Would you like to learn more about how to prepare a file for fine art printing? In addition to the content available on this page, we have prepared a very comprehensive guide that you can—and should—use to learn how to prepare your files for Fine Art & Giclée printing. Please keep in mind that file preparation is an absolutely crucial step in achieving a high-quality and rigorous fine art printing process.
In 2 minutes: the essentials
A “print-ready” file is one that:
- has the final size defined (including margins, if applicable)
- has adequate resolution (ideal: 300 PPI; acceptable for large format: 180–240 PPI)
- is in RGB (general recommendation: Adobe RGB (1998))
- is exported in a robust format (16-bit TIFF whenever possible)
- comes with clear instructions (paper, size, margins, and whether a proof is required)
Pigmento note: file preparation is not “bureaucracy”. It is an extension of the care given to the artwork.
If you have more than 2 minutes, you’ll find much more than just the essentials here…
What is the recommended resolution?
- 300 PPI: the “gold standard” for maximum detail at close viewing distance (A4/A3 and similar sizes).
- 180–240 PPI: perfectly acceptable for large formats viewed from a greater distance.
Golden rule
Avoid “creating pixels” unnecessarily. If you don’t have enough pixels for 300 PPI at the intended size:
- choose a slightly smaller size or
- consciously accept a lower resolution (often looks excellent on a wall).
Quick example
A file with 6000 px on the longest side allows for:
~70 cm at 216 PPI (still acceptable in many cases)
~50.8 cm at 300 PPI
Why a margin helps:
- handling without touching the printed area
- framing (extra “margin” for the framer)
- signature/numbering (for series and collections)
- protection of edges (sacrificial zone)
Minimum recommended margins
- Smaller than A4: 3–5 mm
- A4: 5–10 mm
- A3: Minimum 10 mm
- A2 and bigger: 10–15 mm to 30-40 mm
You can print without a margin. Just keep in mind that the margin (when present) counts toward the total size of the piece and affects the final cost.
- 300 PPI: the “gold standard” for maximum detail at close viewing distance (A4/A3 and similar sizes).
- 180–240 PPI: perfectly acceptable for large formats viewed from a greater distance.
Golden rule
Avoid “creating pixels” unnecessarily. If you don’t have enough pixels for 300 PPI at the intended size:
- choose a slightly smaller size or
- consciously accept a lower resolution (often looks excellent on a wall).
Quick example
A file with 6000 px on the longest side allows for:
~70 cm at 216 PPI (still acceptable in many cases)
~50.8 cm at 300 PPI
What we recommend sending
For most artists, the safest option is:
- Adobe RGB (1998) (RGB)
Avoid exporting in sRGB out of habit: it can “shrink” the color gamut and reduce vibrancy, especially in greens/cyans.
Should I convert the file to the paper ICC profile?
In most cases: no.
- Use the paper ICC for soft proofing (on-screen simulation).
- Send the file in Adobe RGB (1998); the final conversion is done within our workflow (RIP calibrated for printer/paper).
If you are already confident with advanced color management and want a different workflow, let us know. We can adjust the process.
Pigmento preference (safest delivery)
- TIFF (ideally 16-bit, flattened)
Acceptable (depending on the case)
- JPEG only at maximum quality (avoid re-saving multiple times)
- PDF for vector work/editorial illustration (ensure RGB and correct raster image resolution)
Not recommended for final delivery
- PNG (mostly intended for screen/web use)
- RAW/DNG (not a final file; transfers creative decisions to the studio)
- 16-bit (recommended): better for smooth gradients and transitions (skies, backgrounds, shadows).
- 8-bit: can be sufficient in many cases, but more fragile in gradients (risk of banding).
Avoid exporting files in 32-bit floating/linear for direct printing: it may produce unpredictable results (contrast and shadows).
“Screen” sharpening is not the same as “print” sharpening.
- Avoid aggressive output sharpening.
- If the file is well-focused and carefully edited, its appearance on paper (matte/textured/baryta) will generally look more natural without overemphasis.
If you are preparing a large series, it is worth requesting a proof to validate the approach.
The most common error in print files is that the monitor is:
- too bright
- too saturated
- too blue
Without a calibrator, a simple mitigation:
- Reduce the screen brightness to around 40–50% during print editing (not perfect, but it helps).
Final checklist before sending…
- Final size defined (e.g., 70×100 cm) and margin included (if applicable)
- Conscious resolution (ideal 300 PPI; large formats 180–240 PPI)
- Color space: RGB (recommended Adobe RGB 1998)
- Format: 16-bit TIFF (preferred) / JPEG maximum quality / PDF for vector work (if applicable)
- 100% review: dust, spots, artifacts, sharpening halos
- Clear file name (e.g.,
NomeArtista_Titulo_70x100_Papel.tif) - Instructions: paper, size, margin, proof (yes/no), delivery
What our customers are saying about us…
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Impressões de altíssima qualidade. Serviço impecável. Nem sugestões de melhoria tenho!
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My experience with Pigmento Colectivo was excellent! Their response to customers and the quality of their work is outstanding.
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Um dos melhores serviços de impressões artistícas com quem já trabalhei. Além um de trabalho primoroso, uma ótima gama de papéis especiais, são atento aos detalhes, com um tempo de resposta e envio muito bons e estão sempre dispostos a … More ajudar.
Indico e recomendo o trabalho da Pigmento Coolectivo e especial ao Rui sempre muito atencioso e gentil. -
Presta um serviço de excelência. 300% recomendável.
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Impressionada! Não conhecia esta classe de impressão e agora entendo a qualidade.Muito prestável o Sr. Rui, desde o primeiro contacto; entrega a tempo e horas, recomendo.
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