Nine product lines, made on one floor

Press-printed photobooks built in three constructions, so the same set of files can go out as a premium layflat volume or an economical softcover proof copy. Pages are printed on profiled stock and trimmed square, and the binding is done on the same bench that assembles the albums — no third-party finisher, no variation between a first order and a repeat.

The lab's flagship line: thick rigid-page albums that open dead flat, so a spread crosses the gutter without losing the middle of the image. Covers are made up in-house in leather, leatherette and cloth, with foil blocking and blind debossing done on the same bench. Parent copies are printed from the identical profiled file, so the set matches.

Colour-managed printing across the full size range on six surfaces. Every job is profiled against the same calibrated reference with a colour target run alongside it, so drift is caught on the sheet rather than at collection — and a reprint ordered a year later matches the first one. That repeatability is the entire reason to use a lab rather than a general print shop.

Pigment-printed canvas stretched over kiln-dried timber in-house, so the print and the stretcher never leave the building. Corners are folded rather than cut, the face is coated against scuffing and UV, and the frame is squared before hanging hardware goes on. Rolled canvas ships flat for framers who stretch their own.

Face-mounted acrylic and dye-sublimated metal, the two surfaces that hold the most depth in a highlight. Acrylic is bonded to the print face with an optically clear adhesive rather than laminated behind glass; metal is sublimated into the coating so the image is part of the panel, not a layer on it. Both take standoffs or a float mount.

Mouldings cut and joined on the premises, mounts bevel-cut to order, and glazing fitted to the job rather than to whatever is in stock. Because the print and the frame are made in the same building, the colour approved on the proof is the colour that goes on the wall — nothing is handed to a third party between the two.

Prints bonded to rigid substrate for display without glazing — lighter than a frame, flatter than a stretched canvas, and the usual choice for exhibition runs and trade counters. Boards are trimmed flush after mounting so the edge stays square, and a laminate can go on the face where the work will be handled.

Personalised and corporate calendars produced as a complete run: printed, collated, punched and bound, then packed in the quantities the order needs. Date grids are set to the year and market before anything goes on the machine, and a proof of the grid goes back for approval separately from the imagery.

The small personalised lines that resell alongside a main order — magnets, buttons, keychains and coasters — produced in volume with the same colour management as everything else on the floor. Ordered as a set they are printed from one imposition, so a whole batch comes off matched rather than drifting piece to piece.