Armstrong Woods II: Columnas

The word columnas — columns — is the first thing you understand when you step into Armstrong Redwood State Natural Reserve: the trunks rise from the forest floor with the regularity of a nave, the grove organized by something that feels architectural before it feels botanical. The oldest trees in the reserve are 1,400 years old, their bark furrowed and cinnamon-red, their bases too wide for two people to embrace — columns of a cathedral that no one built. Light reaches the forest floor in Armstrong only at certain hours and only where the canopy allows it, arriving in shafts that illuminate the undergrowth and leave the trunks in cool shadow, the contrast between the lit ground and the dark pillars defining the geometry of the space. Made on medium format, the image captures the full compositional logic of the grove: vertical forms repeated into depth, the canopy closing above, the light finding its way down through a thousand feet of living architecture.

This image bears a striking similarity to Armstrong Woods IV: Lucem in Nemore. But the two images are of distinctly different prospects of the same creek, each 180° opposite from the other on either side of the walkway through Armstrong Woods.

There are so many ways to print an image, so many papers and inks, and thousands of ways to frame or mount it. How does one choose? We've tried to simplify this process, by offering the types of prints, frames, and mountings that we use and love in our own home, and that we know complement our artwork.

Here is a short guide to the formats we offer:

Acrylic Block Gift Box

A small display piece — usually 4×6 or 8×8 inches. Whitewall's method is what makes this worth offering: the image is printed on archival paper first, then bonded to the acrylic. Many competitors print directly to acrylic, which compromises color reproduction and longevity. Our version keeps the brilliance and dimensional quality of a full acrylic presentation at a size and price that make it right for gifting or for a small dedicated space. Ships in a gift box. Available for images with native 1:1, 3:2, or 4:3 aspect ratios; for wider panoramas or unusual crops, see the other formats or request a custom quote.

Fine Art Bonded Acrylic

This is our premier print format: pigment inkjet on Hahnemühle Fine Art Paper, laminated behind glossy or matte acrylic glass on an Alu-Dibond backing, in a brushed silver slimline case with 1.2 inch mat or matless in matte silver, black, or gold. The pigment inkjet process holds the widest color spectrum and the finest tonal gradation of any medium we offer, and the paper is archival for generations. This is our default gallery presentation. We love how the slimline case creates a sense of elegance, while staying out of the way of the print. The 0.04 in. (1 mm) narrow aluminum bezel provides a discreet yet impressive finish: due to the shallow depth, your artwork effectively emerges from the frame with 0.06 in. (1.5 mm). The frame and mat combination is something we set individually based on the image itself.

Passe-Partout, Black or White

Hahnemühle Fine Art Pearl Paper has a very lightly textured surface that conveys a soft shimmer. It's suitable for color or monochromatic work.mounted in a double-mat passe-partout framing behind museum glass. Available with a black frame or a white frame; the paper and mat treatment are identical, only the frame color differs. The selection will most likely be governed by your decor, and your taste for modern or traditional styles. Available for any image, though the treatment reads most naturally on monochrome work.

Textile Print

A pigment print on woven textile, wrapped on a wooden stretcher frame with mirror-edge treatment on the sides. Different from standard canvas: the surface is finer, the print holds detail better, the presentation is more sophisticated. Lightweight compared to acrylic or paper-under-acrylic, easier to hang, and the price point stays accessible while still feeling serious. Best for larger sizes and rooms where reduced weight and reflection matter.

Giclée on Alu-Dibond

For those who want to select their own framing and/or glass/acrylic cover. A giclée fine art print on Hahnemühle Fine Art Pearl paper, mounted on Alu-Dibond backing, no glass, no frame. The paper texture is visible; there are no reflections; the print itself is what the viewer sees. This is what a curated gallery show hangs. Best for viewers who want the print to speak without any surface between it and them.

Not seeing what you want?

We understand that every living space is unique, and every person has their own tastes. So, if what we offer as our standard array is not exactly what you want, we recommend you reach out to us and let us know what interests you. We can guide you through the vast WhiteWall selection process and prepare a custom quote for you. If you have a specific medium, size, or presentation in mind that isn't listed here, please request a custom quote — we can work directly with Whitewall's full catalog to build a piece to your specifications.

Armstrong Woods II: Columnas

From the Redwoods Gallery

From the Journal

Customer Reviews