Why My Art Prints Feels & Looks Different
When translating oil paintings to paper, standard poster printing fails. Flat, matte papers soak up the ink and dull the colors, while glossy prints turn into mirrors under room light.
For my work, I use 240gsm Fine Art Lustre Paper paired with 12-color Giclée archival printing. It’s a specialized setup chosen specifically to handle deep shadows, vibrant light sources, and rich oil textures.
What to expect when you hold it:
- Subtle Pearl Finish (Lustre): The paper has a fine micro-texture that gives colors the “freshly oiled” sheen of an original canvas. It catches ambient light naturally without creating harsh glass-like reflections.
- 12-Color Giclée Pigment System: Standard prints use only 4 inks (CMYK). By using a 12-pigment system, shadows stay deep and velvety black rather than muddy grey, and subtle color transitions retain their original warmth.
- Museum-Grade Longevity: Printed with fade-resistant archival pigment inks on 240gsm bright white paper, designed to keep its color intensity and contrast for over 100 years.
- Practical & Durable: The perlescent surface resists fingerprints and smudges during handling and framing.
Shipped Unframed & Ready for Your Space
To guarantee safe delivery and keep international shipping efficient, all prints are shipped unframed in secure, heavy-duty packaging (flat for A4, protective tubes for A3, A2, and A1).
Shipping without frames gives you full control to choose a custom frame, matting, and border style that fits your exact interior design.
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About Me
I’ve been painting ir traditional way for around 17 years — not every day, not as a career at first, but as something that never left me.
For 12 years my main work was tattooing. It taught me precision, it taught me how people relate to images on a personal level. But eventually it started to feel like a box. So I stopped, and gave everything I had to painting — to studying it, analysing it, practising it obsessively.
My style grew from an unlikely combination: a Blythe doll I ordered off AliExpress, the unsettling world of Little Nightmares, and years of quietly watching how light, proportion and atmosphere change the way we feel. Over time I pulled in influences from CG art and cinema, and the work became more cinematic — less about a single character’s expression, more about the entire world they inhabit.
Lately I’ve been circling back to where it all started — clay and sculpture, the very first things I made as a child before I ever picked up a brush.
I also have a YouTube channel where I share my process — how a piece actually comes together, from first marks to final layers.