An edition of fifty is a promise that every print is the same. Collectors who buy number 12 expect it to match number 40 in colour, surface and finish, and they expect it to look that way on their wall for a long time. That makes coating a decision to take once, at the start of the edition, rather than print by print as orders come in.
Decide before you print number one
Coating changes how a print looks and feels. On a fine art paper it may change how deep the blacks appear or how the surface catches the light; on canvas it can give a more even sheen. Neither is better or worse in itself, but the edition should be consistent. Before releasing a new edition, produce a coated proof alongside an uncoated one and let the artist approve the coated version as the reference. Solvent coatings do not suit every substrate or ink, so this proof is also your compatibility test. Our notes on fine art papers are a useful starting point.
What the coating adds
Colourjet is a solvent coating that protects artwork from water, chemicals and abrasion, with integrated UV inhibitors against premature fading. Applied as Landor Liquid Lamination over prints from pigment fine art printers, it adds a protective layer for durability and lightfastness. For editions, a further benefit is that coated prints can be displayed without glass, which suits larger works and buyers who dislike reflections. See framing without glass.
Keeping a run consistent
- Record the paper, printer, profile, coating and finish used for the edition, and keep that record with the edition sheet.
- Use the same coating method for the whole run. A hand-rolled print and a machine-coated print can look subtly different.
- If an edition is printed in batches over months or years, keep a coated reference print to compare against.
- Make sure every print is fully dry before coating, and sign and number after coating unless you have tested your pen or pencil on the coated surface.
Colour consistency starts earlier, at the printer. Our colour management page covers profiling and repeatability.
Describing it to collectors
Collectors are well informed and wary of overstatement. Describe the coating plainly: that it adds protection against moisture, abrasion and UV-related fading. Avoid quoting lifespans or archival ratings that you cannot support, and do not suggest the coating has been tested or approved by any paper or ink manufacturer. Give buyers sensible care advice, such as keeping work out of direct sunlight and cleaning gently.
Some artists choose to coat canvas editions but leave paper editions uncoated and glazed. That is a perfectly reasonable position, provided it is applied consistently and explained.
If you are planning an edition and want to talk through papers, finishes and coating methods, our team is available on 01252 624 411.