Substrates we print on
Anything flat (or near-flat) up to roughly 100 mm thick fits the bed. We routinely print on:
- Hardwood and ply — grain telegraphs through the ink, intentionally
- Aluminium, brass and stainless — with adhesion primer for outdoor work
- Glass and mirror — with white ink layers for opacity control
- Acrylic, Dibond, MDF, Valchromat
- Slate, marble offcuts, terrazzo, concrete tiles
White ink is the trick
Almost every interesting UV job uses the white channel. White as a base layer makes colours pop on dark wood. White as a top layer (printed in reverse onto the back of glass) gives second-surface luminance. White spot-printed under selected areas creates day/night effects on transparent media.
We profile each substrate so the white density is matched to the colour pass — too thin and the colour goes muddy, too thick and the texture of the substrate is lost.
Why editioning artists love it
There is no negative, no plate, no screen. An edition of 25 panels is 25 prints — identical to within machine repeatability — and the artist signs the substrate, not a margin of paper. That changes how a piece sells and how it ages.