We are artists and designers, and we design catalogues for artists.

We create our designs in a wide range of standard artist catalogue formats, from 8 to 72 pages including covers. If you are looking for a particular format or page length that isn’t listed please get in touch, we can do that too. 

All the catalogues we create using this service are effectively bespoke, and our prices are carefully configured to enable us to provide you with a professional service for great value for money.

We also provide a comprehensive design service for fully tailored catalogues and most other publicity materials. If you would like to discuss a project please get in touch.


Standard catalogues

We design and create print-ready artwork for a range of artist catalogue formats, from 8 to 72 pages.

You can see some examples, get answers to FAQs, and price your own project via the tabs at the top of this page.


Custom catalogues

Bespoke formats, any page length, special papers, 6 page covers… If it can be printed we can design it.


Design services

We design everything from a single business card to a complete corporate identity package.

artist catalogues

Why a catalogue?

A catalogue is an invaluable tool for an artist. Essential for an exhibition or touring project, with our help you can take the principle and adapt it to create an artist’s book, a portfolio to send to prospective galleries, curators, and collectors, for self-promotion at open studios, or to sell outright.

What will you do for me?

You send us your text and images then we design your catalogue. We take care of all the design and technical issues for you. If you have some particular ideas you would like to see incorporated you can let us know when you send in your files.

What’s included?

Our service includes decades of experience, insider know-how, and the latest technology. We provide industry standard, print-ready artwork, to match the technical requirements of your chosen printer. Then, using our print files, you can order as many or as few catalogues as you wish.
Our price also includes a stand-alone PDF version for use in emails, online or as a download.

Firstly, we’re practicing artists ourselves, so we have a good idea what artists are looking for. We also know that money can be tight for artists so we have priced our service with that in mind. Like most artists, we do other things to support our art practice, and this is one of the things we do. 

Secondly, we know our stuff. We have a LOT of experience doing this – one of us over 15 years and the other over 25 years in print and design, so we know what your printer expects and how to get there. We also use the latest fully licensed versions of Adobe InDesign, Photoshop and Illustrator so there is no risk of issues that arise with unlicensed software.

Something that crops up often is “why shouldn’t I do it myself?” Well, we wouldn’t want to dissuade anyone from learning a new skill. However, there really is much more to it than meets the eye, and if you are showcasing your work you want to do it justice. We can usually spot a DIY design a mile off, and so can the very people you are aiming to impress. Gallerists etc. see a lot of professionally produced work, and anything less will stand out for all the wrong reasons. Added to that, we have seen some horrors where someone has unwittingly made a technical error leading to expensive print jobs being totally unusable.

We can’t give our expertise away, but we can use it to help you help stretch your budget as far as possible.

We provide a professional design and artwork service suited to the technical specifications of the commercial printer, but we’re not printers and we do not provide a printing service. Your choice of printer should be guided by a number of factors, such as whether you want digital or litho, your budget, speed of turnaround, and of course quality. There are many companies providing competitive printing services and prices, and some may be more suited to your requirements than others.

Personal recommendation from friends and colleagues is a good place to start, and you may have printers in your area who you can visit to see the quality of work they produce. You can also search online. 

We can suggest a few printers to get you started, but please note we are unable to make any recommendations – it is up to you to identify a printer that best meets your needs.

Digital printing is ideal for small quantities – often from as little as a single copy. This can be useful if you want to check how your catalogue will look before committing to a larger print run. You can also re-order in small batches, again, useful if you want to try something out.

Litho (lithography) is more suited to longer runs – typically 250 copies and upwards – however the minimum quantity varies with different printers. Some printers will produce four-colour on a single colour press (usually the cheaper end of the scale, but for technical reasons you are unlikely to get the best quality), and you will find specialist litho printers using six colour + UV presses at the higher end.

There are other considerations for both digital and litho. A quick internet search for ‘digital or litho printing?’ will give you a lot more information.

It is a good idea to ask your printer for samples printed on the paper you are thinking of, and ideally a printed article close to the sort of thing you are looking for (you won’t get many clues from a pizza leaflet!). 

Paper is generally specified by weight (commonly written as g, gsm, g/m2 or gsm2 – grammes per square metre). Some materials (such as ‘board’ used in business cards for example) are specified by thickness, usually in microns. Generally speaking, a catalogue will have a heavier cover paper than the inside pages. Lighter weight papers tend to be more prone to ‘show through’ (where text and images show through from the reverse of a page) than heavier paper stock.

As well as weight, paper comes in a wide variety of qualities, brightness, coated or uncoated, and gloss, silk, or matt. Paper whiteness is a factor too – white paper varies from blue-white to yellow-white, which affects the colour of the ink. Printers buy their papers from a variety of paper mills, so it is also a good idea to request samples of paper to help you make your choice of material.

The choice of gloss, silk, or matt can be a personal choice, although some printers may not offer all options. We like coated paper for colour printing – ink can soak into uncoated paper making for dull colours, though it can be useful for particular effects. A little research will help you to select a paper that meets your needs.

When it comes to printing there is sometimes confusion about what constitutes a page. In printing terms, a page is one side of a sheet of paper – an A4 sheet folded in half makes a 4 page A5.

‘Printed page’ is abbreviated to ‘pp’. Pages in printed items such as catalogues are generally in multiples of four, plus a 4 page cover. For example: a 12 page brochure described as 4pp cover + 8pp text is made up of two sheets of paper for the contents, plus a sheet of heavier paper for the cover, folded in half and stapled (or glued) together. 

The number of pages and the format (size) of your catalogue will have a bearing on your printing costs, along with the type and weight of paper you choose.

We provide artwork for catalogues ranging from eight pages upwards.

Our pricing shows a range of common sizes available at most printers, but we can produce artwork to any size.

If you require a size or format not shown please get in touch. In most cases our pricing will be the same as for standard formats, but very unusual sizes may require more design time and therefore cost a little more.

Most catalogues will either be stapled or perfect bound. Stapling (also called saddle stitching) is suitable for thinner catalogues, perfect bound is best suited to thicker catalogues – around 40 pages or more. Other options include case or book binding for hard backs, and wire stitching (spiral bound).

Fortunately there are more options for a proof than there once were. The most basic is a digital proof – you view the artwork on a computer screen. This is good for checking everything is in the right order, checking type for errors, making sure that images are the right way up and in the right place, and so on. 

Next up from this is a low resolution proof, often printed on an inkjet printer from a PDF. In addition to the above, if printed at actual size this can give you a better sense of the scale of images and type size.

Moving on up the scale (both quality and cost) are various proprietary digital proofing systems which emulate the printing process, all the way up through proofs made on a ‘proofing press’ to a ‘machine’ proof for litho printing. The latter two are the closest you will get to the printed article in terms of colour, since they use the real printing plates (subject to any changes you might make at this point) that will be used for the final print, often on the paper that is to be used. A machine proof is made on the printing press running your job. A number of sheets are run through the press, then the press is halted while you check the print quality. If necessary minor adjustments can be made to one or more of the printing colours (CMYK): ‘slightly less heavy on the cyan’ for example. 

We supply you with a PDF proof which you can view on screen or print out yourself. A printer’s proof is a good idea, particularly if you want a lot of copies and a degree of colour control is important. A printer will invariably charge for this, and the cost and type of proof on offer depends on the printer. You should discuss the options with your printer.

The term Author’s amendments originates from when an author makes changes to a manuscript after it has been handed to the printer and the printer has already started work. These changes naturally incur a charge.

Once you have priced your artist catalogue (see Pricing at the top of this page), contact us using the pop-up form. We’ll then email you and guide you through what to do next.

We design your catalogue and take care of all technical aspects. We will provide you with a proof so that you can check the content, and additional proofs should there be any changes. Once the artwork is finalised and signed off we prepare print-ready artwork for your printer. We will also provide you with a version suitable for sharing online, via email or for download.

For a standard design please allow at 2 – 3 weeks, excluding proofing and printing time. This assumes we have everything we need from you*. It also excludes time for any changes or other alterations you may make (see ‘authors’ amendments’ below). We may need longer in busy periods, and you should make sure that your printer is ready to accommodate you if you have a looming deadline such as an exhibition. We strongly recommend that you do not leave it to the last minute!

* including all your text, good quality images, any logos etc., and your printer’s specifications

Artist catalogues

Pricing your catalogue

To find out how much your catalogue will cost using our service please make your selection from the choices below. Once you have made your selection you can contact us using the pop-up form to take it to the next step.


Not sure how many pages?

Sometimes size does count. Take a look at our planning guide for a few tips.


Price your catalogue

Choose your format from a range of options, then select the number of pages, including the cover.