From Sketch to Print

The 1860 calendar clearly shifts from the softness of the original watercolour to the precision and vibrancy of the printed version. Highlights are preserved with gum, especially in white fabrics and fruits, where the paper’s brightness adds contrast.

Details like leaf edges, fabric folds, and fruit stems are refined, while overlapping hens were removed to improve legibility. Typography, composed in tiny Tuscan and sans serif types, contrasts with the pencilled layout of the original. The print emerges as a sharpened, deliberate interpretation – the chromist’s polished response to the painter’s draft.