Why I Don't Use The Cheapest Printers For My Limited Edition Art Prints

Why don’t I use the cheapest printers for my oil prints?

Let me explain.

If you work in oils, you already know — this is not a “budget” medium. From the moment you buy that first tube of paint, you’re investing. Oils, quality brushes, proper canvas or cotton canvas paper— none of it is cheap. And historically, oil paintings have been the works that command the highest prices at auction (with a few obvious exceptions). Even one good tube of oil paint can make your wallet wince a little.

Oil painting is traditional. It’s tactile. It’s layered with time. It’s the opposite of quick, mass-generated work. It isn’t something you produce at scale in an afternoon. It’s thought, composition, patience. It’s storytelling without words. And yes — it’s a medium that can hold value over time.

So once I’ve poured that level of investment into creating an oil painting… why would I cut corners when it comes to the prints?

I don’t print at home. Ever.

All my limited edition prints are professionally produced using a 12-ink Giclée process. (And yes — some printers advertise “Giclée” while quietly using fewer inks.) I look for printers who have already invested in top-tier equipment and an excellent range of archival art papers. They’re knowledgeable. They care about colour accuracy. They understand longevity. And no — they’re not the cheapest, especially once VAT is added.

Sometimes, to the untrained eye, you might not notice the difference.

But here’s the thing: a high-end Giclée print has a life expectancy of 100+ years.

That matters to me.

As an artist, you have to ask yourself: who are you creating for?

If your goal is volume at a lower price point, print-on-demand is a brilliant model. It works. It’s efficient. It serves a broad market.

If you’re targeting the luxury or collector market, it’s about quality, consistency, and credibility.

I need to feel confident in what leaves my studio. I want to see it. Hold it. Approve it. That means I’m not always the fastest at dispatching work — but I am meticulous. Quality matters. And as they say, good things are worth waiting for.

Recently, I’ve also started sourcing bespoke Italian wood frames, fitted by professional framers. Could I do it myself? Possibly. And I genuinely admire artists who frame everything themselves.

But when I collect a finished, professionally framed piece after a two-week wait, I can’t help but smile. It elevates the work. Yes, it increases production costs. As a self-taught artist, I value the expertise of other skilled professionals — printers, framers, craftspeople. I usually wait until a piece is sold before investing in framing. For works under £500, I may self-frame. But when someone is investing more, the finished product needs to reflect that.

Transparency is important.

Customers don’t mind price differences if they understand them. Sometimes pricing reflects demand and reputation. Often, it reflects production quality. Better materials. Better equipment. Better longevity.

And here’s the second reason I refuse to compromise:

Art becomes part of a home’s memory.

Paintings are like photographs — they quietly witness life. The longer they hang, the more they embed themselves into everyday moments. Imagine a child walking past the same painting in the hallway every day for years. That image becomes part of their story. Their childhood. Their sense of home.

An archival print can last beyond your lifetime. It can be passed to your grandchildren. That’s not just décor — that’s an heirloom.

I learned this lesson the hard way.

When my daughters were young, I photographed their kitten and had it printed on a small canvas as a stocking gift. It looked lovely at first. Affordable. Five-star review. Everyone happy.

A couple of years later, the image had faded so badly the kitten was almost invisible.

It went in the bin.

It wasn’t value for money. It was disposable.

And that’s when I realised — quality is the only thing that truly holds value.

Will I compete with artists who publish in huge volumes at the lowest possible price? Probably not.

But I love knowing that my work might outlive me. That it may hang in someone’s home long after I’m gone. That it was produced with care at every stage.

The cost difference in professional printing isn’t just about paper and ink. It’s about the investment the printer has made in equipment. A 12-ink professional model can cost 3–20 times more than a basic 4-colour printer. That difference shows in tonal range, depth, colour accuracy, and longevity.

There is absolutely nothing wrong with targeting the broad market. Mass production can be financially successful. Print-on-demand tools are powerful. Digital art, in particular, works beautifully in that space — and in galleries too.

The key is knowing who you are.

Are you creating scarcity through limited editions?
Or scale through mass production?

Those are two very different paths.

If you’re not earning enough in one area, diversification might be wise. But don’t blur your positioning. Scarcity and abundance send very different messages.

Ultimately, it comes down to this:

Know your medium.
Know your market.
Know your standards.

Finding your fit matters. Selling matters.

But credibility — in whatever lane you choose — matters most of all.

For those of you who are new to my artwork - please feel free to browse my art at Peacheysarthouse. If you have some good advice or want to drop me a line please feel free. Kindest Regards.

Steve Peachey