A giclée print of one plate from the Collection, made to order on Hahnemühle German Etching, a heavy 310gsm cotton-blend paper with a soft texture that suits the work. Each print is made when you order it, so nothing sits in a warehouse.

No. Prints are open edition, unsigned and unnumbered. Now and then a signed series or a limited edition is offered, and when it is, the product page says so.

Three sizes for most plates. Square plates come in 8x8, 16x16 and 24x24 inches. Portrait plates come in 12x16, 18x24 and 24x32. Landscape plates come in 12x18, 16x24 and 24x36. The size picker on each print shows what is available for that plate.

Yes. Every print carries a white margin of about a tenth of the print on each side: roughly three quarters of an inch at 8x8, an inch and a half at 16x16, two and a half inches at 24x24. It is part of the file, not something added at the lab, so it is the same on every print, and it gives a mat or a frame something to hold.

Any standard frame in the print's size will work. The margin does the job a mat would do, so you can frame it edge to edge or add a mat if you prefer more air around the image. The paper is matte, so glass or acrylic with a non-glare finish shows it best. Frames are personal, so I leave that part to you.

Closely, not exactly. Screens glow and paper doesn't. The German Etching paper warms the work slightly and softens the brightest whites, which is the look the Collection was made for. If a print arrives looking wrong rather than different, see the question on returns.

Prints are made to order, which takes two to three business days, then they ship. In the US, allow five to ten business days from order to door. Prints for the UK, Europe and Australia are made at labs there, so they travel a shorter distance than you'd expect. Other countries ship from the nearest lab.

Free in the US, the UK, the European Union and Australia; it is built into the price. For Canada and everywhere else, $7 on orders under $75 and $14 on orders of $75 and over, shown at checkout before you pay.

Not in the UK or Europe: those prints are made locally, so there is no customs charge. For Canada, Brazil, Mexico, Taiwan and other countries, duties and taxes may be charged on delivery by your country; they are the buyer's responsibility.

Smaller prints ship flat in a rigid mailer. Larger sizes ship rolled in a tube. A set of three ships together in one parcel.

Because they come from two places. Prints are made at the lab and ship from there; the Annual ships from the studio. Two parcels, two charges, both shown before you pay.

Write to me within fourteen days with a photo of the print and the packaging, and I'll have a replacement made at no cost.

Each print is made for your order, so I can't take back a print that arrived as described. If something is wrong with it, a damaged corner, a flaw in the paper, the wrong plate, it is replaced. If you're unsure about a size, the 8x8 is the low-risk way to meet the paper before committing to a larger one.

A book of the year's collections. Volume One is twenty-five collections and 422 illustrations in 288 pages, ten inches square, cloth over board and stamped in foil, printed in New England on Italian paper and sewn to open flat. Every copy of the first edition is signed and numbered by hand. It is $95 and ships from the studio.

Preorders placed before October 18, 2026 go out first, in late November, once the books arrive from the printer, and arrive before the holidays. Orders placed after that ship from the studio within a few days. Every order, in the US or abroad, gets a tracking number the day it ships.

No. The illustrations are watercolor-inspired, made digitally, with AI as part of the process, and directed and finished by me. The full account, including the questions I don't have clean answers to, is on How the Work Is Made.

Yes. That is where I started, and for more than twenty years as an artist and architectural illustrator I have worked with water, paper and pigment. The Collection is not that work, but everything I learned making it is in how the Collection is directed and judged. A signed series of the traditional work is in the plans.

A print is for the wall. If you want the work on your own walls at scale, in your pages, your packaging or your products, that is a different arrangement and it starts with a conversation. See For Businesses.

The free sets are for personal use: your own desktop, your phone, your home. Not for resale, not for client work, not for anything a business puts its name on. If you want that, the business page is the door.

Not yet. One is planned for the people who collect the work, and the newsletter at the foot of this page is where you'll hear about it first.

The subscription closed in November 2026. If you were a member, you have an email from me with the address where your downloads live for ninety days. If it didn't reach you, please write to me.

ana@themonnacocollection.com. I answer within a day or two, usually sooner.