Print Configurations & Materials

Choosing Your Print Configuration

Our metal-mounted prints are produced to gallery-quality standards, mounted on an Alu-Dibond aluminum substrate and finished in a hand-assembled art box frame. Fine Art Paper prints are supplied unframed with a white border for presentation in a frame of your choice. Use this guide to compare the available surfaces, papers, and presentation options.

Important: These configurations are not suitable for outdoor use or bathrooms. All are designed exclusively for dry, stable interior environments. If you are considering a kitchen installation, your best choice would be the print under acrylic and it should be positioned well away from cooking heat sources, steam, and splatter — a kitchen wall opposite the cooking area, for example, rather than above or adjacent to the hob or oven.

Giclée Print on Metal

What it is

An inkjet print on Hahnemühle Fine Art Pearl paper, silicone bonded face-out to an Alu-Dibond substrate. The paper surface is left exposed — no laminate, no acrylic — presenting the image with an elegant pearlescent effect. The high degree of whiteness brings out impressive contrast and image depth for both color and black and white images.

Specifications

Process: 1440 dpi Inkjet (Giclée) on Hahnemühle Fine Art Pearl 285 gsm
Substrate: Alu-Dibond composite, 3 mm thick
Surface: Integral pearlescent paper coating exposed — no laminate or acrylic face layer
Frame depth: 0.4″ art box frame
Color gamut: Epson UltraChrome Pro pigment inks, 6 chromatic colors plus 3 shades of black — rated for 75 years when displayed away from direct sunlight

Best placement

This configuration is ideally suited to controlled interior environments — living rooms, studies, private galleries, and bedrooms — where humidity is stable and the print is not exposed to direct sunlight. The exposed paper surface gives the image a painterly, tactile quality that rewards close viewing. Definitely not suitable for high-traffic or high-humidity spaces such as kitchens and bathrooms.

Natural Lighting: Perpendicular windows facing North or East are safest. These allow consistent, indirect natural light to skim horizontally across the surface of the paper. Side-angled raking light catches the microscopic paper texture beautifully, giving the print an organic, liquid satin effect that flat lighting cannot replicate.

Artificial Lighting: LED lighting with a color rendering index above 90, positioned roughly 30° off-axis to the center of the print, is ideal. A color temperature of 3000K–4000K gives a natural, inviting gallery look, with the Fine Art Pearl surface responding especially well to controlled directional light.

Print under Acrylic on Metal

What it is

A chemically developed photographic print — Fuji Crystal Archive paper for color images or Ilford paper for black-and-white — silicone bonded face-out to an Alu-Dibond substrate and sealed under a sheet of matte acrylic. The acrylic layer provides physical protection, amplifies vibrancy and improves 3-D depth perception all while controlling glare.

Specifications

Process: Silver halide — Fuji Crystal Archive (color) / Ilford (black & white)
Substrate: Alu-Dibond composite, 3 mm thick
Surface: Matte acrylic face seal, 2 mm thick
Frame depth: 1″ art box frame
Color guarantee: 75-year color fastness guarantee backed by WhiteWall, subject to appropriate handling and placement

Best placement

A versatile configuration suited to most interior spaces, including those with variable or mixed lighting. The matte acrylic surface controls reflections effectively, making it a strong choice for rooms with windows on adjacent walls, open-plan living areas, and offices. The deeper 1″ frame gives the piece a substantial presence that reads well across larger rooms.

Natural Lighting: In the Northern hemisphere, perpendicular windows facing North or East are safest. The thin 2 mm profile keeps the matte scattering layer incredibly close to the print emulsion. This means that as long as the window light sweeps across it indirectly, you will maintain excellent optical clarity without a cloudy separation layer.

Artificial Lighting: Narrow, spot (15-25 degree beam) LED lighting with a color rendering index above 95, positioned 35° - 45° off-axis to the center of the print, is ideal. A color temperature of 3000K gives a warm, neutral look, and the angle allows most of the incident light into the acrylic and illuminating the print.

Laminated Print on Metal

What it is

A chemically developed photographic print — Fuji Crystal Archive paper for color images or Ilford paper for black-and-white — silicone bonded face-out to an Alu-Dibond substrate and finished with a matte UV laminate applied directly to the face. The laminate is much thinner than acrylic and sits flush with the image surface, giving a clean, contemporary look while providing UV and scratch resistance.

Specifications

Process: Silver halide — Fuji Crystal Archive (color) / Ilford (black & white)
Substrate: Alu-Dibond composite, 3mm thick
Surface: Matte UV laminate face
Frame depth: 1″ art box frame
Color guarantee: 75-year color fastness guarantee backed by WhiteWall, subject to appropriate handling and placement

Best placement

Well suited to contemporary and minimalist interiors where a sleek, low-profile surface is preferred over the depth of an acrylic layer. The UV laminate provides meaningful protection against fading, making it a sensible choice for spaces that receive indirect natural light — hallways, dining rooms, and open-plan spaces.

Natural Lighting: In the Northern hemisphere, perpendicular windows facing North or East are safest. Matte laminates handle side-angle light exceptionally well, diffusing the light softly rather than mirroring the window outline.

Fine Art Paper Print

What it is

An unframed fine art paper print supplied with a white border on all sides, produced by WhiteWall and intended for presentation in a frame of your choice. Three paper options are available depending on whether the image is black and white or color.

Black & White — Photo Print on Ilford Baryta FB

Ilford Baryta paper, 315 gsm — The key difference of baryta paper lies in the barium sulfate (the so-called “baryta”) coating. Ultra-white with a neutral image color, the paper is outstanding at combining brilliant white with intense black tones.

Color — Giclée on Hahnemühle Bright White Photo Rag

Hahnemühle Bright White Photo Rag, 310 gsm — combines the characteristically soft Photo Rag feel with a gently pronounced felt structure. Thanks to its high degree of whiteness, it produces brilliant colors and reproduces strong contrasts very well.

Color — Giclée on Hahnemühle Fine Art Pearl

Hahnemühle Fine Art Pearl, 285 gsm — an integral pearlescent coating gives the paper an elegant pearlescent effect. Its high degree of whiteness brings out impressive contrasts and image depth.

Specifications

Process (B&W): Silver halide developed photo print on Ilford Baryta paper
Surface (B&W): Silky shimmer, baryta texture
Process (color): 1440 dpi Inkjet (Giclée) using UltraChrome inks of six chromatic colors and three shades of black
Surface (color): Matte, lightly structured surface (Photo Rag) or silk-matte, distinctly textured surface (Fine Art Pearl)
Substrate: None — paper only
Glazing: Conservation-grade acrylic (such as Tru Vue Conservation Clear or equivalent) is strongly recommended to match the archival longevity of the metal-mounted configurations. Acrylic is also lighter and shatterproof.

Framing guide

Each print is supplied with a white border. The table below shows recommended framing for each available aspect ratio, using mats with a window opening size that reveals a 0.5″ white border all around the image.

Aspect Ratio	Print Size (image)	Sheet Size	Mat Opening	Mat Width	Frame Size
3:2	24×16″	26.4×18.4″	25×17″	2.5″	30×22″
1:1	10×10″	12.4×12.4″	11×11″	3.5″	18×18″
2:1	32×16″	34.4×18.4″	33×17″	2.0″	37×21″
3:1	36×12″	38.4×14.4″	37×13″	T/B 0.5″ · L/R 2.5″	42×14″
4:3	20×15″	22.4×17.4″	21×16″	2.0″	25×20″

Best placement

The natural choice for collectors who want to frame the print themselves or display it in a frame that complements an existing interior scheme. All paper surfaces reward close viewing and suit controlled interior environments away from direct sunlight and humidity.

Natural Lighting: In the Northern hemisphere, perpendicular windows facing North or East are safest. These will provide consistent, uniform side-angle light that will illuminate your prints rather than be reflected by the glazing. Uniform illumination of the print is essential to maintain the print's optical clarity.

Handling — important

All paper prints are supplied without protective glazing, laminate, or a rigid substrate. Fine Art Pearl has an integral pearlescent paper coating, but the printed surface remains delicate and unprotected.

Black & White — Ilford Baryta FB

Baryta paper is sensitive to fingerprints, moisture, and abrasion. Handle only by the edges or with lint-free cotton or nitrile gloves. Never touch the image area directly. Store flat or in an archival sleeve away from moisture.

Color — Giclée on Hahnemühle Bright White Photo Rag or Fine Art Pearl

These surfaces are delicate. Skin oils and even light contact can permanently mark the printed surface. Handle only by the edges or with lint-free cotton or powder-free nitrile gloves. Never touch the image area directly. Store flat or in an archival sleeve away from moisture and away from direct contact with bubble wrap or foam.

Art Box Frame Colors

Art box frames are available in a range of colors to complement your interior palette. Frame color is selected at the variant level when ordering. Available options vary by configuration — see each product listing for current color choices.

Sizes

Prints are available in a range of standard sizes. Available sizes vary by configuration and subject. All size dimensions refer to the print area; overall dimensions including the frame are approximately 0.5 inches larger (e.g. a 24x16" print under acrylic in a 1" art box frame is 24.4x16.5"). See individual product listings for available sizes.

Quality & Longevity

All prints are produced by WhiteWall, one of Europe's leading specialist fine art labs, under controlled conditions.

Silver halide prints — both the Acrylic and Laminated configurations — carry WhiteWall's 75-year color fastness guarantee. This guarantee applies when prints are displayed in accordance with the placement and handling guidance on this page: away from direct sunlight, in a stable dry interior environment, and free from exposure to excessive heat or humidity.

Giclée prints use wide-gamut pigment inks on archival Hahnemühle papers — Fine Art Pearl for the metal-mounted Giclée configuration and the unframed Fine Art Pearl paper print, and Bright White Photo Rag for the other unframed color-paper print — rated for an equivalent archival display lifespan of 75 years under normal indoor conditions away from direct sunlight.

To maintain print quality across all configurations, follow the placement recommendations and handling instructions detailed on this page.

Handling & Care

Unpacking

Your print is packed to withstand transit, but care during unpacking will protect it from accidental damage. Open the outer carton on a flat, clear surface. Lift the print from its packaging by holding the frame edges — avoid contact with the print face. Do not use a blade near the face of the print when opening packaging.

Handling the Giclée configuration — important

The exposed fine art paper surface of the Giclée print is significantly more vulnerable than the sealed surfaces of the Acrylic and Laminated configurations. Skin oils, moisture, and even light contact can permanently mark or abrade the paper.

Always handle the Giclée print wearing lint-free cotton gloves or powder-free nitrile gloves. For framed Giclée prints, hold the frame edges; for unframed paper prints, handle only by the edges. Never touch the paper surface directly and avoid breathing directly onto it at close range. Even apparently clean, dry hands leave oils and particulates that cannot be removed from an unprotected paper surface without risk of damage.

If you need to reposition a framed print during installation, set it face-up on a clean, soft surface — such as a folded microfiber cloth — rather than leaning it face-first against a wall. For an unframed paper print, keep it flat and supported by a clean, rigid backing during handling.

Installation

All art box framed prints are fitted with a hanging system on the reverse. Ensure the wall fixings are appropriate for your wall type and rated for the weight of the piece. For larger formats, two-point hanging is strongly recommended to prevent rotation. If in doubt, consult a professional installer.

Use a spirit level to confirm the hanging point is true before fixing.
Allow clearance from the wall for the frame depth — 0.4″ for Giclée, 1″ for Acrylic and Laminated configurations.
Avoid hanging directly above heat sources such as radiators or fireplaces.

Cleaning the print face

For Acrylic and Laminated configurations, use a clean, dry microfiber cloth to remove dust. For fingerprints or smudges, lightly dampen the cloth with distilled water — do not use glass cleaners, solvents, or abrasive materials, which can damage the surface coating.

For the Giclée configuration, the exposed paper surface is more delicate. Use only a clean, dry, soft-bristle brush or a blower brush (as used for camera lenses) to remove dust. Do not apply any liquid to the paper surface. If in doubt, do not attempt to clean the surface — contact us for advice.

Ongoing care

Avoid exposure to direct sunlight, even for UV-laminated prints.
Maintain stable temperature and humidity in the display environment — significant fluctuations can stress the Alu-Dibond panel and bonded layers over time.
Do not lean other objects against the print face during storage or transport.
If storing, keep the print vertical in its original packaging or a purpose-made art storage sleeve.
When moving or transporting a Giclée print, wear lint-free cotton or nitrile rubber gloves and ensure the face is protected by tissue or glassine paper, not bubble wrap or foam in direct contact with the surface.

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