FAQ’S

A: We’re a fine art printing studio in Vancouver specializing in archival printing, scanning, mounting, framing and artist fulfillment. All production is handled in-house by an experienced team using archival materials and calibrated workflows. We deliver colour accuracy, detail and longevity that stay true to your vision. For artists selling online, we offer white-label fulfillment—printing, packaging and shipping directly to your customers under your brand.

Our studio is in Vancouver, British Columbia. We work with local clients and serve artists and photographers worldwide through secure online ordering, careful packaging and international shipping. We also offer artist fulfillment services for clients selling prints online globally. Framed work is available for pickup or local delivery only.

A: We are the only Hahnemühle Certified Studio in British Columbia and the only MOAB Master Printer in Canada, and we are recognized Epson Pro Graphics experts. These credentials confirm that we follow strict archival practices and use calibrated, paper-specific workflows for consistent results.

Unlike mass-market or automated labs, every order is produced in-house, colour-managed and reviewed by a skilled technician. We use genuine archival inks, paper-specific profiles and hands-on quality control at every step. For artists selling online, we offer white-label fulfillment with the same in-house quality and consistency—no outsourcing, no rotating third-party labs.

Studio visits are by appointment. If you need to reschedule, please give us advance notice. For clients with scheduling challenges, we’re happy to discuss alternatives like video consultations.

FILE PREPARATION

 

Preparing your artwork correctly is the foundation for professional fine art printing and artist fulfillment. Whether you’re submitting digital files, film or original works for one-time prints or ongoing fulfillment orders, accurate preparation ensures faithful colour, sharpness and longevity. We support artists through file prep, scanning, consultations and proofs so your work is production-ready.

TIFF or high-quality JPEG in Adobe RGB or sRGB, flattened (no layers), at 300 PPI at intended print size.

Adobe RGB (1998) is highly recommended because it captures a wider range of colours, especially saturated tones. sRGB also works well, particularly for files originally intended for web or screen use. If you work with a specific ICC profile from a calibrated workflow, let us know and we’ll honour it.

300 PPI at the final print size is ideal. Lower resolutions may be accepted after evaluation—upload your file and we will advise.

Yes. Our online uploader includes border controls where you can set any width during ordering. Borders make handling safer and provide space for signatures or framing. For guidance beyond the online tools, consulting fees may apply.

Yes. We can print full-bleed (edge to edge) with no borders, or add custom white borders in any width. Common border sizes are 1″ to 2″ for signing, float mounting or framing. We trim to exact specs with calibrated cutting systems to maintain uniformity across editions.

Sometimes. Modern phones can capture high-quality images, but it depends on resolution, compression and whether the photo was edited or cropped. Our online uploader will analyze your file and flag any resolution concerns based on your selected print size.

ICC profiles describe how a specific paper and printer combination reproduces colour. Load our paper-specific profiles into your editing software to soft-proof and make fine adjustments before printing. Profiles are available on request.

Yes. Paper-specific profiles are available on request for most papers we print on. Some profiles may not be available to share due to manufacturer restrictions.

Yes. Test prints let you explore different papers and see how your work translates before committing. These are typically printed at 8″ × 10″ as a downscaled full image, or as a full-size test strip of a selected section. Test prints are a paid step and are not credited toward your final order.

Proofing is optional but strongly recommended for first-time printers, limited editions or when colour accuracy is critical. Test prints help you choose the right paper and see how your work will look before the full production run. We work in a fully calibrated colour environment that may differ from your own setup.

Yes. We can provide a small proof (approximately 11″ × 14″) on your chosen paper to confirm tone, colour and detail before the full run.

Yes. We offer file preparation services including light retouching, colour correction, dust and scratch removal, and basic adjustments. Retouching is $150 per hour, billed in 15-minute increments ($37.50 per quarter hour). This includes work by an experienced Photoshop technician and evaluation by our print team. Complex compositing or restoration projects are quoted individually—contact us with your project details.

We prefer processed TIFF or high-quality JPEG files. If you only have RAW files, we can process them for you as part of our file preparation service (quoted based on complexity).

Our online ordering system will flag resolution concerns when you select your print size. If your file is too small, we’ll contact you to discuss options: printing at a smaller size, or using specialized upscaling techniques if appropriate for your image. We always check files before printing.

 Yes. Basic cropping and resizing to fit standard dimensions is included. Complex editing or artistic cropping decisions are part of our file preparation service at $150 per hour, billed in 15-minute increments ($37.50 per quarter hour)

Screens display images in RGB at 72-96 PPI, which looks sharp on a backlit display. Prints require higher resolution (300 PPI) and are viewed by reflected light, making pixelation or compression artifacts more visible. We’ll advise on the maximum quality print size your file can support.

ARTWORK CAPTURE

We capture a wide variety of media including pencil, pen, watercolour, acrylic, oil, charcoal and pastel drawings and paintings, as well as mixed media, collage, maps, books, photographs, stretched canvases, loose quilts and textiles. Work up to 60″ × 120″ can be captured in our studio. For larger murals or installations, we travel to your location.

We use a PhaseOne Cultural Heritage 150MP camera system, one of the most advanced capture tools available for fine art reproduction. This allows us to record extremely fine detail, tonal range and texture with exceptional accuracy. While no reproduction can be identical to the original, our calibrated workflow produces files that are as faithful as current technology allows.

Yes. Fluorescent and highly saturated colours fall outside the printable colour gamut and cannot be reproduced exactly. Metallic and iridescent paints are captured as flat colours because digital sensors cannot reproduce reflective qualities, and our printing process does not use metallic inks.

Our PhaseOne 150MP camera system captures at resolutions that support printing at or above the original artwork size while retaining texture, fine detail and smooth tonal gradients. Target resolution is 300 PPI at the intended print size or better.

Yes. We regularly capture artwork ranging from 8″ × 10″ up to 60″ × 120″. For larger works, murals or museum installations that cannot be transported, we can travel to your location.

We use calibrated lighting, colour targets and profiling to produce a file that visually matches the original. We can make fine adjustments with you present or via proofs. Additional Photoshop work and test printing are billed separately.

We calibrate every scan using a studio-grade ICC workflow, but metallics, iridescents and interference pigments don’t behave like standard colours. Their appearance changes based on light direction, viewing angle and reflectivity, which means they often can’t be fully captured by conventional scanning or printing processes. We’ll advise on the best approach and provide proofs when needed. Total reproduction of metallic or shifting effects may not be technically possible.

 

Standard scanning captures colour and tonal detail with high fidelity, but it doesn’t record physical texture or depth. Thick brush strokes, knife work or impasto will appear visually but won’t retain dimensionality unless specifically lit to enhance surface relief. For texture-heavy works, we can use raked lighting or multi-angle capture to bring out surface features, but this shifts from standard capture into custom photography.

We use controlled cross-polarized lighting to eliminate glare and surface hotspots caused by varnish or glossy media. This preserves accurate colour and tone without reflections, even on heavily varnished or resin-coated pieces. However, some gloss finishes with microtexture (like brush-applied gloss varnish) may still show subtle specular effects unless photographed under customized conditions.

 

We clean and inspect every original before capture, but the scan is a 1:1 representation of your artwork. If there are visible surface issues (like pencil marks, scuffs or tape remnants), they’ll appear in the file. Basic cleanup can be done as part of our file preparation service at $150 per hour, billed in 15-minute increments. Full digital restoration is quoted based on complexity.

Yes. We have non-contact capture options and high-clearance setups designed specifically for mounted, framed or delicate works. In cases where flatbed scanning would risk damage, we use high-resolution camera capture with adjustable support surfaces to avoid pressure points or abrasion. If your piece includes flaking media, unstable edges or loose materials, let us know in advance so we can handle it accordingly.

Yes. Depending on the quality of the glazing, there may be an additional charge. Removing glass produces the best results by eliminating reflections, but we can work with framed pieces if removal isn’t possible.

We can accept it, but please notify us in advance so we can handle it appropriately.

Yes, for large works, murals or installations that can’t be transported. Contact us with your project details and we’ll provide a quote.

 

We can advise on specialist art couriers. Handling and insurance for valuable pieces should be arranged by the owner or through a licensed art transport service.

Not required, but you’re welcome to attend. Many artists prefer to be present for colour approval, especially for first-time captures. We can also handle everything remotely and provide digital proofs for your review.

 

Package flat artwork between rigid boards with corner protection. For rolled pieces, use a sturdy tube with extra length at each end. For valuable or fragile work, we can arrange professional art transport or you can deliver it in person.