The best printers for art prints at home are the Canon imagePROGRAF PRO-310 and Epson SureColor P700 for premium 13-inch fine art printing, the Epson EcoTank ET-8550 for artists prioritizing lower ink costs, and the Epson SureColor P900 for larger 17-inch prints. The right choice depends on whether you’re producing archival-quality artwork, affordable open editions, detailed black-and-white drawings, or larger prints to sell.
If I were setting up a home printing workflow for my artwork, I’d start with three questions: What size will the finished prints be? What paper do I want to use? And how many prints will I realistically produce each month?
Those decisions matter more than buying whichever printer has the most impressive advertised resolution. A machine that’s excellent for glossy photographs isn’t necessarily the most practical choice for reproducing detailed ballpoint pen drawings on textured cotton rag paper.
Below, I’ll compare four printers suited to different art-printing needs, including their ink systems, paper handling, running costs, and limitations. I’ll also explain what I would choose for selling fine art prints rather than casual photographs.
These recommendations are based on manufacturer specifications and the practical requirements of fine art printing, not a controlled side-by-side print test of all four printers. Prices, availability, and compatible media can change.
Best Printers for Art Prints at Home Compared
| Printer | Best for | Ink system | Print width |
|---|---|---|---|
| Canon imagePROGRAF PRO-310 | Premium fine art prints and detailed reproductions | 9 pigment colors plus Chroma Optimizer | 13 inches |
| Epson SureColor P700 | Fine art, photographs, and black-and-white prints | 10-color UltraChrome PRO10 pigment | 13 inches |
| Epson EcoTank Photo ET-8550 | Frequent printing with lower ink expenses | 5 dye inks plus 1 pigment document black | 13 inches |
| Epson SureColor P900 | Larger fine art prints and exhibition-sized work | 10-color UltraChrome PRO10 pigment | 17 inches |
My starting recommendation: If the goal is selling high-quality fine art reproductions on cotton rag or professional photo paper, I would compare the Canon PRO-310 and Epson P700 first. If a 16 × 20-inch print is an important product, I’d investigate the P900 because a 13-inch printer cannot accommodate that width in its usual orientation.
For frequent lower-cost prints, the ET-8550 is worth considering, but I would be careful about treating its photographic dye-ink system as interchangeable with a professional pigment printer.
1. Canon imagePROGRAF PRO-310: Best Overall for Fine Art Prints
The Canon imagePROGRAF PRO-310 is the first printer I would investigate for a small home studio focused on selling premium art prints.
It’s a professional 13-inch photo and fine art printer that supports prints up to 13 × 19 inches on standard sheets, with additional panoramic options supported by the printer.
Canon uses its LUCIA PRO II pigment ink system, consisting of nine pigment colors and a separate Chroma Optimizer. The ink selection includes matte black, photo black, and gray, which are useful options for artists reproducing drawings with detailed tonal relationships.
The distinction between matte and photo black matters because the paper surface affects how black ink appears. A deep black on glossy paper doesn’t necessarily behave like a deep black on a textured matte sheet.
Canon lists support for its fine art smooth and rough papers, as well as matte, glossy, and luster photo papers. The printer has a manual-feed slot for certain thicker media, although the supported thickness and handling method must be checked for each paper.
Why I would consider it for drawings
For my type of artwork, I would be particularly interested in how the PRO-310 reproduces delicate gray values, densely worked black areas, and subtle paper tone.
A black-and-white wildlife drawing can contain thousands of small value changes. If the printing process compresses those differences, fine hatching and shadow transitions may become too dark or disappear.
The PRO-310’s dedicated black and gray ink components and black-and-white printing features make it worth testing for that kind of reproduction.
What would make me hesitate?
Running costs. The printer uses individual 14.4 ml ink tanks, and producing prints regularly means accounting for replacement cartridges, paper, test prints, and maintenance.
I also wouldn’t choose it if my core product were a 16 × 20-inch print. A 13-inch-wide desktop printer is simply too narrow for that standard size without changing the layout or using a different production method.
Best for: Artists producing premium color or black-and-white reproductions, limited editions, smaller gallery prints, and artwork on compatible fine art papers.
My assessment: The best starting point for an artist who values paper choice, pigment inks, and fine art presentation more than the lowest possible ink cost.
2. Epson SureColor P700: Best Epson Printer for 13-Inch Fine Art Prints
The Epson SureColor P700 is the alternative I would compare most closely with the Canon PRO-310.
Like the Canon, it is intended for high-quality desktop printing and accommodates media up to 13 inches wide. Epson uses its 10-color UltraChrome PRO10 pigment ink system, including violet and separate photo black and matte black inks.
One practical advantage is that the P700 has dedicated nozzles for both black ink types, avoiding the need to switch between photo black and matte black cartridges when changing paper types.
It also supports a range of professional photographic and fine art media, including certain third-party papers and sheet media up to 1.5 mm thick when used according to Epson’s specifications.
Why it interests me for black-and-white artwork
Epson provides an Advanced Black and White Photo mode through its professional printing workflow. That’s worth investigating if you’re reproducing graphite drawings, charcoal, ink illustrations, or black-and-white photography.
What I would test isn’t simply whether the black looks dark. I would compare neutral grays, shadow separation, very faint marks, and whether the resulting paper has an unwanted warm or cool cast.
Those issues are especially important with artwork where the tonal relationships are more important than dramatic color.
P700 ink and maintenance considerations
The P700 uses individual 25 ml ink cartridges. Replacement costs should be calculated for the complete ink system rather than just the cartridge price that looks cheapest.
Professional inkjet printers also use ink during maintenance and cleaning cycles. That matters when an artist prints only occasionally rather than maintaining a regular production schedule.
The printer may be an excellent technical fit for fine art printing, but it still needs to fit the volume of prints I expect to produce.
Best for: Artists who want a professional pigment printing workflow, detailed monochrome work, color-managed printing, and flexibility with compatible fine art papers.
My assessment: A strong alternative to the Canon PRO-310. I would compare actual sample prints on the same paper before declaring either one superior for my artwork.
3. Epson EcoTank ET-8550: Best for Lower Running Ink Costs
The Epson EcoTank Photo ET-8550 serves a different kind of artist from the two professional pigment printers above.
It uses refillable ink tanks rather than small disposable cartridges. For artists printing frequently, that can make ongoing ink costs easier to manage.
The ET-8550 supports borderless photographs up to 13 × 19 inches and has a straight-through paper path for certain thick media up to 1.3 mm. It also includes scanning and copying capabilities.
But there is an important distinction in the ink system.
The ET-8550 is not an all-pigment fine art printer. Its six-ink system uses five dye-based photographic inks: cyan, magenta, yellow, gray, and photo black, plus a separate pigment black intended for crisp document text.
That means the ET-8550 should not be evaluated as though it uses the same type of photographic ink as the Canon PRO-310 or Epson P700.
When the EcoTank makes sense
If I were creating affordable open-edition prints, display mockups, packaging samples, promotional pieces, or frequent small print batches, the ET-8550 would be worth considering.
Its refillable system makes it appealing for experimentation. I could test different versions of a composition or produce proofs without consuming relatively expensive small pigment cartridges at the same rate.
However, dye-based photographic output requires appropriate consideration of print permanence, paper compatibility, storage, and display conditions.
I wouldn’t automatically describe ET-8550 prints as equivalent to professionally produced archival pigment prints simply because they look attractive when first printed.
Best for: Artists who print often, make open-edition products, experiment with different print files, and want to reduce recurring ink expenses.
My assessment: A practical production printer with a different ink philosophy. It could be the more economical choice for frequent printing, but it isn’t my first choice for premium pigment-based fine art editions.
4. Epson SureColor P900: Best for Larger Art Prints at Home
If I wanted to sell larger reproductions regularly, I would consider moving beyond 13-inch printing and look at the Epson SureColor P900.
The P900 is a 17-inch professional photo printer using the same UltraChrome PRO10 pigment ink family as the P700, but with greater media width and a larger desktop footprint.
That additional width changes which products I can comfortably offer. A 16 × 20-inch print, for example, needs more than a 13-inch-wide machine when printed at its intended size.
For wildlife drawings and photographic prints, larger sizes can be appealing because viewers have more room to appreciate fine detail. The printer must still have a sufficiently detailed source file, and the image must be prepared for the actual output size.
Why not buy a 17-inch printer immediately?
Because additional size comes with additional costs and responsibilities.
The P900 uses larger 50 ml ink cartridges, but it is still a professional cartridge-based pigment printer. Buying the machine, replacing ink, stocking larger paper, and dealing with unsuccessful prints can require more investment than a 13-inch workflow.
Larger prints also require larger packaging, more storage space, and often higher shipping costs.
If my customers mainly wanted 8 × 10 or 11 × 14 prints, a 17-inch machine might be unnecessary. If 16 × 20 prints were my main product, the larger printer could become the more logical choice.
Best for: Artists producing larger editions, panoramic artwork, exhibition prints, and professional pigment reproductions beyond 13-inch media width.
My assessment: Worth the extra investment when larger prints are a regular part of the business, rather than an occasional special order.
Pigment vs. Dye Ink for Art Prints: Which Should You Choose?
This is probably the most important technical distinction in the four-printer comparison.
Professional fine art printers commonly use pigment-based inks, while some consumer photographic printers use dye-based inks or a mixture of dye and pigment formulations.
Pigment particles and dissolved dyes interact differently with paper coatings. As a result, color appearance, surface characteristics, and long-term stability can vary considerably between ink-and-paper combinations.
| Consideration | Pigment ink | Dye-based photographic ink |
|---|---|---|
| Common use | Professional photography and fine art reproduction | Photo printing and general creative output |
| Color | Excellent when properly matched to paper | Can produce highly attractive and saturated images |
| Longevity | Many professional systems are designed for long display life | Highly dependent on formulation, paper, and conditions |
| Paper behavior | Depends on surface coating and media compatibility | Depends on surface coating and dye interaction |
| Running costs | Often higher with small professional cartridges | Can be lower in refillable tank systems |
| My preferred application | Premium fine art editions and carefully controlled reproductions | Frequent everyday prints and suitable open editions |
I would avoid making absolute claims that every pigment print lasts longer than every dye print. Print permanence is determined by the particular ink, paper, protective materials, lighting, humidity, and display conditions.
For a fine art edition, I would prefer a combination with documented permanence information instead of relying on marketing terms such as “gallery quality” or “archival.”
If you’re unfamiliar with the reproduction terminology, my guide to what a giclée print is explains the term and its relationship to inkjet fine art printing.
What Size Printer Do You Need for Selling Art Prints?
I would choose the printer size based on the physical products I intend to sell, not simply on the largest dimensions listed in the manufacturer’s specifications.
| Art print size | Printer width to consider |
|---|---|
| 5 × 7 inches | Standard photo printer |
| 8 × 10 inches | 13-inch printer provides plenty of flexibility |
| 11 × 14 inches | 13-inch printer, with appropriate media orientation and margins |
| 12 × 16 inches | 13-inch printer, depending on supported paper size |
| 13 × 19 inches | 13-inch printer with supported A3+ sheets |
| 16 × 20 inches | 17-inch or wider printer |
| 18 × 24 inches | Printer wider than 17 inches, or a professional print lab |
The paper size and the printable image area aren’t always identical. Some fine art papers require margins, and not every printer supports borderless printing with every media type or size.
For signed prints, I might actually want a white border to allow space for the signature, edition number, and presentation.
Before deciding on a printer, I’d work out the print size, border, paper dimensions, and packaging together. That avoids discovering later that a favorite paper or planned edition doesn’t fit the machine’s supported media path.
Which Printer Is Best for Black-and-White Drawings?
Black-and-white artwork is one area where I would be especially selective.
My wildlife drawings often depend on subtle differences in mark density. A reproduction needs to preserve fine lines, light gray passages, and dark areas without merging everything into a flat black mass.
For that reason, I would prioritize a professional pigment printer with a strong monochrome workflow, such as the Canon PRO-310 or Epson P700.
I would test a print containing:
- Very pale marks against white paper
- Smooth transitions from light gray to medium gray
- Fine hatching and cross-hatching
- Dense black ink or graphite shadows
- Subtle warm or cool paper tones
- Fine detail visible near the edges of the drawing
A print can look impressive from several feet away and still lose significant detail when examined closely. I want to make sure the reproduction holds up at the distance a collector will actually view it.
I would also compare the same image on a smooth matte paper and a textured cotton paper. The printer may handle both, but the texture and coatings can affect perceived sharpness and black density.
Fine Art Paper Compatibility Matters More Than Advertised DPI
Printer manufacturers advertise output resolutions measured in dots per inch, but a high DPI number doesn’t guarantee faithful art reproduction.
The paper affects the finished image, particularly its surface texture, brightness, coating, and how the ink is absorbed or held.
A textured matte cotton paper may be excellent for a soft watercolor reproduction, while a smoother matte paper may preserve the perception of extremely fine pen lines more clearly.
I would check whether a printer supports the exact paper I want to use, including its thickness, weight, coating, and required feed path.
A printer that accepts a particular thickness of paper doesn’t automatically work with every paper of that thickness. The surface coating and manufacturer guidance still matter.
For a closer comparison of print surfaces, see best paper for art prints and matte vs. glossy paper for art prints.
How Much Does It Cost to Print Art Prints at Home?
The purchase price of the printer is only the beginning. When comparing machines, I would calculate the cost of producing a finished, saleable print rather than focusing on ink cartridges alone.
For each print, I’d account for:
- The fine art paper used for the finished print
- The ink consumed in printing
- Maintenance ink and cleaning cycles
- Unsuccessful prints and color tests
- Handling and protective materials
- Packaging required for selling or shipping
- A reasonable allowance for printer purchase and upkeep
Ink expenses vary with the image. A nearly white pen drawing with limited dark marks won’t necessarily consume the same amount as a full-bleed color photograph.
Paper can also change the cost substantially. A premium cotton rag sheet is generally a different expense from basic photo paper.
I would keep a simple production worksheet after making several test prints.
| Production expense | Amount per finished print |
|---|---|
| Fine art paper | $______ |
| Ink used | $______ |
| Allocated maintenance and rejected prints | $______ |
| Protective sleeve or interleaving | $______ |
| Backing and packaging | $______ |
| Allocated equipment cost | $______ |
| Total estimated production cost | $______ |
Once I know the cost per saleable print, I can compare it with professional print labs and determine whether home printing actually makes financial sense.
For help setting a retail price that accounts for these expenses, see how to price art prints.
How Often Should You Use a Home Art Printer?
Professional inkjet printers are more demanding than an ordinary office printer, especially if they sit unused for long periods.
Infrequent use can contribute to nozzle issues or the need for cleaning. Cleaning consumes ink, and some printers require maintenance cartridges or other consumables.
I’d check the manufacturer’s storage and maintenance recommendations before buying a printer intended to produce only a few editions each year.
If I were printing every week, the convenience of having a capable machine in the studio could become a substantial advantage.
If I expected to produce only a handful of prints annually, a professional lab might be more economical than keeping a full pigment-printing system maintained at home.
How to Get Accurate Colors When Printing Artwork at Home
Even an excellent printer can produce disappointing results if the digital file, monitor, printer settings, and paper aren’t managed consistently.
When preparing an art reproduction, I would begin with a carefully scanned or photographed original. If the source file has uneven lighting, distorted proportions, or incorrect color, the printer cannot restore information that was never captured correctly.
My guide to photographing artwork for prints covers camera-based capture, while best scanners for artwork covers flatbed options.
Use the appropriate paper profile
Printer and paper manufacturers often provide ICC profiles for supported combinations. These profiles help the color-management workflow translate image colors into a form suited to the printer, ink, and selected paper.
I would use the appropriate profile, compatible printing software, and correct media settings rather than selecting a random glossy-paper preset for a textured fine art sheet.
I would also ensure that color management is handled consistently. Letting both an image-editing application and the printer driver independently manage colors can produce unwanted results.
Evaluate a physical proof
Once the printing settings are established, I’d make a physical proof and compare it against the original under suitable viewing light.
I’d look at color balance, shadow detail, fine marks, and the natural appearance of the paper. A bright computer monitor can make an image look different from a physical print, so I wouldn’t rely on the screen alone.
For a finished edition, I would keep a consistent record of the paper, printer settings, file version, and any adjustments used for the approved proof.
Is Printing Art at Home Better Than Using a Professional Print Lab?
Home printing is attractive because of the amount of control it gives an artist. I can make one print, study it, adjust the image, and try another paper without coordinating a new outside order.
That flexibility is particularly useful for artists who regularly create new work or produce small batches of prints.
However, a professional print lab may make more sense when I want larger sizes, don’t have enough sales to justify printer maintenance, or prefer not to keep expensive inks and papers in stock.
| Situation | Option I’d investigate first |
|---|---|
| Frequent 8 × 10 and 11 × 14 fine art editions | 13-inch pigment printer at home |
| Occasional premium prints | Professional fine art print lab |
| Frequent affordable open editions | EcoTank or suitably priced production workflow |
| Regular 16 × 20 prints | 17-inch printer or print lab |
| Occasional 18 × 24 or larger prints | Professional lab |
| Prints requiring tightly controlled color and paper selection | Professional pigment printer or specialized fine art lab |
If I were beginning to sell prints without knowing demand, I’d start with a reliable print lab and gather real information about which sizes and papers customers actually buy.
Once a consistent pattern emerges, buying a home printer becomes easier to justify.
My broader guide to how to make art prints covers the reproduction process beyond choosing the equipment.
Mistakes I’d Avoid When Buying a Printer for Art Prints
Before making the purchase, there are a few decisions I’d pay particular attention to.
- Buying based on advertised DPI alone. Paper, ink, color management, source quality, and printer capabilities all affect the result.
- Ignoring ink type. Dye and pigment systems can have different permanence and surface characteristics.
- Buying a printer too narrow for the intended editions. Decide on print sizes and borders before committing.
- Ignoring replacement ink expenses. Small cartridges, maintenance, and rejected prints can affect profitability.
- Assuming every thick art paper will feed correctly. Check the media thickness, paper path, and compatible coatings.
- Printing infrequently without considering maintenance. A professional printer needs an appropriate operating and storage routine.
- Calling every print archival without evidence. Permanence claims should reflect the documented ink-and-paper combination.
I’d also avoid purchasing a printer before comparing actual samples from similar artwork. A detailed monochrome drawing and a saturated digital illustration may lead me toward different papers and different priorities.
Frequently Asked Questions About Printers for Art Prints
What is the best printer for selling art prints from home?
For premium 13-inch fine art printing, the Canon imagePROGRAF PRO-310 and Epson SureColor P700 are strong options because of their professional pigment ink systems and fine art media support. The best choice depends on the paper, print sizes, and actual sample quality required for your artwork.
Is an Epson EcoTank good for art prints?
Yes, the EcoTank Photo ET-8550 can produce attractive art prints and offers refillable ink tanks. However, it uses dye-based photographic inks with a separate pigment document black rather than the all-pigment photographic systems found in professional fine art printers. Evaluate its ink-and-paper permanence before using it for premium editions.
What printer do artists use for giclée prints?
Artists and fine art printmakers commonly use professional inkjet printers with pigment ink systems and compatible fine art papers. Canon imagePROGRAF and Epson SureColor professional models are among the relevant product families. The quality and suitability of a giclée print also depend on the artwork file, paper, color management, and production process.
Can you print fine art on a regular inkjet printer?
You can reproduce artwork using many inkjet printers, but that doesn’t mean every machine supports professional fine art papers, advanced color management, or a documented long-lasting ink system. For prints intended for sale as premium reproductions, I would evaluate those features rather than rely on basic photo-printing capability.
Do I need a 17-inch printer for art prints?
Not if most of your prints fit within a 13-inch paper width. A 17-inch printer becomes useful when producing larger sizes such as 16 × 20 inches, provided the printer and selected media support the intended layout. For occasional large editions, outsourcing may cost less than purchasing and maintaining a larger machine.
Is Canon or Epson better for fine art prints?
Both manufacturers offer professional pigment printers capable of producing high-quality fine art reproductions. I would compare the Canon PRO-310 with the Epson P700 using the same original image and similar papers. Ink cost, available media profiles, black-and-white output, and workflow preferences are more useful deciding factors than brand alone.
What paper should I use to print drawings?
For detailed drawings, I’d begin by comparing smooth matte fine art paper with a suitable cotton rag paper. A smoother surface can help preserve the appearance of fine marks, while textured papers introduce a different visual character. The exact paper should be compatible with the printer’s ink system and feed mechanism.
Which Home Art Printer Would I Choose?
If I were building a home studio primarily to reproduce detailed drawings and sell premium fine art prints, I’d start by comparing the Canon imagePROGRAF PRO-310 and Epson SureColor P700. I’d use samples of my actual artwork to evaluate the shadows, fine lines, neutral grays, and paper surface.
If I knew that 16 × 20-inch prints were going to be a regular product, I’d consider the Epson SureColor P900 instead of starting with a smaller printer and immediately outgrowing it.
If the business centered on frequent, affordable prints and lower ink costs, the Epson EcoTank ET-8550 would deserve consideration, with the understanding that its photographic dye-ink workflow is different from a dedicated pigment printer.
And if I were still testing demand, I’d use a professional lab before making a substantial equipment purchase.
The best printer for art prints at home is the one that fits the artwork, paper, intended print sizes, production volume, and price point. I would rather produce fewer excellent prints with a reliable, repeatable process than buy an expensive machine without knowing what my customers actually want.