How to Store and Care for Limited Edition Screen Prints

You've just brought home a limited edition screenprint. It's signed, numbered, and the artist has told you it will never be printed again. You love it. You want it to last.

So how do you look after it?

I've been making hand-pulled screenprints for over fifteen years, and I've learned a lot about what happens to prints once they leave the studio — not just from my own work, but from collectors who've come back to me with questions, from framers I've worked with, and from watching what happens when prints aren't stored properly. This is everything I wish someone had told me when I bought my first print.

Why screenprints need different care than digital prints

A screenprint is a physical object. Ink has been pushed through a mesh screen onto paper, layer by layer. The ink sits on the surface. You can feel it if you run your finger across it. That means it's vulnerable in ways a digital print isn't.

Every layer I print — sometimes eight, sometimes twelve — is a separate pass. Each one dries independently. The paper absorbs some of the ink, but most of it rests on top. That surface texture is part of what makes screenprints beautiful, but it also means they can scuff, scratch, or fade if they're not treated right.

Digital prints and giclées are sealed behind glass and usually printed with UV-resistant inks. Screenprints are not. The paper itself is often uncoated, archival stock like Somerset or Fabriano. It's made to last, but it needs to be handled with care.

What damages screenprints

Three things will ruin a screenprint faster than anything else: light, moisture, and careless handling.

Direct sunlight is the worst. UV light breaks down pigment. It doesn't matter how good the ink is — if you hang a print in direct sun, it will fade. I use lightfast inks, but even those have limits. I've seen prints lose half their color in a year because they were hung opposite a south-facing window.

Moisture is the second killer. Paper absorbs humidity. If a print gets damp, the paper can buckle, warp, or grow mould. I've had collectors ask me about prints stored in basements or garages, and the answer is always the same: don't. Paper needs stable conditions.

Then there's handling. Oils from your fingers transfer to paper. Fingerprints show up over time, especially on uncoated stock. If you're going to handle a print, hold it by the edges or wear cotton gloves. I know it sounds precious, but it makes a difference.

How I store prints in the studio

Before a print leaves the studio, it's flat. Always flat. Never rolled.

I store editions in acid-free tissue, separated by sheets of glassine. They go into flat files — shallow drawers that keep them horizontal and protected from dust. The room is cool, dry, and dark. No windows. No radiators nearby.

When I ship a print, it's wrapped in acid-free tissue, backed with mounting board, and sealed in a cellophane sleeve. Then it goes into a reinforced cardboard mailer with "Do Not Bend" on every side. I don't roll prints. Ever. Rolling puts stress on the paper and can crack the ink.

If you're storing prints at home, the same principles apply. Keep them flat, keep them dry, and keep them out of the light.

The best way to store unframed prints

If you're not ready to frame a print straight away, store it flat in a cool, dry place. A flat file is ideal, but most people don't have one. A large portfolio case works just as well — you can pick one up from any art supply shop.

Wrap each print in acid-free tissue. Don't use newspaper or brown paper — the acid in cheap paper will transfer over time and cause discolouration. Glassine is better if you want to see the print without unwrapping it.

Store the portfolio somewhere stable. Not the attic. Not the garage. Not under the bed if you live somewhere damp. A wardrobe, a cupboard, or under a sofa in a dry room will do.

Never lean prints upright against a wall for long periods. The paper will bend. Once it's bent, it's hard to flatten without risking damage to the ink.

Framing: what to use and what to avoid

Framing is the best way to protect a screenprint. But not all framing is equal.

Use a frame with a mount — also called a mat. The mount creates a gap between the glass and the print. This is essential. If the print touches the glass, condensation can form, and moisture will damage the paper. I've seen prints stuck to glass after a few years. It's heartbreaking.

The mount should be acid-free. Most good framers use conservation-grade materials by default, but it's worth asking. Acid-free board won't yellow or leach chemicals into the paper over time.

The backing board should also be acid-free. Cheap cardboard will degrade and stain the back of the print. If you're spending money on a limited edition, spend a little more on proper materials.

UV-filtering glass is worth it if the print is going anywhere near a window. It's not cheap, but it blocks most of the ultraviolet light that causes fading. Museum glass is even better — it's clearer and reduces reflections — but it costs more.

If budget is tight, standard glass is fine as long as the print isn't in direct sunlight. Just make sure there's a mount.

Where to hang a screenprint

Hang prints away from direct sunlight. An interior wall is better than a wall opposite a window. If you love the print and want to see it every day, that's fine — just keep it out of the sun.

Avoid hanging prints in bathrooms or kitchens. Steam and humidity will warp the paper over time. I've had someone ask me about a print hung above a kettle. It lasted six months before the paper buckled.

Don't hang prints above radiators or fireplaces. Heat dries out paper and can cause it to crack or yellow.

If you're hanging in a hallway, make sure it's not a high-traffic area where the frame might get knocked. Screenprints are tough, but they're not indestructible.

What to do if a print gets damaged

If a print gets creased, don't try to flatten it yourself. A professional conservator can sometimes repair creases, but it's delicate work. DIY fixes usually make things worse.

If a print gets wet, don't panic. Blot it gently with a clean, dry cloth — don't rub. Let it air-dry flat, away from heat. If it buckles, a conservator may be able to flatten it, but there's no guarantee.

If the ink gets scuffed, there's not much you can do. Surface damage is permanent. That's why careful handling matters.

Why this matters

A limited edition screenprint is not a poster. It's a hand-made object. Every print I make takes hours — sometimes days — to get right. I pull every one by hand. I check every layer. I sign and number each one because I know it's going into someone's home, and I want it to last.

When I tell you an edition will never be repeated, I mean it. I've moved on. I'm making new work. If your print gets damaged, I can't replace it.

That's not meant to scare you. It's meant to remind you that these prints are collectible. They're worth looking after. Treat them well, and they'll outlast both of us.

If you'd like to see the prints I'm currently making, visit olifowler.com. Every edition is strictly limited and hand-pulled. Once they're gone, they're gone.