Gallery configurator

Let customers frame their own picture.

Choose a motif or upload a photo, pick a size, crop it, choose a frame and see it on the wall before ordering. The configurator checks whether the file can actually carry the size, and says so before the order is placed.

Open a live configurator See the motifs

For print shops, photo galleries, framing brands and made-to-order wall art.

Three configurators. Open and try them.

These are running, not screenshots. Each opens full screen in a new tab, with the real motifs, the real sizes and the real quality check.

Gallery Pick from your catalogue The customer chooses a motif you have prepared, picks a size and a frame, and orders. Every motif is quality-checked once, by you, before it is offered. Open full screen

Upload Let them bring their own picture The customer uploads a photo. The file is measured on arrival, and any size that cannot carry the print is flagged before the order rather than after. Open full screen

Hybrid Both, in one flow Gallery and upload side by side. Most shops end up here, because customers arrive with a photo about as often as they arrive wanting to browse. Open full screen

Every motif is checked before it is offered.

A motif enters the catalogue once. Its resolution is measured, a crop is set per format, and only the sizes that hold up are put in front of a customer.

**Tokyo Nights** Night city, heavy detail

**Nordic Forest** Monochrome, soft contrast

**Paris Golden Hour** Warm light, wide tonal range

**New York Skyline** Architecture, fine lines

**Mineral Forms** Abstract, flat colour fields

**Nordic Coast** Long exposure, smooth gradients

**Meadow Light** Natural texture, warm neutrals

Frame finishes

Black
White
Light oak

Each finish is a separate asset layer, not a new photograph of the whole product.

Why a good photo can still print badly.

A file has a fixed number of pixels. Printing it larger spreads the same pixels over more paper, so the detail per centimetre drops. DPI is simply that number: dots per inch.

Green

150 DPI and above

Prints sharp at arm length. The size is approved automatically and goes straight through.

Yellow

100 to 149 DPI

Usually fine on a wall, but somebody should look at it. You approve it once, deliberately, and then it is offered.

Red

Below 100 DPI

Will look soft or pixelated at that size. This is the one worth catching, because it is the one that comes back as a complaint.

The same file, five sizes

A 3000 × 4000 px file, shown at five sizes. Nothing about the file changes down this list. Only the paper gets bigger, and the same pixels have to cover it.

30 × 40 cm 254 DPI Green
45 × 60 cm 169 DPI Green
60 × 80 cm 127 DPI Yellow
75 × 100 cm 102 DPI Yellow
90 × 120 cm 85 DPI Red

Cropping counts too

Filling a square frame from a portrait photo throws away the top and bottom. Those pixels are gone, so the effective resolution drops with them. A crop is green up to 5 per cent removed and yellow up to 20, and the worse of the two readings is the one shown.

What the customer can do about it

Pick a smaller size, upload the original instead of a copy from a phone gallery, or loosen the crop. All three are offered on the spot, so the fix happens before the order rather than in an e-mail afterwards.

You decide where the lines go

150 and 100 DPI are the defaults, not a law. The thresholds sit in the backend, so you set them to match your printer, your paper and how close the work is normally viewed. A large-format canvas shop can drop them; a fine art printer can raise them. Every reading on the site, and every colour in the table above, follows whatever you set.

From upload to a print-ready order.

Six steps the customer walks through. Scroll sideways.

Choose or upload a picture

Customers pick a motif from your gallery or upload their own file. The configurator reads the real pixel dimensions the moment it lands.

Pick a size

Every size is checked against that specific file. A size that will not print well is marked before the customer commits to it, not after.

Crop and position

Fill the frame or show the whole picture. Zoom and move the motif. The quality reading updates as the crop changes, because a tighter crop uses fewer pixels.

Choose the frame

Finish, mount and glass are separate assets, so a new frame colour is a new layer rather than a new photograph of the whole product.

See it on the wall

The exact configuration opens on the customer phone in AR, at the right physical size, before they order.

Order with a print-ready file

The order carries the crop, the size, the frame and the source reference, so production receives a file it can print without asking questions.

Wall AR

See it on the wall before ordering.

The configured piece opens on the customer phone at its real physical size. They hold it up against the wall it is meant for, compare it to the sofa and the window, and decide whether 50 x 70 is the right call. No app to install, and the picture is held privately for the length of the session.

Same image, size, crop and frame as on the desktop
Opened by QR code or a link, no install
Real physical scale, not a rough preview

Try it in the configurator

A 50 by 70 centimetre framed print hanging above a sideboard — Placed at real scale on the customer wall

We build the asset layer underneath.

A configurator like this runs on prepared material: motifs at a usable resolution, frame finishes as separate layers, mounts and glass that line up at every size, and a naming scheme the platform can read. That production layer is what Konfiq delivers, for this configurator or the one you already use.

Request an asset assessment

One frame, five assets Production ready

A framed print pulled apart into backing board, print, mount, glass and moulding

MouldingOne layer per finish
GlassSheen and reflection
MountCut to every size
PrintMeasured on arrival
BackingDepth and shadow