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Products — Coffee Table & Art

Books meant to be left open.

Coffee table and art book printing on 128–200gsm art paper: Smyth sewn blocks that open flat, layflat binding for panoramic spreads, cloth cases, jackets and slipcases — run on Heidelberg presses and checked against your proofs. Factory-direct from Guangzhou since 1995.

128–200gsmCoated art paper
Smyth SewnSpreads that open flat
Heidelberg6-color presses
White cloth hardcover with a fine gold foil illustration stamped across the front board
128–200gsmCoated art paper
Matt · GlossArt paper finishes
LayflatOption for spreads
3–5 DaysPhysical proofing
15–25 DaysProduction & packing
What we build

Books built around the image.

Monographs, catalogs, brand books and albums share one discipline: paper, ink and binding chosen to serve the picture. Select a format to see it.

The discipline

Where an art book is won or lost.

Reproduction is a chain: paper, ink density, sewing, binding. A weak link anywhere shows on every spread. These are the parts we control in-house.

Fine gold foil illustration stamped on a white cloth hardcover
Foil on clothCover treatments
Close corner detail of a printed cover with monochrome photographic artwork
Cover print, close detailFine screens & lamination
Gold stamped back board and gilded page edges of a white hardcover
Stamped boards, gilded edgesGift-grade finishing
01

Art paper selection

128–200gsm coated stock chosen against your imagery — weight, whiteness and surface tested with printed samples before you commit.

02

Press-side color control

Sheets pulled and read against contract proofs through the run. Supply CMYK files from 300dpi sources and we hold the press to them.

03

Smyth sewn blocks

Signatures sewn through the fold, so heavy art paper opens without cracking the spine and spreads sit flat under the hand.

04

True layflat binding

Mounted-spread construction that opens dead flat at every page — a panoramic image runs across the gutter with nothing lost to the fold.

05

Cover treatments

Cloth and linen cases, printed jackets, slipcases and foil stamping — the outside built to the same standard as the plates.

06

Lamination & varnish

Matt, gloss and soft-touch lamination, spot UV, and anti-scuff matt for dark covers that would otherwise mark in handling.

07

Gatefolds & tip-ins

Fold-out spreads, tipped-in plates and short inserted sections, planned at imposition so they land where the design needs them.

08

Oversized formats

Large trims need heavier board, deeper spines and careful grain direction — engineered so a big book still opens and closes squarely.

The self-publishing shift

The book is becoming the brand.

Photographers, galleries and brands increasingly publish their own books rather than wait for a publisher's list. A monograph sells at the exhibition, a hospitality book sits in every room, a brand book outlasts any campaign — the object itself does the work.

We produce these runs factory-direct: a physical prototype before you open preorders or launch a crowdfund, then a short premium run sized to what you can actually sell.

Start with a prototype

Monographs on your own terms

Photographers and artists set the trim, paper and sequence themselves — we handle the translation from files to sheets.

Books as brand objects

Hotels, studios and houses commission books that stay on the table for years — a longer life than any brochure.

Prototype before preorder

A bound proof in 3–5 days, in your chosen materials, before you show backers or buyers anything.

Short premium runs

Editions typically start from a few hundred copies — small enough to sell through, finished well enough to keep.

Questions

Before you ask for a price.

Color, paper and binding decisions that decide how an art book turns out.

How to choose book paper

Print-ready files checklist

Printing in China: when it pays off

Why does print look different from my screen?

Screens mix light in RGB; presses lay ink in CMYK, a smaller color space, on paper that reflects rather than glows. Saturated blues, greens and oranges shift the most. Convert to CMYK from 300dpi sources, judge color on a calibrated proof rather than a monitor, and the surprises largely disappear.

How does proofing work for an image-heavy book?

Digital proofs settle layout and content first. Then a physical proof — 3–5 days — puts your images on the actual paper, and for color-critical work we pull press proofs of key spreads. You approve against something you can hold, and production is matched to it.

Can an image run across the gutter?

Yes, with planning. Smyth sewn books open well, but a few millimetres still curve into the spine, so we advise keeping faces and critical detail off the fold or duplicating a sliver of image either side. For panoramas that must read perfectly flat, layflat binding removes the gutter altogether.

Matt or gloss art paper?

Gloss gives deeper blacks and more saturated color, and suits high-contrast photography. Matt reads quieter and more contemporary, kinder to text and fingerprints, at a small cost in punch. Many books mix finishes by section; we send samples of both printed with real imagery so you decide by eye.

What is a sensible quantity to print?

Runs typically start from a few hundred copies. Offset make-ready is a fixed cost, so unit price falls steeply as quantity climbs and then flattens — 1,000 copies rarely cost twice what 500 do. We quote several quantities side by side so you can see where the curve rewards you.

How do heavy books survive shipping?

Each book is wrapped or shrink-filmed, cornered where finishes demand it, and packed in double-wall export cartons at weights a person can lift. Cartons are palletized and strapped for sea freight, with carton marks matched to your warehouse's receiving requirements.

Tell us about your book.

Trim size, page count, paper, binding and quantity — or just what you know so far. A factory quote comes back within 24 hours.

info@qicaipress.com

Files are handled in confidence. Dies and tooling are kept for your reprints.