PRINT · SURFACE · MATERIAL
Paper is not a neutral carrier. Its texture, tone, reflectivity and weight change how colour, light and detail are encountered—and how a digital painting occupies physical space.
THE MATERIAL PRINCIPLE
Jabbi Delahaye’s work moves between digital oil painting, Renaissance-inspired composition, cultural memory and experimental surface. The finished image is only one stage of that process.
Some works require the weight and tooth of a textured fine-art paper. Others depend on a smooth photographic surface, deep blacks or a pearl-like response to light. The final material is chosen to extend the meaning and visual structure of the work.
ESTABLISHED STUDIO CHOICES
These are among the papers already used regularly within the practice. The final choice remains artwork-specific.
Archival pigment Giclée · 310 gsm · matt
A substantial, tactile paper whose textured surface supports painterly detail, strong colour and deep blacks. Selected when the print should carry the crafted presence of an etching or work on paper.
Photographic C-Type · 252 gsm · medium gloss
A luminous photographic paper with reflective, pearl-like character. Selected when metallic highlights, warmth, dimensional colour and areas of radiance are integral to the work.
Archival pigment Giclée · 290 gsm · matt
Made from 90% bamboo fibre and 10% cotton, with no optical brighteners. Selected for its warm tone, restrained surface and sensitive rendering of warm colour and monochrome passages.
TWO PRINTING FAMILIES
Eleven-colour inkjet printing on specialist fine-art papers. This route is used where paper texture, a matt or satin surface and the character of a work on paper are central to the result.
Silver-based photographic printing on Fuji Crystal Archive papers. This route is used where smooth tonal transitions, photographic depth, gloss or metallic luminosity best serve the image.
IN-DEPTH MATERIAL GUIDES
Two long-form guides explain how each process works, what its surfaces contribute and how proofing, framing and edition control protect the finished work.
How pigment inks, colour management and carefully selected papers give digital painting a tactile, lasting form.
Read the Giclée guide →How light-sensitive photographic paper creates smooth tone, luminous colour and a distinctly photographic depth.
Read the C-Type guide →THE CURRENT PRODUCTION RANGE
The range below records the current fine-art and photographic papers available through the studio’s production partner. It is a material vocabulary, not a promise that every work will be offered on every surface.
FINE-ART PAPERS · 7
310 gsm · Matt · warm white · highly textured
310 gsm · Light gloss · bright white · extra smooth
260 gsm · Semi-gloss · bright white · extra smooth
290 gsm · Matt · warm creamy white · smooth
285 gsm · Pearl/satin · natural white · fine texture
308 gsm · Matt · off-white · smooth
310 gsm · Matt · warm white · pronounced texture
PHOTOGRAPHIC PAPERS · 4
231 gsm · Satin sheen · bright white · smooth
246 gsm · Medium gloss · bright white · smooth
255 gsm · High gloss · warm white · extra smooth
252 gsm · Medium gloss · silver-metallic · smooth
SACRED MINERALS & GEMSTONES
Explore agate through its image, mineral properties, cultural histories and four selected films in the dedicated collection.
Explore Sacred Minerals & GemstonesMATERIAL RESEARCH · IN DEVELOPMENT
Alongside established paper-based editions, the studio is researching how digital paintings can acquire greater relief, reflectivity and object presence. These directions remain experimental until confirmed on an individual artwork record.
UV printing and layered surface development are being explored as ways to translate painted gesture and relief into the physical work.
Clear quartz, glass diamond dust, lapis and amethyst powders form part of ongoing research into light, symbolism and tactile surface.
Gold and silver effects are considered as materials with cultural and visual meaning—not simply decorative colour.
Antique-gold and contemporary framing approaches are studied as part of the work’s scale, historical dialogue and exhibition presence.
FROM STUDIO TO COLLECTION
Collectors and curators should be able to understand exactly what they are acquiring. Each confirmed artwork record will carry the information needed to distinguish the image, its physical form and its place within an edition.
The substrate is selected in response to the image—not offered as a generic upgrade. Palette, black density, surface detail, scale, framing and intended light all influence the decision.
Fine-art and photographic editions are produced with theprintspace, a specialist production partner whose work Jabbi has used and trusted for many years.
Frame style, moulding, mount, glazing, borders and hanging method are resolved in relation to the artwork and its destination. Available choices may include traditional, float, tray and shadow-box presentations.
Where a work is editioned, its individual record confirms the edition size, dimensions, exact medium, paper, presentation, availability and accompanying authenticity documentation.
THE ARTWORK RECORD
CURRENT ACQUISITION ROUTE
Online ordering and automated fulfilment are being prepared. Until that system is live, availability, paper, size, framing and delivery are agreed directly with the studio.