There is a persistent debate in the art world, one I hear frequently from artists who are fiercely protective of their work’s integrity. The concern is understandable: Does offering reproductions—prints, giclées, or open editions—do a disservice to the artist and the collector? Does the existence of a lower-priced copy cheapen the value of the original hanging on the wall?
It is a valid hesitation. We naturally want to protect the exclusivity of the original creation. However, viewing the art market through a binary lens—where you either sell high-end originals or “sell out” with prints—is a mistake.
In my experience running a gallery, I have found that prints are rarely a competitor to originals. Instead, when handled correctly, they are a powerful tool for audience development.
The “Ladder” Strategy: Cultivating Future Collectors
We tend to categorize people as either “original buyers” or “print buyers,” assuming they stay in those lanes forever. But this ignores the element of time. A collector’s journey is rarely static; their tastes, confidence, and budgets evolve.
Think of prints not as a final sale, but as an entry point—the first rung on a ladder of patronage.
I have seen this scenario play out many times: A young couple or a new collector walks into a gallery. They fall in love with an image, but they are financially conservative or inexperienced in buying art. They aren’t ready to commit to a four-figure original, but they happily purchase a high-quality print.
That print goes on their wall. They live with your imagery every day. It becomes a part of their home. Over the next three to five years, that relationship deepens. As they become more comfortable with art buying and as their financial situation improves, they often return. We have had numerous cases where a collector comes back specifically to replace a beloved print with an original painting to fill that space.
If the print option hadn’t existed, that relationship would never have started. By offering an accessible price point, you are “incubating” your future collectors.
Elevating the Medium: Substrates and Presentation
If you are worried that prints feel too commercial or lack the soul of your work, the solution often lies in how you present them.
The technology of reproduction has advanced significantly. We are no longer limited to paper prints slipped into plastic sleeves. To maintain a high perception of value, consider treating the print as a unique object in its own right.
I recently spoke with an artist who was hesitant about prints until he began experimenting with aluminum dye-sublimation. Another option is back-mounting prints to UV acrylic or printing on wood or metal. When you move away from traditional paper and glass, the piece gains a tactile, sculptural quality. It has weight and presence.
By using unique substrates, you differentiate the reproduction from the original not just in price, but in experience. It stops looking like a “copy” of a painting and starts looking like a distinct piece of art. This allows you to capture attention in a crowded market—standing out is often just a matter of offering a format the eye isn’t used to seeing.
Analyzing Market Fit
Deciding to offer prints is also a practical matter of reading the room.
You may find yourself participating in art fairs, co-ops, or local markets where the demographic simply isn’t purchasing originals at your price point. If you are putting in the effort to be there, but your originals are stagnant, you have a choice: leave that market, or adapt your inventory.
Experimenting with prints allows you to test the waters. If you introduce a line of prints and they fly off the walls while your originals sit, the market is telling you what it can bear. There is no downside to this experimentation other than the investment of time and materials. It allows you to salvage a difficult market while you work on getting your originals into venues better suited for high-end sales.
A Caveat: Focus on Your Core First
While I am advocating for the benefits of prints, there is a crucial caveat.
Do not dilute your efforts too early. Your primary job is to build the value and demand for your original, core body of work.
If you are in the early stages of your career, or if you are still defining your voice, splitting your focus between creating masterpieces and managing a print manufacturing business can be dangerous. You want to avoid a situation where you are spending more time fulfilling print orders than you are at the easel or in the studio.
Establish your core competency first. Build a body of work that you are proud of and that has traction. Once you have that momentum—and perhaps a bit of breathing room in your schedule—then you can look at prints as a strategic expansion.
Ultimately, offering prints isn’t about devaluing your brand. It is about expanding your reach. It allows you to place your work into the lives of people who might not otherwise be able to enjoy it, planting seeds that may blossom into dedicated patronage years down the road.