What to Look for When You Buy Your First Screenprint

I've spent twenty-six years making screenprints. I know what goes into a good one. I also know what collectors worry about when they're spending money on something unfamiliar.

If you're buying your first screenprint, you're probably wondering whether you're making a smart choice. You want something beautiful. You also want something that will last. And you'd like to feel confident you're not being sold something that isn't what it claims to be.

Here's what I check in my own editions—and what you should look for before you hand over your money.

Start with the Signature and Edition Number

Every serious screenprint should be signed in pencil below the image. Not printed. Not stamped. Pencil. You're looking for the artist's actual handwriting.

Next to the signature, you should see the edition number. It will look like this: 23/50. That means print number 23 out of a total edition of 50. The smaller the edition, the more exclusive the work. I keep my editions between 30 and 75. Once they're gone, I destroy the screens. No reprints. Ever.

If there's no edition number, ask why. Open editions can be printed indefinitely. They're less valuable and less collectable. You want scarcity. You want a number.

Look at the Paper

Pick up the print if you can. Feel the weight. Good screenprints are printed on heavyweight paper—usually 300gsm or more. It should feel substantial. Not flimsy. Not like something that came out of a desktop printer.

I use Somerset Satin 300gsm for most of my work. It's mould-made in the UK. It has a slight texture. It holds ink without bleeding. You can feel the quality the moment you touch it.

Check the edges too. A deckle edge—the natural, slightly rough edge of handmade or mould-made paper—is a good sign. It shows the paper wasn't mass-produced. Some printers trim all four edges clean. That's fine. But a deckle tells you something about care and craft.

Examine the Ink Layers

This is where screenprinting gets interesting. A good print has visible layers. You should be able to see where one colour sits on top of another. Sometimes you can even feel a very slight relief if you run your finger lightly over the surface. That's the ink deposit. It's what makes a screenprint different from a digital reproduction.

Hold the print at an angle under a light. You'll see a slight sheen where the ink sits thickest. If the colours look flat and uniform with no depth, it might not be a screenprint at all. It could be a digital print. There's nothing wrong with digital work if that's what you're paying for. But if you're paying screenprint prices, you want screenprint quality.

I use water-based inks. They dry matte. They don't crack or fade if you keep them out of direct sunlight. Some printers use oil-based or acrylic inks. Both are fine. But water-based inks have a softer, more natural finish. That's my preference.

Check for Registration

Registration is how accurately the colour layers line up. Perfect registration is hard. It takes skill. It takes time. If the edges of each colour are crisp and the layers sit exactly where they should, the printer knew what they were doing.

Sometimes I deliberately misregister a layer for effect. It adds energy. It makes the print feel more human. But that's a choice. You can tell the difference between intentional misregistration and sloppy work. If colours are bleeding into each other randomly, or if edges look fuzzy and undefined, that's a problem.

Look closely at the edges of blocks of colour. If you see a thin sliver of another colour peeking out where it shouldn't be, that's poor registration. It means the screen shifted during printing. A small amount of variation is normal in hand-pulled prints. But it shouldn't be obvious from a few feet away.

Ask About the Artist and the Studio

Who made this print? Where was it printed? If the seller can't answer those questions, walk away. A reputable gallery or artist will always provide that information. They'll also give you a certificate of authenticity if the edition size or price warrants it.

I print everything myself in my Hertfordshire studio. I trained at Central Saint Martins. I've been doing this since 1998. That's not bragging. It's provenance. It's part of what you're buying. You want to know the print has a history. You want to know it was made by someone who cares about the craft.

If you're buying from a gallery, ask if the artist is still working. Ask if they have other prints in the edition. Ask if the edition is sold out. Sold-out editions can increase in value. But only if the artist is respected and the work is good.

Trust Your Eye

Here's the most important thing. Do you like it? Does it make you feel something? I've seen collectors agonise over investment potential and edition sizes and forget to ask themselves whether they actually want to live with the print.

You're going to see this image every day. It's going to be on your wall. It should make you happy. It should make you stop and look at it. If it doesn't do that, it doesn't matter how good the paper is or how tight the registration is. Don't buy it.

I make prints because I love the process. I love mixing ink. I love the moment when I lift the screen and see a clean pull. I want the people who buy my work to feel some of that same energy when they look at the finished print. That's what you're paying for. Not just ink and paper. You're paying for intention. For care. For twenty-six years of learning how to do this properly.

Final Checklist

Before you buy, make sure you can answer yes to these questions:

• Is the print signed and numbered in pencil by the artist?
• Is the paper heavyweight and good quality?
• Can you see or feel the ink layers?
• Is the registration tight and intentional?
• Do you know who made it and where?
• Do you actually like looking at it?

If you can say yes to all of those, you're probably looking at a good screenprint. If even one of them is missing, ask more questions. Or keep looking.

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.