Art print lifespan and how to make it last

Welcome to my blog, I am a professional cartoonist, illustrator, artist and writer. My site here is intended to promote a range of works that I think will look good on the wall. Included on my site is not just my own work, but some works by other artists whose work I love and hope to bring to a wider audience. I hope you enjoy your tour of my site and welcome any feedback. Prints are fulfilled by The Print Space for prints on paper, they are one of the UK's premier fine art print companies, and there is also the option of buying some images printed onto canvas, these are fulfilled by Printumo. All prints are available worldwide.

An art print lifespan is not fixed by a date stamped on the back. It comes down to three things: how the image was printed, what it is printed on, and where it ends up hanging. Give a good print sensible conditions and it should carry on looking sharp and colourful for many years. Put the same print in hard sunlight, damp air or a cheap frame, and you can shorten its best years rather quickly.

That is worth thinking about before a picture reaches the wall. A print is there to be enjoyed, not kept in a dark cupboard like a secret, but a little common sense goes a long way.

What affects an art print lifespan?

The ink and paper are the starting point. Fine art giclée printing uses high-quality pigment inks and carefully chosen archival papers, which are made to hold detail and resist fading far better than a basic poster print. The quality is especially noticeable in work with delicate tones, deep blacks and plenty of texture - such as charcoal drawings, landscapes and photographs of weathered surfaces.

Paper matters as much as ink. A good heavyweight fine art paper gives an image a satisfying surface and helps it remain stable over time. It also shows off the qualities that first made you choose the work: the rough grain of a shed wall, the pale winter light over the Gloucestershire countryside, or the little variations in corrugated iron and industrial metalwork.

Canvas has its own appeal. It is tougher in feel, has a softer presence than a framed paper print, and works particularly well for images that need scale. The large advertising signs around Los Angeles are a good example. Their sun-bleached lettering, huge shapes and odd bits of roadside theatre can look terrific as photographic prints, but they also have real impact on canvas, where the image becomes more physical on the wall.

Light is the biggest enemy

Direct sunlight is the main thing to avoid. A bright room is fine. A print hanging opposite a large south-facing window with strong sun hitting it every afternoon is not ideal. Even excellent inks and paper have limits when exposed to ultraviolet light for long periods.

If you have your heart set on a sunny wall, consider placing the work where it receives indirect light, or use glazing with UV protection. This is not about making a home feel like a museum. It is simply the difference between enjoying a print in a good setting and asking it to withstand a daily baking.

Artificial light is generally less of a problem, although very strong lighting placed close to a print is best avoided. For most homes, ordinary room lighting will not cause concern.

Framing is protection as well as presentation

A frame can make a modest-sized image feel properly at home, but it also protects paper from dust, knocks and changing air conditions. The best choice is a frame that keeps the print from touching the glass. A mount creates that small gap and gives the picture room to breathe visually as well.

For paper prints, avoid taping the whole back flat to a board with ordinary adhesive. Over time, unsuitable tapes can stain paper or make it difficult to reframe. A decent framer will know the right materials, but it is not an overly complicated job if you are framing at home. Use acid-free mounts and backing where possible, and handle the print with clean, dry hands.

Canvas does not need glass, which is part of its relaxed charm. Keep it clear of steamy bathrooms, however, and give it an occasional gentle dust with a soft, dry cloth. No sprays, polish or damp kitchen roll required.

The room matters more than people think

Most prints are perfectly happy in the same conditions you are. A lived-in room with reasonably steady temperature and humidity is a good place for them. Problems arise in spaces that swing between extremes: unheated outbuildings, damp walls, bathrooms full of steam, or kitchens where grease and moisture travel further than expected.

This is particularly relevant to images inspired by old industrial buildings, sites along the River Severn, sheds and battered corrugated roofs. Their subjects may be built from rust, rain and peeling paint, but the prints themselves do not need to share quite such dramatic working conditions. The beauty of an old tin wall is in its marks and history. You want those marks in the image, not on the print.

If a wall feels cold or has a history of damp, choose another spot. Leaving a small gap between the frame and wall can help air circulate, especially in older houses.

Does size or edition affect durability?

No. A larger print is not automatically less durable, nor is a small one guaranteed to last longer. It is the materials and care that count. Likewise, works need not be limited editions to be worth owning or looking after. These prints are made to be accessible, well produced and genuinely enjoyable to live with. The point is to find an image you want to see every day.

There is a tendency to treat a numbered edition as if it has special powers. It does not alter the practical fundamentals of print care. A well-made open edition print, framed properly and kept away from direct sun, can remain a brilliant piece of wall art for a very long time.

Choosing work you will still want on the wall

Longevity is not only about fading. It is also about whether an image keeps giving you something to look at. That is why texture, composition and atmosphere matter. A rural scene from Gloucestershire can change with the light in the room. A charcoal drawing can reveal new marks as you walk past. An old industrial building may look severe one day and strangely elegant the next.

New charcoal drawing images have recently been added, alongside new photographs and exciting new work by Steve Parker. These pieces sit comfortably with the older interests in landscape, buildings and urban visual details, but each has its own character. That variety is useful when choosing art for a home. You may want one bold piece above a sofa, then something quieter for a hall or study.

A few sensible habits that help

Once a print is up, there is not much maintenance involved. Keep it out of direct sunlight, avoid damp or smoky spaces, and dust frames lightly with a soft cloth. If you move house, wrap framed work with care and do not leave it in a hot car or a wet garage while everything else is being sorted.

For unframed paper prints, keep them flat in a clean, dry place until they are ready to frame. Do not roll them tightly unless they were supplied rolled and you know they will be framed soon. The less unnecessary handling, the better.

A good print should not make you anxious. Put it somewhere it looks right, enjoy the image, and treat it with the same ordinary care you would give a favourite book, record sleeve or piece of furniture. The best wall art earns its place by continuing to look good there.