Interior designers and agencies use TheArtFolio when a project needs archival prints, specified frames and UK-made finishing rather than a high-street poster. There is no trade login. You enquire with the scheme; we quote lead time and a trade rate where it applies.
The working page for a live job is Trade & interior designers. This journal piece is the longer answer: what we actually supply, how clients see the work, and where to start in the catalogue.
What a designer can specify
Every work is a made-to-order giclée, then hand-framed in Britain: hardwood mouldings, conservation mounts, float glass; 2 mm acrylic on Large and Extra Large. You choose style, colour, size and mount on the product page, with a live preview, so the piece that arrives is the piece you showed. Finishing notes live on Framing & sizes. Delivery is UK only — Delivery & returns.
That matters on a scheme. A sitting room, a hotel corridor and a workplace lobby do not want the same moulding. The print is the same artwork; the specification is yours.
The specification, in the terms you would write it
Print. Each work is produced as a giclée on 250 gsm lustre photographic paper. Ultraviolet absorbers sit in the coating, which is what extends display life rather than any claim about the ink alone. There is no standing stock and no print run — a repeat order in eighteen months is made the same way as the first.
Glazing. Default glazing is 1.5-millimetre float glass. The two largest size tiers ship in 2 mm acrylic, because glass at those sizes is a transit risk. If a scheme mixes sizes, say so in the brief if you need one material throughout. Museum-grade non-reflective glass can be specified, and on a south-facing or heavily glazed room it is usually the right call.
Fixings. Framed work is delivered with a tensioned cord across the backboard, ready for a hook, and nothing to assemble. For public or commercial installations, springlock security brackets can be specified at extra cost. Call those at briefing rather than afterwards — they change the backboard, not just the hardware.
Moulding and provenance. All moulding carries PEFC chain-of-custody certification (ST 2002:2020) and the matching trademark licence (ST 2001:2020). That is a forest-to-frame paper trail rather than a general sustainability line, and it is the wording that survives a contractor's compliance check. Framing is done in Britain.
The full detail, including every size and the framed outer dimensions, is on framing and sizes.
What this does and does not suit
Worth being direct, because it saves everyone a call.
It suits a scheme where the art is specified like anything else in it — a named work, a named moulding, a named size, repeatable later. It suits hospitality and workplace projects that need a documented chain of custody. It suits a residential job where the client will see the work before it is made, because the preview on every product page shows the frame and the scale rather than asking anyone to imagine them.
It does not suit a job that needs fifty identical pieces next week. Everything is made to order and hand-framed, so lead time is a real constraint rather than a stock-check, and it scales with quantity. If a deadline is fixed, send it with the brief and we will tell you before you commit whether it is achievable.
It also does not suit a specifier looking for a trade discount code at checkout. There is not one. Pricing on a project is discussed against the project.
Working from the catalogue
Just over twelve hundred works by three hundred-odd artists is too many to browse for a scheme, so three routes are faster than scrolling.
By room. The room collections — sitting room, bedroom, study, kitchen, conservatory, dining room, hallway — are curated for the wall proportions and light each one usually has, which is closer to how a scheme is actually built than genre is.
By colour. The colour filters run from black and charcoal through to rust, ochre and burgundy, and they are the fastest way to bring a shortlist into a palette you have already fixed.
By artist. If a scheme wants coherence across several walls, taking three or four works from one photographer does more for it than matching subjects across different hands. Every artist has a page listing their full body of work here.
Lookboards instead of a PDF dump
Save works to a board and send the share link to a client. Present the art before the spreadsheet. For groupings, start with Gallery walls or the gallery wall ideas guide. Discover lets you preview a print on a room photograph if the client has one.
Where the catalogue is useful
- London and Architectural — city and façade work for offices and lobbies.
- Seascape and Landscape — quieter hospitality and residential walls.
- Abstract — colour without a literal scene, when the scheme already has enough objects.
- Artist pages in the artists directory when the client already knows a maker.
How to start a project
Open the trade page and send the brief: rooms, quantities, timeline, and whether you need a lookboard first. We aim to reply within one working day. There is no automatic discount at checkout — the rate, if any, is quoted against the job.
