process, determining how ink is applied to the paper and directly influencing the quality of the final print. Think about it: a high-end printer can produce up to 16 million colors using just 12 inks. How does it know which colors to mix and in what order to apply them? The answer lies in the printhead - which is a sophisticated combination of advanced hardware and highly refined software. Together, they work to ensure sharper details, smoother color gradients, and more accurate color reproduction.

The same ink can produce vastly different results depending on the printer it’s used in. For instance, a newer printer model often delivers superior prints compared to an older one, even when both use the same type of inks. This is because manufacturers continuously refine printhead technology and ink formulations, pushing the boundaries of print quality with each new generation of printers.

To summarize, the better the printhead, the more precisely it distributes and mixes ink, resulting in higher resolution prints with crisper, clearer details. This incredible precision and coordination enable modern printers to transform a limited number of inks into a breathtakingly wide spectrum of colors, producing prints that are both vibrant and true to life.

Understanding the type of printer used offers valuable insight into the print’s overall quality, detail, and durability when evaluating an art print. However, this alone isn’t enough; the choice of paper is just as crucial. The combination of the printer and the paper determines the final look, feel, and longevity of the artwork, making both elements inseparable in assessing its true value.

3.PAPER/MEDIUM – THE MATERIAL ON WHICH THE IMAGE IS PRINTED

Just a small sample of the many high-quality photo papers available. With hundreds of variations in texture, tone, composition, and size, knowing how to match the right paper to the right photograph is where true print artists shine.

The type of paper used is the third key element in determining the final quality of an art print. While a great printer and the latest inks are essential, the right paper can make all the difference in bringing the artwork to life.

Technically, not all inks (and printer models) are compatible with all paper types, and not every printer can handle every kind of paper. The choice of paper can profoundly affect how an image is perceived. A poor paper selection can lead to dull colors, reduced contrast, or unwanted tonal shifts, detracting from the overall impact of the artwork. The right paper enhances the artwork, creating a truly compelling art print.

There’s a significant difference in the type and cost of paper, sometimes varying by as much as 20x in price depending on its quality and properties. Higher-cost papers generally offer superior performance, with better color reproduction, longevity, and texture. However, exclusivity can also influence the price—some papers are rare or produced in limited quantities out of limited materials, which allows them to command a premium.

In general, photo papers fall into four categories:

1. Budget Photo Papers – Found at stores like Walmart or Lidl, these are typically glossy papers for home printing and temporary prints. A 50-pack can cost as much as one sheet of premium paper.

2. Professional Papers – These papers strike a balance between quality and cost, offering excellent image clarity and solid durability. However, they may have some compromises in their composition, such as not being acid-free or containing optical brightening agents (OBAs). OBAs enhance brightness and whiteness but can potentially impact long-term stability. Despite these limitations, professional papers are widely used in photo labs due to their reliability and versatility across a range of print jobs. The types of papers in this category typically include various levels of glossy and matte finishes, catering to different artistic styles and preferences. Both Canon and Epson produce high-quality papers in this range, along with offerings from numerous other reputable paper manufacturers, ensuring a wide selection for different printing needs.

3. Luxury or Premium Art Papers – These are top-tier papers, produced at a higher cost and often reserved for special, high-end projects. They are designed to deliver exceptional quality for art pieces where nothing less than the best will do, making them ideal for museums, galleries, weddings, and true fine art prints. Due to their exclusivity, these papers are not always easy to find in stores, and their prices are significantly higher than professional-level papers. Common types in this category include baryta, cotton, bamboo, and hemp-based papers, each offering unique textures, tones, and archival qualities that elevate the artwork to the highest standards.

4. Experimental Surfaces – This category includes papers and other print materials with unique textures or innovative formulations. Examples include ultra-thin, translucent Asian papers, special fiber compositions, or materials like canvas, aluminum, wood, or plexiglass. These surfaces stand out for their visual impact and creative appeal rather than their long-term archival quality. They are perfect for bold, contemporary pieces where making a statement takes precedence over durability, offering an exciting way to experiment with presentation and style.

When it comes to papers, great papers aren’t cheap, and cheap papers aren’t great. This means you should expect an expensive print to be crafted on an equally expensive paper, ensuring maximum quality and longevity. Look for papers that are free of optical brightening agents (OBAs) and acid-free, preferably made from cotton or other non-wood materials for superior durability and appearance.

Furthermore, take some time to explore the different types of paper surfaces and coatings available. Most people only know glossy and matte, but there’s a wide range—from ultra-glossy and metallic, to textured, rough mattes, and everything in between. Each surface has its own strengths and ideal use cases, so it’s worth learning about them and figuring out what you’ll truly appreciate in your prints. Some surfaces are designed to be tactile, once framed and hung on a wall, that texture can often become less noticeable or even disappear entirely. Other surfaces are not meant to be touched at all. If you want your print to be accessible for everyone to handle, these delicate surfaces won’t hold up for long.

The thickness of the paper can also be a significant characteristic. Premium papers are generally thicker and more durable. Look for papers that are around 300gsm or more for a high-quality feel and lasting impression.

In addition to surface and grams, look for premium papers from trusted brands such as Canson, Hahnemühle, Innova, MOAB, FotoSpeed, MediaJet, or certain high-end lines from Epson and Canon. Whenever possible, ask for a sample or small print, to experience the paper’s texture and finish firsthand before committing to a larger print. Understanding paper types is essential to fully valuing and appreciating a print.

“White paper” is an umbrella term for many different types of paper—each with its own effect on the final image. The same ink behaves very differently depending on the paper’s surface, coating, thickness, and tone.

Up to this point, we’ve covered three key elements of a great print: the source image, the printer and its inks, and the paper. Many photographers stop here, assuming that whatever comes out of their printer is already art. But that’s only half true. What emerges from the printer are high-quality raw ingredients. The true transformation into art, the actual cooking, happens in the next step—matting and framing.

For a deeper dive, check out our full article on choosing the right art paper.

4.PRESENTATION – FRAMING

In the art world, framing is a separate profession—a highly skilled craft where framers have the expertise to transform almost anything into framed art, whether it’s a t-shirt, a print, or a painting. Becoming a professional framer often involves 2–3 years of education, as the role requires mastering various disciplines - color and material theory, presentation techniques, preservation and archival practices, as well as technical skills to create, repair, and modify frames, prints, and passepartout.

Framers are trained to meet archival and conservation standards, often requiring certification to ensure their methods protect and preserve the artwork for the long term. Their expertise often goes unnoticed by the general public but is essential for elevating and safeguarding art for galleries, museums, and private collectors. While their services can come at a significant cost for a private individual, the result is a custom-made solution tailored specifically to your needs, ensuring both the presentation and preservation of the artwork are of the highest standard.

Clearly, most photographers are not trained framers, and their framing skills are often limited. Critical elements such as archival practices, material selection, and precision craftsmanship typically fall outside their expertise. However, framing is not rocket science, and any motivated photographer can master a few essential techniques tailored to their art presentation without needing to acquire the full range of skills that a professional framer might have.

As an art collector, it’s essential to distinguish between the good, the bad, and the ugly of framing.

Framing turns a simple print into an artwork. It’s what separates a hobbyist from an artist. Each step—from loose print to mounting and framing - strengthens the artwork, protects it, adds artistic value, and turns it into something worth collecting.

Without framing, a print is just a sheet of paper with ink from an inkjet printer—it’s not an art yet.

Like a dish in a fine restaurant, where a pot of soup in the kitchen is yet to become the chef’s signature creation served to customers in the dining room, it requires thoughtful presentation to elevate it from just a soup to an experience—something that justifies its price, sets it apart from the restaurant next door, and creates a lasting memory. People don’t pay for food in these places; they pay for an experience.

In the same way, people who buy fine art prints don’t just buy prints—they buy an experience. The right matting, framing, and glassing transform a print into a polished and complete work of art, elevating it from ink on paper to something that defines its value, presence, and impact.

Let’s break it down into steps.

Passepartout (Matting)

Passepartout is a thick cardboard frame that surrounds a print. It serves multiple purposes, both practical and creative, to elevate the presentation of the artwork:

• Protection. According to preservation guidelines, a print should always be kept away from coming into direct contact with the glass in a frame. Glass, being an excellent conductor of temperature, can cause issues like sticking, moisture absorption, or heat damage when in direct contact with a print, potentially damaging it. The passepartout creates a protective gap of 1–3mm between the print and the glass, protecting it from these risks.

• Modifier: Passepartout can adjust the aspect ratio of the artwork. For instance, a rectangular print can be transformed into a square by modifying the passepartout’s opening. This ability allows the passepartout to influence the narrative and visual impact of a print, subtly altering how the artwork is perceived.

• Directing Attention: Passepartout creates a visual separation between the artwork and the frame, acting as a preframe that draws focus to the image itself. Without it, a plain image on a wall is heavily influenced by its surroundings. Essentially, passepartout isolates the artwork and saying “Hey! This is important—look here.” This is why most museums and galleries rely on passepartout to separate the artwork from its surrounding environment.

• Creative Finish: Passepartout opens up endless possibilities for personalization. While white or black are a standard in galleries and museums, it can feel cold or overly formal at home. Colored passepartout can match interior backgrounds, offer variety, or add contrast. Custom designs, including uniquely shaped openings or bevels in contrasting colors, elevate the print and turn the matting into an art form itself.

• Exclusivity: Custom-made passepartout often becomes an integral and inseparable part of the artwork. Creating a high-quality passepartout requires specialized tools and training, which is why many photographers either overlook this step or outsource it to professional framers. However, when done skillfully, the handcrafted nature of a custom passepartout adds a layer of exclusivity and significantly enhances the perceived value of the art. This careful attention to detail and thoughtful craftsmanship is what elevates a print into a true art print.

Beware that not all matting materials are created equal. Since a passepartout is often seen as enhancing the value of a print, many manufacturers try to offer cheap alternatives designed for elevating low-quality prints. They are cheap because they’re made using low-cost materials and processes such as non-acid-free materials that cause long-term harm to your print. Furthermore, poor-quality mats or backings can release harmful gases inside a closed frame, leading to the gradual deterioration of the artwork. That’s why it’s essential to ensure that the presentation not only enhances the aesthetics but also protects the print, rather than acting as a decorative touch that might ultimately compromise its longevity.

Types of passepartout.

Three different types of passepartout are shown. The 1.4mm is the most common and also the cheapest, its surface is noticeably less smooth compared to the other two. The 3mm version might not fit standard ready-to-hang store frames and will require a custom framing, hence 1.8mm version is often the best practical choice.

Budget passepartout are usually 1–1.4mm thick and made from low-cost materials. Their thinness reduces both their protective qualities and visual appeal, but they do provide the basic function of keeping the print separated from the glass. On closer inspection, you’ll often notice that the bevel is not the same clean white as the passepartout but reveals the cheap brown cardboard beneath.

A standard passepartout is typically 1.5–1.9mm thick and made from acid-free materials. These are commonly sold at frame stores in standard frame sizes with pre-cut openings. They generally provide adequate protection for the artwork while also offering a visual enhancement, making them a reliable choice for most framing needs. Custom-made passepartout are typically in the same thickness range, around 1.5–2mm, as most cutting tools are designed to handle materials up to 2mm thick.

Premium passepartout typically start at 2mm thickness and beyond. Museum-grade passepartout are often 3mm thick and made from cotton, offering exceptional quality and durability. These passepartout are significantly more expensive than standard options, require specialized equipment to cut and handle, and are usually reserved for truly special and highly valuable artworks. They might also be too thick to fit into standard frames, often requiring a custom frame instead.

Most of DROYC prints come with an acid-free passepartout but shipped without a frame. This is intentional. We want you to take that final step and choose a frame that fits your space and personal taste. Taking the time to select the perfect frame creates a deeper connection to the art, making it uniquely yours. It’s not just about hanging a ready-made piece on your wall, it’s about curating the art to reflect your style. Sometimes, that simple act of choosing the frame is what makes you fall in love with the piece.

Frames

Generally, we don’t sell art pre-framed. First, framing is highly personal. The ideal frame depends on your space, your existing art, and your individual taste. Some collectors prefer uniform frames for a cohesive look, while others seek unique, custom framing for each piece. It’s nearly impossible to offer a one-size-fits-all option, and framing can be costly, so why charge you for something you may want to change anyway?

Second, choosing your own frame makes the art more meaningful and personal. This taps into the "IKEA effect" phenomenon - the idea that we value things more when we’ve invested time and effort in creating or customizing them. In other words, by spending time researching and selecting a frame you make your art much more personal to you.

Finally, framing significantly increases shipping costs and risks. Frames are heavy, glass can shatter, and artwork can be damaged in transit. By skipping framing, we can offer more affordable prices and safer, simpler shipping—leaving you the savings to invest in the perfect frame yourself.

To help you navigate the world of framing, we’ve created a practical guide on how to choose the right frame for your art. You can also watch a few videos about framing on YouTube to get you started.

CONCLUSION

If you’ve made it this far, you’ve hopefully realized that creating a great print requires multiple elements coming together seamlessly and you are now able to recognize at least some of these elements. Let’s recap.

Art prints are called “art” not solely because of the image itself, but because they embody the thoughtful transformation of a great negative into a physical object—one you can hold, admire, and live with in your own space. It’s this combination of visual beauty and tactile experience that elevates a print into a true work of art. The value and price of an art print often reflect the harmony of these elements working together.

By buying a print, you’re voting with your money. Purchasing a low-quality print supports and sustains subpar production standards, encouraging mediocrity in the art world. On the other hand, investing in a high-quality print not only enriches your own life but also helps maintain and promote excellence in the craft. You contribute to a process that brings joy and inspiration to other collectors and enable the photographer to continue creating meaningful work at the highest level.

Producing high-quality prints is no easy task. If it were, anyone with a decent Epson or Canon printer could do it at home. But the steep learning curve deters most people. Many photographers selling prints lack an understanding of what makes a print truly great. They often haven’t bought art prints themselves and fail to grasp the emotional or aesthetic appeal of their own work. The result? Prints that look no better than what you’d get from a home printer on auto mode—yet priced as art. That is not right, and should not be rewarded.

The same holds true for many galleries and photo labs. For example, I once purchased a print from YellowKorner, a French gallery/store that sells limited-edition photography prints. The print’s quality was low, so I got a replacement, which was slightly better but still poorly optimized for the image. The moral - just because it comes from a well-known brand doesn’t guarantee perfection. Their processes are often optimized for scalability and affordability rather than the highest possible quality. To their credit, some high-end pieces, particularly large-format prints, may be of a very high quality since these are handmade and produced in smaller quantities. Still, it’s vital to ask questions and do your research before investing in your first art piece.

There’s a lot of mediocre work out there, but finding a truly great print—one worthy of display in your home—is rare and rewarding. Take the first step and you will never regret it!

Types of Limited Editions

Understanding editions is an essential knowledge for anyone collecting prints seriously. It tells you how rare, intentional, and valuable a print really is. It directly affects how you evaluate the artwork. Beyond just the number of copies, it’s about understanding the bigger value - the artist’s intention, the production method, and how the print fits into their broader body of work. Understanding these details helps you make smarter decisions, recognize quality, and connect more deeply with the work beyond the image itself.

Generally, there are three main types of prints: one-offs, limited editions, and open editions. You can think of them as one, some, and unlimited copies. Each category has its own subtypes and nuances. Let’s take a closer look at what each one includes.

Type 1: One-Offs

Type 1 includes all works created as a single, unique piece of art. They are not reproducible. Most traditional art—like paintings, sculptures, and drawings—falls into this category. Historically, this was the dominant form of artmaking before mechanical and digital reproduction became widespread. Here are some variations:

• One Print/One-Off/Unique
  This means exactly what it sounds like: there’s only one print made of that image. It’s a unique object, not part of any edition. Thunk of a classic oil painting - there is only one painting like that. Often this term overlaps with "Monoprint" depending on how it was made.

• Monoprint
  A monoprint is made using a repeatable matrix (like an etched plate, block, or screen), but only printed once with intentional variation - say by adding hand-inked textures, different inking techniques, or mixing processes. The plate/image stays the same but each print is unique.

• Monotype
  A monotype is made without any repeatable matrix. The image is created directly on a smooth surface like glass or metal and transferred to paper using a press. Because most of the ink comes off on the first pull, you usually only get one strong print (and maybe a faint "ghost print"). It’s essentially painting or drawing transferred by printing fully unique.

• Test or Trial Print (TP)
  A test print is usually made during the technical setup process used to check things like color, contrast, registration, or plate alignment before the actual editioning begins. In digital printing this could be tests of various papers or printer settings. These prints aren’t originally intended for sale, but some artists choose to release them later as unique pieces, often marked “Test Print” or “TP.” They often carry visible artifacts, color shifts, or cropping, which can make them interesting in their own right. Trial Print is very similar to a test print, but often a bit more intentional, closer to the final print. Think of it as part of the creative process before committing to a final edition.

  Note that some test and trial prints that are significantly off - like having a strong color cast, incorrect aspect ratio, or other noticeable flaws might be labeled as Reject or B-Grade. This isn’t a formal edition type but more of a grading used when a print doesn’t meet archival standards for its intended tier. That could mean a minor printing defect, color cast, paper flaw, scratches or fingerprints. These are usually marked clearly and priced lower. Still, some collectors are drawn to B-quality prints because of their random imperfections as one-of-a-kind item.

Type 2: Limited Edition

Limited Edition is a print run that’s capped at a specific number—like 25, 50, or 100 copies. Each is numbered and often signed by the artist or the printer. Once all copies are sold, no more can be produced in that edition. This built-in scarcity makes the prints more collectible and valuable. Buyers are paying for something rare and of high or even unique quality. Compared to one-off prints, limited editions involve more planning around production and packaging and can often be of higher production quality. They’re typically treated like a small product release, with everything set up from the start to produce only 5, 10, or 50 high-quality copies. This often includes a deliberate choice of rare or expensive materials to maximize the visual impact of the work.

Variations within limited editions.

A limited edition usually includes more prints than the number stated in the main edition, it’s important for collectors to be aware that these extra copies exist. For example, if an edition is listed as 15, there might be a few additional prints made outside of that run. Two might be kept by the photographer, one could go to the printer, publisher, sponsor, or even the model, and another might be held in the photographer’s archive. The point is that only the 15 numbered prints are for sale. The extra copies exist, but they are typically not on the market and if they are sold later, it’s usually a rare opportunity . All copies including artist’s proofs, printer’s proofs, archive copies, or any others—should be clearly listed in the Certificate of Authenticity (COA). Here are the main types you should be aware about:

• Artist’s Proof (AP)
  These are extra prints outside the numbered edition, traditionally kept by the artist. Marked "AP" and usually limited (capped at around 10% of the main edition). Sometimes these are priced higher when they hit the market due to their perceived rarity.

• Printer’s Proof (PP)
  Given to the printer or studio that helped produce the work. Usually limited to just 1 copy, marked as PP.

• Publisher’s Proof
  Reserved for the publisher who financed or supported the edition. Similar to AP or PP in concept, but can still add one more addtional copy.

• Bon à Tirer (BAT)
  Literally "good to print" in French. This is the final approved proof that all other prints in the edition are meant to match. It’s a unique proof and often kept by the printer or artist.

• Hors Commerce (HC)
  Means "not for sale" in French. These are proofs made for exhibitions, archives, or promotional use, marked HC. They may still be sold later, depending on the artist’s or publisher’s policies.

• Archive Copy
  A print held back for documentation, studio records, or institutional archiving. Usually not for sale, but for the future reference.

Limited Edition: Edition Variable (EV)

There is an important version of limited edition that collectors should know about. An Edition Variable (EV) is a set of prints that belong to the same edition but are intentionally varied. EV usually refers to handmade prints rather than digital prints, hence the artist starts with a repeatable base—like a plate, screen, or block—but changes something in each print. This variable could be the paper, color, inking method, added hand work, or layering. A common example is printing the same image on different types of paper: one on bright white, another on off-white, and a third on cream. The result is a group of prints that are clearly related, but no two are exactly alike due to the differences in paper. Artists often use EV when they want to explore a theme through variation or add a layer of uniqueness to each print without going full monoprint.

Each EV print is still numbered, just like a normal limited edition, but usually marked something like EV 3/10 to show it’s the third unique variation out of ten. It tells collectors: this is part of a series, but also one-of-a-kind. Think of Andy Warhol’s Marilyn Monroe screenprints—the image stays the same, but each print is slightly different. Changes in color, registration, and ink application make every piece unique, even though they all come from the same base image.

Type 3: Open Edition

An open edition means there’s no fixed limit on how many prints can be produced. The artist can keep printing the work indefinitely. They’re ideal for affordable, wide distribution, essentially always available, on-demand prints. These prints often blur the line between fine art and merchandise and most prints in the world fall into this category. Many artists use open edition to reach a broader audience before producing a full edition.

Since open editions can be printed over long periods, slight differences may appear between early and later prints—such as changes in paper type, printing process, or color accuracy. For this reason, many open editions use widely available media that are likely to remain accessible for 10–15 years, such as professional glossy, semi-glossy, and matte papers.

In addition, most open editions are unsigned and don’t include full documentation or a certificate of authenticity. These prints are usually priced lower because they’re not scarce, untraceable, and typically use lower quality materials to cut costs and achieve consistency.

Conclusion

To summarize, edition types are like an accounting system for the artwork. They keep track of how many prints exist, what kind they are (AP, PP, etc.), and where each one fits. The numbers in an edition carry meaning: they tell a story about process, rarity, authorship, and intention. Collectors, curators, and artists rely on this “accounting” to understand value, trace authenticity, and place the work within the artist’s larger body of work. Knowing how to read those details will help you understand the full picture - not just the image, but the history and thinking behind it’s creation.

What is a Limited Edition?

Limited edition prints usually cost more than open editions. But why is that? What really sets them apart from just “high-quality” art? Is it all just a marketing trick, or is there something real? If there is real value, then what are the assumptions, expectations, and ideas behind the whole concept of a limited edition that make people willing to pay a premium? Great questions! Let’s dig in.

1.What Does "Limited Edition" Really Mean?

It’s easy to assume that putting the word “limited” on a print automatically makes it more special or valuable. But that’s not how it works, at least not if the artist takes their work and reputation seriously. The word limited often gets used interchangeably with exclusive or premium, but those ideas aren’t necessarily linked.

In fact, most things in life are limited without being labeled that way, or being exclusive at all. For example, a 2025 car model, an iPhone 16, or a pair of Nike Air Max sneakers will all disappear from shelves eventually. No one calls them limited editions, yet in a practical sense - they are. Still, they’re not premium or rare. Their “limited” nature has nothing to do with quality.

So in the world of art, what does limited edition print actually mean? Let’s break it down.

Sometimes it’s easier to explain something with a simple example. Think of Sunday pancakes. I don’t know what your childhood was like, but chances are Saturday or Sunday was a pancake day. These were handmade. The batter was mixed by eye, maybe a splash too much milk, or a missing egg. It didn’t matter! There was enough for 13 to 15 pancakes. One always got ruined—burned, torn, or sacrificed to test the pan—so 12 made it to the table. That was the batch. That was the limited edition of 12 pancakes.

Each pancake was slightly different—shaped by the heat of the stove, the slant of the wrist, the mood in the kitchen. But they clearly belonged together. One batch, one moment. And when they were gone, they were gone. Next weekend would be different. New batter, new pace, new energy. That’s how limited editions work.

Now compare that to pancakes from a hotel breakfast buffet. These made by machines, identical every time. Same shape. Same texture. Same taste. Whether you’re in Stockholm or Singapore you get the same product. Efficient, consistent, soulless. Designed to resemble pancakes, but far from the best pancakes. That’s your open edition.

And that’s the difference. It’s not just about what was made—it’s about how, and why. Limited editions carry the mark of the moment, the hand that made them, and the intention behind them. They’re not just products. They’re small rituals, made visible. And when you hold one, you’re holding something that can’t happen again.

Back to art: an edition is a set of prints made under the same conditions—same image, same paper, same size, same crop, same finishing. It’s a group of artworks that are intentionally consistent, produced as one body of work, born from a single creative moment.

Here’s how that might look in practice. An artist starts by experimenting—trying different papers, tweaking the image, adjusting the crop. Eventually, they arrive at a version that feels right. At that point, they might print 15 identical copies on the paper they’ve chosen. That’s the edition.

But a week later, with a different mindset, new materials, or simply a change in taste, that same artist might decide to print the image again. And chances are, it will come out differently—different paper, different decisions, different feel. If the result is distinct enough, it becomes a new edition.

Open editions, on the other hand, are produced on demand. One print might be made in January, the next in May. The materials can change - inks might shift, paper quality might vary. Open editions can often be outsourced to print labs, and while the image stays the same, the consistency and personal involvement may not. Open editions aren’t about true art - they’re about availability and distribution.

To be clear, a one-off artwworks isn’t an edition—it’s a single work, made once. An edition is about controlled repetition. The defining feature is that multiple identical, or near-identical, copies are made on purpose, as part of a limited, deliberate series.

2. What Makes an Edition “Limited”?

An open edition has no cap on how many prints can be made. The image can be printed and reprinted for as long as there’s demand. As long as people want it, it stays in production. This keeps the price lower and makes the artwork more accessible to a wider audience.

Think of an iPhone as an example. Each new model has a production limit, but you’re never told exactly how many units will be made. That number can shift based on sales, it’s flexible, market-driven. But that’s not how true limited editions work. With a limited edition, there’s a hard ceiling. The number is fixed and clearly stated from the beginning: 15, 50, 100 copies. That’s it. No reprints, no surprises. When it’s sold out, it’s gone.

But here’s the important part: limited doesn’t always mean it’s physically impossible to do again. Most of the time, it just means the artist has made a decision not to repeat it. It’s a choice, and it’s a promise. Sometimes that decision is driven by business, sometimes by access to materials, and sometimes by the medium itself, where repeating the process just isn’t practical or even possible.

The key is understanding why the edition is limited. Is it limited by choice? By circumstance? By nature of the process?

Let’s break down the types of limitations that actually matter.

A.Limited by Choice — The Artist’s Promise

The most common form of limitation is the artist simply saying, “I won’t do this print again.” That’s what gives a limited edition its meaning. It’s limited by choice. But what exactly does this mean?Usually, an edition is defined by a combination of factors:

• The image

• The crop or aspect ratio

• Image size/print size

• The paper type

• Th paper tone or color

• Finishing choices (like matting or framing)

So yes, the same image might appear again. But if it's printed on different paper, cropped in a new way, or presented at a new size, it becomes a new edition.

But how different is different enough? That’s where the artist’s intent—and honesty—come in. It’s a bit like comparing an iPhone to an iPhone Pro. At a glance, they look almost the same. But under the hood, they’re made for different users, with different expectations.

It’s the same with print editions. Sometimes, a print that looks identical at first glance might be made on a different paper—and that change alone can justify a new edition. Because for some collectors, the type of paper isn’t just a technical detail—it’s central to the value of the work.

Take, for example, a print made on standard wood-pulp paper that may yellow within a decade. That’s not the same as a print on museum-grade cotton paper designed to last a century. They might look similar today, but they serve different purposes and speak to different kinds of collectors.

Even subtler differences like natural white versus high white paper can matter. For a collector whose entire collection is on natural white, a high white print might feel out of place.

B. Limited by Availability — Material Scarcity

Sometimes an edition is limited by the materials themselves. An artist might have a few packs of a discontinued fine-art paper that is hard to find again. Once it's gone, it’s truly gone - they can’t reprint the edition even if they wanted to.

This kind of limitation is physical, not just conceptual. It adds value to the edition because it creates a built-in impossibility of exact repetition. The same goes for other materials: maybe a unique blend of pigments or inks that the artist mixed in the moment and can’t replicate. When the materials are limited, the results are too.

C. Limited by Medium — Technical Limits of the Process

Some printing methods naturally come with built-in limitations. The physical tools involved can only go so far before quality degrades or the setup has to be replaced. This creates editions that are “limited by nature” of the process.

• Photogravure: The metal plate used to press the image wears down after 15 to 30 impressions. Once it’s no longer sharp enough, a new plate must be made by hand. And because each plate is slightly different, each new run becomes its own edition—even if the image and everything else stays the same.

• Film negatives: In the analog darkroom, some photographers used to limit editions by destroying the negative after printing. But this isn’t a foolproof method. There might be near-identical frames from the same roll, or someone could create a new negative from a finished print. So even this form of "destruction" has its limits.

• Darkroom prints and many alternative processes are often limited editions by default. The chemistry involved is a bit like pancake batter: mixed by hand, sensitive to the environment, and nearly impossible to replicate exactly. Temperature, timing, paper batch, even the mood or rhythm of the process - all of it affects the outcome. So while an artist might try to make a second print of the same negative six months later, it’s unlikely to be identical. That’s why many darkroom and alternative prints are treated as unique or editioned in very small numbers. Not because the artist wants to create scarcity - but because the process itself is inherently unrepeatable.

• Screenprinting: Similar to photogravure, screenprinting relies on physical tools - in this case, a mesh screen that can only be used so many times before losing precision. After a certain number of prints, the screen degrades or clogs, and re-creating it won’t produce an exact match.

D. Limited by Agreement — Licensing Restrictions

In some cases, the limitation isn’t creative or material—it’s contractual. The artist might only be licensed to produce a specific number of prints, say 15, of a particular image. Once those are sold, that edition is closed unless a new agreement is negotiated. If the work is re-released, it would have to differ in some way: new size, new paper, new format. The license may limit not just quantity, but also how the work can be reproduced. This is especially common when the artist doesn’t fully own the image—for example, in commissioned projects, collaborations, or when working with historical archives.

3.Numbering and Signatures

For an edition to be truly limited, it needs to clearly state the maximum number of copies that will ever be produced. A proper limited edition is usually both numbered and signed. For example:
12/50 means this is the 12th print in a total edition of 50.

You might also come across these markings:

• A.P. = Artist’s Proof – usually kept by the artist or sold at a premium

• P.P. = Printer’s Proof – made for the printer involved in the process

• B.A.T. = Bon à tirer – the final approved proof before the edition is printed

These proofs typically aren’t part of the main edition offered for sale, but it’s still important to be aware of them. If an edition is marketed as “50 prints,” it matters whether that means 50 total or 50 plus another 10 artist/printer proofs. Transparency about these extras shows respect for collectors and reinforces the intent behind calling something a limited edition in the first place.

There are many ways to sign an artwork, but the most common setup is: edition number, title, and signature. This is usually placed just below the image on the white margin of the paper, or sometimes on top of a passepartout, below the image. The layout typically goes like this:

Left: Edition number (3/25) Center: Title (often in quotes). Right: Artist’s signature (sometimes date)

There are plenty of variations. Some artists use full names, others prefer initials. Some sign on the back to avoid distracting from the image. The choice of pencil or ink often depends on the paper and medium and is partly tradition, partly personal choice.

4. Certificate of Authenticity

A serious edition will often include a Certificate Of Authenticity (COA). This document records which edition the print belongs to, what materials were used, when it was printed, and other relevant production details. It is a document that marks the edition’s authenticity, its origin, and its exclusivity.

Think of COA is both a recipe and a passport. In the pancake example, COA is the nutritional label—it lists the key ingredients and confirms what was made and how. But it also acts like a passport: it’s part of the print’s identity, and it should follow it wherever it goes. Without it, a print becomes just an image. With it, it becomes a traceable, authored work.

The number of available copies is critical to the value and integrity of a limited edition. Without clear documentation, an edition labeled “50” could mean very different things.

• 50 identical prints (traditional limited edition)

• 50 identical prints + 20 unlisted artist’s proofs

• 50 unique variations (Edition Variable, or EV)

• 10 variations in 5 colorways (e.g. 5 red, 5 blue, etc.)

• Or a mix—like 40 standard prints and 10 in a special finish

This is why transparency is essential. A well-documented COA should explain:

• What defines the edition and how many prints exist

• Whether prints are identical or variable

• If variable, how—by color, crop, size, or technique

• Whether the variation is random or structured (e.g. 10 per colorway)

• Whether any additional prints exist outside the numbered edition (A.P., P.P., B.A.T., etc.)

Collectors should expect this information in the COA or accompanying documentation.

Edition Variations

Sometimes an artist decides to release multiple formats of the same image within a single edition. For example, an edition of 20 might include:
10 prints in size A, 5 in size B, 3 in size C, and 2 in size D.

That’s still one edition—just spread across different formats. The unifying element is the image itself, while the materials, size, or presentation vary. Think of it like the pancake example: you can make small ones, big ones, even square ones, but they all come from the same batch of mix.

Offering variations like this can make the work accessible to different types of collectors. Some may want a large centerpiece; others might prefer a smaller, more affordable format. But even with these variations, the total edition size should be fixed, transparent, and well documented. Collectors know exactly what exists and how many versions are out there.

Another kind of variation is called an Edition Variable (EV). In an EV edition, each print is intentionally different in some visible way, even though all prints come from the same base image or plate. The variations might include changes in color, paper type, inking, cropping, or even hand-finishing. The artist may alter each print during production, making every piece one-of-a-kind—yet still part of a defined, cohesive edition.

An EV edition embraces difference as part of one conceptual theme. In our pancake example, an EV—Edition Variation—is like changing the filling: cherry jam, strawberry, meat, cheese, mushrooms. The pancakes are clearly related, made from the same batter, but each one is intentionally different. The point isn’t to make them the same—it’s to explore variation within a shared base.

In art, one print might have a bold background, another might be more muted. Some may feature subtle ink shifts or hand-applied details that give each piece its own personality. It’s a limited edition, but with intentional uniqueness built into every copy. If a label says EV 1/10, that means it’s the first of ten individually varied prints.

A famous real life example is Andy Warhol’s Marilyn Monroe silkscreen prints. Each work in the series starts from the same photographic image of Monroe, but Warhol deliberately varied the colors, backgrounds, ink application, and registration. The result: a group of prints that are visually connected, yet distinctly different. Some are bright and clean, others off-register or more chaotic. Warhol used the mechanical process of silkscreen printing not to create perfect copies, but to highlight imperfection, chance, and variation.

5.Why Limited Editions Matter

Limited edition isn’t just about printing fewer copies, stamping the word “Limited” on them, and charging triple. For the artist, a limited edition is the highest form of commitment. When done right, it’s a statement. A moment that won’t be repeated. A level of attention and care that may never come together in quite the same way again.

A true edition is something the artist has developed and stood behind fully and personally. It’s a declaration of what they believe is worth preserving in the highest possible quality. It carries their hand, their mind, their decisions. It’s authored. It’s signed. It’s limited.

A limited edition is also a process that an artist goes through. Testing papers, adjusting tones, refining every detail—until everything feels exactly right. So much thought goes in that only a few people might truly understand the effort. And that’s the point. Because owning a limited edition is more than owning an image. It’s about forming a connection—with the artist, with their process, with a moment of intention made visible. The real value isn’t just in how few copies exist. It’s in how much care went into every single one.

That’s what sets a limited edition apart. It’s a record of artistic judgment. The scarcity is the message. When something is limited, people tend to slow down. They take it seriously. They pause. And that’s what serious art is about—less about consumption, more about contemplation and absorption.

If photography is a record of time, then a limited edition is a record of the photographer. A snapshot of their thinking, their taste, their process. What they believed was worth sharing with the world. Worth signing their name to. It captures a decision—a moment of authorship anchored in a specific point in time.

And as a collector, you might be one of only 10, or maybe 15, who will ever own that exact work in that exact form. Remember - a limited edition isn’t made for everyone. That’s what gives it value—when you feel it, and you just know you absolutely have to have it.

The Art of Framing Art

Framing is what separates a poster from a true work of art. Today, we frame more things than ever - photos, paintings, certificates, and sports jerseys, but the fundamental principles of framing remain unchanged. Framing can be traced back to ancient Egypt, where it was used in religious and ceremonial contexts. It remained primarily a religious artifact (think iconography) up until around 1200. Fast forward just 200-300 years, and framing became primarily associated with paintings and drawings. However, there were no standardized sizes for artwork, meaning each piece required a custom-made frame. Framing was both an art form and a profession, as well as a practical necessity. Today, we have a much wider range of materials to create frames from, and frame sizes have become more standardized. Despite the industrialization of framing, it remains an art form, and the right frame can either elevate or diminish the impact of your artwork. Let’s take a closer look at what framing is and why it’s so important.

Framing enhances the visual impact of artwork while providing structural stability and protection. A well-chosen frame elevates the piece and helps it either blend seamlessly into its surroundings or stand out. The art of framing lies in finding the right balance between choosing a frame that protects and enhances the artwork while also complementing the space in which it’s displayed. In this way, framing allows us to personalize the art we bring into our homes. Some collectors prefer to use the same framing style for all their artwork, creating a uniform and formal presentation that doesn’t distract from the pieces themselves—think of gallery walls with consistent frames. Others embrace variety, allowing for a visual dialogue between each frame and its artwork—like in museums, where each piece often has a custom-made frame that reflects its character. There’s no single right way to frame art—but there are certainly many ways to do it poorly. As with many things in life, randomness and impulse rarely lead to the best results. A thoughtful approach or guiding strategy can go a long way toward making your framing choices feel intentional and cohesive.

Short Guide to Choosing the Best Frame

There is a staggering variety of frames available, ranging from inexpensive plastic models to luxurious options crafted by top jewelry brands. This isn't meant to be a comprehensive guide on all of them, but rather a starting point to help you make informed decisions. For more in-depth information, there are tutorials, magazines, books, and a wealth of infographics online that can further assist in choosing the right frame for your art. What we've done is put together the 8 key considerations for choosing the right frame. Let’s begin!

1.Frame Size

Frames come in many sizes, but most follow standardized formats—either ISO sizes (like A4 or A3), traditional photographic dimensions from the analog film era, or your country’s local standards (like ANSI). Custom-sized frames are also an option for uniquely sized artwork, though these are typically made to order.

If you’re buying unframed art, finding the right frame is usually straightforward. When the artwork is mounted in a passepartout (mat), the outer dimensions of the mat determine the frame size you’ll need. For example, an A4 print mounted in an A3 passepartout will require an A3 frame. That’s really all there is to frame sizes—simple and easy process. Once you’ve determined the frame size, the next step is choosing the color and material that best complement your artwork and space.

2. Frame Material

Frames are commonly made from three basic materials: plastic, wood, and metal. Each has its own pros and cons and it is worth understand the choice here.

Plastic frames are often the go-to choice for those seeking a budget-friendly and lightweight framing solution. They come in a variety of colors and finishes, offering versatility while replicating the appearance of more expensive materials like wood or metal. This makes them an attractive option for those looking for style at a lower cost. Plastic frames are particularly useful for larger prints or artworks where the weight of the frame might otherwise be a concern.

Additionally, plastic frames are resistant to certain environmental factors, meaning they won’t warp, swell, or crack due to humidity or temperature fluctuations. This durability makes them an excellent choice for areas with changing climates. Another exciting advantage of plastic frames is the potential for 3D printing—with advanced technology, frames can now be printed in creative and custom designs that are both durable and unique.

On the downside, cheaper plastic frames are more prone to cracking, scratching, and discoloration over time, which can detract from their overall aesthetic. To avoid this, it’s essential to opt for higher-quality, premium plastic frames that offer better durability and a more refined look. Avoid flimsy, low-quality frames that may compromise the visual impact of your artwork.

Wood frames add a timeless, natural warmth to artwork that no other material can replicate. The rich textures and grains of wood complement a wide range of art styles, from traditional to contemporary. Whether it’s a classic oak or a luxurious walnut, wood enhances the character of your piece, giving it a more organic, bespoke feel. Its tactile quality adds depth and warmth, making the artwork feel more intimate and connected to its surroundings.

Beyond aesthetics, wood is a renewable resource. Many manufacturers now offer frames made from reclaimed or responsibly harvested wood, making it a more sustainable and environmentally conscious choice. Wood frames are also commonly associated with luxury and craftsmanship, often used to elevate the perceived value of a piece—ideal for framing valuable works or creating a refined, upscale presentation.

One of wood’s greatest strengths is its versatility. It can be stained, painted, or left in its natural state to match almost any interior. A wide variety of finishes and styles are available, from rustic to modern. Skilled framers can also create fully custom wood frames tailored to your exact size and design preferences, offering endless creative potential.

In terms of durability, high-quality wood frames can last for decades when properly maintained. Certain hardwoods, such as oak and cherry, are particularly long-lasting and resistant to wear. Wood’s natural ability to "breathe" also helps regulate humidity, which can benefit the longevity of your artwork in environments with fluctuating climates.

However, wood does have its drawbacks—most notably, its weight. Unlike plastic or metal, wood cannot be made as thin and strong, so frames tend to be thicker and heavier. While this isn’t an issue for smaller pieces, larger artworks may require more robust wall mounting or support to ensure they remain safely in place.

Metal frames offer a minimalist, modern aesthetic combined with a strong yet lightweight structure, making them a popular choice for contemporary and industrial-style interiors. Typically crafted from aluminum, metal frames feature a cool, clean-lined appearance that pairs beautifully with photography, graphic art, and modern prints. At the same time, they can create a bold contrast when used with more traditional or classic works, adding visual interest through juxtaposition.

A key advantage of metal frames is their precision and uniformity. Because they are machine-manufactured, they provide a clean, exact finish—perfect for those seeking a polished, professional presentation. This makes them especially well-suited for gallery walls, commercial displays, or exhibition spaces where consistency and sleekness are important.

Another major strength is their exceptional strength-to-weight ratio. Metal frames are generally thinner and lighter than wood, yet offer excellent structural integrity. This makes them ideal for large artworks, reducing overall weight while maintaining stability. Metal is also highly resistant to environmental changes—it won't warp, expand, or contract due to humidity or temperature fluctuations. As a result, metal frames offer reliable, long-term protection for your artwork, especially in challenging environments.

However, metal frames do have their drawbacks. They can feel colder or less personal than wood, and may not blend as naturally with interiors that emphasize warmth, texture, or traditional design. Additionally, although metal is durable, very thin or oversized metal frames can be more susceptible to dents if not handled carefully.

Other materials. There are also frames made from more unusual or luxurious materials—leather, glass, stone, carbon fiber, and even precious metals like silver or gold. These frames can be visually striking and often serve as statement pieces. However, they tend to be expensive and stylistically challenging to find artwork that truly harmonizes with them. They often overshadow the very artwork they are meant to present, drawing attention away from the image instead of enhancing it.

3. Frame Color

Frame material and frame color are two of the most important elements in the overall presentation of an artwork. While material affects weight, texture, and structure, color directly influences how the artwork is perceived. Choosing the right frame color is a creative decision—one that can subtly support the art or make a bold statement that changes how it's experienced.

The most commonly used frame colors are black, white, and silver/metallic.

• Black frames provide a strong, defined edge that enhances contrast and draws attention to the artwork. They are particularly effective with photographs, graphic art, and pieces that benefit from visual separation from the wall.

• White frames offer a softer, more neutral border, ideal for lighter-toned artwork or minimalist settings where the frame should quietly support without dominating.

• Silver and metallic finishes bring a sleek, contemporary feel, often used with abstract or modern works to add a touch of sophistication and edge.

However, frame colors are by no means limited to these three. Frames can be found in virtually any shade or finish—from natural wood tones and warm earth hues to vibrant, saturated colors and weathered, distressed looks. A well-chosen frame color can enhance the artwork's palette, reflect the emotional tone of the piece, or tie into the room’s overall design.

A carefully selected color helps define the mood, focus, and relationship between the artwork and its environment, making it a key element in the storytelling power of presentation.

4.Frame Thickness

A thick frame (left) typically accommodates artwork with a deeper passepartout, often 3mm or more, to fit museum-quality matting. Thinner frames, on the other hand, are usually limited to single prints or artwork with a total depth of just 1–2mm.

Thickness refers to the front-facing width of the frame—the visible edge that borders the artwork—not how deep the frame extends from the wall.

Frame thickness plays a significant role in the visual balance between the artwork and its frame:

• Thin frames (6–10mm) offer a subtle, minimalist appearance. They draw minimal attention to themselves and are often chosen for modern interiors or artworks that benefit from a clean, almost invisible border. These are typically metal frames and are ideal for smaller prints or lightweight designs.

• Thick frames (18–24mm or more) have a stronger visual presence and can become an integral part of the presentation. They add a sense of formality or importance to the piece and are often selected when the frame is intended to act as an extension of the artwork itself.

A wider frame also helps visually separate the artwork from the wall, which is especially useful when the wall color closely matches tones in the artwork.

The key is proportion. For example, an 8mm frame may work well for a 30×40 cm print, but it will likely look too thin and fragile for a larger 70×100 cm piece. Thin frames can appear overwhelmed by large-format artwork, making the entire presentation feel unbalanced.

Many frame manufacturers offer the same frame design in multiple thickness options, allowing you to match style with proper scale.  Always consider both the dimensions of the artwork and the overall aesthetic you're aiming for when choosing frame thickness.

A simple way to maintain visual balance across different artwork sizes is to scale the frame thickness proportionally. If a 10mm thick frame looks right on a 30×40 cm print, it’s likely because that frame width represents about 3–5% of the shorter side of the print. To preserve that same visual balance on a larger piece, you can scale the frame width by the same percentage.

Example:

• A 10mm frame on a 30×40 cm print means the frame width is roughly:

• 10mm ÷ 300mm = ~3.3% of the short side (30 cm)

• For a 70×100 cm print:

• 3.3% of 700mm = ~24mm

So yes, if you want the same visual effect on the 70×100 print as the 10mm frame on the 30×40, you’d likely want a frame in the 22-26mm range, depending on how bold or subtle you want the look.

5. Frame Depth

Depth refers to the internal space inside the frame—specifically, how much material it can hold between the front glazing (glass or acrylic) and the back panel. This dimension is essential when framing artworks that require more than just a flat display.

Deeper frames are necessary for fine art prints with a passepartout (mat board).

These frames allow for greater depth, such as fine art prints with both a museum quality mat and archival backing. A deeper profile also adds a sense of dimensionality and sophistication, giving the piece a more gallery-like or museum-grade appearance.

In contrast, shallow frames are designed for flat, single-layer items such as: posters, single photo prints and Certificates or documents. These frames are typically more affordable and minimalist. While perfect for simpler presentations, they may be limiting if you’re working with premium or conservation-grade artwork.

Most basic frames can accommodate artwork 1–2mm thick, which is suitable for everyday prints and basic passepartout. However, higher-quality or professionally mounted art—especially museum quality pieces—often includes both a front and backing passepartout, resulting in a total thickness of 4–6mm or more. In such cases, you’ll need frames with either:

• A deeper rabbet (the internal recess that holds the art stack), or

• Flexible inserts or spacers that can adapt to thicker presentations.

When in doubt, check the frame’s maximum insert depth before purchasing—especially if you plan to include matting or protective layers.
When choosing a frame, ensure both the thickness matches your aesthetic goals, and the depth matches the technical needs of what you're framing. A beautifully thick frame with insufficient depth won't accommodate a mat properly, while a deep frame with an overly thin profile might look visually off-balance.

6. Insert Type

The top frame uses metal pins used to secure the backplate of a frame. These pins are not convenient to open repeatedly and can break after a few uses. In contrast, the bottom frame features a flexible locking mechanism. Not only is it much easier to open, by simply press and turn it sideways, but it also accommodates thicker passepartouts, offering greater versatility.

Frames can be categorized by how the artwork is inserted and replaced. This distinction affects not only convenience but also the long-term care and purpose of the frame.

I. Multi-Use Frames

These frames are designed for easy opening and frequent image changes. They typically feature flexible tabs, clips, or snap-in backs that allow users to swap out artwork without damaging the frame or needing tools.

• Ideal for collectors who like to rotate their displays seasonally or thematically

• Common in galleries, retail spaces, and exhibitions where displays are updated regularly

• Often used with posters, prints, or photography that isn’t fragile or archival

Multi-use frames prioritize accessibility and convenience—perfect for dynamic spaces or casual displays.

II. Permanent Frames

Permanent frames are designed for long-term or archival display. They usually require tools to open and close, and may even be sealed for conservation purposes.

• Best for high-value, delicate, or archival-quality artwork

• Often used in museums, private collections, and professional settings where artwork is not intended to be disturbed

• Provide greater protection from environmental factors, dust, and handling

While it is still possible to replace the image in a permanent frame, the process is more involved and may require professional help to avoid damage.

If you're just starting out with framing, it's a good idea to begin with multi-use frames. These frames are more flexible—they can accommodate a wider range of artwork types and sizes.

Once you've developed a more curated or permanent collection, you can always move on to archival or permanent framing solutions for your most valuable pieces.

7. Glazing Options

The choice between glass and acrylic as glazing materials directly impacts both the presentation and long-term preservation of your artwork. Each material offers distinct advantages and comes with various protective coating options that enhance durability, visibility, and protection from environmental damage.

Glass is a traditional and premium glazing option known for its exceptional clarity, which enhances the sharpness and vibrancy of colors in artwork. It provides a crystal-clear finish that allows the true essence of the piece to shine through, making it a popular choice for high-quality frames, especially in fine art or photography. Glass also offers excellent protection against dust, dirt, and environmental factors while adding a refined, premium feel to the overall presentation. Available in various types, (green, white, and floating glass), UV-protective glass, and anti-reflective options, it caters to both aesthetic and preservation needs. However, its heavier weight and susceptibility to breakage yet tempered glass offers a more durable alternative.  It’s heat-treated to increase its strength and is less likely to break upon impact compared to regular glass.

Glass - Summary:

• Clarity & Appearance: Offers superior visual clarity and a premium, high-end appearance. It enhances the artwork's sharpness and color fidelity.

• Protection: Available in various types including standard, UV-protective, and anti-reflective glass (Artglass).

• Limitations: Heavier and more fragile than acrylic, making it less ideal for large frames or environments where safety and durability are priorities.

Best for:

• Smaller frames

• Permanent or luxury installations

• Low-traffic areas

In many premium frames, the glass is the primary factor that drives up the cost. Premium options, such as museum-grade or UV-protective glass, are often used to enhance both the artwork’s presentation and its long-term preservation. Often, a similar frame can be purchased much more affordably with standard glass or no glass at all.

Acrylic, often referred to as Plexiglass, is a lightweight and shatter-resistant alternative to traditional glass, making it an ideal choice for larger frames or environments where safety and durability are important. Acrylic provides a clear, polished appearance similar to glass but is virtually unbreakable, making it safe for both artwork and people around it. Similar to glass, it can also be treated with a range of protective coatings, such as UV-blocking layers or anti-reflective finishes, which help preserve the artwork and reduce glare. However, acrylic can be more susceptible to scratching, though scratch-resistant coatings can mitigate this issue. Due to its lower weight, acrylic is often chosen for larger pieces or when the ease of handling and transportation is a concern. Acrylic comes in varying depths depending on the quality and price of the frame. Budget frames often feature a thin acrylic sheet, which may be prone to warping or scratching. In contrast, higher-end frames typically use acrylic that ranges from 1mm to 3mm in thickness, offering increased durability, rigidity, and better overall protection for your artwork.

Lightweight & Durable: Much lighter than glass and highly resistant to shattering, making it a practical choice for larger frames or public/high-traffic areas.

• Scratch Sensitivity: More prone to scratching than glass, though scratch-resistant coatings are available on higher-end options.

• Cost-Effective: Standard acrylic is typically less expensive and easier to handle during shipping or installation.

Best for:

• Large artworks

• Children’s rooms or busy spaces

• Framing that needs to be lightweight or transportable

Acrylic is a far better choice for shipping. If you're purchasing a frame online, acrylic is the safer option. Frames with glass are more prone to damage during transit, and even if you receive a replacement, the delay can be frustrating.

Protective Coatings & Features

Whether you choose glass or acrylic, the following features can greatly enhance both protection and visual quality:

• UV Protection: Prevents fading and deterioration caused by ultraviolet rays. Essential for archival-quality art or pieces displayed in sunlight-prone areas.

• Anti-Reflective Coating: Minimizes glare and reflections, improving visibility in bright spaces and enhancing the artwork’s presence. Often referred to as museum glass or museum acrylic.

• Scratch-Resistant Coating (Acrylic): Increases the surface durability of acrylic, making it more suitable for environments where the glazing might be cleaned or handled frequently.

8. Style and Aesthetics

The final consideration is the style and overall aesthetic of the frame—this is where all the practical decisions come together to support the visual impact. At this stage, it’s about choosing a style that suits both your artwork and your space. The right choice will depend on both the character of your artwork and the style of your interior. Matching the artwork with the frame—and the frame with your interior—is where the true art of framing lies. Nevertheless, there are some guiding principles you can follow to make the process easier and more intentional.

For modern, industrial, or Scandinavian interiors, where clean lines and simplicity are key, smooth metal or thin black wood frames are a natural fit.
Villas, bohemian, or organic spaces pair beautifully with natural wood frames that showcase organic grain and texture.
Classic, maximalist, or vintage-inspired interiors often call for gold-leaf frames or heavily carved baroque-style designs that add richness and historical character.
And in glamorous, luxurious, or eclectic settings, glossy, mirrored, or metallic frames can introduce an elegant, eye-catching finish.

When choosing a manufacturer, start by exploring local producers—they often provide the best variety and pricing options. A visit to your local framing store will typically showcase the ready-to-hang frames they offer. On an international level, specialized framing brands like Nielsen, Larson-Juhl, DEHA, and Halbe offer a wide range of frames, from small to oversized, combining premium materials with expert craftsmanship. High-end designer frames, often from fashion and jewelry houses like Ralph Lauren, Versace, or Tiffany & Co., are more exclusive, usually focused on tabletop sizes and not found in traditional framing stores. Consumer brands such as IKEA, H&M Home, and ZARA Home offer mid-range frames in various sizes, designed to complement their unique interior aesthetics, and these too are typically unavailable in local framing shops.

Buying tips

Lastly, because the right frame provides aesthetics, functionality, and protection for your art, it’s a smart idea to take your art to a professional framer for advice. While you’re not obliged to follow their recommendations, you might find that their expertise leads you to a frame better suited to your artwork than one you might choose yourself. There are also specialized framing solutions designed for all-weather protection, as well as frames that are fire-resistant or theft-proof - that you will not find in traditional stores.

In addition, here are some general guidelines to keep in mind:

•     30-50% Rule. Plan to spend about 30–50% of the price you paid for the print on the frame. For instance, a $100 print pairs well with a $30–50 frame, while a $300 print would suit a $100–150 frame. Higher-quality frames not only provide superior protection but also elevate the presentation of the artwork, making it worth investing more when framing true art prints. A well-chosen frame complements the value and importance of the piece, ensuring it is preserved and displayed beautifully.

• Skip the Glass. Glass is often the most expensive component of a frame. If you’re on a tight budget and an identical frame is available with either glass or acrylic glazing, consider choosing the acrylic option. Acrylic is lighter, more affordable, and still offers decent protection. Plus, you can always upgrade to premium glass later if needed, making it a practical choice for budget-conscious framing.

• Buy in Pairs. Consider purchasing two identical frames. A matching pair creates visual coherence, adding to a harmonious and polished look in your space. This is why galleries and museums often use identical frames—it establishes a consistent and professional style. Even if you don’t have an immediate use for the second frame, you’ll likely find something to display in it soon enough. The alternative can be worse. Commercial frames are often like car models—regularly replaced by new designs and discontinued after a short time. If you wait too long to purchase a matching frame, it might no longer be available, leaving you with mismatched pieces that disrupt the overall aesthetic.

To sum up, the frame you choose not only protects your artwork but enhances its presence and impact in your space. By carefully considering factors like size, material, thickness, glazing, and framing guidelines, you can make informed decisions that will elevate both the aesthetic and value of your art for years to come.

Remember, framing is an investment in the long-term enjoyment and preservation of your collection, so choose wisely and let your artwork shine in the best possible light.

Conclusion

Now that you know more about framing, I hope you’ll never pass by a frame without noticing it. And it doesn’t need to be at museums. Frames are everywhere—in hotels, in bars, in coffee houses, in offices, and even at friends' houses. Everywhere you go, there’s an opportunity to observe how different frames can influence the overall aesthetic of a space. This gives you ample opportunities to study and appreciate them, refining your eye for the small but important details that can make or break the presentation of a piece. Does it fit the artwork? What color and material is it made of? How prominent is it? How unique is it? Does it fit the current setting? Why was it chosen? What would you have chosen? All of these questions are important because they train your eye to be more discerning, ultimately helping you refine your own collections.

This exercise might also reveal to you just how much value a frame can add—or take away. A poorly framed artwork, a lazy framing decision, can detract from an otherwise great piece. Learn from it, and don’t treat a frame as just a simple decoration. It is, in fact, an integral part of the artwork.

Guide to Quality and Size Options at NUDICCI

Whether you’re just starting out or building a serious collection we probably have something for you. Our artworks are designed to cater to different tastes, spaces, and budgets - from affordable professional prints to high-end premium pieces.

Traditional online print stores offer many options to let you have your perfect print: sizes, papers, passepartouts, frames, and glass types. This level of customization may be reasonable and well-intended, but all too often, too many choices create an overwhelming and frustrating buying experience. The decision-making is detracting from the joy of acquiring art. We take a different approach: one print, one product. Each piece is designed to be its best version, freeing you from unnecessary decisions.

Our Philosophy

Our approach is simple: we limit artwork options to only the best, helping you focus on the art. Through hands-on experience, we know which sizes, materials, and formats suit each image best. We’ve tested them. We’ve evaluated their visual impact. If an image shines in 3 configurations, we present 3 distinct products. In developing this system, we made several assumptions. We assumed collectors have a clear budget and intent - whether they want a large or small print, a premium or standard quality print. That’s why we offer only a few quality and size levels for each print. Now, let’s dive into the details.

1.Quality Levels

We offer three levels of print quality: Silver, Gold and Platinum. The quality level is set by the final product - so it’s not just about the paper, inks, or sizes but how they come together that defines the rating. This system provides clarity to customers while allowing for subtle distinctions in quality and pricing.

• Silver (think “professional”): prints done on high-quality professional print papers.

• Gold (think “premium”): Premium quality with enhanced papers and paper materials with museum quality standards.

• Platinum (think “prestige”): Top-tier craftsmanship designed for serious collectors and exceptional presentations. Each print paper has its own story and legacy.

By clearly defining quality levels and setting expectations, we aim to help you narrow your choice.

SILVER-level. This level is the perfect starting point for exploring the world of fine art nude prints. This tier offers an excellent balance of quality and affordability. The prints deliver great image quality without the premium price tag associated with more sophisticated archival fine-art standards. Silver prints are crafted on high-quality, professional-grade photo paper commonly used in photo labs worldwide and include glossy, semi-gloss and matt papers. Inks used in this level may be either pigment or dye, providing vibrant colors and sharp details, though these prints are not archival and may fade faster then the Gold and Platinum levels.

Consider this level if:

•     You're new to art collecting and want an affordable starting point.

•     You’re looking for reliable, functional prints without the need for archival quality.

GOLD-level.This level represents uncompromised quality—it’s the pinnacle of what true art prints are meant to be. Prints in this category are crafted on archival-grade cotton or other natural acid-free papers, meeting the same rigorous standards used in galleries, exhibitions, and museums. These papers exude luxury, offering a tactile experience that enhances the artwork’s visual and emotional impact, elevating it to a masterpiece.

Archival materials are specifically engineered to protect the artwork from damage over time. Every component, from acid-free papers to precision mounting techniques, is designed to preserve the piece for decades. Archival mats and boards are made from high-quality cellulose fibers, free from lignin and acids, ensuring that discoloration and damage are avoided. Additionally, these materials resist fading and ink bleeding, maintaining the artwork’s integrity and vibrancy. This level provides maximum protection from both physical and chemical harm, allowing collectors to enjoy their art for generations.

Consider this level if:

•     You're a serious collector looking for archival quality that can last many generations .

•     You value luxurious materials like cotton, washi, bamboo, or textured papers.

•     You want your artwork to feel high-end and sophisticated.

PLATINUM-level. Prints at this level are made for those who want their art to make a bold, unforgettable statement. These striking limited editions use exceptional materials—aluminum, plexiglass, rare high-end papers—that elevate the image far beyond the ordinary. These pieces serve as striking centerpieces, elevating both your space and personal style, and leaving a lasting impression on anyone who sees them. But the real value isn’t just in the technique or the surface. It’s in the story. Platinum prints are stories on the wall. If you’re looking for a piece that feels like a true work of art, this is your tier. It’s about depth, uniqueness, and that undeniable wow that stays with you or your guests.

Paper prints in this tier are created using award-winning, premium papers made from luxurious materials such as cotton, bamboo, hemp, or Washi. These exceptional papers come in a variety of textures, ranging from aquarelle-like finishes to ultra-glossy surfaces, each offering a unique aesthetic and tactile experience that enhances and complements the artwork’s visual impact.

Prints in this category adhere to the highest archival standards, featuring acid-free matting and materials that ensure longevity. With a lifespan of up to 200 years without fading, these prints are ideal for serious collectors who value timeless quality and preservation. Perfect for those who demand nothing but the best.

Buy Platinum level if:

•   You are looking for a WOW visual and tactile experience but that also stands out as a genuine work of art.

Gold and Platinum level prints come with a Certificate of Authenticity, confirming their status as true art prints. Every element—paper, surface, sizing, aspect ratio, and passepartout—has been carefully chosen to work in harmony with the image, ensuring the highest quality and artistic integrity.

Comparison of Silver, Gold and Platinum tiers.

TIP: Much of what sets different paper qualities apart is the tactile experience—how the paper feels in your hands. That’s hard to convey online. That’s why we offer sample packs, where the same image is printed on various papers, so you can compare and feel the differences for yourself. Currently, we offer Silver and Gold tier samples. There’s no Platinum sample for now, as Platinum is more about the uniqueness of each piece than a specific material.

2.Sizing Options

We offer everything from small 10x15 cm prints you can tuck into a drawer, to large statement pieces designed to dominate your wall. It’s important to know the exact size you’re purchasing, so we try to base our sizing on the ISO 216 system, where each next size level doubles the dimensions of the previous one. So for example A3 is double in size of A4, and A2 is equal to two A3s.

The sizes refer to the dimensions of the the printed area itself. For example, a 10x15 cm print (size XS) may be both a single A6 print or mounted in A5 frame. Typically, the passepartout is one size larger than the print—A6 is matted into A5, A5 into A4, and so on. This approach gives the image room to breathe and creates a clear separation from the background of the wall, enhancing its visual impact. 

The same image is printed in six different sizes, from A6 to A1. Note that these dimensions refer to the unmounted print size; once matted and framed, the final presentation can take up to 50% more space (think S-print mounted in M-frame, M into L and so on).

Here’s a breakdown of the different sizes we offer, and how they might fit your needs.

• XS/A6 (up to 10x15 cm or 4x6 inches): These tiny prints come either framed in a passepartout or as singles. They’re easy to store, fit into standard photo albums, and are perfect for displaying on a desk or bookshelf. If you’ve never bought an art print before, this size is a good way to dip your toes into the world of prints. You can even buy packs with different paper types to get a feel for each one.

• S/A5 (15cm baseline: 15x20 cm, 15x15 cm, 13x18 cm): These prints are about twice the size of XS, but still small enough to fit almost anywhere at home. As the image size increases, you start to see more details, and the paper itself plays a bigger role in how the print looks and feels.

• M/A4 (20cm baseline such as 20x30 cm, 20x20 cm, 20x25 cm, 20x28 cm): At this size (about twice the area of the S-size), the details in the print and the texture of the paper really start to stand out. These prints are ideal for hanging on the wall, best viewed from about 1 meter away. You can still store unframed prints in standard-sized albums, but they’ll also look great framed on display.

• L/A3/A3+ (30cm baseline such as 30x40 cm): This is where you start to get the real “art print” experience. The larger size means the image really pops, and the details and paper make a big impact. This size is meant to be framed and viewed from up to 2 meters away, giving your space a real gallery vibe. It’s the first size where you’re guaranteed to get that “wow” feeling when you hang it up in your room. This is also the last size where we offer prints in Professional quality - prints beyond this size are only available in Premium and Prestige.

• XL/A2 (40cm baseline, such as 40x50 cm): This size is common in museum exhibitions and galleries. These prints make a statement in any space but are still manageable in most homes—you can usually find space for one or two of these prints in your home. They’ll likely become a focal point in your interior and express your taste and passions.

• XXL/A1 and larger: These are the breathtaking sizes and a very bold statement. Think of them as life-size prints that really take over a room. If you hang one of these, it’s probably the only print you’ll need in that space. The impact is huge—models in the photos are practically life-size, making it feel like they’ve stepped into your room. Due to their enlarged size, only a small number of images can be printed in that size and still look perfect, hence the selection if very limited. Please note, these prints might require special handling and shipping.

Print size vs frame size. All physical things take up space, and with prints, that’s an important consideration. Print size refers to the actual printed area, while frame size tells you how much space the artwork will occupy on your wall once framed. For example, a 10×15 cm print is small enough to fit in albums, shoeboxes, or stand easily on a shelf or table in a simple 10×15 frame or acrylic stand. But once it’s mounted in an A4 passepartout, it takes up much more space and requires a proper frame. Clearly, a beautifully mounted print demands more room, but it also carries far more impact than one kept tucked away in a shoebox. You’re trading compact storage for greater visibility and presence.

Once you move up to A3 size, both storage and display become more challenging. An unframed A3 print has roughly the same surface area as 8 x 10×15 cm prints. When framed, it can take up the equivalent wall space of around 12 x 10×15 cm prints. So while a dozen small prints might easily fit on a wall or in a box, a dozen framed A3 prints demand a whole lot more room and quickly become a matter of available wall space.

A2 prints are even larger - double the size of A3 and require a lot more room. Most home will only have space for a couple of A2 prints. These become the pillars of your collection, setting the tone and style for everything else around them.

A1 or larger prints are a different story altogether. These are rare, bold, and take up a lot of space. Unless you live in a mansion or have a dedicated gallery wall, it’s hard to make room for more than one. And large sizes come with their own challenges. They’re not just harder to ship—they can also be difficult to fit through elevators or doorways. So while these formats can be visually striking, they’re often impractical for most everyday living spaces. That’s part of the reason many high-end, expensive prints come in these large formats - they’re made with a specific kind of buyer in mind: institutions, galleries, or wealthy individuals with the space to properly display them. These prints aren’t just art pieces - they’re statements, often meant to dominate a room.

TIP. Before you commit to any print, consider taking a trip to your local frame store to check out the sizes of the frames in person. This will give you a much better idea of what to expect and help you visualize how different print sizes will look in your space. As print sizes increase, orientation also plays a role. Large horizontal images tend to be easier to fit than large vertical ones.

3.Passepartout and Frames

Unframed, matted, and framed prints of the same image.

We sell most of our prints mounted in a passepartout, ready to be placed in a frame of your choice. Many times, the difference between an amateur print and a professional art print is in its presentation. Passepartout is that “fancy” presentation that sets its apart from a home print. But passepartout is not just an artistic choice; it also serves a protective purpose, keeping the print safe from direct contact with the glass and helping to preserve its quality over time.

Normally, passepartout is about one size larger than the print, or have a border of about 5cm. In some cases, a passepartout two sizes up can be used, such as a 10x15 cm print matted into an A4 passepartout. This wider border, which is about 10cm, is typically used for smaller prints to give them a more “important” and focused appearance. Many museums also use oversized passepartouts, where the generous white space helps draw the viewer’s focus to the artwork and sets it apart from the surrounding wall.

The same size image can feel very different depending on the passepartout width. A one-size-up mat with a 5cm border gives the print a clean, balanced presentation. But a two-sizes-up mat with a 10cm border creates more breathing room around the image, drawing the eye inward and giving the work a more elevated, gallery-like presence. The extra space can shift the mood from casual to refined, even when the image itself stays the same.

Passepartout color and framing can dramatically influence how we perceive an artwork.

Frames? We sell most of our art unframed. Many collectors already have a preferred framing style, so it doesn’t make sense for us to offer every frame for every use case. Our goal is to make high-quality nude art more affordable. By removing frames, we lower costs and pass the savings on to you. This also gives you the freedom to choose a frame that fits your space—and often at a better price than we could offer. If you are new to framing, read our guide to framing and glazing for your new art.

4.Putting it all together.

If you haven’t already, make sure to check out our full guide to buying prints once you’ve finished this article. In short, start by imagining what your ideal collection could look like. What sizes do you actually like, can afford, and have space to display? What kind of prints do you want to focus on in terms of quality, materials, and style?

Knowing these things ahead of time makes choosing much easier. Think of it like walking into a shoe store already knowing your size and what you need the shoes for—suddenly, most of what's on the shelf becomes irrelevant, and your options are clear. It might sound overly simple or a bit too practical, but it’s a helpful exercise. To get started, here are three tips that can help you in your thinking.

1.Start Small. We don’t recommend starting with the most expensive piece you can afford—it might not be what would make you happy. Just because something is premium and costly doesn’t mean you’ll fully appreciate it - you might need to grow into it. In our experience, the best way to start appreciating art prints is by acquiring smaller pieces first. Sometimes going for the highest quality small print is the smartest approach. This allows you to experience the quality of the paper and craftsmanship firsthand. If you love it, you can confidently go bigger with your next purchase selecting similar type of paper/quality level. Eventually, aim to own your largest artwork in the highest quality you can afford. Size matters, and the quality will shine and become a signature piece of your home. But do not overpay, unless you know exactly what you are getting.

To let you explore the levels and papers we offer sample print packs in XS sizes, featuring the same image printed on a variety of paper types. These sets are designed to show how the ink and image interact with different paper types, allowing you to see how each paper affects the final look and feel of the artwork. It’s a perfect introduction to the core of printing craftsmanship, helping you make more confident and informed choices as you build your art collection.

2.Have a goal for your collection. Have a plan for what you want to collect. Buying random pieces in various sizes and quality levels is rarely a good strategy. Do your research and think about the collection you want to build. Is it going to be around one specific model or photographer? Is it a special visual style that you want to focus on? Is it size, materials ore ranting technique that appeal to you? Remember—any plan is usually better than no plan at all. It’s very easy to spend a fortune on art and still end up with random pieces rather than a well thought collection. Value your time and money - take the time to plan how you want to spend them.

3.Accept that some of your initial purchases may not be your best. Most certainly, your tastes and budget sensitivity will evolve over time, and you might eventually sell or give away some of your earlier pieces. If your tastes don’t evolve, you probably didn’t buy art that truly resonates with you in the first place. The most important thing is that art should make you happy - it has no other purpose than this. But art buying is also a risk. If you find yourself constantly thinking about how much you paid for a piece, that’s usually a sign you overpaid - take it as a signal and learn from it. But if you look at it and feel like your home wouldn’t be the same without it, then you’ve probably found the right one. In that case, the feeling it gives you - the dopamine, the quiet rush every time you see it was worth every cent.In the end, art is about the journey and the personal connection it creates. It should reflect who you are, inspire you, and bring you joy.