Pure alpha-cellulose fine art stock with a subtle tooth to the surface. Gallery-like and archival, best suited to work you want to read as a print rather than a photograph.
The brightest and most saturated of the Canon papers. A high-gloss surface holds the deepest blacks and the widest colour, with a mirror-like sheen that shows fingerprints and reflections.
The sensible default. A fine pearl texture diffuses reflections while keeping most of the depth and contrast of gloss: easy to look at in any light, and forgiving of handling.
A fine laid texture running across the sheet, catching the light in low relief. Traditional and tactile, with the same matte, unreflective surface as Tintoretto.
The closest the offset press comes to a photographic print: a bright, faintly pearlescent coating with clean whites and strong colour. The safe choice for most albums.
A warm, uncoated art stock with a soft felt grain. Ink sits into the fibre rather than on top of it, so images read gentler and slightly muted: lovely for newborn and film-toned work.
A true photographic print, exposed onto light-sensitive paper and chemically developed. The fine pearl surface holds continuous tone with no dot structure at all: the most photographic of everything I print.
Photographic paper on a metallised base. Highlights take on a bright, almost chromed depth and colour runs hot; best used deliberately, on images that can carry it.
Unlaminated
Gloss laminate
Matte laminate
Photographed prints, shown for comparison only; surface and sheen are impossible to judge on screen. I keep samples of every paper and will show you the real thing before I commit.
A waxed linen weave with a flat matte finish and no sheen at all: highly resistant, extremely smooth, and the quietest fabric in the range.
White
Khaki
Sienna Earth
Cappuccino
Dark Red
Green
Denim
Smoke Grey
Black
A waxed linen weave finished to a lustrous sheen, so the surface catches the light and stays smooth and easy to keep clean.
Pearl
Sand
Gold
Bronze
Silver
Sky Blue
Lilac
Pink
Natural fabric of 70% linen and 30% cotton with a compact texture. Selected after careful research, it resists wear and adheres perfectly even on the rounded lines of the covers, in a wide palette of warm and natural tones.
Ivory
Cream
Light Hazel
Light Moka
Moka
Chocolate
Sage Grey
Green Grey
Powder Pink
Red
Burgundy
Blue
Dark Green
Black
A woven fabric of 80% cotton and 20% linen: strong, resistant to wear, and pleasantly soft to the touch. The melange yarns give the warm and natural shades real depth.
White
Cream
Sand
Pink Powder Grey
Light Moka
Moka
Sage Green
Lilac
Pink
Red
Blue Green
Denim
Blue
Anthracite Grey
Black
Innovative, fully eco-friendly woven fabric: anallergic, non-toxic, and built from advanced yarns. A basket weave of two-tone fibres, and the most textural cover I offer.
White & Grey
Grey
Brown
Brown & Blue
Dark Yellow
Lime
Turquoise
Fuchsia
Graphistudio's newest leatherette: a light, versatile fabric with a polymeric coating that gives a smooth, even surface and wipes clean.
Anthracite Grey
A polymeric fabric with a shaded finish, so the colour moves across the cover rather than sitting flat. Extremely smooth, very soft to the touch, and highly resistant to wear.
White
Black
Yellow Citron
Fuchsia
Lilac
Deep Sky Blue
Greenish Blue
Bluish-Green
Water Green
Green
Ice Grey
Green Grey
Brown Grey
Sage Green
Peacock Blue
Sunny Yellow
Light Orange
Pink
Brown
Moka
Smoke Grey
Warm Grey
Pink Powder Grey
Light Moka
Light Hazel
Orange
Red Parrot
Lime
Light Lime
Blue
Light Grey
Sand
Powder Pink
Powder Blue
Light Violet
Purple
Red Coral
Hazel
Chocolate
Dark Brown
A high-resistance, innovative eco-friendly material with deep, lasting colours. Advanced coating gives it exceptional firmness and a lycra-like satin surface.
Cream
Yellow
Sage Green
Blue Indigo
Dark Purple
Dark Brown
A firm, finely grained leatherette in four classic album shades: the ideal balance of quality and value.
Sienna Earth
Burgundy
Blue
Black
A 100% viscose material that intensifies the colours it carries. The wood grain reproduces convincingly, and the surface is easy to clean and resistant to wear.
White
Sage Grey
Warm Grey
Light Hazel
Biscuit
Light Moka
Hazel
Moka
Dark Brown
Red
Fuchsia
Pink
Purple
Lavender
Powder Blue
Blue
Dark Blue
Turquoise
Lime
Sunny Yellow
Anthracite Grey
Full-grain Italian bovine leather, treated with aniline to keep it resistant to wear while bringing out the character and craftsmanship of the distressed finish.
White
Cream
Biscuit
Brown Ochre
Yellow
Orange
Sienna Earth
Cinnamon
Moka
Chocolate
Dark Brown
Red
Bordeaux
Dark Lilac
Blue Grey
Smoke Grey
Midnight Blue
Black
Italian half-grain bovine leather with a matte finish, aniline treated for durability, in a wide selection of colour tones. The most versatile and natural of the leathers.
Snow White
Ivory
Cappuccino
Nutmeg
Tobacco
Sienna Earth
Moka
Dark Brown
Red
Garnet
Burgundy
Lilac
Sage Grey
Sage Green
Dark Green
Ultramarine Blue
Dark Blue
Midnight Blue
Smoke Grey
Black
Extremely soft, fine-grained leather developed for the fashion industry. Beautifully soft to the touch yet very durable.
White
Cream
Dove Grey
Biscuit
Sienna Earth
Chocolate
Dark Chocolate
Pink
Red Parrot
Burgundy
Lime
Bluish Green
Turquoise
Dark Blue
Anthracite Grey
Black
Exceptional aniline-treated Italian nubuck cow leather. A special hand-finishing process gives it a distinct vintage effect, and its softness and warm tones are the highest expression of classic vintage elegance.
Moka
Chocolate
Dark Moka
Brown Grey
Smoke Grey
Extraordinarily soft microfibre, produced with advanced textile techniques, with a distinct texture and enhanced colours. The polyester spun material resists wear, cleans easily and is water repellent.
Cream
Sand
Citron
Powder Pink
Sage Green
Grey
Lilac
The same suede, enhanced through thermal transfer printing, which allows large patterns to be reproduced while keeping the distinct texture underneath.
White & Beige
Beige
White & Brown
White & Red
A high quality matte material, enriched with Touch lamination, which makes the surface easy on the eye and velvety to the hand.
White
Black
Natural, impermeable and non-deformable, with a lightness and softness that make it unusually pliable. The matte finish heightens the grain and the artisanal character of the material.
Brown
A 3mm aluminium plate enriched with gold or silver tones in a satin or polished finish, edges rounded by precision milling. Images are permanently sublimated into the metal, so the base colour shows through the lighter parts of the picture while the darker areas coat it.
Silver, polished
Silver, satin
Gold, polished
Gold, satin
The same 3mm solid aluminium plate, varnished by a process derived from the car industry, in twenty colours and four finishes: varnished, metalized, pastel and touch. Laser engraving cuts back to the aluminium underneath, and colour overprinting is possible too.
Glossy White
Touch White
Matte Light Grey
Metalized Grey
Metalized Blue
Glossy Red
Metalized Black
Glossy Black
Handcrafted natural oak, complementing your book with its strength and solidity. Available in plain (LR01, LR03, LR04) or brushed (LR02/S).
White Oak
Light Brown Oak
Brown Oak
Dark Brown Oak
Fine shiny satin, elegantly finished with a swallowtail, in a range of shades that complete the tones of the book and box.
White
Cream
Light Hazel
Cinnamon
Chocolate
Dark Brown
Light Grey
Smoke Grey
Black
Sunny Yellow
Orange
Red
Old Pink
Pink
Fuchsia
Lilac
Lavender
Purple
Mint
Apple Green
Lime
Green
Tiffany
Peacock Blue
Sky Blue
Denim
Cobalt Blue
Ultramarine Blue
Colours are shown as photographs of the real material and are indicative only, as screens vary. I'll go through the full range together before anything is ordered.
Matted
Cut window mats over every print: the most formal album I offer.
The matted album is the oldest form the wedding album takes, and still the most ceremonial. Each print is covered by a mat, a window cut over the image so the photograph sits inside its own crisp border, framed rather than simply printed. The result is weighty, deliberate and quiet: you turn a page and look at one picture at a time.
The mats are cut from Tintoretto paper on a numerically controlled cutter, so the openings register precisely to the images beneath. There is no fixed template. Windows can be sized and placed to suit the pictures, which means the rhythm of the book (one large frame here, four smaller ones there) is set by the story rather than by a catalogue layout.
Nine sizes: vertical 20×30, 25×35 and 30×40 cm; horizontal 30×20, 35×25 and 40×30 cm; square 20×20, 25×25 and 30×30 cm. Thin mats allow up to 60 pages; bevel-cut mats, which show a pale angled edge around each opening, up to 40. Papers include Canon DreamLabo HD on fine art, glossy or lustre; photographic silver halide on lustre or metallic; and Indigo offset on textured, Photo Lux or Tintoretto, left unlaminated, or matte-laminated on certain papers.
Covers are handmade one at a time, across some twenty materials: leather, distressed leather, Nappa and Sequoia leather, eco leather, leatherette, Class and Cloud Leatherette, maple, Touch, cotton, linen, suede, interwoven, wood, cork, metal, metal paint, Crystal Glance, a dust jacket, or printed photographic paper with a matt or gloss laminate. Personalise with laser engraving, standard or hot foil debossing, colour overprinting, raised varnishing or raised foil; choose from seventeen Lux linings; and finish with a Design Box, Studio Box, Sleeve, Stylish Sleeve, Suitcase or Art Box, or the free white box.
