Johannesburg Corporate Suite

Proofing, Colour Separation and Edition Planning

We began with edition planning and colour separation, which set the rhythm of the whole job. The suite needed to work as a family, so each image was separated into its own colour stages and checked against the others for density, contrast and drying behaviour. Because Johannesburg offices often have strong daylight and air-conditioned interiors, we also considered how the inks would sit under different light levels through the day.

The proofing sessions were used to settle the balance between the artwork and the spaces it was meant for. Some proofs leaned too dark for reception and were adjusted, while others needed a slightly warmer paper to soften the overall effect. The artist, printer and studio team worked through the set methodically, refining the edition before final production began.

• Proofing sessions held before final printing
• Colour separation refined for each image in the suite
• Paper and ink choices tested for indoor office light

What We Supplied for the Boardroom and Reception

We supplied the full print suite, including the final editioned sheets, signing and numbering, archival packing and coordination for framing. The works were printed on a heavier art paper selected for stability and a clean edge, which is important when a suite is destined for a formal interior. The client also asked for advice on spacing and grouping, because the pieces needed to feel related without becoming repetitive.

The set was designed so the reception piece could carry the strongest first impression, while the boardroom prints held a quieter pace. A smaller companion work was included for the meeting room, tying the suite together without forcing the same scale everywhere. That approach helped the office keep one visual thread across the interior rather than treating each wall as separate.

• Final edition prints signed and numbered
• Archival packing prepared for transport to Johannesburg
• Framing coordination arranged for a professional finish
• Collector advice given on grouping and wall spacing

Timeline From First Enquiry to Final Sheets

The project moved over six weeks from the first enquiry to completion. The first week was used for brief clarification, reference review and edition planning. Weeks two and three were spent on stone preparation, proofing and colour separation, with the artist and studio team reviewing each stage before the final runs were approved.

Production took place in the following two weeks, followed by signing, numbering and packing. The final week was set aside for framing coordination and handover preparation. This pace worked well because it left enough time for drying between colour passes, which matters in humid coastal conditions and in winter Johannesburg indoor heating too.

• Week 1: brief, references and edition plan
• Weeks 2 to 3: stone work, proofing and colour separation
• Weeks 4 to 5: final printing, drying and editioning
• Week 6: signing, packing and handover coordination

What We Would Repeat for a Similar Corporate Commission

For a corporate commission like this, we would use the same process again: clear edition planning, close proof control and practical packing that suits delivery into a city office. Stone lithography works well for this kind of brief because it brings a hand-made quality without losing order or discipline. It also gives the client a suite that can be framed and displayed as one body of work, which is exactly what boardroom and reception walls need.

We would also keep the communication direct and staged, so the client can approve decisions at the right moments rather than after the edition is already locked in. That saves time and keeps the final result aligned with the room. For offices in Johannesburg, Cape Town or Durban, that kind of planning matters just as much as the printing itself.