The Natural Stone Collection
Real Stone, cut square and marked directly onto the surface.
Natural Stone
No two are alike
Stone doesn't take print the way paper does. The surface has its own grain, its own small variations in tone, and the design settles into that rather than sitting on top of it. Two pieces from the same design will never be identical — the stone decides.
Larger pieces are framed in solid pine, a deliberate pairing: stone on its own reads cold and heavy on a wall, and untreated pine softens it enough to live with. The smaller trios come in aged composite frames instead, where the worn grey finish suits the scale.
The stone collection, explained
Natural stone tile, cut square and finished flat. Because it's a natural material, the surface carries its own grain and slight tonal shifts from grey warming to sand in places, with occasional darker veining. This isn't a flaw in the print; it's the stone showing through, and it's why no two pieces are identical.
The design is printed directly onto the stone surface rather than onto a layer applied over it. The result is flatter and more matte than a canvas or paper print, and colours read slightly deeper because stone absorbs rather than reflects. Dark tones in particular hold better on stone than on any other surface we print.
Single pieces measure 25cm square, framed with a 20cm stone set within solid pine.
Three-piece sets use 10cm stones, each mounted in a 20cm aged composite frame with the same generous margin. Hung with a small gap between them, a full set spans roughly 70cm across.
The smaller stones give the sets a lighter presence despite the frame size, which suits walls that a single large piece would dominate — beside a doorway, above a bedside table, or along a narrow hallway.
Stone is a cold, heavy material. Left unframed, it can read as austere, closer to a paving slab than an artwork.
Larger pieces are set in solid pine: warm, light, visibly grained, the opposite quality to the stone it holds. The three-piece sets use aged composite frames in a worn grey finish, which suits their scale better — three pine frames side by side would read as heavy rather than balanced.
Each piece arrives with fittings already attached to the back, so there's no hardware to buy separately.
Stone is heavier than it looks, so the fixing matters more than with a paper or canvas print. On plasterboard use a hollow-wall anchor. On masonry or brick a wall plug and screw is enough. If you're unsure what your wall is, tap it. A hollow sound means plasterboard.
If you'd rather not drill, the hanger can be removed and the piece mounted with heavy-duty double-sided tape. This works on smooth, clean, fully cured paint. It doesn't work on textured plaster, wallpaper or walls painted within the last month, where the weight will find the weak point eventually.
Weight varies by size and is listed on each product page.
Anywhere you want a piece to feel permanent rather than temporary. Hallways and entryways suit it particularly well, because the material sets a tone as you walk in. It also holds its own against exposed brick, plaster and concrete, where a lighter print would disappear.
In bedrooms it works better on a side wall than above the bed, where the weight of the material can feel heavier than you want the last thing you see at night to be.