Large Scale Prints

What a large scale stone lithograph actually is

A stone lithograph starts with a smooth limestone stone that is drawn on by hand using greasy materials. The image is then chemically prepared so the drawn areas accept ink and the untreated areas repel it. When paper is pressed to the stone, the image transfers with the pressure and subtle grain that make lithography so distinct.

For large scale work, the same process is used, but the handling becomes more exacting. Bigger stones, heavier papers and careful registration all matter. The result is a print with real presence, where line, tone and colour sit on the paper in a way that feels physical rather than flat. In the studio we manage each stage closely, because a large print can show even the smallest slip in inking, pressure or paper handling.

These prints are well suited to statement walls, collectors who want a strong visual anchor, and artists who need image size without losing the handmade quality of stone lithography.

Sizes, paper choices and edition options

Large scale prints are planned around the stone size, the image area and the edition run. Some works are made as single sheets with one dominant image, while others are printed as diptychs or multi panel pieces for more wall span. We help with edition planning so the final format suits the image, the paper and the room where it will live.

• Image size can be planned for medium, large or extra large wall formats
• Single sheet prints suit strong focal points and cleaner hanging lines
• Diptychs and multi panel works suit longer walls or stairwell spaces
• Edition sizes are agreed before printing starts, with proofs used to lock in colour and balance
• Paper choices can include smooth or lightly textured stocks depending on the image and handling needs

For collectors, a larger edition does not mean less care. Every print is signed and numbered, and the edition remains controlled from the first proof to the final sheet. That is important when a work is intended for long term holding or resale later on.

Where large scale lithographs work best

These prints suit rooms that need one strong visual anchor rather than a lot of small objects competing for attention. In Cape Town homes, that might be a living room with high ceilings, a wide passage, or a wall that gets good natural light but not direct sun. In Stellenbosch and Newlands, they often work well in study spaces, long corridors and entertainment rooms. In Johannesburg and Pretoria, they are often chosen for interiors that need colour and texture without the hard gloss of a digital print.

They also work well in commercial settings where the space needs calm, character and a clear point of focus. Think reception areas, private meeting rooms, galleries and hospitality spaces where people pause and look closely. In coastal areas like Sea Point and Durban, the framing and glazing need extra attention because humidity and salt air can affect paper and timber over time.

• Best for walls with at least 1.2 metres of open visual space, and often more
• Works well where the viewer stands back 2 to 4 metres
• Ideal for interiors that need texture rather than shine
• Good choice for homes, galleries, studios and collector spaces

Framing and hanging

Large scale lithography is made in a working print studio, so the production side needs proper planning even if the final artwork hangs simply on a wall. The stone press, drying area and paper handling space require level floors, enough clearance and stable working conditions.

Some larger framed works may benefit from low UV lighting if the room gets strong sun.

When hanging a large print, the wall fixings must suit the weight of the framed piece. A proper hanging plan avoids damage to both the artwork and the wall.

How we protect the print through care and packing

Stone lithographs are paper works, so they need good care from the studio to the final wall. After printing, the sheets are dried, checked, signed and numbered, then packed with materials that protect against scuffing and moisture. For collectors outside Cape Town, archival packing matters even more because couriers and temperature changes can be rough on large sheets.

Once installed, the main risks are sunlight, damp and poor framing. Keep the print away from direct sun, heaters, open windows and kitchen steam where possible. In Durban and other humid areas, use proper framing that allows the paper to breathe and does not trap moisture. Avoid hanging in bathrooms or next to air conditioning units that blow directly onto the frame.

• Frame with archival backing and quality glazing if the work will be exposed to light
• Do not wipe the paper surface directly
• Keep packaging until the final hanging is complete
• Store unframed prints flat, in a dry room, not rolled if avoidable

Before you buy or commission

If you are ordering a large scale print, it helps to confirm a few details early. Size is the first one, but it is not the only one. The image area, border allowance, edition size and framing plan all affect how the final work will sit in the room. If the print is going to a collector in Johannesburg or Pretoria, courier dimensions may also influence the paper and frame choice.

Ask for proof images where needed and check how the colours read on paper rather than on screen. Lithography has a softer, more layered surface than a digital mock-up, and the final balance can shift a little once the stone is inked and pressed. If the work is part of a set, confirm spacing, numbering and whether the panels should align or stand independently.

At Lithography Art, we work through these details with artists and collectors from Woodstock, Sea Point, Newlands, Stellenbosch, Johannesburg, Pretoria and Durban. That keeps the edition clean, the finish consistent, and the final print ready for the wall.