FAQ

How can I receive discounts?

We always consider the details of each individual job when figuring out pricing.  We have built in quantity discounts throughout all of our pricing categories.  We also have a few special package deals available for those ready to jump in and print whole editions.  Printing whole editions is not required.  We can accommodate an order as little as one or two prints per order until your whole edition is sold.

Multiple Original Capture Discounts

If providing multiple originals of similar size and value (paintings that differ by 2 inches or less and are of the same medium) accompanied by a file prep, there is an opportunity for a discount on some or all of the digital capture costs. The more pieces you bring in at one time, the more you can save.

  • For example: if you bring in (4) 16 x 20 inch paintings for digital capture and file preparation it could cost only $60 for all of the captures instead of the alternative $60 each ($240 total) if done individually. We can discount the second, third, and fourth capture in this situation due to the fact that the camera system does not need to be set up again for the consecutive capture. This will save us time, saving you money.

10 Item Capture Discount

Bring in 10 originals for capture only and each capture will be $60 each (normally $75 each). Total cost is $600.  This discount does not apply to oversize (4’x5′ and over) artwork or pieces with metallic paint. See Package G below to learn how to get all your 10 captures discounted!

File Prep Discounts
The file prep cost is $200 each and can only be discounted if paired with a printing package listed below. Each file takes hours to prepare for printing and can not be batch processed. Every file for each original piece has to be handled individually.

The only way to get this fee discounted is to order 10+ sheets of paper printing or 8,000 sq/inches of canvas printing of that image at the time of committing to the capture and file prep.  The file prep step of the process is just too labor intensive and takes too much time to give away for free without this greater commitment of printing.

Package Deals:

Package A (Paper printing): Half off digital capture and file preparation with an order of 10 sheets! Bring 1 original and order Digital Capture, File Prep, and 10 sheets of printing and save $130. Printing must be of new artwork.

Package B (Canvas printing): Half off digital capture and file preparation with an order of 8,000 square inches of printing! Bring 1 original and order Digital Capture, File Prep, and 8,000 Sq/inch of printing and save $130. Printing must be of the new artwork.

Package C (Paper printing): One free digital capture and file preparation and one 50% off capture/prep with an order of 20 sheets! Bring 2 originals and order Digital Capture, File Prep, and 20 sheets of printing and save $390. Printing must be of the new artwork.

Package D (Canvas printing): One free digital capture and file preparation with one 50% off capture/prep with an order of 16,000 square inches of printing! Bring 2 originals and order Digital Capture, File Prep, and order 16,000 square inches of canvas printing and save $390. Printing must be of the new artwork.

Package E (Paper printing): Five free digital captures and file preparations with an order of 50 sheets! Bring 5 originals and order Digital Capture, File Prep, and 50 sheets of printing and save $1300. Printing must be of the new artwork.

Package F (Canvas printing): Five free digital captures and file preparations with an order of 31,000 square inches of canvas printing!  Bring 5 originals and order Digital Capture, File Prep, and 31,000 square inches of canvas printing and save $1300. Printing must be of the new artwork.

Package G: Ten free captures when you bring in 10 pieces for digital capture & file preparation. This is a savings of $600.

Package H (Paper printing): Ten free digital captures and file preparations with an order of 100 sheets! Bring 10 originals and order Digital Capture, File Prep, and 100 sheets of printing and save $2600. Printing must be of the new artwork.

Package I (Canvas printing): Ten free digital captures and file preparations with an order of 62,000 square inches of printing! Bring 10 originals and order Digital Capture, File Prep, and 62,000 square inches of printing and save $2600. Printing must be of the new artwork.

 

In order to receive package deal pricing, printing must be of the new artwork. We cannot include reprints in any of the package deals.

What is the giclee printing process?

What is giclee printing process? Whether you are working with us or another digital fine art printmaker the process is generally the same. There are three basic steps in the digital printing process.

1) Digital Capture: A digital image of an original artwork is created, either by using a high-resolution digital capturing system or by scanning a photographic transparency or negative. These days the digital capture is the very best method for capturing all the subtle detail and nuances of original artwork. Using a transparency can cause some detail loss and limited color gamut compared to the original.

2) Image File Prep: The digital image is then manipulated on a computer to achieve the desired results and proof prints are produced. Manipulating the image includes color and tonal adjustments, cleanup, retouching, and custom image editing. The goal may be to create a very faithful reproduction of the original art or to change the appearance in a way that is chosen by the artist. Our file prep step also includes image and print proof archiving.

Watch out for print shops offering this at a low cost or for free.  This may mean that they are claiming ownership of your digital files and will not release them to you without a hefty fee.

At Old Town Editions we claim no rights to your artwork or the images from your original artwork.  We will gladly provide you with the full size file of any of your finalized images. We archive your files for future printing and will not release them unless we have express written consent approving a third party for print ordering.  

3) Printing of the image: Once the proof is approved by the client, the image is ready to print. Old Town Editions archives all prepared files so our clients can order reprints whenever they need them. Not all print shops offer image archiving. All you need to do is call and order and in a few days prints are ready.

What makes Old Town Editions unique? Our printmaking process is structured on the concept of repeat edition printing.  We archive the digital files as well as physical proof prints. We document settings and keep editions on the same printers, inks, and papers as the original proof.  When you order prints we confirm that your print is identical to your proof that you approved in the file prep process. This is the definition of keeping an edition true.

We make this commitment to repeat printing.  This allows individuals adding print to their business a reliable source of edition prints as well as a wealth of experience guiding them to success.  We know this works! We have a more than 20 year track record of supplying reliably high quality repeat printing to all of our clients as wells as working with and guiding individuals to success printing their work.

We promise that whether you are ordering prints today or five years from now that all the prints will be identical to the first.   We are one of a very few print shops that make this promise.  As a print shop it is very difficult, time consuming, and costly to make this commitment to clients.  This is a very large commitment we are proud to make on your behalf that takes constant R&D and investment on the back end to provide for our clients.

Most print shops are unlike our own.  The majority of print shops you will find offer giclee or art reproduction printing service in conjunction with more printing for the masses, such as commercial or sign printing.  These other types of printing lack a need for the attention to detail that fine art printing does.  Their printers and equipment don’t need to be fine tuned as regularly as if they were only printing fine art.  This lack of quality control is unfair to the artists or photographers that are having their work printed on the same machines that are printing mass quantities of lower quality prints.  This leaves the clients (aritsts and photographers) suffering in several ways.  Shops that will print anything and everything that comes their way will are not generally concerned with fine print quality.  They do not keep a close eye on their tolerances that effect print detail, sharpness and color consistency like a fine art printer would. These print shops are not able to offer identical repeat printing year after year order after order.  And last but not least, they lack of the ability to give artists and photographers guidence to establish expectations such as how one should present or market prints or even how much should one ask for these prints.

Don’t limit yourself by going with the local print shop because it is easiest.  Understand what each type of print shop has to offer. Ask tons of questions. They should be willing to spend time with you reviewing all your concerns and questions.  If they are not, you should move on.  There are thousands of print shops and only a few that are there specifically for art and photography printing like Old Town Editions. Many cities and towns do not have a digital fine art print shops and you may need to figure out how to work remotely with a reputable one even if it means potentially shipping artwork.  Be willing to travel a little bit to find the shop that fits with you best.  Don’t settle!

What is a Giclee?

What is a Giclee Print? – A giclee print (pronounced ge-KLAY) is a fine art print made with a high-end inkjet printer. In the giclee printing process the artwork is captured, proofed and printed digitally. These prints are reproduced using incredibly precise printers and archival inks. Giclee prints are recognized by the world’s leading galleries and museums as the finest reproductions available to date.

Term Origination: The word giclee originated from the French words “gicler” and  “gicleur”.  Gicleur is a technical term for an inkjet nozzle.  The word “gicler” means to spray or squirt a liquid.  Unfortunately the people who came up with this term did not realize that it is a somewhat vulgar French slang term if used as you see it.  Be careful with when throwing the terminology around with a French speaking person!

The word giclee was coined by Jack Duganne in the early years of the digital printmaking business. The term was developed so that artists, galleries, and dealers would not have to market their prints under the generic label of “inkjet” prints. This is similar to how people use the term “Serigraph” to describe fine art silkscreen prints.

Problem with the term giclee: Old Town Editions wishes the term giclee was only applied to archival digital fine art prints made with fine art paper or canvas. This is not the case! There have been some issues raised recently with the over use and abuse of the term.  The term giclee is unfortunately used to describe any digital print regardless of the quality of the materials and printers used to make them.  This abuse of the term giclee confuses buyers and clouds the understanding of what the final print buyer understands that they are buying.

This is one of the reasons the term giclee is not our favorite name for this type of prints. If you have prints of high quality that speak for themselves you do not want to use a name that puts you in the same category with prints that can’t compare in detail, clarity, and/or archival properties. It is better to call the prints by a term that actually tells the buyer what they are purchasing. Other names we recommend calling your giclee prints are: Digital fine art print, archival pigment print, pigment print, digital fine art reproduction, archival inkjet print, or fine art inkjet print.

For a better understanding of our stance on the term giclee see our article:  “What is a digital fine art print?”,  

History The Iris was the first inkjet printer to be used to produce fine art prints. The IRIS was a pre-press proofing printer for offest lithography.  The early adapters of this technology adapted a inkset created by Lyson as well as other manufacturers that had a 60 year print life before fading.  At that time this was groundbreaking.  IRIS printers virtually created the digital fine art market also known as giclees. The Iris uses a 4 color dye-based ink set and can print up to 35” x 47”. Using a patented, continuous inkjet technology, the printer precisely forms images from variable-sized dots. This places more image data per pixel and produces a fine tonal gradation with subtle details. The Iris 3047 printer also has an apparent resolution up to 1800 dpi. Many print studios are getting rid of their Iris printers in favor of the newer reliable printer brands like Epson, Canon, and HP which require less maintenance and have more archival pigment-based inks. Most IRIS’s have been decommissioned due to the lack of availability of inks and printer parts.

The Advantages : Digital fine art prints prints are advantageous to artists who do not find it feasible to mass produce their work, but want to reproduce their art as needed, or on-demand. Once an image is digitally archived, additional reproductions can be made with minimal effort and reasonable cost. The prohibitive up-front cost of mass production for an edition is eliminated. Archived files will not deteriorate in quality as negatives and film inherently do. Another tremendous advantage of giclee printing is that digital images can be reproduced to almost any size and onto various media, giving the artist the ability to customize prints for a specific client.

Who retains the right to my artwork and prints?

You do! Old Town Editions does not claim any rights to your artwork, the prints made from that artwork, or your digital files.

Watch out! Keep an eye out for print shops with no setup charges.  It is common that the shops with no setup cost claim the rights of the files and will not release the full size print file at all or without and extra fee.  Some printers believe that because they have altered or enhanced the digital file used to make the print that they have a legal claim to the digital files. Make sure you have a thorough understanding of your printmakers policy.

We here at Old Town Editions would never make such claims to your files.

In addition to this, we only create prints or release files with the express written consent of the artist or the artist’s estate. We take all copyright laws very seriously.

Did you also know? When you sell an original work of art, you retain all printing rights. Unless you specifically state otherwise when making a sale, you keep all rights to any use of that image for reproduction purposes. The buyer cannot make and sell prints without your consent. This also means that you do not need the buyer’s consent to sell reproductions of your paintings. We do, however, encourage you to notify the buyer if you plan to do this. It goes a long way to be courteous to your clients.

Just an idea! Some artists we have worked with in the past have even borrowed originals back from buyers just so they can make reproductions of their earlier pieces.  You can offer a substitute piece to hang on your clients wall while you are borrowing the one you want to print temporarily while undergoing the art reproduction process.

How do I care for my giclee prints?

Because paper and canvas are damaged by prolonged contact with chemically unstable materials, the choice of materials for storage and exhibition is critical. Unstable materials have acids in them that leach into your prints and originals over time and cause yellowing, fading, and physical deterioration. Always make sure you use acid-free archival rated materials when packaging or framing your work.

Fine Art Paper Print Care

Handling: The paper prints should be treated like an original work on paper or any other fine art print such as an etching or serigraph. Handle paper prints gently and as little as possible. When doing so, be sure that your hands are freshly washed or wear gloves to minimize transfer of oils from your skin.

Storage: Mats, folders, and storage boxes should be labeled acid-free or 100% cotton rag. Store matted works or foldered items in flat files or in appropriately sized boxes specifically designed for storing works of art or documents. Adorama has storage boxes at a great price. Follow the link to view the sizes available. Oversized objects should be stored flat whenever possible, not rolled or folded. Store unframed prints in a cool and dry environment. Warm or moist conditions accelerate deterioration and encourage mold growth and insect activity. Works should also be protected from environmental pollutants and airborne particulates.

Framing: Matting and framing your paper prints with archival materials and techniques provides the best possible protection. We recommend acid-free or 100% rag mats combined with a UV protectant glass. If you notice any yellowing or other discoloration on older framed works, this probably indicates that the materials used are not acid-free.  Ask your framer to use archival (acid-free) materials for your framing. Your framer may not automatically choose acid-free materials because they are generally more expensive than standard framing supplies. Keep in mind it is well worth the investment!  You should also make sure that the prints are being mounted using archival methods. The safest type of mounting is a hinge mount with rice paper or linen tape.  In this process only a very small area on the edge of the print is exposed to adhesive. Dry mountings generally considered less archival because the entire back of the print is adhered to a board. The only archival form of dry mounting is done with a wax base paper that when re-heated can be removed from the art or artifact.  You can permanently alter, damage, amd reduce the life of your prints if you introduce adhesives to your framing.  Dont be fooled by terminology like archival glue that framers throw around.  The glue may be acid free but the adhesive is permanent. Therefor not being truly archival.

For more detailed information on giclee print care, please visit the American Institute for Conservation of Historic and Artistic Works at www.conservation-us.org.

Canvas Print Care

Handling: Just like paper, the canvas prints should be treated like any other fine art object. Handle canvas prints gently and as little as possible. When doing so, be sure that your hands are freshly washed, or wear gloves, to minimize transfer of oils from your skin. 

Adding a Protective coating: Because canvas prints are usually stretched and not framed behind glass, they are more in need of a protective coating. Archival canvas prints should have an additional spray-on protectant that will be applied after the printing.  The coating can protect the print from minor scratches, oils from the skin, and environmental pollutants. You will be able to wipe your prints off with a wet cloth to clean them and not have to worry at all about smudging, scratching or removing ink from the canvas.  Applying a coating to the canvas prints also has several other benefits.  One added benefit is that just like in painting varnish can make a print look a little bit richer in color. Another added benefit is the additional UV protection the varnish offers.  It can extend the life of the print even more than the already expected 100+ years before fading. All of the canvas prints offered by us here at Old Town Editions will be coated with Glamour II or Timeless print varnish by Breathing Color.  We can only offer uncoated prints to artists intending to embellish then clear coat the prints themselves once done with the embellishment. Click here for more on printing on canvas for underpaintings.

Storage:  Just like paper, canvas is damaged by prolonged contact with chemically unstable materials. The choice of materials for storage and exhibition is critical. You can store canvas prints flat or rolled.  Flat is going to be the very best for long term storage if the piece is not stretched or hanging on a wall.  Rolling the print image side out will reduce the stress on the print whether you are storing for a long or short period of time.

Framing: There are several ways to frame canvas prints.  Some methods are more archival than others.  The most archival method is to stretch your canvas prints on primed wooden stretcher strainer (stretcher bars).  The primer separates the acids of the wood from the print so it does not leach into the print.  Just like with paper (read above) adhesives can permanently damage and reduce the longevity of your prints even if they claim to be archival.  There is only one method of archival mounting that uses wax mounting paper.

How long will my prints last?

At Old Town Editions, we are committed to providing you with the highest quality prints possible. When giclee printing was first introduced, the longevity of the inks left something to be desired. In the past decade there have been huge advancements in print longevity due to the the extended permanence of the inks available. We have kept up with these advances every step of the way. We are constantly searching for ink sets that have the highest archival ratings and the widest color gamut. The pigment inks we currently use are not only lightfast, but are also water-resistant. We combine these pigment inks with papers that have similar archival qualities and a proven record of acceptance in the art and museum market. We do not carry any “second-tier” products. Below is a chart of the print longevity ratings for our Canon ipf9000, ipf8000, ipf8300 and ipf9400 printers with Lucia pigment inks on our papers. These results are collected from resources like Wilhelm Imaging Research, and other industry leading independent testing sources.

Media
Test Result (years)
Breathing Color Lyve Canvas
>100
Arches / Somorset
>150
Hahnemühle Photo Rag / German Etching
>100

The print longevities listed are conservative.  Tests have far exceeded the number of years mentioned above before fading.  These are the ratings for prints under regular glass.  Prints framed under UV glass can exceed 300 years before fading.

Why do I need an image file preparation?

This is a necessary step to the digital fine art printing process to insure a flawless final print. Our skilled staff will precisely match the print’s color and tone to the original work or optimize digital files for printing to the clients specs.  We clean the image of imperfections and perform custom image editing to perfect images.  This step also includes retouching and image archiving.  There is no limit on effort or materials to reach a final image and print that leaves you completely satisfied.

All digital fine art printing requires file preparation, whether we are reproducing an original artwork or printing from film or a digital file. Each printer, substrate, and ink combination requires a unique set of adjustments to produce the best matched print possible. For more about our image file preparation visit   our image file prep in our services section.

Can I shoot my own artwork?

Shooting your own work generally will not be sufficient for digital fine art reproduction or giclee printmaking.

Yes you can shoot your own work for other uses.  The files from your own camera will only be good for art show submissions or emailing.  If you attempt to use these files shot with your own camera for reproduction purposes or giclee printing you will experience soft focus/lack of detail, loss of information in highlights or dark areas, and pixelization (edges have a stairstep look with block like square shapes instead of being smooth).

We will need to shoot your artwork with our sophisticated digital capturing system to ensure exact focus, lighting, and color consistency.  This is generally called a digital capture if it is being done correctly.

It is important to have your art perfectly level and the camera perfectly centered using a very specific lens to prevent distortion or focus fall off.  Also, the lighting that we use is 1800 watts of copy lighting.  Our capture will take the camera anywhere from 5 minutes to 25 minutes to capture all the detail of your original artwork. It is not just a snap of a shutter.

The level of quality of the photograph or scan of your artwork will determine the level of quality of your print. Digital cameras (including expensive DSLR’s) will not give you a detailed and crisp enough image to make a high quality print.

Please take your artwork to a professional art reproduction specialist with the correct equipment.  They will give you a file that is very hi resolution, sharp, evenly lit, with no glare, distortion or color cast.

Color correction should be performed in Photoshop by a skilled technician. Digital work done by using auto functions or by an inexperienced technician can lead to deterioration of the digital file. This can cause loss of detail and the print having a strange digital choppy look.

How should I price my giclees?

Don’t worry, lots of artists struggle with this aspect of their business. We’re here to help!

As many artists have experienced, pricing giclees incorrectly can leave you frustrated from lack of sales. The most important thing to realize is that not everyone’s giclees are going to be priced equally. If you price your giclee prints based on the correct factors from the beginning, you should have a lot more success.  Two of the most important factors that affect your pricing are the quality of your giclees and your reputation as an artist. For this blog post we will assume you have the highest quality archival giclees which you are pricing for sale. If you’re just starting out with your art career and selling your work, you will probably ask less money than a career artist with an established reputation. Edition number and method of sale can also be taken into consideration when figuring how to price your giclees.

One of the biggest challenges in figuring out how to price your giclees is that every artist is at a different skill level with varying reputations.  We believe that our “1/3rd” method is the best way to price your giclees relative to your career level. This method considers the prices of your original works.  A high quality archival giclee the same size as your original can be valued at 1/3rd of the cost of the original.  So, if your original 18×24 painting  sells for $3000 you can ask $1000 for each giclee.  We have artists that sell their giclees above and below the 1/3rd mark.  If $1000 sounds like a lot, start selling at a lower price and work your way up to the $1000 asking price.

Another method that helps with pricing your giclees is a chart we have compiled through direct experience working with our clients, located at the bottom of this post.  The numbers provided are averages for paper and canvas prints based on giclee size. Please keep in mind that this chart is supposed to help guide you with pricing, not dictate the value of your art.  Some of the artists we work with price their giclees higher or even lower than some of the prices we have listed.

It is also important to remember that your edition number will also influence the price you put on your giclees.  If you are limiting your edition to low numbers like 50 you can generally price the giclees higher than if you are limiting the edition to a higher number, such as 250.  Usually  an artist will raise the prices of the giclees over the life of an edition as more sell and there are fewer left in an edition.

One last method of figuring out how to price your giclees is by considering the cost of production. You will decide how much profit you are happy making over what it cost to produce your giclees. This method works well for galleries, charities or non-profits wanting and expecting high volume sales.  Usually a gallery, charity, or non-profit would print the whole or half of the edition up front to get the printing cost down to keep their retail prices low.  This method of pricing would give an artist the most amount of exposure with less profit per print.

Whatever you do, do not set a high price and then lower that price down the road. Your clients want to see your work appreciate with time, not depreciate.  You can always run a special or a sale at a special event if you must offer your prints lower than a previously displayed price.  It’s also not a bad thing if a client haggles you down a little bit.  Haggling with your clients may help them feel like they got a good deal buying your giclee.

Every artist is going to have different prices on their giclees. Make sure you position yourself correctly in the market by pricing your giclees based on the correct factors relating to your career level.   If you are still having trouble pricing or would like to discuss how to price your giclees in more depth please feel free to give us a call at (703)684-0005.

Suggested Retail Pricing Guidelines:

Paper Canvas
Giclee Print Size Giclee Print Size Low End Pricing Median Pricing Top End Pricing
8 x 10 6 x 8 $30 $55 $95+
9 x 12 7 x 9 $40 $60 $100+
11 x 13 8 x 10 $50 $90 $130+
13 x 22 9 x 12 $70 $130 $180+
15 x 22 11 x 14 $130 $205 $290+
17 x 22 12 x 16 $140 $220 $325+
19 x 26 14 x 18 $180 $320 $550+
22 x 30 16 x 20 $260 $410 $650+
24 x 36 18 x 24 $420 $590 $900+
24 x 48 20 x 24 $510 $660 $1,010+
30 x 40 22 x 28 $610 $905 $1,510+
30 x 44 24 x 30 $710 $1,200 $1,800+
30 x 48 24 x 36 $850 $1,400 $2,050+
36 x 48 24 x 48 $950 $1,600 $2,350+
40 x 60 30 x 40 $1,050 $1,900 $2,600+
44 x 70 36 x 48 $1,250 $2,350 $3,450+
44 x 80 40 x 60 $1,550 $2,850 $3,750+
44 x 90 40 x 72 $2,050 $3,350 $4,350+

Why print with Old Town Editions?

The approach that we take to fine art printing and art reproduction here at Old Town Editions is one of a kind. We have been working with artists, photographers, galleries, museums and individuals for more than 20 years. We have a proven history of consistently producing the finest digital fine art prints the industry has to offer. Our process and workflow is designed to meet the needs of each of our clients whether the volume is small or large.

When you work with Old Town Editions, you partner with us. When working with new clients we offer free consultations to discuss not only our process, but also strategies and information needed for clients to have success marketing and selling their Giclee prints. In this first consultation we will ask our clients questions to make sure we have a full understanding of their needs so that we can help as much as possible. Artists come to us at different levels in their career, from just starting out to artists who have been selling originals for years. We are sensitive to the different needs of different clients and will make sure we are providing the best level of service to every client. We are committed to helping our clients grow their business and will be here to help every step of the way.

One of the main things that sets Old Town Editions apart from other printmakers is our commitment to partnering with our clients, and forming a collaborative relationship. We are very transparent about our process and are always willing to show clients around the studio and give them a look into how we work. From our own personal experience, as well of years of experience working with clients, we have a wealth of knowledge to share about printing options, edition sizes, packaging prints, marketing and selling prints and originals, and advice for success. Not only do we share information with our clients in person, we also have an extensive list of articles and pages here on our website that we have written to help artists understand the Giclee printmaking process and offer tips for success. We want to make sure anyone who works with us is prepared for long term success as an artist.

We know that choosing a printmaker can be difficult, and your search will likely lead you to find different studios offering very different prices for what seem like the same services. Although it is tempting, choosing a printmaker solely based on who offers the lowest price is generally not in your best interest. A great rule of thumb when looking at different price options is “if it seems too good to be true, it probably is”. The reason their prices are so low is that their quality is low, and they are not offering as much as a professional studio like Old Town Editions can. Spend some time looking over their websites, and get a sense for what they are offering. What kind of equipment are they using? Do they have examples of their work available online? How long have they been in business? What, if anything, are they doing to guarantee color consistency throughout the life of your print edition? Do they have any articles offering information or strategies to help you be successful? Do they have a street address listed? All of these questions are very important to consider when choosing a printmaker, and all of this information should be available to you, whether you are an active client or not.

Our commitment to edition printing allows artists to order prints as they need them, rather than having to order an entire edition of prints at once. There are several steps we take to ensure color consistency on orders years apart. We maintain our printers longer than most printmakers for the sake of keeping editions true. In addition to archiving the final color matched file, we also file a physical proof so we can reference color on future orders. This aids in quality control and allows us to make adjustments to match the print on a new printer if necessary.  Giving you the confidence in the future of your editions.

All of the services we offer are done in house rather than being shipped out to other locations. You can be sure that your artwork or family photos will be stored safely. When you come in you’ll be talking with the technicians who will be working on your order. They can provide insight into how your art or artifact will move through our workflow. This one-on-one relationship is something that can’t be found with online printing services.

Anytime you call or come to our studio, one of our technicians will be able to personally help you with whatever you need, whether that is getting a quote together, placing an order, or simply offering information or advice. We are here to be your partner. When you visit our studio we will do all that we can to make sure you are confident with us and also with yourself.  We want you to leave with your expectations exceeded. Please feel free to give us a call at 703-684-0005 if you have any questions, or if you’d like to schedule a time to come by our studio and meet with us.