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!

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.