Questions You Should Know about Art Card Printing

Prints are probably the single item most commonly bought/sold in the artist’s alley, but they can be surprisingly tough to get right. This may seem pretty basic to Artist’s Alley veterans but it can be bamboozling for the unitiated. The questions I run into most often from AA newcomers all have to do with prints; “What size prints should I sell?” “What DPI should I draw at?” “How do I keep the colours from printing out muddy?” These are all really good questions! Lets try to answer them, shall we?

What size prints should I sell?

There are a lot of paper sizes to choose from and sometimes making a decision on this front can get kind of intimidating. Most print shops are more geared towards photographer than illustration, so the paper sizes they offer are going to follow photographic and frame-related standards. The most common sizes are, in ascending order (Metric sizes in mm in parenthesis): 2.5"x3.5"(63.5x89), 4"x6"(102x152), 5"x7"(127x178), 6"x8"(152x203), 8"x10"(203x254), 8"x12"(203x305), 10"x12"(254x305), 10"x15"(254x381), 11"x14"(279x356), 11"x17"(279x432), 12"x15"(305x381), and 12"x18"(305x457). Anything larger than that and you’re getting into poster sizes, which I’ll cover later. 4"x6" is probably the smallest print most people are going to be interested in purchasing, and it is usually very easy to find good deals on 4x6s so it’s a good starting point. 4"x6" has the added benefit of having a very common aspect ratio - 4x6, 8x12, 10x15, and 12x18 all have a 2:3 aspect ratio. This means that if you have a 12"x18" image, you can easily make prints prints of any of those other sizes. If you want to offer the same image in a multitude of sizes, a 2:3 aspect ratio is probably the way to go. 

If you’re less concerned about having - or even specifically don’t want to have - the same image in different sizes, you’re probably just best off using whatever size you feel suits the image best. Play around with the canvas sizes a bit and see what sort of aspect ratio you like composing pictures in best. Finally, if you’re new to the world of prints and don’t really feel like diving in to all of this nonsense quite yet you can always use good old 8.5"x11". Honestly, most of your customers won’t terribly mind.

What DPI should I draw at? 

This one comes up a lot with people who have done a bit of research on printing and gotten themselves a bit confused. DPI stands for Dots Per Inch, and is a term referring to the number of tiny dots of ink a printer will place per inch of paper. A printer typically has a range of DPI it is capable of, with lower DPIs often consuming less ink. (A home inkjet printer, for instance, is usually capable of 300-600 DPI max.) The higher the DPI, the crisper the image will look. (Up to a point, that is. Eventually the human eye really can’t tell the difference.) The DPI an image is printed at, however, has nothing to do with the image itself or with your drawing it. What you want to be concerned about is PPI. (For a period of time, DPI was used to refer to both printing and screen, but it caused quite a lot of confusion.)

PPI stands for Pixels Per Inch, and it pretty self explanatory. It is the number of pixels displayed on your screen that represent one inch of length in print. So at regular web resolution of 72 PPI, a single row of 72 pixels would print as one inch across. (Note that the number represents the number of pixels in a flat inch, not a square inch. So a square inch at 72 PPI would contain 5,184 pixels!) The larger your PPI is, the larger of a picture you’ll actually have to draw. An 8"x12" print at 300 PPI is a lot easier to draw than an 8"x12" print at 600 PPI. On the other hand, 600 PPI will be able to have a lot more detail packed into it, assuming you have a printer that can handle it. 

Typically you want a lower PPI than DPI. This is because a single pixel can be any colour, but tiny dots of ink can only be one of four colours. So you want a bunch of dots of ink in a single pixel in order to replicate the colour you’re looking for! 72 PPI is the default most art programs and scanners are set to, but it is completely useless for print. The resolution is so low you’ll actually be able to /see/ the pixels in the print version. 150 PPI is the bare minimum I’ve seen anyone work at, but the print usually turns out pretty fuzzy. 300 PPI is a good standard. Prints at 300 PPI usually turn out pretty cleanly and it isn’t too difficult of a size to work at. 600 PPI is another common standard. It takes a lot of effort to draw at this size, but if you are getting your pictures professionally printed it can be well worth it. (It has the added benefit of allowing you to print a picture twice as large at 300 PPI if you wind up wanting to sell a larger size of it!)

How do I keep my colours from printing out all muddy?

So you have this super-amazing print with vivid colours everywhere. Beautiful rainbows, bright reds…. but when you receive your prints, everything looks dull and grey! What gives?

The reason this happens has to do with the difference between how your screen makes colours and how the printer makes colours. Your screen is made up of lots of little lights emitting either red, blue, or green light at you. Because it is creating these colours with light directly, it is working on what is known as an additive colour model. You’ve probably read about this when studying light in school, so I won’t go too far into it. In an additive colour model, the primary colours combine to make other, brighter colours. If you combine them all together, you’ll get white light! (Interestingly, this is entirely do to with how the eye sees colour rather than a property of light itself. Red and Green lights will combine to make a light your eye sees as yellow, even though no actual yellow light is being emitted!) Every colour that your screen produces is created by combining those three colours of light.

Now, anyone who has played around with paint knows that this isn’t at /all/ how physical mediums work. Mixing red, green, and blue paints would create a disgusting green-brown mud. This is true for your printer as well! Physical mediums work on a subtractive colour model. Rather than emitting light at you, a print is merely reflecting light at your eyes. All of the colours created in a subtractive colour model are created by putting pigments down that absorb all of the light except for the colour that you want to be seen. So unlike in an additive model, where adding more colours results in more light getting to your eye, adding colours in a subtractive model results in less light getting in because it is all being absorbed. The end result of all of this is that there are colours that can be created on a screen that can never be created on paper, and there are colours that can be painted or printed that actually cannot be displayed on a screen.

Most printers specifically work with a set of four colours of ink that are combined to create every colour you see on the page. The colours are Cyan, Magenta, Yellow, and Black. While inks can be made in a lot of different colours, this colour model generally allows for the widest range without spending a lot on money. Sticking to four colours of ink further limits the sort of colours that can be printed. For instance, as we noted above Red is considered a primary colour of light. This basically means that multiple colours of light cannot be easily mixed to produce something our eyes would perceive as true red. As red ink is not present in the CMYK colour model, the closest we can do is mix magenta and yellow. But Magenta and Yellow inks both absorb some of the red light, resulting in less red light being reflected into your eye and a less vibrant colour being perceived on the page. Additionally, translating colours from an RBG colour model to a CMYK colour model is a tricky process, so sometimes a colour will just happen to print very differently than it appears on the screen. (This is much less of a problem now than it was in the early days of digital printing!)

So how do you get around all of this? Well, there are a few tricks you can use. Because artists have had to deal with this issue for decades, most art programs allow you to create your image using a CMYK colour model rather than an RBG one. (In photoshop this is image->mode->CMYK colour) If you draw a picture in this mode, the program will not allow you to use colours that cannot be created by a printer. Drawing in CMYK will pretty much guarantee that what you get on paper will look a lot like what you have on the screen. That’s the safe, easy option. On the other hand, the CMYK pallette is pretty limiting. In fact, I’ve personally found it to be more limiting than CMYK printing actually is at this point. So your other option is just to be careful, and familiarise yourself with what your printer is capable of doing. Be careful when using reds, as they have the widest variance between screen and print, and stay clear of bright, fluorescent colours. Try to order a single proof print before getting your prints done to be sure that it’s printing the way you want it to. (This is a good thing to do even if you are using the CMYK model, honestly.) 

So, that’s that! If you have questions, comments, or corrections feel free to post them to our ask box! Hopefully someone finds this helpful. :)

Artwork Archive | June 3, 2019

When it comes to the topic of editions, there is a lot for artists to know.

Of course, you already know editions are a great way to spark the interest of collectors. That they create a wonderful sense of urgency when buying in the art world. And, unlike “one-and-done” original works, you can reap the benefits again and again for weeks to come!

But there are so many factors to keep in mind—from choosing run sizes and correct labeling to pricing and impressing collectors—that it can be hard to know where to start.

The anxiety and doubt can start to bubble up with every answer you don’t have. What is the right way to create, market, and sell these pieces so that collectors are happy and eventually come back for more?

To help you get the value you deserve for your editions, we clear up artists most frequently asked questions.

What is the difference between editions and reproductions?

An edition is part of a set of original works of art intended for graphic reproduction and produced by or under the supervision of the artist who designed it. These are images or casts that are produced in multiples. Examples of editions include printmaking techniques like etchings and lithographs, fine art photography prints, bronze castings, ceramics, etc.

Each work in the edition has unique qualities and can vary slightly because each one is created individually.

A reproduction, on the other hand, is considered a copy/facsimile of the original work—not created in the same medium as the original artwork, usually using photomechanical means. So, not an artwork itself.

In fact, producing a reproduction does not typically involve the original artist. Instead, a digital image is usually created of the work, and that file can then be used to reproduce it on any surface in any size. Examples of reproductions include giclee prints, iris, posters, print-on-demand items such as pillows, garments, cards, etc.

Between the two, editions are considered more valuable, as they are collected like any other artistic medium. Reproduction prints typically have a much smaller worth, therefore, but because of this lower price point can help you reach a new segment of art buyers and they can be a valuable part of your art business strategy.

What is the difference between open and limited editions?

With open editions, the number of prints that can be created and sold is unlimited, offering artists the chance to make new prints based on the demand and a more constant source of possible revenue.

This differs greatly from limited editions, which have a fixed number of prints from the beginning of the print run. The number of limited editions is carefully chosen by the artist before production, and no more can be created after they are all sold.

Of course, this does make limited edition prints more valuable in the eyes of a collector, so artists are able to charge more for this type of print.

Can’t I just change the size of my limited edition run later?

Definitely not! Collectors buy limited editions because they are valued on the same level as originals. Their scarcity in the art world is what boosts their worth.

Alter the number in the run after the fact and you not only greatly decrease the value of the edition, but you break the hard-earned trust between you and your collectors—jeopardizing your entire reputation as an artist in the process.

To keep both their integrity and the value intact, many artists go so far as destroying the materials they used to create their works so that it’s impossible to add to the edition later on.

If your limited edition prints sell quickly, view this as a win! Being so in-demand gives you much better positioning when you create your next limited edition run.

 

Can I sell the same limited edition print in different sizes?

Yes! Artists can choose to create a few limited edition runs for the same photograph or artwork in different sizes—as long as this is clearly expressed to potential buyers before a sale.

Often times, the bigger the edition is dimension-wise, a smaller amount of prints is offered and vice-versa. For example, an artist may decide to print a hundred editions that are 4x6 in size, twenty that are 8x12, and only five that are 16x24.

This practice opens you up to a wider range of potential buyers who would prefer to buy a smaller print while maintaining the exclusivity and value of the larger pieces for collectors who can afford it.

Just be transparent with your art buyers about your offerings at all times, as to not damage your credibility!

What size should I make my limited edition runs?

In short? It depends.

Every artist may have a different strategy for success, depending on the popularity of their work.

For instance, an established artist with potential buyers at the ready can sell a handful of limited editions for hundreds or thousands of dollars a piece.

An even more famous artist could increase the number of editions and this accessibility would still not affect the value of the work in any negative way. Or, they might make the decision to create only two works total and drive the price up exponentially!

On the flipside, an emerging artist might have an especially difficult time garnering this type of interest.

For those who want their work to become collectible, the size should be kept low. For those who’d rather keep the income stream flowing, it might be wise to go bigger—just not so large that the intention and urgency behind a “limited edition” becomes arbitrary.

A good place to start could be anywhere between 20-250, while some artists go as high as 500 prints.

Again, it all depends on your collector-base and how in-demand your work really is. You may have to arrive at this number through good old fashioned trial and error.

Try taking a look at artists with similar popularity. Do some digging on the number of pieces they are selling and for what price. Is it working for them? What are their marketing tactics? What works for them will not necessarily work for you, but it is a good way to test the waters and get your feet wet.

Just remember, you want it to be large enough to garner sales, but small enough to drive interest.

And if you find that after a few runs you are in such high demand that you are selling out, fan the flame by decreasing the size of your next run and raising your prices!

How do I price my editions?

The general rule of thumb is the fewer prints you have available, the more valuable they are and the higher you can price them. But like we just talked about, a small run alone does not make the work valuable. It greatly depends on your work’s popularity in the art world. Finding that sweet, sweet spot between supply and demand.

Because the less demand there is for a work, the less it’s worth—which means a lower price tag to match.

So, where do you even start?

Bless the internet, because we now have access to a whole bunch of data that makes setting our prices a little easier. Instead of pulling a number out of thin air, put your research cap on and start looking for artists that have similar work to what you are currently producing.

How much do these artists charge for their work? Is there a pattern in this pricing?

Just make sure you are making an honest evaluation of your work and are then comparing it to artists with a similar style, working in a similar medium, with a similar amount of experience, as well as selling within a similar geographical region.

Then, like with all art pricing strategies, make sure all of your costs for creating are covered in the final price of your run. That includes your materials, equipment, studio space, and (don’t forget this one) your time!

Some other things to note?

If limited editions begin to sell out quickly, it is common practice for the price of the remaining pieces to increase in order to match what the market is willing to pay. And even if the work is not selling like hot cakes, it’s not uncommon to set the prices higher for the last few editions remaining.

The harder it is for people to get their hands on, the more valuable it is.

Prices will also differ for different sizes of the same work (i.e. larger works in smaller numbers require a higher price tag). But in this case, too, prices can be marked up at any point of time, depending on the demand.
 

What is the correct way to label my prints?

A limited edition is typically labeled with the number of the print created during the run, followed by the size of the print run as a whole.

For example, the first print in a run of ten would be marked 1/10, the last being labeled 10/10.

On your photographs or prints, write this number in pencil on the front of the artwork, on the left side just beneath the image. For open editions, this spot can be left blank. Your signature goes on the right-hand side, along with the date if desired. A title (if you have one) can be written in the middle between the number and name. Just remember to label the piece where it won’t be covered by a mat!

There are a few other labels artists can use to convey different meanings, replacing the edition number at the bottom of the piece—such as “AP” for Artist Proofs. You can learn more about these different labels here.

Whatever you do, be consistent! The format you use to sign and date should be identical between prints, so you continue to build trust with collectors.

 

How else can I gain a collector’s trust during sale?

Besides being true to your word, labeling your work consistently, and being extremely clear about run sizes, always present collectors with a professional invoice and Certificate of Authenticity for the work.

These simple, yet profound pieces of paper provide extra assurance that the value of the limited edition is genuine, as well as formal documentation should the owner ever need to prove its value down the road.

These documents should leave no detail out: the work’s title, price, print number, medium, dimensions, date printed, print run size, printer type, etc. Signed and dated by the artist, they should be presented to your buyers alongside your work.

It’s incredibly easy to make them, too, if you have the right tools! Learn how here.

How can I keep my editions organized?

There is so much to keep track of when it comes to editions—pieces coming in and out of the studio, run sizes, prices, dimensions, collector information, documents, etc.—that it can get overwhelming really fast.

And while it often seems like the lowest priority in your art practice, staying organized and keeping track of all of these moving parts is extremely important to the success of your business.

Luckily for artists, an art inventory management software like Artwork Archive offers a really simple and easy way to manage editions and reproductions, and all that entails.

With Artwork Archive, keep clear records on the number of editions created, which prints have sold, at what prices, and to which collectors. Plus, you can add details like inventory numbers and unique images for individual editions.

The goodness doesn’t stop there! Generate COAs, invoices, and other professional reports with the click of a button. Then record the edition’s exhibition and award history to add to its value and credibility. Plus, stay on top of what is submitted and accepted, so you can stay professional and never double book or double sell the same print again.

You can even get insights on how well your editions are selling. And, note which buyers you need to reach out to again with new editions!

Ready to get your editions organized?

Start your free trial of Artwork Archive today.