What your hand touches matters as much as the image.
Four materials, two suppliers, one decision per character. Cotton paper, pigment ink, solid wood and optical acrylic. Each choice is documented in the studio archive.
There is no "premium finish" or marketing vocabulary on this page. What you get is the exact list of materials with their technical references, their suppliers, and the reason each one was chosen over cheaper alternatives. Every decision is documented in the studio archive. What follows is the public version.
§ 05.1 · Chain Two suppliers. One chain.
The studio works with two fixed suppliers for the physical pieces: Hahnemühle supplies the paper, WhiteWall prints, frames and mounts. Neither was chosen for price — both were chosen for archive, repeatability and traceability. Both in Germany:
- Paper
- Hahnemühle FineArt Dassel · DE · since 1584
- Printing
- WhiteWall Frechen Frechen · DE · LAB DXX
- Frame
- WhiteWall Hamburg Frechen · DE · oak
- Mounting
- WhiteWall matte acrylic Frechen · DE · XL
§ 05.2 · Catalogue Seven materials with their fact sheet
From the most intimate to the most physical: paper, inks, Hamburg frame (Black), ArtBox (XL wood), matte acrylic (XL), packaging, COA. Each one has its reason.
01 · paper Photo Rag 308
100% cotton · light matte surface · very low OBA · acid-neutral.
The most recognised archival paper in the fine art sector. Very low optical brightening — the white holds for decades without yellowing. The surface has subtle texture that absorbs ink without losing definition.
- Weight
- 308 g/m²
- Composition
- 100% cotton
- OBA
- very low
- pH
- 8.3
- Origin
- Dassel · DE
Inks pigment
Six colours plus three blacks · giclée printing at 1,440 dpi.
Pigment, not dye: particles anchor to the fibre. The three blacks yield deep blacks and mid tones without reddish cast, with clean detail in the shadows.
- System
- UltraChrome Pro
- Inks
- 6 colours + 3 blacks
- Resolution
- 1,440 dpi
- Type
- pigment · giclée
03 · frame Frame Hamburg
Solid oak stained black · 20 mm visible structure profile · natural finish, unlacquered.
The canonical frame for the two Black formats. The oak is stained but not lacquered — the grain stays visible and the wood breathes. White neutral 35 mm mat board, anti-glare glass. Produced in Frechen by WhiteWall.
- Wood
- Solid oak
- Finish
- stained · unlacquered
- Profile
- 20 mm visible
- Mat board
- 35 mm · white
- Glass
- anti-glare
04 · artbox ArtBox wood
Floating wooden box · 4 mm hidden front seam · 35 mm depth · three woods.
The work is mounted directly on the wooden box with a 4 mm perimeter seam that makes it float visually. The 35 mm depth gives it sculptural presence on the wall. Three woods to choose from per piece: natural oak, black oak, white maple.
- Woods
- 3 · oak nat./black/maple
- Seam
- 4 mm hidden
- Depth
- 35 mm
- Support
- AluDibond 3 mm
- Fixing
- rear subframe
05 · acrylic Acrylic matte
2 mm matte acrylic + 3 mm Dibond aluminium · face-mounted · polished edge.
Alternative to ArtBox for the two XL formats. The print is laminated on the inner face of the acrylic — light passes through the acrylic before hitting the image. Maximum saturation, integrated UV filter, matte anti-glare finish.
- Acrylic
- 2 mm · matte
- Support
- Dibond Al · 3 mm
- Paper
- Fuji DP II
- UV
- integrated filter
- Fixing
- hidden subframe
Packaging and shipping
Each format leaves the lab packed · shipped directly from WhiteWall (Frechen).
The work travels packed and protected per format directly from WhiteWall's lab in Frechen. Made-to-order production takes 7–11 business days; shipping afterwards depends on destination and is calculated at checkout.
- Origin
- Frechen · DE
- Production
- 7–11 days business
- Shipping
- by destination
- Calculated
- at checkout
Certificate of authorship
Hahnemühle Photo Rag 308 paper · graphite author signature · Verisart QR · dual registration.
Accompanies the work in a separate certified envelope. Numbered, hand-signed. Linked to Verisart by unique ID + blockchain token with verification QR. Provenance chain stays active for the entire life of the piece.
- Paper
- 308 gsm · Photo Rag
- Signature
- graphite · by hand
- QR
- Verisart · C2PA
- Digital record
- blockchain · token
- Link
- QR + unique ID
§ 05.4 · Care How the piece is treated. And how not.
An Animal Kinhood piece asks for little. Hang it on a stable wall, keep it out of direct sunlight, avoid the kitchen (oil fumes) and the bathroom (humidity). If in doubt, write — we usually resolve unusual cases in one email exchange:
- ✓ Yes · stable interior wall Solid wall, room between 16–24 °C. The piece acclimatises for 24 h before hanging.
- × No · kitchen or bathroom Oil vapour and accumulated humidity are the two enemies of fine art paper. If no other wall is available, better to skip.
- ✓ Yes · ambient light Normal domestic lighting or natural north light. LEDs CRI ≥ 90 ideal.
- × No · direct sunlight Sun hitting a west-facing wall cuts the paper's life to a fifth. Always avoid.
- ✓ Yes · dry cleaning Soft feather duster, dry microfibre. For the matte acrylic, circular optical cloth without pressure.
- × No · chemical products No glass cleaner, no solvent. Paper and oak do not tolerate ammonia-based agents.
If you have to choose between one wall or another, pick the one without direct sun. The paper forgives the rest.
Desk note · MATERIALS · 2026
For specific questions about your piece, write to mail@yagopartal.com.