Stone Preparation

What Stone Preparation Covers in Our Studio

Stone preparation is the process of returning a lithography stone to a clean, even working surface before new image making begins. In practical terms, that means removing old image residue, graining the face to the required finish, checking for high and low spots, and making sure the stone is ready for drawing or transfer. This stage matters because a well prepared stone takes grease-based marks evenly and releases non image areas cleanly during printing.

We work with stone sizes suited to fine-art editions and one off proofs, and we handle each slab with care because limestone is heavy, porous and sensitive to uneven wear. Good preparation supports cleaner tonal range, sharper lines and fewer surprises during proofing. It also helps artists work with confidence when they are developing colour layers or planning an edition run.

How We Grain and Level Lithography Stones

Our preparation begins with inspection. We check the stone for scratches, cupping, old image ghosts, edge chips and any surface movement that could affect the print. If the stone needs major correction, we start with a coarser grind and move step by step to a finer finish. If it only needs a light refresh, we use a shorter graining sequence to preserve the stone and save time.

• Initial cleaning to remove ink, gum and residue from prior use
• Levelling checks with straightedge and hand assessment across the surface
• Graining with abrasive slurry and water to create an even tooth
• Edge dressing where needed to reduce chipping during handling
• Final rinse and drying before the stone is handed over for drawing or transfer

The exact finish depends on the intended image. A very smooth surface suits delicate tonal drawing and transfer work, while a slightly more open grain can support certain painterly marks. We decide this with the artist or editioning plan in mind so the stone works for the print, not against it.

Stone Sizes, Surface Finishes and Working Specs

We prepare stones in a range of practical studio formats for South African edition work. Typical fine-art stones are thick enough to stay stable on the press bed, and the working face must be flat within tight tolerances so registration remains reliable from proof to final pull. For larger projects, surface control becomes even more important because any dip or high point can show up in the print.

Our team also considers paper size, image placement and the amount of margin needed for signing and numbering. If the edition will include several colours, we plan stone use and surface finish so each layer can register cleanly. For collectors, this attention to the stone may never be visible, but it is one of the reasons a finished print feels precise and calm rather than fussy.

• Stone preparation for new stones and reworked stones
• Surface finishes chosen for line work, tonal work or mixed marks
• Levelling checks before each major stage of printing
• Storage and handling guidance for humidity and temperature changes

Edition Planning and Proofing Support

Stone preparation sits inside the wider editioning process, so we often coordinate it with proofing sessions and colour separation. If an edition needs multiple stones, we map the workflow early so each stone is prepared in the right order and to the right finish. That helps avoid delays later when the artist is ready to print and the studio needs to keep registration exact.

During proofing, a stone may need a small adjustment after the first pulls. We can return to light graining or surface correction if the image requires it, though the goal is always to get the stone as close as possible before printing begins. That saves wear on the stone and keeps the edition more consistent from start to finish.

Turnaround Times and What Affects Them for print collectors

Turnaround depends on the condition of the stone, the size of the image area and whether the job needs a full grind or only a light refresh. A stone with old deep image material will take longer than a stone that only needs levelling and a clean grain. If we are preparing several stones for a colour edition, we also build in time for matching surfaces so the results stay consistent across the set.

We work to realistic studio timelines and keep clients informed if a stone needs extra attention. In Cape Town, humidity and temperature shifts can affect drying and handling, especially in the wetter months, so we allow for that in the schedule. If a project is time sensitive, let us know through the enquiry form and we will advise on the best sequence for the work.

How stone work is priced

Our pricing for stone preparation is based on the actual work involved rather than a one size fits all rate. We look at the stone size, the amount of graining required, whether levelling or edge repair is needed, and whether the job forms part of a larger edition. This keeps the quote fair for both small proofing jobs and more involved studio projects.

For repeat work, how often a stone is regrained depends on how often a stone is reused and how heavily it has been worked. Some stones only need light regraining between projects, while others require a full reset after a dense image or a long edition. We advise on the best interval after inspecting the stone, because overworking a slab can shorten its useful life. A bit of preventive care goes a long way.

• Light maintenance between short editions or proof runs
• Full regraining after complete image removal or heavy use
• Inspection for edge wear, surface scoring and flatness before each reuse
• Advice on safe storage, lifting and covering between studio sessions

For artists and collectors working across Cape Town, Stellenbosch, Johannesburg, Pretoria, Durban and surrounding areas, we keep the process practical and transparent. You get clear advice on what the stone needs, what can wait, and how to protect the surface once the edition is complete.