A

Halftone

One disc per cell; its radius is the cell’s darkness. 14–22 px screens.

B

Ordered dither

Bayer 8×8 threshold into three or four palette levels. The house treatment.

C

Pixels

Posterised at 1/8–1/12 resolution, blown back up with hard edges.

D

Line art

Sobel edges only — white on ultramarine, lime on black.

E

Out of register

Three ink plates of the same photo, each printed with its own offset.

F

Mirror / slices

Symmetry from a half; or the frame cut into strips and knocked sideways.

G

Line screen

Gravure: one horizontal line per band, its thickness is the tone. 12–14 px pitch.

H

Echo

The same threshold printed four times, each copy knocked up and sideways — a jump as a motion study.

I

Scan lines

Four levels at 1/10 resolution with every third row blacked out. A paused video.

J

Solarised

Tones above the midpoint flipped negative, then dithered into four flat colours.

K

Split

Part of the frame left exactly as photographed, the rest re-printed — a cut-out of the ship, or a hard seam down the middle. Photo set 04.

L

Negative

Every tone inverted before the dither: a black sign comes out pale, white lettering ultramarine, a cloudy afternoon turns to night. Photo set 05.

M

Mosaic

The frame rebuilt as a wall of flat tiles in a running bond, one colour per tile, a grout line between — the photo’s own subway tiles as the printing screen. Photo set 06.

N

Contour

The tones quantised into eight levels and only the boundaries drawn — a relief map, so latte art becomes a weather chart and the rings of a chopping board finally are the contour lines they always looked like. Photo set 07.

O

Rings

A gravure line screen bent into a target: the tones printed as concentric rings around one point, each ring as thick as the darkness along it. The point is the centre of the sign, so the sign’s own circle is the printing screen. Photo set 08.

P

Weave

Two gravure screens, one vertical and one horizontal, each line as thick as the light along it, crossing over and under cell by cell — a basket weave, printed light on dark. The rattan of the restaurant’s own lamps is the printing screen. Photo set 09.

Q

Ripple

A gravure line screen that waves: horizontal lines, each as thick as the light along it, pushed up and down by a ripple that grows with the depth below the waterline — straight above it, water below it. The river prints the bank the way a river prints. Photo set 10.

R

Wedges

The frame cut into eight slices from one point — the centre of the pizza — and each slice printed as its own gravure line screen: the same pitch, every line as thick as the light along it, but the angle turning 22.5° from one slice to the next, with a thin cut between them. The pizza’s own cuts are the printing screen. Photo set 11.

S

Stipple

A stochastic dot screen: the tones error-diffused onto a coarse grid and every ink cell printed as one round dot, knocked off the grid at random, so the dots scatter like a copperplate stipple engraving — dense where the cake is light, empty where it is dark, nothing where the marble was. Seven cakes cut out and laid out as a specimen sheet, numbered and priced. Photo set 12.

T

Net

A diamond lattice of strands at 45° either way with a knot at every crossing, each strand as thick as the light along it — a hairline in the shadows, a cord on the canvas, solid where the white thread is — printed light on dark, so the bag hangs on the ultramarine the way a string bag would and the packshot’s own background prints as nothing. The Irma net printed as a net. Photo set 13.

U

Leaf

A halftone whose dot is a leaf: the frame cut into cells and every cell printed as one pointed leaf as big as the light in it, the leaves lying along the picture’s own edges where it has them — the slats, the trunks, the roofline — and scattering where it does not, so the park prints through its own canopy. The glasses and the bottle are left exactly as photographed. Photo set 14.

V

Beds

The picture as a garden plan: the frame cut into irregular beds — a Voronoi map, sown thickest where the picture has detail and thinnest on lawn and sky — every bed filled flat with the ink nearest its own colour, outlined in black like a planting plan, the large beds numbered the way the rhododendron society numbers its beds. The visitors are left exactly as photographed. Photo set 15.

W

Piping

A halftone whose dot is a piped rosette — the print of a star nozzle: the frame cut into a honeycomb of cells and every cell printed as one eight-point star with a swirl in it, as big as the light in the cell, white on ultramarine, so the shopfront is iced onto the blue like the top of a cake. The chef and her cakes are left exactly as photographed. Photo set 16.

X

Spines

The frame printed as a crate of records seen end-on: cut into vertical strips of uneven width, 3 to 11 px, every strip keeping its own run of colour down the frame, each colour sent to the nearest of six inks, and every strip pulled up or pushed down a few pixels the way records stand unevenly in a crate, with a dark gap between neighbours. The crate on the chair is left exactly as photographed. Photo set 17.

Y

Seed tray

The frame printed as a plug tray seen from above: cut into a grid of rounded square cells with dark walls between them, every cell filled flat with the ink nearest its own colour — leaves lime, pumpkins red, sky through the roof ice, shade ultramarine, paving periwinkle — and carrying one round plug of soil in its middle, as big as the cell is dark. The autumn table under the roof is left exactly as photographed, cell by cell. Photo set 18.

Z

Timber

The frame printed as a half-timbered wall: cut into bays of uneven width and courses of uneven height by black posts and rails, a brace running corner to corner through some of the bays, and every panel lime-washed flat in the ink nearest its own colour — the ochre façade lime, the tiles red, the sky ice and ultramarine, the cobbles periwinkle. The shop window, the door and the café chairs are left exactly as photographed, panel by panel. Photo set 19.

Æ

Bleu

Two inks only: WordPress’s own duotone filter maps every shadow to ultramarine and every light to pale, in the browser, over a photograph left untouched in the library — the steak frites printed like a blue French menu card. The first treatment made by the site rather than the file. Photo set 20.

Ø

Snaps

The same filter with the other two inks: shadows black, light the red of a house snaps, so the smørrebrød and the dark beer print as a two-colour poster. Photo set 21.

Å

Room service

The duotone filter as a hotel livery: each of the four hotels on Business Travel printed in its own pair of inks — ultramarine and lime for the beach, black and periwinkle for the marina, black and lime for the rooftop pool, ultramarine and white for the square — each hotel page opening on a black band with its slogan in lime capitals, one word to a line. Photo sets 22–25.