Two-Colour Editions

How a two-colour stone lithograph is built

Stone lithography begins with a prepared limestone surface that holds an image through the natural repulsion of grease and water. For a two-colour edition, the image is separated across two stones so each stone prints one colour layer. That lets us keep the palette controlled while still giving the final print depth, tone and a strong sense of structure.

The process starts with drawing, washing out and etching each stone, then proofing the first colour before adding the second. Registration must be exact, because even a small shift can change the balance of the image. In practice, two-colour work is often chosen for line and tone combinations, soft atmospheric washes, or a bold colour with a more neutral support. It suits artists who want colour without losing the discipline of the drawing.

Edition sizes, formats and paper choices

We print limited editions, and the edition size is set in discussion with the artist before production begins. Two-colour editions are suitable for small, tightly controlled runs as well as slightly larger editions where the image stays consistent from sheet to sheet. Every edition is signed and numbered, with proofs identified separately where needed.

Common formats range from small works that fit into domestic interiors to larger presentation sheets for collectors and galleries. Sheet size is planned around the image, margins and any pencilled notes or deckled edge preference. We can advise on paper weight, absorbency and surface finish because the paper choice affects how the ink sits, especially when one colour needs to stay crisp over the other.

• Editioned and numbered by hand
• Available as open margins or trimmed format
• Works well on smooth or lightly textured art paper
• Suitable for framed presentation or portfolio storage

Where two-colour editions work best

Two-colour editions suit collectors who want the discipline of lithography with a restrained palette. They are a good fit for interiors where colour needs to be deliberate rather than overpowering, including living rooms, studies, entryways and hospitality spaces. A well printed two-colour work can hold its own in a minimal room or sit comfortably in a fuller hanging scheme.

Artists also choose this format when they want to emphasise form, shadow or gesture. One colour can carry the main image while the second adds atmosphere, contour or a subtle shift in tone. That approach works well for figurative studies, architectural subjects, botanical work and abstract prints. In Cape Town and beyond, many collectors prefer editions that feel measured and are easy to place with other works.

• Homes, offices and client-facing spaces
• Smaller gallery walls and private collections
• Limited colour images where restraint matters
• Works that need clear line, tone and contrast

Framing and hanging

Our Woodstock studio is set up for hand printing, stone preparation and edition handling, so artists and clients can view the process by arrangement.

In coastal Cape Town, humidity can affect drying times, so we adjust handling and packing accordingly.

• Stable indoor workspace with level floors
• Access for safe moving and stacking of stones

Care, framing and long-term storage

Stone lithographs are printed with artist quality inks on paper chosen for longevity, but they still need sensible care. Keep the work out of direct sun, strong damp and areas with constant temperature swings. If the print is framed, use conservation glazing and acid-free materials so the paper and inks are protected over time. This matters in coastal homes and in dry inland cities where indoor air can change quickly with heating or air conditioning.

Unframed prints should stay flat in archival sleeves or folders, never rolled unless absolutely necessary. Do not store them next to fresh paint, cleaning products or food areas. For collectors in Durban, humidity control is especially important, while Johannesburg and Pretoria often need protection from dust and dry indoor air. If a work is being sent for framing, we can coordinate the handling so it reaches the framer in good condition.

• Store flat in acid-free packaging
• Avoid direct sunlight and high humidity
• Use conservation framing materials
• Handle with clean, dry hands or cotton gloves

Before you buy or commission

Before a two-colour edition is commissioned, confirm the final image size, paper size, edition size and whether the colours will be flat or layered. It also helps to decide if the image needs a bold first colour, a softer second colour, or a tighter tonal relationship between both. If the edition will be sold to collectors, check whether margins, signing space and numbering placement should stay consistent across the run.

We also recommend confirming proofing stages, packing method and destination city early on. Deliveries to Stellenbosch, Sea Point, Newlands, Johannesburg, Pretoria and Durban may need different packing considerations depending on transit time and humidity. If a print is being framed before collection, allow enough time for the framing schedule and for the edition to dry fully. Good planning avoids pressure later and keeps the final sheets cleaner.

• Image size and sheet size
• Two colour choices and proof approval
• Edition size, numbering and signature details
• Packing, collection or delivery requirements