FAQ – Frequently Asked Questions
Orders, Payments, Shipping and Packaging of Giclée & Fine Art Prints
Discount Programme for Artists, Galleries and Agencies
What kind of discounts do you offer?
It’s not just a commercial discount — it’s a programme designed to strengthen professional relationships with both national and international artists, making it easier to produce work and improve each artist’s standing in the market. By offering special rates to those who create art as a way of life (and by “way of life” we don’t mean exclusive dedication to art, but rather the spirit with which one approaches life), we know we are helping to improve the national art landscape. We know we are helping artists find fair compensation for their work, and we know we are contributing to something greater than the simple trade of paper and ink.
Fill out the discount programme form for artists, galleries and agencies to receive more information.
Who can benefit from this programme?
Anyone dedicated to art, with a URL, PDF or other reference where we can verify this, is eligible.
In 2024, we also opened the programme to galleries, shops and agencies involved in the sale of artworks and reproductions, with the aim of expanding access to new sales channels for the artists who work with us.
Fill out the discount programme form for artists, galleries and agencies to receive more information.
Is the discount for galleries and agencies higher than for individual artists?
No! As mentioned in the first and second questions, the programme is designed to support everyone equally. However, there are quantity-based tiers which, in the case of collectives represented by agencies and galleries, can lead to higher discount levels — often involving several hundred pieces in a single order, and therefore reaching more substantial discounts.
Fill out the discount programme form for artists, galleries, and agencies to receive more information.
What is a giclée print?
The word Giclée (“zhee-clay”) comes from the French verb gicler, which means “to spray”. It’s a neologism coined around 30 years ago, in the early 1990s, by the late Jack Duganne (1942–2020), a Master Printer who is, of course, greatly missed.
The term is used to describe an inkjet printing process that combines the use of pigment-based inks with substrates — and therefore papers — of exceptional quality, i.e., with high permanence. Initially used to refer to this printing method for reproducing artwork created with traditional techniques, the term has since expanded to include all forms of art, including digital works.
All giclée printing is inkjet printing — but not all inkjet printing is giclée.
Image permanence is a serious concern for artists and collectors. Ageing estimates — based on laboratory testing — indicate resistance to fading and colour shifting of over 200 years under ideal conditions (dark storage at 22.7ºC and 50% relative humidity), and up to 86 years when displayed behind glass. These figures continue to evolve over time with the emergence of new technologies, particularly in the development of more advanced inks.
Giclée printing (or “giclée print” for the more universalist-minded) is, at its core, a form of reproduction developed for artists for whom mass production is not a viable option. Giclée allows their work to be reproduced with guaranteed quality, permanence, and fidelity to the original.
File Preparation, Colour Space, Resolution, Uploads…
In which format should I send my files?
We strive to be as flexible as possible regarding this matter. TIFF is our preferred format, but PSD, PDF, PNG, and even JPEG are valid options. Please send your files flattened (single layer), and especially without layers containing fonts or paths. Please consult our brief guide on how to prepare a file for giclée printing to achieve the best results.
Which is better? CMYK or RGB?
Adobe RGB or RGB (sRGB IEC61966-2.1), at 8-bit or 16-bit. Please refer to our “Preparing a File for Giclée Printing” page for additional and more detailed information.
Do I really have to send my files in RGB? I’ve always been told to send files in CMYK for printing.
Don’t worry, we’re well aware of the whole “CMYK tradition” issue — subtractive and additive modes, all the stories and myths about the “ghosts of past prints” — but there are some things you should know before you get stuck on the “CMYK rules”.
In any case, you can use CMYK for any print order in two specific cases:
– You are absolutely sure of the ICC profile to which the printing machine is calibrated;
– The use of very special spot colours where registration and halftoning issues are far more important than colour accuracy — which, let’s be honest, is exceptionally rare.
In all other situations, there is a significant risk that your CMYK files will be converted to RGB (actually CIELAB) and then back to CMYK to match the ICC profile of the workflow. Modern printing workflows (RIP and others) are far more capable of this RGB-to-CMYK conversion than your chosen software — yes, even the fantastic Photoshop!
Never work in or convert to CMYK unless you have full control over the entire calibrated workflow. This ‘control’ includes the printers themselves. The best colour profile to use at Pigmento is ProPhoto, Adobe RGB or sRGB IEC61966-2.1 RGB. . We use 12-ink machines and have a valuable range of inks available, so there’s no reason to limit your editing colour space.
Can you help with these questions about colour spaces and profiles?
Get in touch using the various forms available on this site or email us at info(at)pigmentocoolectivo.com to ask your questions. You can also consult our checklist on how to prepare a file for giclée printing for more information on these topics.
Which profiles do you use for your papers? Do you create them yourselves?
We use custom profiles. Yes! We don’t understand printing labs that don’t profile their papers and rely solely on generic profiles. There are even “certified” labs that use generic profiles on machines whose specificity is key to printing quality. Pigmento not only creates the profiles for the papers it prints on, but is also honoured to produce profiles for other labs, printers, and even a manufacturer.
Post-production, Certificates & File Management
What happens to my files after I receive my prints?
Once you confirm that everything has arrived safely? Trash bin! We cannot keep your files for two main reasons.
The first, less important, is a matter of storage management on our side — we must delete the files as soon as we receive confirmation of delivery and satisfaction.
The second, and far more important, concerns the ethics and intellectual property rights of artworks and their reproductions.
We cannot retain files beyond what is expressly ordered by the client. Once the agreed task (printing and organising the delivery) has been fulfilled, we are required to delete the files. The only exception is an explicit request from the client for us to store their files for future production – this typically applies to series or collections.
I really liked my prints and would like to place a new order for more reproductions. Do I need to resend my files?
If both parties (the client and Pigmento) have already exchanged messages confirming the completion of the order, it is very likely that your files have already been deleted. You should confirm this with Pigmento, but you will probably need to resend your files.
Does Pigmento issue certificates of authenticity for prints?
Of course! You can choose between two types of certificate:
– One issued by us (A5 format), featuring our embossed seal and a declaration of the print specifications.
– A second type, based on the Hahnemühle hologram system, in which each artwork receives a numbered holographic seal that matches a numbered seal placed on a Certificate of Authenticity.
Elements such as title and authorship, paper type, printing technology, inks, paper type and batch, etc., are typically included in both types of certificate.
Papers (chemistry, substrates, acid-free, lignin, OBAs, etc.)
Which papers do you use?
All the papers we use for giclée printing are archival-grade. Some papers have a matte finish, while others feature glossy, pearl, or satin surfaces. Matte papers come in various textures, allowing the client to choose the “feel” that best suits their artwork and artistic vision.
Which inks do you use?
We exclusively use original LUCIA PRO inks, regardless of the job. These are pigment-based (also known as mineral pigment) inks of the highest quality and durability, especially when used with papers that meet the same level of excellence.
Since June 2024, we have also added LUCIA PRO II inks to our printing arsenal, with the introduction of an additional CANON imagePROGRAF 4600 printer, bringing our total to four printing machines.
Are the papers you use acid-free?
Giclée printing without acid-free substrates/papers is not Giclée printing! You may quote us on this.
The longevity of the final product (substrate + ink) depends largely on the pH value of the paper before printing, as well as how it evolves over time. The presence of lignin also adds complexity to this already delicate equation. When exposed to light and oxygen, lignin causes the surface of the material to yellow over time.
Yes, all our papers are acid-free (unless stated otherswise). pH values and other technical details can be found on the individual pages we have created for each paper (you can find all the links on the homepage). More information regarding lignin can be found in the next answer.
When we use the term “acid-free paper”, we are referring to a treatment introduced during the manufacturing process. Calcium carbonate is added to the pulp to neutralise the natural acidity of the material and to create a stable alkaline environment in the finished paper. This results in a neutral pH and, consequently, a longer lifespan for the print. This applies to cotton paper, alpha-cellulose paper, or even blends of cotton with bamboo, sugarcane, hemp or agave (sisal).
Are your papers free from lignin?
What matters most about lignin is that its absence in the future—many years from now—is guaranteed by its non-existence in the present.
Lignin is, chemically speaking, a molecule found in land plants, associated with cellulose at the cell wall level. Its role is to provide rigidity, water resistance, and protection against biological attacks on plant tissue, especially within the vascular system. So, lignin is actually a “good thing” for the plant! It only becomes a “bad thing” when we talk about papers for giclée and fine art printing—but we trust you’ve already picked up on what we mean, right?
Lignin is the main component of wood after cellulose. Following the paper production process, it remains in large quantities in papers such as kraft paper (used in bread bags or other food packaging) and, of course, in cardboard. These papers share several characteristics, one of which is their brownish colour. The high concentration of lignin in their composition is precisely what gives them that distinctive… brown tone!
Lignin gives paper an aged appearance over time, meaning it accelerates its degradation. Lignin molecules oxidise when exposed to oxygen, becoming less stable. To produce white paper, lignin must be almost entirely removed. This is achieved through bleaching (using chemical agents). During the production process, these chemicals are added to the cellulose pulp, separating and discarding the lignin. The result is a white paper with greater resistance to the passage of time.
What are OBAs?
OBA stands for Optical Brightening Agents (also known as Optical Whiteners or Brightening Agents).
OBAs are chemical compounds added to the coating of certain papers. They are used to enhance colour appearance by brightening the paper through increased reflection of blue light, thereby offsetting the paper’s natural yellowish tone (commonly referred to as natural white).
Different papers contain varying levels of OBAs. You can check whether a paper includes optical brightening agents by placing a sheet under ultraviolet light. If it shows a bluish-purple glow, then OBAs are present; the brighter the purple light emitted, the higher the concentration of OBAs in the paper.
In slightly more technical terms, an OBA, or optical brightener, is a colourless aniline compound that absorbs ultraviolet radiation and re-emits it as visible light. The presence of optical brighteners in the paper leads to a predominant reflection in the blue region of the spectrum, positively influencing the reproduction of cool colours (greens, blues and related tones), while negatively affecting the reproduction of warm colours.
Why is cotton so famous as a paper substrate?
Cotton has a long-standing tradition in papermaking.
Even today, it is still possible to find “rags” from old clothes in the composition of certain papers (hence the term “cotton rag”), but the majority of giclée or fine art printing papers use only high-quality cotton linters. These are short fibres attached to the cotton seed after ginning, and they also contain cellulose, which helps provide stability to the finished sheet of paper.
As such, and due to the origin of the cotton, this type of paper offers a much softer feel compared to 100% alpha-cellulose papers. Theoretically, cotton paper also has greater strength and durability than alpha-cellulose papers, but that’s a topic for another discussion and will certainly depend on trends and other non-technical factors.
Cotton also possesses well-known archival qualities. It is commonly said that for each percentage point of cotton content in a paper, one can expect a year of resistance to wear and tear. For example, a paper with 25% cotton may be handled for 25 years without showing signs of deterioration. Naturally, this should not be regarded as an absolute guarantee.
What is alpha cellulose?
Alpha cellulose paper is made from wood pulp and is therefore a natural product (or natural fibre).
Alpha cellulose is the base of wood pulp, composed of several sugar molecules linked in a chain. During the papermaking process, this chain is broken down and refined to remove unwanted elements (such as lignin, mentioned earlier in this FAQ), and then restructured to enhance the strength of the final paper sheet.
To create different surface finishes on the paper, alpha cellulose fibres are sometimes combined with other materials, such as cotton linters. There are many different types of alpha cellulose paper for fine art and giclée printing, and their quality is absolutely undisputed, making them suitable for a wide range of art reproductions. They are especially sought after in the illustration segment.
Do you print on handmade paper / kraft paper / tissue paper / cardboard / etc.?
We print professionally and exclusively on papers that are coated and prepared for inkjet printing, which is the only suitable surface for the giclée process. However, we carry out extensive testing on uncoated papers and expect to offer some interesting options to our clients by the end of 2025.
Can I send you the paper and have you do just the printing?
No!
Can you request a specific type of paper from your suppliers so I can run some printing tests?
It depends! We have access to all papers — except when they’re out of stock at the supplier — including Ilford, Hahnemühle, Awagami, and mediaJET. However, “having a paper available” represents a significant investment in a certain quantity or stock of paper.
If your quote request is for a quantity that, although it may represent a loss for Pigmento, still appears viable, we may be able to source the paper. On the other hand, if your request is for just a few prints, it is unlikely we will be able to assist.
As much as we like to be helpful, a business is still a business, and in practice, it is impossible to keep stock of every paper on the market — even if we’re only talking about 2 or 3 brands.
Can I request more than one sample pack?
No. We only provide one sample pack per client/tax number/address. Occasionally, due to the introduction of new papers, we may create a special sample pack to help our clients discover new options for printing.
The sample pack is intended to showcase the printing papers, the printing technique, the packaging, and the shipping process. It is not a means to build up stock by accessing special prices.
Orders
How can I order?
That’s easy! Just follow the steps outlined on our ‘How to order…’ page.
How long does it take to ship the prints?
After payment confirmation, we currently take 3 business days or less to process an order. The average turnaround time in 2024 (as analysed on 15 December 2024) was 2.51 days.
How much is the shipping?
For updated information on this matter, please refer to our ‘Shipping Policy and Costs’ page.
Can I send you a label from my preferred carrier and have you use it for shipping?
No. We use our own contracts with shipping carriers.
Can I send you a shipping label from my preferred carrier, you apply it to the shipment and then take the parcel to a pick-up point for that carrier?
No. We use our own contracts with carriers. Including multiple shipments per order, we handle several thousand packages and deliveries annually. We simply wouldn’t have time to print if we were to accommodate requests of this nature.
How much does it cost to produce a proof?
The same as any equivalent print. Even a test strip — where you can create a grid with whatever you like — has a minimum size of 1000 mm width (the width of a 44” roll) by 21 mm height. Please contact us for this type of request. We use some 24” rolls on our smaller printers and can create a test strip measuring 600 mm x 210 mm.
Do you offer test strips? If so, how much do they cost?
Yes we do!. Please read the previous answer.
Do you offer proofs / tests / samples free of charge?
No, but the day our distributors and suppliers start sending paper for free, we’ll gladly offer the labour, ink, electricity, maintenance, packaging, and even shipping at no cost. 😉 Until then, any proof, test, or sample is charged at the standard print rate because, quite simply, it is a standard print.
Who can request sample production?
Any artist with a URL where we can confirm the existence of a portfolio.
How much does an order of 25 A2 prints weigh?
Although the weight of the paper and the respective printing inks represent a considerable portion of each order’s weight (1684g for just the paper in an order of 25 A2 prints using PC Velvet 270gsm), it’s essential to account for the packaging materials as well.
Thus, based on our experience, an order of 25 A2 prints on PC Velvet 270gsm weighs approximately 4500g (4.5kg).
Add approximately 235g–250g for an equivalent order on Canson Rag Photographique 310gsm or Hahnemühle Photo Rag 308gsm — that is, around 4735g for an order of 25 A2 prints.
Do you have a minimum order requirement?
No! We print all orders, whether small or large, with the same dedication. However, here’s the deal: orders below €32.50 incur an additional €5.90 for packaging and shipping. Moreover, the minimum amount we charge is for an A6 size (105×148 mm). So, if you order 30 prints of 100×130 mm, we will charge for 30 A6 (105×148 mm) prints.
What are your packages like?
Flat packages are made of Eskaboard sheets measuring 2.25, 2.50 or 2.75 mm (4.50, 5.00 or 5.50 mm when paired), and may—if necessary—be further reinforced with AB flute cardboard (6.0 mm). The packaging is sealed at 8 to 16 points and reinforced with 78 mm kraft tape. Finally, the entire package is wrapped in protective film. Boxed packaging (61 or 110 cm) prevents the prints from touching the package walls and allows for rolled shipping of large-format prints. These latter box packages (61 or 110 cm) carry a cost of €4.50.
Any exception to what was previously stated?
Yes, during periods such as Black Week (Black Friday, Black Weekend, Cyber Monday, etc.), which overlap with Christmas, we lower the thresholds from which prints are shipped rolled, due to the very high likelihood of them being damaged during transport.
How are the packaging costs charged?
Packaging (including both materials and handling) is free of charge for prints/orders with a value equal to or above €32.50. For orders with a lower included value per package, each packaging process incurs an additional fee of €5.90, which covers both packaging and shipping. In such cases, packaging and shipping are considered an inseparable pair.
Can I request to have 20 A5/A4/A3 prints individually packed and then all shipped together in a single outer package, without being charged for each individual package?
No. Since a single A5, A4 or A3 print (among other formats) never reaches €30.00 in value, each individually packed item will be treated as a separate shipment. In other words, you should add €5.90 to each print if you require individual packaging. Please refer to the previous point. That said, for recurring and periodic orders of this nature, we offer a special pricing plan for our clients. Please get in touch and let us know your situation.
Why don’t you always offer packaging for free?
Listing the reasons, we have: the processing time for each package is considerable; each package is created specifically for each order; the materials we use carry a very significant cost, which increases annually.
Payment
What payment methods do you accept?
Payments can be made via Multibanco Reference, MB WAY, and Bank Transfer (including traditional transfers, Revolut, Wise, etc.). Occasionally and on a case-by-case basis, we also offer payment via PayPal, but not always due to the high fees charged by the service.
Can I pay an urgency fee to expedite my order?
No! We do not charge any urgency fees.
Shipping and delivery
How are the prints shipped?
All prints are shipped flat using CTT Expresso or DHL if the longest side is up to 850 mm or the shortest side up to 700 mm. For dimensions exceeding these limits, prints are sent rolled and packed in a special box. This box carries an additional cost of €4.50 (VAT included). During periods such as Black Week (Black Friday, Black Weekend, Cyber Monday, etc.), which coincide with Christmas, we lower the size thresholds from which prints are shipped rolled, due to the very high risk of damage during transport.
Which couriers do you use?
We currently use exclusively CTT Expresso.
Can I track the shipment of my orders?
Yes! All our shipments include a tracking number that you can use to follow your orders. Shipment requires a mobile phone number for the carrier’s SMS status updates service and to receive the delivery PIN.
Are the prints shipped well protected?
Yes! Very well protected. We do not cut corners on packaging materials. You’re paying for a giclée print, not a digital print.
How can I receive my order at a CTT pickup point or post office?
Simply let us know that you wish to receive your order at one of the more than 2,500 CTT pickup points. You can choose the CTT store nearest to your address or whichever is most convenient for you. It is the sole responsibility of the customer to collect the order within the appropriate timeframe.
What should I do if my package is damaged upon delivery?
Please read the information on the “Returns Policy” page.
PRINT ON DEMAND (POD / DROPSHIPPING)
How does Print on Demand (PoD) work?
Please refer to the page on this subject (PoD) for up-to-date information. At present, the service is suspended.
How much do you charge for this service?
We do not charge any additional fees, but we set a limit of 5 uses per month per customer. Beyond this frequency, we believe it is reasonable for the customer to seek their own methods for shipping their printed pieces.
What our customers are saying about us…
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dideletpink ★★★★★ 4 weeks ago
Excelente serviço! Para além da qualidade, são muito solícitos e prestáveis! -
Catarina Gomes ★★★★★ 2 weeks ago
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Nuno Dinis ★★★★★ a week ago
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Luis Carvalho ★★★★★ 2 weeks ago
Contactei a empresa pela primeira vez para efetuar uns testes de impressão e o que eu posso dizer é que fiquei completamente rendido (e até surpreendido) com a eficiência e qualidade apresentada.Infelizmente e cada vez mais, poucas são … More as empresas em Portugal e neste sector com esta qualidade. Quer seja no contacto, que no meu caso foi apenas por e-mail, quer seja na qualidade das impressões, na rapidez do processamento da encomenda e no envio da mesma, só posso dizer uma vez mais que fiquei surpreendido pela positiva e por isso esta "ligação" será para manter. -
João Brum ★★★★★ in the last week
Olá, Boa tarde.Acabei de receber as amostras dos teste que encomendei e, fiquei deveras impressionado tanto com a qualidade das mesmas mas também com a qualidade de expedição.Excelente trabalho é o que posso dizer. A partir de hoje têm … More mais um cliente.Obrigado mais uma vez pelo vosso excelente trabalho.Cumprimentos,João Brumj -
Vanessa Costa ★★★★★ 6 months ago
Profissionais exímios. Atendimento personalizado, atencioso e cuidadoso, de extrema atenção ao detalhe. Total disponibilidade para esclarecer dúvidas e aconselhar o cliente tendo em vista os melhores resultados. Excelente metodologia de … More trabalho. Impressões de qualidade superior, cuidadosamente embaladas e enviadas dentro dos prazos. Não poderia estar mais satisfeita. -
Flying Goggle ★★★★★ 2 weeks ago
Extremamente profissionais, solícitos, com foco no cliente e na obtenção do melhor resultado possível. Recomendadíssimo!!! -
Marco Antonio Gouveia ★★★★★ a week ago
Ótima qualidade de impressão que até dá gosto, além do serviço ser bem prestado e com muita simpatia e atenção aos pormenores. Vale acrescentar que a encomenda da minha impressão giclée chegou muito bem embalada e protegida