In an era in which speed has become a core value, doing things with substance is a commitment to the craft of design done well. Shared knowledge is an essential element in this challenge. And it is, indeed, a challenge, because it means going against the current.
At Buenaventura, we are very clear that a project is shaped by the people involved in it. This conviction stems from the value we consistently place on the creative process. Shared knowledge means that decisions are not made solely within the studio; rather, the team of collaborators forms a collective mind, thinking in unison to achieve a common goal. An essential part of this system of multiple perspectives is, without a doubt, the printing house.
The printing house plays a decisive role in the evolution of a design project, as its task is not limited to production alone; it also plays a fundamental role in decision-making. Printers’ knowledge of how different materials respond, and their suitability depending on the nature of each commission, is a determining factor in the final result. Papers, inks, color adjustments, machines, technical proofs—centuries of craft that decisively influence how the finished object is perceived.
Naturally, when there is a fluid, trusting relationship between the printer and the studio, the quality of the project rises significantly. It gains precision and aligns much more closely with what was defined at the outset. Doubts are shared, different solutions are tested, and those details are refined that ultimately make the difference in quality and beauty. This dialogue makes it possible to move forward with confidence and avoids forced decisions. The expertise of professional printers provides a necessarily complementary perspective to that of the designer. On many occasions, their technical rigor and deep understanding of materials balance creativity by bringing a pragmatic viewpoint.
Imprimerie du Marais
These are the premises that underpin Buenaventura’s collaboration with Imprimerie du Marais, a family-run company with more than fifty years of experience. Founded in Paris in 1971 by Charles Przedborski, it emerged at a time of intense creative effervescence, with a clear vocation for books and finely crafted printing. Since 1991, the printing house has been led by the second generation, which has succeeded in keeping this legacy alive while projecting it into the present.
The passion for publishing that initially drove the company remains intact today, both in commissioned work and in its own publications, which reflect on the craft and its possibilities. Over time, without ever losing its essence, the printing house expanded its scope and consolidated its reputation through projects for fashion houses and luxury brands.
From its first workshops in Paris’s Marais district to its current presence in cities such as London, New York, and Geneva, its growth has been built on two pillars: international reach on the one hand, and control of the process combined with exacting quality standards on the other. The various teams work in close coordination, maintaining a constant link between production, prototyping, and project follow-up. This structure allows projects to be accompanied from start to finish and fosters close contact between those who design, produce, and supervise—enabling the company to remain true to the spirit of its founder.
The Raffles project as a paradigm of printer–studio collaboration
The Raffles project provided an opportunity to put this collaboration to the test. It was a particularly demanding commission due to the complexity of the finishes across multiple pieces. The project incorporated blind embossing at different depths, special papers, and unusual technical solutions, all of which required precise control at every stage.
A particularly delicate and essential component of the project was a book that had to include, among other special features, window-style die cuts and a packaging system conceived as an integral part of the editorial project itself. Added to this was the bilingual nature of the publication—English and Arabic—which required extreme care in production and overall coherence.
The printer was involved from the very beginning, providing thorough support throughout the process, adjusting proofs and fine-tuning every decision. The finishes were executed with precision, and the result remained faithful to the design intent down to the most subtle details. Everything was realized exactly as conceived, without compromise or deviation.
Naturally, this level of involvement turns the studio–printer relationship into something more than a simple service provision. Trust is built, criteria are shared, and the project benefits from this complicity. The outcome was fully aligned with the original intent—not only because of the quality of the printing, but because of the fidelity with which the final object responded to the design.
A relationship of trust
The role of the printing house as a creative partner to the design studio is based on close, hands-on collaboration. From the earliest meetings through to final production, printers take part in defining the project, researching materials, and seeking technical solutions tailored to each case. The key lies in knowing how to adapt when the project demands it.
In an increasingly digital context, collaborating with a printing house that defends the value of graphic production as a tangible experience is of immeasurable significance. It is a collaboration that reinforces the idea of a creative community built on shared knowledge—a way of understanding the printing house as a space for dialogue and trust.
Check Project Raffles Residences Diriyah
Ana Moliz
Art Director. Buenaventura
