Materials & Making
Savoir-Faire
Every material decision is made once, in favour of permanence.
The paper
310gsm 100% cotton rag. Acid-free and lignin-free, mould-made, with a natural white surface and a subtle vellum tooth. The tooth matters: it holds fine detail across the darkest passages without introducing gloss, so the print reads as a surface rather than a screen. A 40mm border is retained on all four edges, allowing the work to be float-mounted without trimming the sheet.
The inks
Pigment, not dye. Rated in excess of one hundred years under museum display conditions, with no perceptible shift in the neutrals — the failure mode that ruins most monochrome printing within a decade. Each edition is proofed against a reference print before the run is released.
The frame
Solid blackened oak, 30mm face, hand-mitred and joined at the corner rather than butted. The blackening is worked into the grain, not laid over it, so the frame reads as timber rather than as paint. Glazing is 99% UV-filtering acrylic — lighter than glass, safer in transit, and materially better for the work over time. Frames are assembled to order in Europe.
The certificate
A heavy cotton-rag card carrying a blind embossed seal, hand-numbered to the edition, and signed. It records the title, the scale, the edition position and the date of issue. It is the document that makes the work an edition rather than a print.