You can order this print in any size. Prices are set to wholesale, so you can resell these, but you can also just take orders and then order the print for fulfillment.
I’m very happy to tell you about some new developments here.
Over the last stretch we’ve been doing some really satisfying, hands-on work that feels like a natural extension of everything we’ve always cared about: craft, presentation, and bringing things fully into the world instead of leaving them half-imagined.
One big area has been colorization. Taking old black-and-white photos and carefully bringing them into color—not in a flashy or fake way, but gently, respectfully, so they still feel like themselves. The goal isn’t “modernizing” the past, it’s revealing what was already there. Skin tones, fabrics, ambient light, the mood of a room—done right, the image suddenly breathes again. People look like people, not historical artifacts.
Alongside that, we’ve been refining our process for fitting jewelry onto models. This turned out to be more subtle than it sounds. Scale matters. Weight matters. Where something hangs on a body changes everything. A piece that looks oversized on a tabletop can become perfect when it’s reduced by a third and placed correctly on a real human form. We’ve been dialing this in—matching earrings to pendants, pendants to necklaces, and making sure sets actually belong together. Same model, same language, same family.
We’ve also been experimenting with material transformations—for example, taking copper pieces and giving them the visual richness of 18k yellow gold. Not in a cheesy, over-polished way, but with depth: warm highlights, soft shadows, and that unmistakable “rich gold” presence that reads instantly to the eye. It’s been especially effective for testing designs and seeing how a piece wants to live before committing it to a final metal. The thing is, I’m equally at home in copper, silver and high-karat gold.
Another strand of this work has been framing artwork. This has been a joy. Choosing frames that don’t compete, but support. Heavy gold frames when something needs authority. Simpler, quieter frames when the work already speaks loudly. Seeing pieces hung on walls—properly framed, properly lit—changes how they’re perceived. Suddenly they’re not just images; they’re objects, statements, occupants of space.
What ties all of this together is the same principle we’ve always worked from: presentation is not decoration. It’s completion. Colorizing an image, placing jewelry on a model, framing a piece of art—these aren’t add-ons. They’re the final step that allows the work to meet the world on equal footing.
It’s been a good phase. Productive, exploratory, and oddly calming. Things are finding their correct size, their correct color, their correct place. And when that happens, you can feel it immediately.
I’ll be applying these ideas to our upcoming workshop, for which I’m preparing even as we speak. Well, as we type and text.
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Here’s the Bardo bus!
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See You At The Top!!!
gorby