Print It. Frame It. Sell It.

An Artist's Guide to Preparing Your Work for Display and Sale

There's a moment in the life of an artwork when the focus shifts from making it to sharing it. The paint has dried, the final marks have been made, or the photograph has been captured. But what happens next? 

Perhaps you're preparing for your first exhibition, selling work at an art fair, opening your studio to visitors or creating a meaningful gift... the way you present your art can make all the difference. Printing, framing and finishing aren't simply practical considerations, they're opportunities to see your work in a new light, give it a different life and introduce it to a wider audience.

For Hornby Island artist Sarah Chase, what began as an intimate, ephemeral creative practice has blossomed into exhibitions, fine art prints and a growing collection of merchandise, thanks in part to an unexpected encounter with the team at Opus Print Space. Her experience offers a wonderful reminder of what can happen when we take our artwork beyond the studio.

Sarah Chase's Hidden Botanical Universe was born from an unusual ritual. Working with flowers, leaves and other natural materials, she creates intricate botanical compositions, photographs them, then returns the materials to the earth. The original artworks exist only briefly. Sometimes the petals begin changing colour or deteriorating before she's even finished. Photography became a way to preserve these fleeting creations, and Sarah began sharing the resulting images with a small circle of family and friends as what she calls "a kind of daily love letter." But could these delicate compositions translate into physical prints?

The answer arrived through a chance encounter. While waiting for her cousins to rent a car in Vancouver, Sarah spotted the Opus Print Space sign and decided, on impulse, to check it out. She asked whether it might be possible to print a few of her photographs as cards. The team reassured her that her images had sufficient resolution and offered to make proofs she could collect later that day.

"It was truly exhilarating to see those first proofs and to realise that this body of work I'd been creating could actually resonate in print form!"

That first experiment opened the door to something much bigger. When Sarah was subsequently invited to exhibit 77 works at San Francisco's new Street Tree Nursery, she suddenly needed to prepare her photographs for large-format printing, with most measuring 18 × 24 inches. Opus Print Space team member Trevor helped her prepare the files, increasing their resolution and ensuring the black backgrounds were consistent so the works would hang cohesively as a group. The collaboration became an ongoing creative relationship, encompassing technical guidance, experimentation and the exchange of artistic ideas.

There's no single printing method or surface that suits every artwork. A delicate watercolour, a vibrant digital illustration and a richly textured photograph may each benefit from a different approach.

When choosing how to reproduce your work, consider:

• Paper and surface: Different papers offer different textures, levels of reflectivity and colour reproduction. Matte papers can create a soft, understated appearance, while glossier surfaces may enhance contrast and saturation.

• Colour and contrast: Think about the qualities that define your original artwork. Are you trying to preserve subtle tonal variations, rich blacks, delicate textures or particularly vivid colours?

• Scale and resolution: An image that looks beautiful on a screen or postcard may need additional preparation before being printed at exhibition size. Check your file dimensions and resolution before committing to a large print.

• Proofing: A test print allows you to assess colour, contrast and detail before producing the final version, particularly when working with a new paper or format.

For Sarah, choosing the right paper was an important part of developing the visual identity of her work.

"I wanted the black background to look saturated and for the colours to be rich since the plants and flowers I work with have such an incredibly beautiful palette."

After testing different papers and finishes with the Print Space team, she settled on semi-gloss paper. But one of the most exciting discoveries was how dramatically scale could change the experience of an image.

"In the case of my work, seeing the details of the flowers and the leaves blown up is quite extraordinary. They have such a different impact on a larger scale compared to a smaller scale."

Fine art printing isn't limited to paper. Depending on the character of your work and how you intend to display it, different surfaces can open up entirely new possibilities.

At Opus Print Space, artists can explore a range of options:

• Fine art paper: From textured matte surfaces to smoother, more lustrous finishes, paper offers versatility for photography, illustration and reproductions of original artwork.

• Canvas printing: Offers a textured, painterly surface that can be stretched or framed, making it an appealing option for reproducing paintings or creating artwork with a more tactile quality.

• Face mounting: Offers a sleek, contemporary presentation, with the image mounted behind a clear acrylic surface to create a sense of depth and enhance visual impact.

Each approach creates a different viewing experience. The best choice depends on the artwork itself, the atmosphere you want to create and where the finished piece will live.

Thinking of reproducing your artwork? Opus Print Space can help you explore printing options, prepare your files and choose a format that complements your work. You don't need to have all the technical answers before starting the conversation.

A frame does more than protect an artwork. It helps establish how the piece relates to its surroundings, guides the viewer's attention and can influence the overall impression of the work. The right presentation doesn't necessarily mean the most elaborate or expensive option. Often, simplicity allows the artwork to speak for itself.

For her exhibitions, Sarah chose understated black frames, presenting her photographs edge to edge without mat borders.

"I chose this partly because I was often hanging the pieces in groups in relationship to each other, so the simpler approach worked best."

The consistent framing allowed her botanical compositions to work together visually, without competing decorative elements.

Both options have their advantages. The right choice depends on your artwork, budget, timeline and intended setting.

Ready-made framing

Ready-made frames are a practical and economical option, particularly when you're preparing multiple works in standard sizes.

They can be especially useful for:

• Prints and artwork that fit standard frame dimensions.

• Artists preparing larger collections for markets, open studios or exhibitions.

• Creating a consistent presentation across several pieces.

• Keeping framing costs manageable while offering work at accessible prices.

Not sure which style suits your artwork? Explore our guide to choosing a ready-made frame covering options for everything from works on paper to canvas and cradled panels.

Custom framing

Custom framing offers greater flexibility, particularly when an artwork has unusual dimensions or specific presentation and preservation requirements.

Consider custom framing when:

• Your artwork doesn't fit a standard frame size.

• You want a particular moulding, mat colour or border width.

• The work requires specialised mounting, glazing or conservation materials.

• You're preparing a significant piece for exhibition or a collector's home.

Sarah has worked with both ready-made and custom frames, sometimes adapting the presentation to suit a buyer's space.

"In certain cases, a person wanted it a particular size to complement a particular wall space in their home."

She's also enjoyed seeing how collectors choose to frame her work themselves, observing how different decisions can change the feeling of the finished piece.

Before framing, consider how the artwork will be mounted and protected.

Works on paper may benefit from archival-quality, reversible mounting methods, while glazing can provide additional protection from dust, handling and environmental exposure. Materials should be selected with the medium and long-term preservation of the artwork in mind.

If you're framing a work on paper yourself, our five-step framing guide walks you through the process, from preparing your materials to assembling the finished piece.

Don't forget the practical details: appropriate hanging hardware, secure backing and a clean, professional finish.

And remember that presentation extends beyond the frame. The height at which work is hung, the space between pieces and the lighting in a room can all influence how visitors experience an exhibition.

For artists preparing to show several works together, try arranging them on the floor or planning a layout before committing to the wall. Sometimes the relationships between pieces are just as important as the individual artworks.

For more inspiration on arranging multiple works, explore our guide to creating a gallery wall, with ideas for bringing individual pieces together into a cohesive display.

Understanding how to prepare artwork for sale introduces another set of decisions. How should it be priced? Should you offer different sizes? Is it better to sell framed or unframed work? And how do you make your work accessible without undervaluing it?

For Sarah, the impact of professional presentation became strikingly clear at her first exhibition on Hornby Island. She remembers feeling nervous about investing in printing and framing a larger collection of work.

"When the show opened the framed and printed pieces all sold within about fifteen minutes!! I was astonished!!!"

It's an extraordinary result, although Sarah is candid about the challenges of pricing.

"This part is still a mystery to me. Deciding how to value work."

Her approach has been to consider what feels affordable to the audience attending an exhibition, while continuing to learn through conversations with collectors and the Opus team.

Pricing can be one of the trickiest parts of an artist's practice, particularly when reproduction and presentation costs enter the equation.

Start by calculating the direct costs of producing each piece, including printing, framing, mounting, packaging and any relevant selling fees. Then consider the value of your creative work, the time involved in preparing it, the size and format, and whether you're offering an open or limited edition. Your selling price needs to do more than recover material costs. It should also reflect your work as an artist and allow room for a sustainable practice.

Offering a range of formats can help you reach different audiences without compromising the value of your original or limited-edition work. Sarah now offers her images in different sizes and at different price points, from larger fine art prints to greeting cards. She's learned to pay attention to the images that resonate most strongly with people, while continuing to follow her own artistic instincts. Her latest card project with Opus brings together 23 images capturing the spirit of autumn, reflecting her interest in working with the changing seasons.

A beautifully presented piece deserves equally thoughtful supporting information. Whether you're exhibiting in a gallery, participating in an art crawl or selling directly from your studio, make it easy for visitors to understand what they're looking at and how to purchase it.

Clear labels, visible pricing and accessible information about your process can help remove uncertainty for potential buyers. Consider displaying framed examples alongside unframed prints or cards, where appropriate, so visitors can explore different formats and price points. And have suitable packaging ready to protect purchases on their journey home.

Before your next exhibition, market or open studio, use this checklist to make sure the finishing details are covered.

• Check digital files for size, resolution and colour accuracy.

• Choose appropriate paper, surface and finish.

• Order proofs or test prints where needed.

• Allow sufficient time for printing and adjustments.

• Decide between ready-made and custom framing.

• Select appropriate mounting and protective materials.

• Check frames, backing and hanging hardware.

• Clean glazing and inspect finished pieces before display.

• Plan the arrangement and spacing of your work.

• Check lighting and visibility.

• Prepare artwork labels with titles, mediums and dimensions.

• Ensure prices and purchasing information are clear.

• Calculate production costs and set prices.

• Decide which sizes, formats and editions to offer.

• Prepare protective packaging for sold work.

• Have contact details, business cards or other ways for visitors to follow your practice.

There's something exciting about seeing an artwork leave the space in which it was created and enter the world.

For Sarah Chase, the journey began with a few photographs sent to friends, an impulsive visit to Opus Print Space and the willingness to experiment with something new. Today, her botanical compositions have found their way into exhibitions, homes, printed collections and an expanding creative practice. Her advice to artists considering reproducing their work for the first time is wonderfully simple:

"You have everything to gain by trying it!!!!"

Whether you're preparing for Vancouver's Eastside Culture Crawl, the North Shore Art Crawl, an upcoming exhibition, or simply exploring the possibility of sharing your work in a new form, thoughtful printing and framing can open unexpected doors.

From your first test print to a finished, ready-to-hang artwork, the Opus team is here to help you explore the possibilities.

Discover Opus Print Space and framing services, or visit your local Opus to find the materials and advice you need to get your artwork ready for its next chapter.