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Art Book Maker

Turn your art book or artist monograph into a flipbook that shows the work the way you meant it to be seen, with Flipbooks AI. Plates keep their detail when a reader looks closely, a series stays in the sequence you built, and every caption keeps its materials, its dimensions and its year. Made for artists, galleries, small presses and anyone publishing around a body of work. Nothing is charged, nothing is advertised, nothing is stamped across a plate, and you can publish as many books as you have work to show.

Art Book Maker

How to Publish an Artist Monograph

1

Upload the Art Book PDF

Upload the file you or your designer laid out. Flipbooks AI keeps the spreads exactly as set, with the plates at full resolution and every caption still under the work it names, and builds a preview straight away.

2

Add the Studio Video and Links

Add your name or press mark, set the background so it does not fight the work, drop in studio video or an audio commentary, and link out to the series pages, your gallery or a print edition.

3

Publish and Send the Link

One click publishes it. Send the link with a gallery submission, an application or a collector email, and put it on your own site. Set a password first if the work is not public yet.

How to Create an Art Book Flipbook

How to Create an Art Book Flipbook

Start from the file the designer delivered, or the one you laid out yourself. Upload the PDF and a flipbook preview appears with the spreads intact and the plates at full resolution. Add your name or the press logo, set the colors so they do not fight the work, drop in a studio video, link the series pages on your site, and add a contents page that jumps to each series or essay. Open it on a phone and check the caption line still reads at that size. Publish, then send the link and put it on your own site.

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What Is an Art Book or Artist Monograph?

An art book is a book made around work rather than around text. A monograph gathers one artist: the plates, arranged in series or chronologically, the captions with title, year, materials and dimensions, usually an essay or two, a statement, a biography and a list of exhibitions at the back. Flipbooks AI takes the file your designer delivered and turns it into a flipbook whose pages turn like the book. Nothing reflows, so a full bleed plate stays full bleed and a caption stays under the piece it names. What is added is the looking: a reader can zoom into the surface of a painting, follow a link to the series it belongs to, or watch the work being made in the studio on the spread where it appears.

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What Is an Art Book or Artist Monograph?
What Is an Art Book or Artist Monograph?
What Is an Art Book or Artist Monograph?
What Is an Art Book or Artist Monograph?

Plates, Series and the Order They Are Read In

Sequence is most of the argument in an art book. Two paintings on facing pages say something neither says alone, and a series broken across a fold loses the run that made it a series. A flipbook keeps your spreads as spreads, so the pairings you spent a week deciding survive the trip to a screen. Give each series a section and a contents entry so a curator can go straight to the work they were told about. If a body of work has an order that is not chronological, say so in a short note rather than assuming a reader will infer it from the dates.

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Plates, Series and the Order They Are Read In

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Materials, Dimensions and the Caption Line

Materials, Dimensions and the Caption Line

The caption is the part of an art book that gets quoted longest. Title, year, materials, dimensions, edition where relevant, and a photographer credit where the image is not yours. Set it consistently and set it completely, because a curator writing a checklist and a registrar preparing a loan will both read it as a source. Put the units in and keep the order the same on every page. It is unglamorous work next to choosing the plates, and it is the difference between a book that reads as a professional record and one that reads as a folder of pictures.

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Why an Artist Monograph Works as a Flipbook
Why an Artist Monograph Works as a Flipbook
Why an Artist Monograph Works as a Flipbook
Why an Artist Monograph Works as a Flipbook

Why an Artist Monograph Works as a Flipbook

An art book is usually made once, in a short run, for a specific reason: a show, a graduation, an application, a body of work finished. Then it stops. The copies go to the people who were there, and the artist keeps a box under the studio table for a decade. A flipbook has no edition size and no box. The curator who missed the show reads it, the gallery you are applying to opens it in the same email, and a collector who bought one piece can see the ten it was made alongside. The link does not expire, and nobody is asked to download two hundred megabytes before they see a single plate.

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Essays, Statements and the Writing Around Work

Most art books carry writing, and most of it is written by somebody else. A critic essay, a curator text, a conversation between the artist and a writer, or a short statement from the studio. That text has its own typography and its own footnotes, and it should arrive as the designer set it rather than as a reflow. Link the notes so a reader can follow a reference and come back to where they were. Keep the exhibition list and the bibliography complete rather than trimmed for space, because those are the pages an institution actually uses.

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Essays, Statements and the Writing Around Work

Art Book and Monograph Alternatives

Blurb

Blurb

  • Free & Unlimited
  • No Watermarks
  • High Resolution Plates
  • Realistic Page Turns
  • Studio Video & Audio
  • Reading Analytics
  • Mobile Ready
  • Password Protection
  • Instant Sharing
  • Fast Loading
Flipbooks AI

Flipbooks AI

  • Free & Unlimited
  • No Watermarks
  • High Resolution Plates
  • Realistic Page Turns
  • Studio Video & Audio
  • Reading Analytics
  • Mobile Ready
  • Password Protection
  • Instant Sharing
  • Fast Loading
Issuu

Issuu

  • Free & Unlimited
  • No Watermarks
  • High Resolution Plates
  • Realistic Page Turns
  • Studio Video & Audio
  • Reading Analytics
  • Mobile Ready
  • Password Protection
  • Instant Sharing
  • Fast Loading
FlipHTML5

FlipHTML5

  • Free & Unlimited
  • No Watermarks
  • High Resolution Plates
  • Realistic Page Turns
  • Studio Video & Audio
  • Reading Analytics
  • Mobile Ready
  • Password Protection
  • Instant Sharing
  • Fast Loading
How This Differs From a Photo Book

How This Differs From a Photo Book

This page is not our photo book tool, and the difference is worth saying plainly. A photo book is a keepsake: a holiday, a wedding, a family year, made to be looked at by people who were there. An art book presents work made to be exhibited, sold or studied, so it needs the things a keepsake never does. Captions with materials and dimensions. A series that reads in order. An essay with footnotes. A checklist a registrar can use. If you are collecting family photographs into something lovely, our photo book maker is the better fit. If the pictures are of work, stay here.

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Features Built for Artists and Small Presses

The things an art book needs are here, and none of them cost anything. Plates keep their resolution, so a reader can look at the surface rather than at a smudge. Captions stay intact with title, year, materials and dimensions, which is the information a curator or a registrar will actually use. Studio video and audio sit inside the pages, so a reader can hear you talk about a work while looking at it. Add clickable links to the series page on your site, the gallery that represents you, an enquiry address or a print edition. Password protection holds a book back for a collector list, and none of it is behind an upgrade.

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Features Built for Artists and Small Presses
Features Built for Artists and Small Presses
Features Built for Artists and Small Presses
Features Built for Artists and Small Presses

Set It in Your Own Visual Identity

An art book should get out of the way of the work. Add your name or the press mark, set the background so it does not compete with the plates, and choose a quiet page turn rather than a flourish. If you publish a series of books, keep the same treatment across all of them so they read as a run, which is what makes a small press look like a press rather than a sequence of one off projects. Artists working with a different designer each time can keep each book distinct while the frame around it stays recognizably yours.

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Set It in Your Own Visual Identity
Studio Video, Audio and Process Footage

Studio Video, Audio and Process Footage

A book can carry things a printed one cannot, and for art that is more than a novelty. Put a minute of the studio on the spread where the work appears, so a reader sees the scale of a canvas nobody can visit. Record yourself talking about a piece and let it play beside it, which is often clearer than the paragraph you would have written. Show a performance rather than describing it. A conservator or a printer can explain a process in thirty seconds. It all plays inside the pages, so the reader stays in the book rather than ending up in a video site.

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A First Solo Book or a Thirty Year Survey
A First Solo Book or a Thirty Year Survey
A First Solo Book or a Thirty Year Survey
A First Solo Book or a Thirty Year Survey

A First Solo Book or a Thirty Year Survey

A graduating painter making a first book needs twenty good plates, a short statement and a clean caption line. A survey of thirty years needs sections, two essays, a chronology, a bibliography and two hundred plates that have to hold together as one argument. Both are the same job here. Publish one book per body of work, one per series, or one big volume with the whole practice in it. A small press can publish every artist on its list rather than the two it can afford to print. Nothing is capped, so a book never gets shortened because the page count started costing money.

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Help Collectors and Curators Find the Work

People search for an artist by name, by series title and by medium, often years after a show. An art book flipbook can be set up so search engines read it, and embedding it on your own site adds real content to a page that is usually just images. Give it a title with your name, the series and the year, because that is what somebody types when they half remember a piece. A book that is findable keeps introducing the work long after the show came down and the invitation email was deleted.

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Help Collectors and Curators Find the Work

Who Makes Art Books

2456+

Artists

6

Galleries

13

Small Presses

24

Photographers

65

Illustrators

9

Art Schools

Accessible to Every Reader

Accessible to Every Reader

A book full of images is the hardest kind to get right here, which is exactly why it is worth doing. Screen reader support means a reader with low vision hears the essay and the captions rather than meeting a wall of untagged pictures. Keyboard navigation lets anyone move through the book without a mouse. Clear contrast and generous type help everyone, including a reader on a phone in bad light. Writing real alternative text for the plates is genuine work, and describing your own paintings turns out to be a surprisingly good exercise in saying what they are.

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Reads on a Studio Screen and on a Phone

Art books get read in two places. On a large screen, where someone is looking properly and comparing one plate to the next, and on a phone, where a curator is deciding in three minutes whether to keep reading. Flipbooks AI serves both. The spreads stay as you set them, the pages turn under a thumb, and a plate holds together when someone pinches to zoom on a passage of paint. Nothing is installed and no account is needed, which is what turns a link in an email into a book somebody actually opened rather than saved for later.

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Reads on a Studio Screen and on a Phone
Reads on a Studio Screen and on a Phone
Reads on a Studio Screen and on a Phone
Reads on a Studio Screen and on a Phone

Large Plates That Load Without a Wait

Art books are heavy files. Two hundred high resolution plates is not something a curator wants to download on a phone between appointments. Compression here is careful rather than brutal, so the tonal range in a plate survives it while the page still arrives fast, and the opening spreads are on screen before the rest have finished loading. The reader starts looking immediately. For a book whose whole purpose is to be opened by somebody who has three minutes and fifty submissions, that first ten seconds is most of the battle.

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Large Plates That Load Without a Wait
Works With InDesign, Affinity and Lightroom

Works With InDesign, Affinity and Lightroom

Nothing here replaces the tools the book was made in. Lay it out in Adobe InDesign or Affinity Publisher, colour manage the plates in Lightroom or Capture One, export the PDF and upload it. Link out to the series page on your site, the gallery that represents you, a print edition for sale, or a plain enquiry address. Drop the embed code onto your own site so the book sits with the work rather than in a separate corner of the internet. What the designer delivered is what a reader sees, which is the first thing a designer will want to know.

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Free to Publish, With Nothing Stamped on a Plate
Free to Publish, With Nothing Stamped on a Plate
Free to Publish, With Nothing Stamped on a Plate
Free to Publish, With Nothing Stamped on a Plate

Free to Publish, With Nothing Stamped on a Plate

Flipbooks AI is completely free. No watermark sits over an image, no page limit cuts a series in half, and no upgrade stands between you and the reading figures. Cost is the reason most artists never make a book at all: the printer quotes for a run of three hundred, the number is more than the work in the book earned, and the idea quietly dies. Publishing here costs nothing, so a book can exist for every show, every series and every year, and if you do print, the print money goes on the one volume that genuinely deserves to be an object.

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A Running Record of Everything You Have Made

Publish a book per body of work and an archive of a practice builds itself. You can trace what you were doing in a given year without opening a hard drive. A gallery can see the four series before the one they are showing. A writer working on a text has the whole run in one place instead of asking you for images three times a week. Artists lose this record more often than any other profession, usually to a dead drive or a website that quietly expired, and this is a cheap way not to.

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A Running Record of Everything You Have Made

What Artists and Galleries Say

I had been putting off a monograph for six years because every printer quote was more than the paintings in it had sold for. I laid the book out over a winter, published it in an afternoon and sent the link with three gallery submissions. One of them wrote back about a series from 2019 that has never been shown anywhere.

Marketing team
Marketing team

Product catalogs

We are a two person press publishing four artists a year. Being able to put every book online, not only the ones with a print budget behind them, has changed what we can take on. A writer found one of our earliest titles last month and it led to a proper essay on the artist.

Studio owner
Studio owner

Client lookbooks

The plates were the thing I was sceptical about. I photograph my own work and I expected a screen version to flatten it, and it does not: you can zoom right into the paint. I put a QR code on the wall text at my last show and people stood there reading the captions.

School office
School office

Newsletters and programmes

I used the reading figures before a residency application and it was uncomfortable in a useful way. Everyone was stopping at the same spread, about two thirds through. I moved that series to the front, and the version I sent out afterwards got read to the end.

Independent designer
Independent designer

Portfolio flipbooks

Private Books for Collectors and Galleries

Private Books for Collectors and Galleries

Some books are not for everyone yet. A body of work that has not been shown. A book made for one gallery submission. A collector preview before a fair. Password protection keeps it to the people you send the password to, and downloading can be turned off so images do not travel further than you intended. Be realistic about what that gives you: it gates the reading rather than the underlying file, so genuinely unreleased work or an unannounced show is safer kept out of the book until it is public.

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Send It to Galleries, Curators and Collectors

One link does the work of a parcel. Send it with a gallery submission instead of hoping a PDF gets past a mail filter. Put it in an application for a residency, a grant or a prize where a panel is reading fifty entries in an evening. Give it to a collector who bought a piece so they can see what surrounded it. Put a QR code on the invitation card or the wall text at a show. Embed it on your own site so it is there when someone finds you a year later, and set a password if the work is not public yet.

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Send It to Galleries, Curators and Collectors
Send It to Galleries, Curators and Collectors
Send It to Galleries, Curators and Collectors
Send It to Galleries, Curators and Collectors

What This Costs Next to a Print Run

A printed art book is an object, and no screen is going to be one. The paper, the weight and the way a plate sits on a page are part of what the book is, and for a serious monograph the printed volume is the point. What this replaces is the book that never got printed. The quote came back, the number was more than the work had earned, and the idea was quietly dropped. Publishing here costs nothing, so the book exists either way, and if you do print, you print the one that deserves it rather than the only one you could stretch to.

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What This Costs Next to a Print Run

Compare Art Book Publishing Tools

ApplicationRatingUnlimited CreditsUsage RatingDescription
10/10Yes1

Flipbooks AI publishes an unlimited number of art books and monographs for nothing, with no watermark over a plate, reproductions that stay sharp under a zoom, studio video inside the pages, password protection for a private book, and figures showing which plates a reader stayed with.

Blurb

5.2/10No2

Blurb prints short run art books on demand and prints them well, which is exactly right when you want a physical object for a gallery, a collector or the studio shelf. It is a printing route rather than a way to publish online, so most artists end up using both.

Issuu

7.1/10No3

Issuu hosts a large public library where a lot of arts publishing already lives, so a monograph there sits among similar documents. Free publishing wraps your pages in Issuu branding and its own reader, which sits awkwardly around a book you are sending to a gallery.

Lulu

8.3/10No4

Lulu handles print on demand and distribution, which is useful for an artist who wants a book that can be bought rather than only sent. The plate reproduction is a printing decision rather than a viewing one, and there is no page turning version to share as a link.

MagCloud

6.4/10No5

MagCloud prints short run publications with a magazine feel, which suits an artist zine or a series pamphlet more than a full monograph. It is a printing service first, so publishing a book to a link with video inside it is a separate job.

Adobe InDesign

7.8/10No6

Adobe InDesign is where most art books are laid out and nothing here takes its place. What it does not give you is hosting, one link a curator can open, or any sense of whether the gallery you applied to reached the last series.

Affinity Publisher

6.9/10No7

Affinity Publisher lays out a book properly for a one off price, which matters a great deal to an artist who does not want a monthly subscription. It stops at the file, so the finished PDF still needs somewhere to live and a way to be read.

Heyzine

8.1/10No8

Heyzine is pleasant to use and its page turn feels right for a book, so an artist can put a series online the same afternoon the files are ready. Free accounts cap how many flipbooks you keep, which an artist publishing a book per show will reach.

Cargo

6.5/10No9

Cargo builds artist websites that look considered without a designer, and it is a good home for a practice as a whole. A site is a set of pages rather than a book, so the sequence, the spread pairings and the caption apparatus of a monograph do not really survive the move.

A PDF Download Link

7.6/10No10

Putting the PDF on your site costs nothing and everyone understands it. It also means a large download before anyone sees a plate, spreads split in half on a phone, no studio video, and no idea whether the curator you sent it to opened it at all.

Editions for Fairs, Applications and Grants

Editions for Fairs, Applications and Grants

One body of work often needs several documents. A gallery submission with the strongest twenty plates and a short statement. A grant application with the project, the budget context and the timeline. A fair edition with prices and availability that you would not put in a public book. A press pack with cleared images and credit lines spelled out. Build each as its own flipbook from the same design and give each its own link, so the figures stay separate and a price list never ends up in front of the wrong reader.

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See Which Plates a Reader Stayed With
See Which Plates a Reader Stayed With
See Which Plates a Reader Stayed With
See Which Plates a Reader Stayed With

See Which Plates a Reader Stayed With

Artists almost never learn how a book is read. Flipbooks AI shows how many people opened it, which spreads held them longest and where they put it down. If a gallery you applied to reached the last series and stopped, that tells you something about the sequence. If one plate is returned to repeatedly, it is worth knowing when you choose a cover or decide what to lead an application with. It is not an audience study and should not be dressed up as one, but it is the first honest signal a self published art book has ever given back.

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A Book That Will Still Open Years From Now

Artist websites die quietly. A domain lapses, a platform closes, a portfolio built in a format nobody supports becomes a blank rectangle, and a decade of work goes with it. Flipbooks AI keeps pace with browsers and web standards, so a book published now still opens for the curator, the writer or the collector who finds it much later. New browser versions are handled at this end, and there is nothing at yours to keep up with. For a record of work that took years to make, outliving the technology it was published on is not a small thing.

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A Book That Will Still Open Years From Now

Frequently Asked
Art Book Maker

What is an artist monograph flipbook?

It is your art book published as a flipbook. The plates, captions, essays and exhibition list keep the layout your designer set, the pages turn like the printed book, and a reader opens it from a link with nothing to install and no account to make.

Is Flipbooks AI really free for artists?

Yes. There is no charge, no watermark over a plate, no page limit and no upgrade. Branding, studio video and audio, links out to your gallery or shop, password protection and the reading figures are all included, whether you publish one book or fifteen.

How is this different from a photo book?

A photo book is a keepsake of an occasion. An art book presents work made to be exhibited, sold or studied, so it needs captions with materials and dimensions, a series that reads in order, and an essay with footnotes. For family photographs, our photo book maker is the better fit.

Will the plates hold their detail when a reader zooms?

They will. Reproductions keep their resolution, so a reader can look into the surface of a painting, read an inscription or study a join in a sculpture. That matters most for work that has sold or been dismantled and cannot be seen in a room again.

Can I keep a book private for a gallery or a collector?

Yes. Set a password so only the people you send it to can open the book, and turn downloading off. Note that this gates the reading rather than the underlying file, so work that is genuinely unreleased is safer left out until it is public.

Can I add studio video or an audio commentary?

Yes. Video and audio sit inside the pages, so a minute of the studio can play on the spread where the work appears and you can talk about a piece while a reader is looking at it. Nobody has to leave the book to watch it.

Does this replace a printed art book?

No, and nobody should pretend otherwise. A printed monograph is an object and part of what the book is. What this replaces is the book that never got printed because the quote exceeded what the work had earned, and it can exist on the day the series is finished.

How many plates can one art book hold?

There is no limit. Publish twenty plates from a first solo show or two hundred across a thirty year survey with essays, a chronology and a bibliography at the back. A survey costs the same as a slim first book, which is nothing at all.

Have more questions?

If you still have questions or want to explore more details about our features, limitations, and usage, we invite you to visit our full FAQ page.

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