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Articles For Artists

Image, File, and Printer Resolution Continued

You must assess more qualities than PPI and/or DPI when assessing how large a file can be printed.  We will try to give you some basic information to help with the understanding of this complicated subject.

We use some general guidelines to determine the prospective print size of a submitted file.  We look at the resolution, pixels per inch, sharpness of detail, evidence of retouch, evidence of digital manipulation, and anything else that may show evidence of the process in the print.  After all, a true digital fine art print has NO evidence of the process evident in the print.  You don’t want to see pixels, lack of sharpness, or evidence of bad image editing.

The terms “image size” and “file size” should not be interchanged.  Image size refers to the dimensions of the image while file size refers to how much space the image takes up on a hard drive (kilobytes or megabytes).

It’s important to begin with a high quality image, which means the highest resolution and image dimensions you can get. Bigger is better: you can go down in size, but not up without losing quality. Image and file size should be as large as possible at the beginning.

What is the difference between dpi and ppi?

These two terms are commonly interchanged and add complications to an already confusing concept. For example, you can print an image on your 300dpi printer at 72ppi, 100ppi, or 300ppi. Changing the ppi affects the quality/size of the printed photograph. You can’t change the DPI, since this is pre-set by the manufacturer for whatever printer you are using. BE AWARE, most people today are actually talking about ppi when they are saying dpi.

Dots per inch (DPI): This is the number of dots per printed inch printed off of a specific printer. If you have a 300dpi printer your dpi will never change for ANY image you print on that printer.  Old Town Editions has 300dpi printers.

Pixels per inch (PPI): Most commonly used to describe the pixel density of an digital image, this is specifically speaking about the pixels per inch in a digital file. It is possible to print at a variety of PPI, with the most common range being as low as 150 to as high as 300.  AGAIN, your DPI on the output chosen will not change.  You can print a 150ppi image on a 300dpi printer.

Resolution: Resolution is the measurement of pixels in the image, usually expressed in measurements of width x height relative to the total number of pixels in the image.  Higher resolution means more detail, and a higher PPI at a given size means higher resolution.

Print: We are going to try to keep this explanation of how to translate an image to a printed size as simple as possible although this is a relatively complex topic to fully explain and comprehend in one blog post. While 300ppi is standard, in most cases as low as 150ppi is acceptable. You may go higher for some situations. Lower than 150ppi results in serious print quality issues.  At Old Town Editions we prefer to only let a file ppi  drop to 200ppi. If your file is 150ppi at the requested print size we suggest taking an extra step using special sizing software such as On1 Perfect Resize. It’s all relative to qualities of each individual image. Sometimes your image will be fine with printing the file at 150ppi.  All images cannot be treated equally. Anything below 150ppi will require a special sizing step to prevent actual pixels (stair stepping) to show up in the print.

Web: You will size your print files down for web viewing. Your files will load fast and look good on most monitors at 72ppi as seen in the image size window to the left. Most web files do not have a high enough resolution enough to make prints from. Doing this with your own work will ensure that if image theft does occur they are greatly limited in their use.

When you have an image and file size that is already deficient it is extremely difficult, if not impossible, to add PPI to make a larger print. As mentioned above, you can allow your PPI to fall to a threshold of 150ppi before your print quality declines.  The chosen size of your image, the quality of your file, the kind of printer as well as the texture, brightness, thickness, and color the material you are printing on all affect how good a print will look.

Understanding sizing and resolution is a considerable amount of information for someone that doesn’t make prints for a living to understand in one blog post.  When you work with us, we will aid you in the understanding of this topic while working with you to optimize your files for printing.

If you have any questions about the information provided please message us at info@oldtowneditions.com or call 703-684-0005.

Presenting Your Fine Art Prints For Sale

One of the keys to successful sales is your presentation.  Artists find that presenting giclees in a way that preserves the quality while displaying them in a refined manor sells more prints. Digital fine art prints, commonly called giclees, need to be handled and presented as you would any fine artwork. They should have a neat, clean, and professional presentation; it can’t look like you decided to start selling prints yesterday. You must also present your prints in a way that protects them, using acid free materials.

If you are selling out of a booth, the booth needs to look as professional and clean as the presentation of your prints or originals.  The same is true for displays in retail locations. The more “put together” you are as an artist the more sales you will have.

There are several ways to present your prints and originals professionally. You can offer prints framed, matted/backed/bagged, or just backed and bagged.

We will review some options that we are most familiar with. There is no one single way that is correct.

The best method to ensure sales for any given print is to have all options available for your clients.  A selection of prints that are framed and ready to hang is perfect for clients that want the easiest option. For clients who prefer to choose their own framing you can offer matted and bagged prints that can potentially fit a standard size frame. Standard sizes can help save your clients from the anxieties of additional costs that may come from custom framing. You can also offer just the print itself backed with acid free foam core or mat board and bagged for your client to purchase and pursue matting and framing themselves. Providing all of these options offers your client several different price points as well as the ability to personalize the framing. Your clients will have the opportunity to save on framing costs when selling standard sized prints that are matted and backed. Additionally, if they don’t like your frame or matting choices they can take all of that upon themselves by buying that loose print.

In a booth or retail space, highlight your original artwork and give them plenty of room to breathe. As an artist your primary concern will be to sell the originals if they are for sale. Original artwork has the highest profit margin for you and can draw more attention from people walking by your booth. Clients who enjoy the artwork but cannot afford the original artwork will be happy to see that there are prints available as well. Clearly separate and clearly mark your prints and originals.  You want to steer very clear of people mistaking your prints as originals and vice versa, which can happen with high quality prints.  One of the ways of isolating your prints from your originals will be to offer your prints in a bin at the front of your booth or retail location. A nice accompaniment to the print box in the front is a mini print box just next to your checkout location.  You want to try to trigger some nice impulse buys, and having minis at a lower cost is a great option.

Matting and/or framing your paper prints with archival materials and techniques provides the best possible protection. We recommend acid-free or rag mats combined with a UV protectant glass. Although acid-free and archival materials can be more expensive, it is worth it to protect the life and longevity of your prints. If you’ve invested in the highest quality prints, it makes sense to also invest in the highest quality materials to protect them. If you use non-archival materials to mat/frame your prints, they will yellow and/or fade over time greatly reducing the life of the print.

Ultimately, you need to put yourself in your clients’ shoes and ask yourself how you would want to buy a print and take the extra steps to make sure your potential clients are buying with confidence.  Think about all the little details so you cover all of your bases and are ready for success.

If you like this article and want some one on one time with one of our staff to discuss this topic please feel free to give us a call at 703-684-0005

Image, Print, and File Resolution For Artists.

This is an example of a web sized file.

This is an example of a web sized file.

File sizing can be a difficult topic to understand because of all the variables and technical language involved. Rest assured, when working with our team at Old Town Editions we will offer you guidance on this subject.  This will be our introductory post on the information you need to understand image, print, and file resolutions.

For web viewing it is not recommended to size any larger than 72 dpi and 10 inches on the long dimension to protect your images from people copying them and printing them themselves.  See pic above for example of a web sized file.

Show entries, card printing and websites are some of the most common file sizing requests. Your files do not need to be large for these applications. Often people are surprised that the online submission is asking for a smaller sized file. Although higher file resolution is better for printing, that is not the case for digital submissions or displaying your images online. Most submissions are looking for files just big enough to view on a screen without distortion while keeping the file size as small as possible. This makes the files easier and faster to transfer, view, and store.

When you are asked to submit a file online they will usually provide guidelines for file resolution, sizing and format. You must be provided both the size and resolution specifications or pixel dimensions to know how to prepare a file for submission . It is not enough to say that you need a 300 dpi file. Not all 300 dpi files are created equal.

screen-shot-2016-09-22-at-12-22-31-pmIf you have a file that is 1″ x 1″ at 300 dpi you have a very small file.

screen-shot-2016-09-22-at-12-23-02-pmIf you have a file at 100″ x 100″ at 300 dpi, you have an enormous file.
The 100″ file will be 100 times larger than the 1″ file, yet both are technically 300 dpi.

The length and width when given in pixels is much more straightforward and helpful. With Pixel dimensions, it is using one number to tell you the same thing as the size and file resolution information combined. Length or Width x File Resolution = Pixels Dimension. As you can see in the above size charts, a file that is 100″ long at 300 dpi is 30000 pixels long and a file that is 1″ at 300dpi is 300 pixels.

Once the file size is taken care of the next step is to find out what type or format of file they want you to submit. Most of the time, they will be asking for a JPEG file. JPEGs are compressed which makes their file size smaller than a TIFF or PSD of the same image. You may also be asked to submit a PNG or a PDF.

If you are already a client of ours, we would be glad to provide the correctly sized and formatted file for whatever need you have.

Packing Your Giclees for Shipping.

It is important to package your giclee prints correctly in order to ensure they arrive safely and look professional. Keeping material costs down is equally as important. This blog post reviews a couple of our most common methods of packaging prints for shipping.

Make sure that the materials that are in direct contact with the giclee are acid free. This means using acid-free plastic sleeves and acid-free tape to seal those bags. Clearbags.com is a great resource for packaging materials to keep your giclees safe. While cardboard and packing tape are not acid-free materials, they will not damage your giclees during a 1-2 week shipping time. Just be sure to tell the person receiving your giclees to remove them from the packaging as soon as possible to prevent long-term exposure to these materials.

We recommend shipping your giclees flat when possible. We ship prints up to 20″x30″ in flat boxes. This prevents the prints from acquiring a curl from being rolled in a tube. Also it is difficult to roll a heavyweight fine art paper print that is smaller than 20″x30″ without it getting damaged or creased.

print taped inside bagFor flat packing, we recommend cutting 2 pieces of sturdy cardboard to the size of your box. Place your prints (which should be in an acid-free bag, sealed with acid-free tape) onto one of the cardboard pieces. Use tape to secure the bag to the cardboard. When packing your prints it is important to make sure they cannot move around in the package and get damaged.

cardbpard placed inside boxPlace the second piece of cardboard on top and secure the two pieces together with tape pinching the cardboard around all the edges.  This pinching also aids in making sure that the print does not shift around in the package.

Closing the boxPlace the cardboard sandwich in the box. It should fit snugly. If there is extra room, fill with crumpled paper or bubble wrap.

closed and taped ready for shipping Seal all edges tightly with packing tape, and you’re ready to ship.

Tube Pack openFor our larger prints, we use 8″ shipping tubes. This size ensures that the prints will not be rolled too tightly, and can more easily flatten back out after shipping. When rolling your prints, do not seal the end of the bag, as the print will need some room to slide forward in the bag while you are rolling it.

Tube PackedIf your tube is larger than your print, we recommend either cutting the tube length down to the match the size of the print, or attaching the bag of the print to a sturdy sheet of paper the size of the tube. This ensures that the print will not move around in the tube during shipping.

spool packagingclosed spool boxFor oversize prints (prints larger than 30×40), your print will be wrapped tightly around a 3″core and place inside a box with plastic ends to keep the spool from shifting inside the box.  This sounds contradictory to what we have been saying all along.  Rest assured, your prints will flatten out just fine as the larger a print is the less important that it not be curled for shipping. Be very careful with oversized paper prints as they are easy to damage when rolling or handling.

Make sure you insure the package for the total invoice amount you have been paid for the print.  This will make it easier for you to get fully reimbursed from the shipping company and replace the damaged print.

If you are printing giclee prints of any size with Old Town Editions we can assist you with packaging and shipping to your clients.  Our experienced staff can pack everything safely and securely, saving you time and money.

If you have any questions please email us at info@oldtowneditions.com or give us a call at 703-684-0005.

Transportation, storage, and presentation of giclees.

Understanding the difference between packing a giclee print for transportation, storage or presentation is vital to preserving the life of your giclees.  Packaging a giclee for transportation and packaging a giclee for storage can be two polar opposites.   Packaging for storage and presentation can be very similar to one another.

The reason why packaging for transportation is a polar opposite from storage is because of the different materials involved. Prints may be shipped in a variety of packaging, but they must be stored using only acid free materials. It is less expensive to ship with readily available corrugated cardboard.  It is more expensive to ship all of your prints in acid free materials, and also unnecessary as long as the prints are removed from the cardboard as soon as they have reached their destination.

2016 OTE sticker.warning.web

Here is a sticker that we now supply on all packages.

Cardboard is acceptable to use as long as the print is removed from the cardboard as soon as it is shipped or transported.  A print can only be in close quarters with cardboard for very short periods of time.  Prints must be in a sealed bag or other protective barrier before bringing them into contact with cardboard.  You cannot store prints in contact with cardboard and packing tape for extended periods of time or they will yellow from the acids. Most packing tapes have adhesive that are not acid free and can cause severe yellowing in as soon as a week. This is true even if the prints are in a sealed bag. It would be a good idea when shipping your prints to clients to include a note about care instructions as we do so they are not damaged by your shipping materials.

Packing tape on the outside of your package is not bad. It’s when using packing tape on the inside of the package that you will see the yellowing of the paper occur rapidly. If you are taping bags shut you want to use “photo safe” scotch tape or acid free artist tape.  The “photo safe” icon on the scotch tape indicates it is acid free and will not cause your prints to yellow under your bags.  You can find the photo safe scotch tape at office supply stores or even Target.  On the outside the package you can use regular packing tape.

Photo credit archivalmethods.com

Photo credit archivalmethods.com

When storing your prints, you will want to either keep them in metal flat files or use storage boxes, mat board or foam core that is clearly labeled acid free. Metal flat files will also protect from fires. Prints need to be kept in a cool, dark, dry environment. Boxes and flat files come in all sizes. You can find reasonably priced acid free storage boxes at Adorama or Archival Methods.  Flat files are a much bigger investment, but they are the safest way to store your prints and original art.  To save money, check your local classified listings for a used sets of flat files. If you are low on storage space or only have a few prints to store, you can store them between two pieces of acid free mat board or foam core. You can buy these in sheets at any art supply store.

Photo Credit Clearbags.com

Photo Credit Clearbags.com

When packaging for presentation, you will want to use acid free backing board with a clear plastic protective covering. This will make your prints easy to view and handle, as well as protect them from damage. You can back your prints with acid free foam core or mat board.  You can get rolls of Acetate or  use clear bags that will protect from fingers and air pollutants. Clearbags.com offers bags and artist presentation kits which include the backing board, bag, and mat.

We will have an article soon discussing how we pack giclees for shipping.

Please call (703)684-0005 if you have any questions about shipping or storage of your giclees.

Hush Hush Hubble Print For 25th Anniversary.

Over the last couple weeks there has been some really exciting work going on here at Old Town Editions.  If you have stopped by you may have seen some, but not all of this incredible work.

We reproduced a painting commissioned by George Washington in 1757 for Mount Vernon,  23 Bull Run Battle Maps for Manassas National Battlefield Park, and printed an unpublished Hubble Telescope Image that was unveiled yesterday. There is just something about having an unpublished image from the mighty Hubble Telescope that is the icing on the cake. These are just a few examples of the exciting work going on here.

All of this work has been amazing and a once in a lifetime experience for all of us here at Old Town Editions.

Last week we were contacted by Chuck Hymen, a representative of the prestigious Cosmos Club in Washington DC. He let us know that we would be receiving an image from the Hubble Group that we could not share with anyone. This image was to be added to a showing of prints of images captured by the Hubble that have been on display for the last month at the Cosmos Club. It was produced so it can be displayed at the show on the day of the release of this image on April 23rd, 2015. We are thrilled to have been a very small part of commemorating the 25th anniversary of such an imaging marvel as the Hubble Telescope.

Titled Celestial Fireworks, this image of the giant cluster of somewhere around 3,000 stars that is called Westerlund 2. The image is a spectacular sight to see.  The video further below is even more spectacular….

Celestial FireworksImage credit: NASA, ESA, the Hubble Heritage Team (STScI/AURA), A. Nota (ESA/STScI), and the Westerlund 2 Science Team

“On 24 April 1990 the NASA/ESA Hubble Space Telescope was sent into orbit aboard the space shuttle Discovery as the first space telescope of its kind. It offered a new view of the Universe and has, for 25 years, reached and surpassed all expectations, beaming back data and images that have changed scientists’ understanding of the Universe and the public’s perception of it.”http://www.spacetelescope.org

Here is a deeper view into the Celestial Fireworks image from the Hubble.

Can I Photograph My Own Artwork?

Image Capture Blog Post

Even lighting is one of the biggest challenges.

The answer is a little yes and mostly no.  It all comes down to the final intended use of your file.

Shooting your art yourself can leave you with a low resolution file that could have glare and tones that do not match the colors of the original artwork. These are the most common reasons that artists we know do not shoot their own work.  One must be careful with subpar art photography because people will judge your work online, in juried competitions, or in print publications based on the inaccuracies of that imperfect photograph. You can sharpen your art photography skills by taking local classes and workshops in an effort to learn what basics you must know before shooting your own work.  Unless you have over $10,000 to spend on a camera system you will not be able to capture enough detail for art reproduction work.

Having a professional photographer familiar with shooting artwork make a file is generally far better than shooting your paintings yourself.  Generally, a professional photographer will have a higher resolution camera and should have a better understanding of what it takes to create accurate color shots that are in focus from corner to corner.  The professional photographer will have more of an aptitude for making sure your photographs match your original painting.   These shots will be great for web/email and magazine publications but will more than likely fall short of the resolution needed for reproduction purposes.

17th century painting capture

Camera and painting must be exactly leveled and centered.

This leads us to the two downfalls with working with a general professional photographer that does not specialize in shooting art. First, even the most professional photographer uses a camera that still falls short of the resolution of a camera system with the purpose of reproducing artwork.  You may be able to use this file for reproductions, but you will be limited in size and your sharpness and detail may fall short of your expectations.  Second, unless the photographer shoots artwork all of the time he may not be prepared for how to handle metallic paints, high gloss, delicate substrates, and many more hurdles that must be overcome to get an accurate high quality photograph/capture of your work.  Don’t let anyone tell you that you need to change how you paint to make good reproductions.  An experienced art capture technician will be able to handle anything you throw at them.

If you are photographing your work with the intention of selling the original you should get your work photographed by a professional art photographer that can create a high resolution digital capture.  It will be a file that you can use for all of your needs.  If you think there is any chance at all of selling limited edition prints in the future, you will have what you need to move forward with printing.

Correct Art Image Capture Setup

Correct image capture setup.

You may only be able to find an art photographer with the high resolution digital capturing equipment at a studio that specializes in art reproduction.  These types of shops will best understand what challenges there are when capturing a high res file of your original and can deliver the highest quality file possible. We offer a stand alone 30″x40″ 300dpi, 300mb+ color correct image capture for $75 each.  This is about half the price of the industry standard for a comparable size image capture. We have many clients that use our stand alone image capture service and when/if they want reproductions in the future they can use this file.  This file will be able to be used for show submissions, web, email, and any other use you would ever encounter.

Old Town Editions, Washington DC area’s leader in art and artifact photography.

Proper Handling Of Your Paper Prints

Matted print v2There are a lot of fancy ways to display your paper prints these days.  Unfortunately, a lot of these new presentation methods are not designed for longevity. Mounting with adhesives, leaving paper exposed or even face mounting to acrylic for display can cause irreversible damage to a paper print.  These mounting options are very sleek and modern, but can drastically reduce the longevity of any particular print.

We are going to review the safest methods for handling paper that should last the full 150-300 years the paper prints we create are supposed to last.

It is not difficult to protect your paper prints or artwork.  You must simply handle them as little as possible and use acid free materials when framing, storing or presenting your prints for sale.

When handling your paper prints you should have freshly washed hands, acid free nitrile gloves, or cotton gloves.

When selling paper prints it is important to present them in a way that helps protect the print from damage while being handled.  You can do this by attaching acid free backing board (foam core, matte board, and more) and putting them in a clear bag.  Matting the prints you have for sale will add extra protection for the print surface.  This makes for a nice presentation and saves your clients a step once they have purchased your prints.

You should store your paper prints flat in flat files or acid free storage boxes.  You can stack and sort them by putting them in folders to keep them from moving around.  We always have large sheets of acid free paper available to anyone that wants to make large folders to help protect and store prints.  Flat files are well worth the investment. They come in many different sizes.  Check your local craigslist. There are almost always some available.

When framing your prints make sure you use acid free materials. If you must mountDeckled edge frame, use a method that can be removed at a later date.  The most archival way to present paper when framing is to hinge mount the top of the paper with linen tape or rice paper strips. Many people choose to  add a mat over the edges of the print to hold it flat. Some choose to leave the paper floating exposing a torn or deckled edge (see pic). Both of these methods give your paper the ability to expand and contract without damaging it.  Almost all spray or glue mounting adhesives are not archival. For more information about matting and framing your work visit the American Institute for Conservation of historic and artistic works article “Matting & Framing Works of Art and Documents on Paper”

To read more about how temperature, humidity, UV exposure, and air borne pollutants will affect your works on paper visit American Institute for Conservation of historic and artistic works article “Documents, and Art on Paper”.

Old Town Editions Introduces Artist Pages.

We have added a new section to the home page of our web site: “artist pages”.  Go to our web site’s home page and scroll down to the bottom of the page to view our new artist pages.  There are several reasons we have added this section.  First and foremost, we would like to share the beautiful work all of our clients are creating.  Secondly, some of our clients do not have a web site or collection of images online. By having us create a page for you with a link to your own web site or contact information, you will increase your ability for your work to be found on the web. The link that we provide on our web site and the one you create on your web site linking back to our site will be a step towards optimizing your own web site to be found on the web.  When you link to a web site that has a link to you it will help your web site rating and help you come up higher on a search list naturally.

This is a screenshot of what the artist pages look like on our home page.

This is a screenshot of what the artist pages look like on our home page.  Click the image above to see a sample artist page.

We require that any client that would like an artist page to have at least 3 images on file with us that have been Captured and/or Prepared for printing.  You must also request that we create you a page.  We will not automatically create a page for any client of ours. We will do our best to keep your artist page updated with current work.  Please let us know if we are missing any of your work or need to remove any work you do not want on your artist page. There is no charge for the creation and maintenance of these pages. We would appreciate it if in return you could add a link from your web page to ours.

Steve Myles ©-9

Sample Copyrighted Image

We are sizing the images small and including your copyright so no one can misuse your images. See the sample image to the left.   If anyone saves the image to their computer or tries to use the image, your copyright is imbedded in the face of the image as well as in the name of the file.  By doing this we are indicating clearly to all that the images are not to be used freely and that there is a copyright holder.

We will provide a link to your web site or include your contact information on your artist page so people can contact you if they are interested in your work.  If we receive any contact with interest in your work we will refer them to you (the owner of the images or artwork for which they are interested).  One way or another you will be contacted directly if anyone is interested in your work. By naming the files with your full name, anyone searching your name will find these artist pages along with your own web site and anything else about you on the web.

Keep in mind that your copyrights are safe with Old Town Editions.  You retain all rights to any work shown on our web site, produced or printed.  You must be the owner or have express written consent from the owner of any copyrighted work intended to be printed.  The owner of the copyright protected work that we perform is the only person that can approve the release of a digital image or place an order for digital fine art prints.

We will never reproduce any of your copyrighted images without your direct instructions or express permission.

If you are a current client and would like us to create an artist page for you please call Rachel or Pat at (703)684-0005 or email info@oldtowneditions.com.

Choosing Standard Print Sizes To Reduce Framing Cost.

Choosing Standard Print SizesChoosing standard print sizes for your digital fine art prints or giclees can help save you and your clients money.  For those that do not know, standard sizes are the popular pre-made frame sizes that your local art supply store will carry.  Even your local framer may have standard size frames available that are made with leftover scraps from custom framing, like Kelly’s Art & Framing shop in Old Town Alexandria, VA.  A few of the most common sizes are 5×7, 8×10, 11×14, 16×20, 18×24, and 24×36 inches. Most art supply stores have an even larger selection of sizes.  There really are some nice standard size frames available at a fraction of the cost of custom frames. (links to standard size artist presentation kits and frames provided at the end of the blog post.)

Coosing Standard Sizes

Rosemary Covey art Framed by Carriage House Framing.

If you are currently custom framing your own giclee prints or original work before you sell you could save quite a bit if you consider switching over to standard sizes.  You could potentially increase your profit margin or even offer your framed pieces at a lower cost than you were able to previously.  If your work is not a standard size you may still be able to use a standard size frame.  You may explore having a custom matte cut.  This is still a fraction of the cost of a full custom frame job.  The framed piece in the picture on the left is an example of a 16×20 standard size with a custom cut matte.

Some may think changing over to standard sizes is a little excessive to try to aid print and original artwork sales.  But, the fact is, clients that we work with have found great success adding this strategy to their sales efforts. This strategy works extremely well for artists selling through online stores, art fairs and co-op galleries. This approach is also most effective for prints under 30″x40″.

Most people have anxieties about buying unframed art or giclees, due to the potential high cost of custom framing.  Any less thinking your client can do to reach their “yes” decision to buy your work will help you increase your sales.  This means the only question they are thinking is whether or not they want to buy. Not questions like, “how expensive will this print will be to frame?”.  Be ready with answers for any questions your potential clients may have.  If you have all the answers to these potential questions, you get them back on the “yes or no” decision.

Sometimes,  if you put your work in a frame that your perspective client doesn’t like, it could inhibit a sale.  This can also go the other way.  Some people do not buy unless your work is framed and ready to hang in their house as soon as they get home.  Selling giclees can be tricky in this regard.  The choice of retail venue is often an important factor in deciding how to present giclees for sale.  Our clients that participate weekend art shows across the nation tell us framing inhibits their sales. These clients sell their giclees packaged in presentation kits in a bin at the front of their booth.  Our local Torpedo Factory artists tell us the print must be framed to expect it to sell.  The best tactic is to make sure you have both options available if possible.

Choosing Standard Sizes

Rosemary Covey art Framed by Carriage House Framing.

When you choose a standard print size for your fine art prints we suggest you choose a size that will show a little bit of white border when your work is placed in a standard size frame or matte.  This will allow room for your signature and edition number to show below the print.   This will also give the print the appearance of having been custom framed.  This attention to detail when choosing your sizes can help you to have a nice high end look at a fraction of the cost.

If you need help choosing standard print sizes please schedule a consultation or give us a call at (703) 684-0005.

Standard Size Artist Presentation Kits
Nielsen Bainbridge Archival Gallery Frames
Archival Methods Complete Frame Kits
Utrecht Frames
Dick Blick Frames