Authenticity & Print Quality
A print should outlive the person who bought it. Here is exactly what you are getting — the paper, the inks, the sizes, and what the signature on the back means.
Last updated 23 July 2026
Where the work comes from
I paint digitally. Every Khidki piece begins as a hand-drawn digital artwork built at print resolution — not a photograph, not a filter, not a generated image. The brushwork, the layers and the mistakes are all mine; the surface they are made on happens to be a screen rather than a canvas.
That means the artwork you buy is the print. There is no separate physical original sitting in a studio, and I would rather say so plainly than imply one exists.
How the prints are made
Each Khidki print is a giclée print: a wide-format pigment inkjet print made with archival pigment inks rather than dye inks. Pigment sits on the surface of the paper as solid particles instead of soaking in as a dye, which is why it holds its colour for decades instead of fading within a few years.
Printing is done by a specialist fine-art print studio in India that I work with, on a multi-ink pigment printer. Every file is prepared at full resolution and soft-proofed against the specific paper it will be printed on, and I check prints before they are packed. Anything that does not read the way the artwork should does not go out.
Papers
| Option | Weight | Character |
|---|---|---|
| Archival Matte Paper | 230 GSM | Smooth, non-reflective, acid-free and lignin-free. The everyday choice: crisp detail, no glare under room lighting. |
| Museum Textured Paper | 310 GSM | 100% cotton rag with a soft grain that catches the light. The richest of the three, and the one I would choose for a piece meant to be lived with. |
| Canvas Print | 380 GSM | Poly-cotton canvas with a matte protective coat, stretched or supplied rolled. Best for large formats and for spaces with strong light. |
All three are acid-free and free of optical brighteners, which are the additives that make cheap paper look bright when new and yellow within a few years.
I do not name a paper mill on this page, because I would rather change supplier than compromise on the specification. If you want to know exactly what your piece will be printed on before you order, ask and I will tell you.
Sizes and borders
Sizes on the store are quoted as total paper size. Every print includes a white border around the image, which protects the artwork during handling and gives a framer something to grip without touching the printed area.
| Size | Paper size | Printed image | Border |
|---|---|---|---|
| Small | 8 × 10 in (20.3 × 25.4 cm) | 7 × 9 in | 0.5 in all round |
| Medium | 12 × 16 in (30.5 × 40.6 cm) | 10.5 × 14.5 in | 0.75 in all round |
| Large | 16 × 20 in (40.6 × 50.8 cm) | 14 × 18 in | 1 in all round |
Need a size that is not listed, or a full-bleed print with no border? Both are possible as a custom order — write to me.
Editions and signing
Store prints are open edition: they are not numbered, and they stay available while the work is in the catalogue. I have deliberately not invented artificial scarcity — if you love a piece, you should be able to have it.
Every print is signed by me on the reverse in pencil and dated, and ships with a small signed card carrying the title of the work and the paper it is printed on. That card records what you have; it is not a claim that the piece is rare.
Framing
Prints are supplied unframed by default. If a listing does not say "framed", no frame is included.
- Slim Black Frame — powder-coated aluminium, 12 mm profile. Disappears and lets the work speak.
- Classic Oak Frame — solid oak with a natural matte finish, 20 mm profile. Warm, domestic, forgiving.
- Premium Gallery Frame — deep-profile hardwood with a float mount, 35 mm. For pieces meant to be the centre of a wall.
Glazing options are standard glass, anti-glare glass, and museum-grade UV glass. UV glazing is worth the difference on any wall that gets daylight. All framed pieces arrive ready to hang, with hardware fitted.
Colour, and why screens lie
Your screen emits light; paper reflects it. A colour that glows on a phone will always be a little quieter on matte cotton rag, and warm papers shift whites slightly cream. This is the nature of the materials, not a fault.
Because I work digitally, I see this gap more sharply than most — the artwork is born on a backlit screen and has to survive the move to paper. That is what soft-proofing is for, and it is why I would rather send you a sample than have you guess. If exact colour matters for your project, ask for a small sample print before committing to a large piece.
Caring for your print
- Handle unframed prints by the border, ideally with clean dry hands or cotton gloves.
- If your print arrives rolled, let it relax face-up under a clean weight for 24 hours before framing.
- Hang away from direct sunlight, and away from bathrooms and kitchen walls where steam collects.
- Dust the glass, never the print surface. Do not use cleaning sprays anywhere near an unglazed print.
- Use acid-free mounts and backing board if you are framing the piece yourself. Ordinary card will stain the paper over time.
Questions
If you want to know something about a specific work — its exact dimensions, the paper I would recommend for it, or how it will read on a particular wall — ask before you buy: saudamini@mykhidki.com.