Full Colour Editions

How full colour stone lithography builds the image

As a planographic print process, stone lithography keeps the image on the surface of the stone rather than cutting it into the matrix. In a full colour edition, each colour is prepared on its own stone or plate, then printed in a set sequence so the layers sit correctly together. The result can be subtle or bold, with soft tonal shifts, sharp line work and a strong sense of depth.

This method suits artists who want colour relationships to stay precise from proof to final edition. It also allows for small adjustments during proofing, which is useful when an image needs fine control over skin tones, shadows, transparent washes or bright areas that must hold their shape under repeated printing.

Edition planning and the size options we work with

Full colour editions are planned before the first proof is pulled, so the image size, paper size and number of stones are matched to the final edition from the start. We work with artists on short editions, open image studies and larger limited runs, depending on the scope of the work and the amount of hand labour involved. Each edition is numbered and signed, with proof sets handled separately where needed.

• Small edition runs for collectors' releases and gallery sales
• Medium format prints for framed wall display
• Larger sheets for strong visual impact in homes or hospitality spaces
• Custom border widths for mounting, framing or blind stamping
• Single image or multi-layer colour builds, depending on the artwork

Because every colour pass must align exactly, the practical size is also shaped by paper handling, stone weight and drying time. If an edition is going to travel to Johannesburg or Durban, we can plan the format so it packs well and keeps a clean edge in transit, which matters more than people think.

Where full colour prints work best

These editions suit collectors looking for strong colour, artists who work in layered imagery, and spaces that need a finished work with real presence. They are often chosen for living rooms, entrance halls, studios, hospitality settings and private collections where the print will be viewed at close range as well as from across the room. In Cape Town, humidity near the coast can affect paper if a print is left unframed for too long, so prompt handling is always sensible.

Full colour lithographs also work well where the artwork needs quiet tonal depth rather than a flat digital look. The printed surface has a natural, hand made character that sits comfortably in both contemporary and traditional interiors. If the work is going into a new build or a refurbished space, we can advise on orientation, border allowance and framing depth so the final result hangs properly, not too tight or too loose.

Studio process, proofing and colour control

Our studio team handles stone preparation, registration, ink mixing and proofing in-house. Shailen Naicker oversees the studio direction, with Nomvula Phalatse leading presswork and colour decisions, while Stefan Hattingh manages technical setup and press readiness. Proofing sessions allow the artist to compare colour balance, detail and transparency before the edition is approved.

• Stone preparation and image transfer
• Colour separation and layer planning
• Trial proofs for tone, registration and saturation
• Final edition printing under controlled pressure and moisture
• Signing, numbering and archival packing

Because each colour layer depends on accurate registration, the paper must be handled with care between passes. That kind of control is part of the craft.

Hanging the print at home

Finished prints should be framed with acid-free materials and UV protective glazing if they will sit in bright light. For larger works, allow enough wall space for the full sheet and frame, plus a little breathing room around the edge. If the print is going into a coastal home in Sea Point or a humid room in Durban, it helps to avoid direct sun and to keep the work away from damp walls and air conditioning drip lines.

The studio process relies on manual presswork and drying space. If a collector is commissioning framing, we can coordinate with a framer so the mount board, glass type and backing are matched to the print size and paper weight.

Care, handling and long-term upkeep

Stone lithographs should be handled with clean hands or cotton gloves, especially before framing. Keep the print flat, dry and out of direct sunlight until it is mounted. If the work is unframed, store it in archival tissue and a rigid sleeve or portfolio box. Avoid rolling unless a professional framer has advised it, since full colour editions can hold delicate printed layers that deserve steady handling.

If a collector needs help with storage, re-framing or inspection after transport, we can advise on condition checks and archival packing. A print that has travelled from Woodstock to Pretoria or Johannesburg should be allowed to settle in the room before framing, particularly if there has been a change in temperature. Small surface marks on the paper are not always a fault, but they should be checked before the edition leaves the studio.

Before you buy or commission

Before ordering a full colour edition, confirm the final image size, paper size, number of colours, edition count and whether proofs will be included. Ask how the borders will be handled, where the signature will sit and whether the work needs a wide margin for framing. It is also worth confirming if the sheet will be trimmed or left deckled, because that affects the way the piece hangs and is mounted.

Collectors should also check the packing method, especially if the print is travelling to another province. Archival wrapping, corner protection and rigid backing are all useful, and for larger sheets a careful handover makes a real difference. Tegan Jacobs coordinates client communication and collections, while Rukshana Kamaar manages edition records and fulfilment, so each order stays clear from proof to delivery.