Finishes & sizes

Five Finishes

How it works - Two choices between the archive and your wall.

  1. 01 Pick a finish

    A surface to print it on.

    Five finishes — matte paper, two framed variants, stretched canvas, and brushed aluminium. Each suits different work and different walls; the details are below.

    See the finishes ↓
  2. 02 A size for the finish

    From postcard to statement piece.

    Fifteen to twenty-nine sizes per finish, all in centimetres. Not every size is available on every surface — the options narrow as the material changes. Each product page shows exactly which sizes apply and what they cost.

Matte print hung on a wall in a sunlit interior
Matte print styled in a living room
Matte archival paper — surface detail
01

Matte archival paper

The page itself.

Heavyweight uncoated matte paper — naturally off-white, 250 gsm, 0.29 mm thick. The surface gives the image a soft, pencilled, library-book quality that suits the archive better than any glossy finish ever will. The finish we send the largest prints out on.

Acid-free above pH 7, so it won’t yellow with age. FSC-certified for sustainability, and printed and shipped on demand from the press nearest you — no minimum runs, no warehouse stock.

Stock
Uncoated matte · off-white · 250 gsm · 0.29 mm
Archival
Acid-free (pH > 7)
Material
FSC-certified paper
Hanging
Loose sheet — needs a frame
From $49 AUD
29 sizes 13 × 18 cm → 84 × 119 cm

Made in Australia and mailed to you via Australia Post

Pine-framed print on a wall in a warm living room
Natural pine frame — front view
Natural pine frame — back and hardware
02

Wooden frame · natural pine

The matte paper above, framed in pine.

The matte archival paper from 01 — same 250 gsm stock, same off-white — set behind shatterproof plexiglass in a pine frame, natural finish. The frame is 18 mm thick: substantial enough to hold its corners, slim enough to read as part of the picture rather than around it.

Pine gets out of the picture’s way. It pairs well with watercolours, hand-coloured maps and most early colour photography. Arrives with the hanging kit fitted.

Frame
Pine · natural · 18 mm thick
Glazing
Shatterproof plexiglass
Paper
The 250 gsm matte archival paper from 01
Hanging
Ready to hang
From $99 AUD
15 sizes 13 × 18 cm → 70 × 100 cm

Made in Australia and mailed to you via Australia Post

Black-framed print on a bedroom wall
Black wood frame — front detail
Black wood frame — back and hardware
03

Wooden frame · black

The same frame in matte black.

Identical construction to 02 — pine at 18 mm thick, shatterproof plexiglass, the same 250 gsm matte archival paper inside — finished in matte black. Reads heavier on the wall and adds a deliberate, gallery-like containment around the print.

Better suited to dense interiors, night photography, and anything you’d describe as architectural.

Frame
Pine · matte black · 18 mm thick
Glazing
Shatterproof plexiglass
Paper
The 250 gsm matte archival paper from 01
Hanging
Ready to hang
From $99 AUD
15 sizes 13 × 18 cm → 70 × 100 cm

Made in Australia and mailed to you via Australia Post

Canvas print on a wall above a sofa
Stretched canvas — front view
Stretched canvas — gallery-wrap depth
Stretched canvas — surface texture
Stretched canvas — gallery wrap corner
04

Stretched canvas

Cotton weave, gallery wrap.

A cotton-polyester weave, 300–350 gsm, stretched over an FSC-certified pine stretcher and gallery-wrapped so the image carries around the edges. The texture sits softly under the print — it picks up a slight side-light, the way a painting would, and forgives a less-than-pristine source scan.

A slim 2 cm gallery wrap — enough depth to stand off the wall and read as an object, slim enough not to dominate a tight space. Our default for hand-coloured maps, watercolour street scenes, and the older oil works in the archive.

Canvas
Cotton-polyester · 300–350 gsm · 350–400 microns
Stretcher
FSC-certified pine · gallery-wrapped
Depth
2 cm gallery wrap
Hanging
Ready to hang
From $49 AUD
26 sizes 20 × 20 cm → 70 × 100 cm

Made in Australia and mailed to you via Australia Post

Aluminium print on a wall above a sofa
Brushed aluminium — front view
Brushed aluminium — leaning against wall
05

Brushed aluminium

Direct print on brushed silver.

Printed directly onto 3 mm brushed-silver DIBOND® — an aluminium sheet with a horizontal grain running across it. Where the original image carries highlight or sky, the unprinted areas reveal the metal beneath, catching the room — it reads cooler, more contemporary, more deliberate.

Matte and glare-free, so the sheet sits flat on a wall without bouncing the window back at you. Our recommendation for black-and-white photography (especially wet-plate and gelatin silver) and for architectural drawings, where the brushed grain rhymes with the line work.

Material
Brushed silver DIBOND® · 3 mm thick
Grain
Horizontal
Print
Direct on AluDibond · matte · glare-free
Hanging
Ready to hang
From $99 AUD
18 sizes 20 × 20 cm → 70 × 100 cm

Made in Australia and mailed to you via Australia Post

Fitting the image

Shaped to the size — never stretched to it.

Every size on this page is a slightly different shape, and a print file has to match its size exactly. So we never simply hand the picture over and let the press letterbox it. Before anything is printed, each image is shaped to the exact proportions of the size and finish you’ve chosen. How we shape it depends on what it is.

Cropped from the centre to fill the size; only the outer margin is ever lost.

Photographs

Filled to the edge.

A photograph is cropped from its centre until it fills the print, edge to edge. We only ever offer a size whose shape already sits close to the photograph’s own, so reaching it costs a thin sliver from one pair of edges. We trim the margin without cutting deep into the scene.

The artwork is found inside its mount, then padded to size in matched paper.

Maps, drawings & illustrations

Fitted to the paper.

Older works rarely arrive as clean rectangles. The artwork sits inside something — a mount, an album page, a frame, a wide blank border — often with a library stamp, a pencilled caption or a page number added at the edges over the years. So we find the work itself first: its true edges, held right up to its own printed border, title or plate line. Nothing of the artwork is cropped away to make it fit.

It is then brought out to your chosen size by extending its own surrounding paper where that paper is clean, or, where it isn’t, by adding a quiet border matched to the colour of the work’s own edge. Because a size is only offered when its shape already sits close to the work’s own, that border stays slim.

On canvas, the strip that wraps around the stretcher edge carries that same matched colour, so the sides of the piece read as a continuous extension of the picture.

See the final fit. The exact print you’ll receive — cropped, padded and shaped for the size and finish you’ve picked — is shown alongside the finish options on every product page.

On production

Printed and shipped on demand.

Reverie Archive holds no warehouse stock. Every print is made when you order it, then sent direct from the press nearest you — which keeps pulp out of bins, freight short, and our footprint sensible. No minimum orders. The trade-off is patience: orders take a little longer to arrive than something off a shelf.

Paper is FSC-certified; canvas stretchers are FSC-certified or equivalent. If a print arrives damaged or doesn’t sit right, write to us and we’ll re-print it on the next run.

Made to order
No minimums, no warehouse stock.
Made in
Australia — at the press nearest you.
Materials
FSC-certified or equivalent.
Returns
Damaged or wrong — re-printed.