Paper finishes (matt, lustre, satin)

Fine-art papers come in three surface finishes that affect how a print reads under light. Matt — completely non-reflective, soft and textured to the touch, no surface sheen. Lustre — a fine pebbled texture with a slight sheen, midway between matt and gloss; the surface scatters reflected light rather than mirroring it. Satin — smoother than lustre, with a subtle directional sheen but no harsh reflections. (Glossy paper exists too but isn't usually used for fine-art prints.)

Matt is the default for fine-art prints. The absence of any surface reflection means the print reads cleanly under almost any lighting — direct sun, gallery spotlights, ordinary room lighting — without glare from the framing glass interacting with reflections on the paper. The trade-off is a slightly compressed dynamic range: pure blacks aren't quite as deep on matt paper as on satin or gloss, because matt paper scatters incident light rather than absorbing it.

Lustre and satin suit photographic work better than illustrative or hand-drawn work. The slight sheen flatters skin tones and saturated colours, gives slightly deeper blacks, and reads as more contemporary. The cost is that reflections on the paper surface and on the framing glass can stack visibly under direct lighting; satin and lustre prints reward more careful placement.

What the finish doesn't change. Colour accuracy is determined by the ink and the ICC profile, not the surface. Archival longevity is determined by the paper fibre and the ink chemistry. Two papers at the same archival grade in different finishes will both last 100+ years; they'll just look different under light.

Every Clark & Darcey print is on Hahnemühle German Etching 310gsm — a matt-finish α-cellulose paper. The choice is deliberate: most contemporary fine art reads better under matt than satin, and the matt surface makes framed display practical in rooms with imperfect lighting (which is most rooms).