Fine art printing

Giclée Fine Art Printing on Hahnemühle Paper

We print photographs and artwork with pigment inks on selected Hahnemühle fine art media. The service is for work whose colour, surface and physical presence matter: exhibition pieces, artist editions, portfolios and individual prints intended to live on a wall.

  • From 250,000 VND20 × 30 cm
  • 5 paperscotton & natural fibre
Illustrative fine art print studio with a large-format pigment printer and an inspection table

How a print is specified

Make the right decisions in the right order

This is a colour-managed inkjet process using the Epson SureColor SC-P9530 and UltraChrome PRO12 pigment inks. Different papers do not produce identical appearances.

01

Image & use

Begin with the image and intended use.

02

Size & border

Decide the final image dimensions and whether a white border is part of the presentation.

03

Paper

Choose paper for its surface, tone and visual effect.

04

File

Check the file carries enough real detail; confirm colour information and crop.

05

Frame

Settle the frame if the work is to be displayed.

Different papers, different readings

Five papers, five characters

Each can be suitable for either photography or art, depending on the image.

Smooth white cotton matt paper sample with a mountain print

Photo Rag® 308

White cotton matt with restrained texture.

Bright white cotton paper sample with a lightly felted surface

Photo Rag® Bright White 310

Brighter base, more defined felt character.

Natural-fibre paper sample with a light texture

Hemp

Lightly textured and naturally white.

Warm natural-white Bamboo paper sample with a mountain print

Bamboo

Warmer and softer white.

Paper sample with a pronounced mould-made watercolour texture

William Turner® 310

Visibly textured, watercolour-paper character.

Colour, honestly

What colour management can and cannot do

ICC profiling helps predict and control a specific printer, ink and material combination. It cannot make a reflective paper look exactly like a backlit screen or eliminate the effect of room lighting. A bright paper and a natural-white paper will give different starting points for highlights; deep shadows and saturated colours can also shift with the surface.

For colour-sensitive work, discuss expectations and whether a physical test print is appropriate before producing a full set. Availability and cost of testing are confirmed with the studio.

Diagram: a screen emits light while a print reflects the light falling on it

Designed for more than one use

Who it is for

Digitising or scanning an original artwork is a separate process and is not included unless the studio confirms it as part of a project.

Retouching desk with a landscape photograph on screen, a test strip, ruler and loupe

Photographic prints

Colour, black and white, portfolios and exhibition work.

Painting photographed square-on with a tripod camera and two lights at 45 degrees

Artwork reproductions

Final digital files of paintings, drawings or illustrations.

Hand holding a pencil at the white border of a fine art print beside a stack of edition prints

Artist editions

A recorded paper, size and finishing specification for repeat production.

Pair of framed vertical prints above a linen bed

Collected works

Paper and frame choices made for the viewing space.

Guide prices

Fine art paper prices

Published sizes for Photo Rag® Bright White 310 and William Turner® 310. Other papers and sizes are quoted individually.

Bright white cotton paper sample with a lightly felted surface
Prices in VND
Print size (cm)Photo Rag® Bright White 310William Turner® 310
20 × 30250,000280,000
30 × 45450,000490,000
40 × 60650,000700,000

Start a print

Request a print specification

Send the work at its best available resolution, tell us the desired image size and quantity, and describe where the print will be shown. We can discuss paper, borders, framing and price from that starting point.

Gloved hands lifting the corner of a matt cotton print on an inspection table