There is something quite special about seeing your artwork being printed at large format, in the final form it was meant to have. A display, even a good one, cannot quite compete with that moment. The image that existed digitally before, or the reproduction of a traditional oil painting, becomes a physical object and a piece of art of its own.

I make and print the wall maps, art prints, and fine‑art reproductions myself in Sweden. This is not simply a practical choice, but an essential part of how the end result is affected. The artwork, printing, checking, packing, and correspondence all stay close to me and to the standards I want for my products.

This gives me direct control over each step in the process, allowing me to ensure the very highest quality I can achieve. I can compare the print to the source file, or to the original painting when it is an art reproduction, and make corrections myself rather than handing the final stage to a production service. For me, the physical print is not separate from the artwork once the work is meant to leave the studio as an object.

The result is a personal way of working. It is not built for the largest possible output, but for control, consistency, and the ability to see what is actually leaving the studio. Each print is checked before packing, and if something does not meet the standard I want for the work, it is not sent.

The Middle‑earth and Beleriand maps are offered in both Limited and Regular Editions. These are the two most requested maps, and offering them in more than one edition makes it possible to keep the finest version available while also allowing a more accessible option for those who cannot, or do not want to, choose the Limited Edition.

The Limited Editions are the intended final products. They are printed on heavier 100% cotton fine‑art paper, signed and numbered, and supplied with a proof of authenticity. The edition size is fixed, and once it is reached, that edition will not be extended. The greater paper weight also gives these prints more physical presence, especially at larger sizes.

The Regular Editions are still high‑quality prints. They are printed by me, checked by me, and made with the same attention to colour and detail. The main difference is the paper: the Regular Editions use a lighter cellulose-based paper that is not archival in the same way as the cotton fine‑art papers. It has a lower overall gamut and less physical weight, yet the maps themselves do not use the full colour range of the Limited Edition papers, and with good profiles the colour difference can be far smaller than one might expect.

Both editions have their place. The Limited Editions are the more complete object, while the Regular Editions offer a strong print at a lower price. I do not see the Regular Editions as careless or inferior products, but they are made with different materials and should be understood as such.

Printmaking is not just pressing a button. The printer, ink, paper, file preparation, colour management, paper profile, print software, and viewing conditions all affect the result. Small mistakes in any of these steps can make a print look flat, muddy, too dark, over-sharpened, or simply different from what the image needs.

I use pigment inks and bespoke paper profiles for the papers I print on. My profiles are created by Les Walkling, whose mastery of printmaking is exceptional. These are not generic manufacturer profiles downloaded and left unquestioned, but profiles made for my own printer, inks, and papers, with the aim of bringing out what each paper can actually do. A good profile does not exist to make the print louder or more dramatic. It exists to make the print path more accurate and predictable, which is especially important with art reproductions, where colour and tone can easily move away from the original painting.

Before printing, I judge the image as something that has to work on paper, not only on screen. A monitor emits light; a print depends on ink, paper, and the light falling onto it. This means a file that looks finished on screen may still need adjustment before it becomes a good print.

For this reason, final judgement is always made on paper. Test prints, comparison, and correction are part of the process. The print is not finished because the file is finished; it is finished when the physical result holds together.

Fine-art papers should be handled with care. The surface can mark, crease, scuff, or pick up oils from the hand more easily than ordinary poster paper. I recommend handling prints with cotton gloves, or nitrile gloves if more tactility is needed. I use nitrile gloves myself for many handling tasks because they give better control while still keeping the paper surface protected.

Do not touch the printed surface directly. If the print needs to be moved, support it from underneath and avoid letting corners or edges bend under their own weight. Large prints, especially the Beleriand & Middle‑earth Map and Beleriand & Middle‑earth Classic Map, are best handled by two people. Their size makes them more cumbersome than a small art print, and careless handling is one of the easiest ways to damage otherwise excellent paper.

The print is made to last, but it is still paper. Treat it as a fine‑art object, not as a poster that can be casually unrolled, pressed flat, or handled with bare hands across the image area.

Most larger prints have to be shipped rolled. This is normal, and it is also how much fine‑art paper is supplied before printing. The paper remembers the curve of the roll, which is not a defect, but it does mean the print may need time and careful de-curling before framing.

Before doing anything, let the print acclimatise to its new environment. Leave it in the room where it will be handled or framed, still protected, so the paper can adjust to the local temperature and humidity. After that, lay it on a clean, flat surface with the protective paper still in place.

Do not force the print flat by bending it sharply in the opposite direction. If de-curling is needed, it should be done slowly and with even support, using a clean protective sheet or slippery barrier paper so the printed surface is not scuffed. The exact method depends on the paper, the size of the print, and how much curl remains. If you are uncertain, a professional framer is the safest option.

Once the print lies flatter, it can be kept under a clean board or broad flat weight, with protective paper between the print and any surface above it. Avoid hard local pressure points, especially near the leading edge of the print, as they can mark soft fine‑art papers. Patience is better than forcing the paper into shape too quickly.

A good print deserves proper display. I recommend framing prints behind glass or acrylic, preferably with UV protection, and keeping them away from direct sunlight. Even high‑quality pigment inks and archival papers will age better when they are protected from harsh light, unstable humidity, and large temperature changes.

Mounting and framing give the print stability and rigidity, which is especially important for larger formats. A print on its own remains a sheet of paper; once mounted and framed properly, it becomes more complete as a physical work of art. The frame should support the print, protect it, and let the image remain central.

For the map prints, I would usually choose a clean frame and a mount that gives the image enough room to breathe. For painting reproductions, the right frame may depend more on the image itself and the room in which it will hang. In both cases, I would avoid cheap clip frames or any frame that presses directly against the printed surface without proper support.

I pack the prints myself before they leave the studio. All prints are rolled with protective paper and placed in a sturdy shipping tube. The aim is to protect the printed surface, edges, and corners without putting unnecessary pressure on the paper.

Rolling and packing large fine‑art prints is not entirely trivial. The leading edge, barrier paper, roll diameter, and pressure inside the tube all matter. A print can be damaged not only by rough shipping, but also by poor rolling before it ever leaves the studio. That is why I take the packing process seriously.

Once the parcel has left me, shipping is handled by postal and courier services, so I cannot control every part of the journey. I can, however, make sure the print is inspected, protected, and packed properly before dispatch. Please keep the packaging until you have checked the print. If there is visible shipping damage, photos of both the packaging and the print are needed.

More practical delivery information can be found in the Shipping Policy.

I hope this page gives a clearer idea of what goes into the prints before they leave my studio. Some of it is technical, some of it is simply care and experience, but all of it is there because I want the finished print to do justice to the image. This is why I prefer to make the prints myself, and why I try to explain the process plainly rather than hide it behind vague claims of quality.

Available wall maps, art prints, and fine‑art reproductions can be found in the Store. If there is anything you would like to ask before ordering, you are welcome to use the form on the Contact page.