Paper Possibilities

A theatre programme does not end with the final curtain call. It becomes the object that brings the audience back to the experience, allowing time to add new layers of meaning rather than erase it. For Alcestis at the Ancient Theatre of Epidaurus, the programme accompanies a production by the National Theatre of Greece, one of the country's foremost cultural institutions. It does not seek to explain the performance. Instead, it extends it, creating space for the texts, the artists, and the reflections that linger long after the curtain falls. The white paper plays a quiet supporting role. It does not demand attention; it offers clarity, longevity, and a restrained material presence that allows the content to remain alive.

Size matters. Some printed publications never make it onto the bookshelf. They stay on the coffee table, inviting you to return and flip through their pages. Their generous format transforms them into objects worth revisiting. For Moda Bagno, this publication is an extension of the brand itself. Printed on Munken Polar—a natural paper from Sweden certified by Cradle to Cradle, Nordic Swan, FSC, and PEFC, and approved for food contact—it demonstrates that sustainability can be just as tangible as aesthetics. Because great design shouldn't only be seen. It should be felt.

Paper, too, has its own story. For the Narrative Archaeology invitation, we chose Old Mill Avorio 250 g, a paper with a low environmental footprint that combines natural raw materials with a timeless aesthetic. Its cotton fibres, warm off-white shade free from heavy pigmentation, and distinctive felt mark create a surface with a subtle, tactile texture. This embossed pattern is formed while the paper is still wet during the manufacturing process. As a result, each sheet retains a delicate irregularity, reminiscent of the handmade papers once produced by historic paper mills. A choice that resonates with the landscape of Epidaurus, the act of excavation, and the traces of time. A paper that does not merely represent history, but becomes part of it.

The first thing that draws you in is its materiality. Printed on Curious Matter paper, with a textured surface reminiscent of potato starch, it is made from by-products of the potato processing industry, transforming waste into premium-quality paper through upcycling. The tactile quality does more than accompany the reading - it becomes an integral part of the experience. The deep blue cover evokes Yves Klein’s iconic International Klein Blue (IKB), preparing the reader for a world where colour and material play a narrative role. Rather than functioning as a conventional exhibition catalogue for Kunsthalle Basel, the publication is conceived as an artist’s book. It unfolds like a flip book, with images flowing from one page to the next to create the rhythm of a cinematic sequence. Its title, La Nuit Américaine (Day for Night), refers to the cinematic technique in which scenes filmed in daylight are processed to appear as though they were shot at night. Much like the book itself, this technique blurs the boundaries between reality and the construction of the image, inviting the reader to experience the narrative through materiality, colour, and the succession of pages. A book that is not simply read - it is flipped through like a film. Published by SLRD Editions.

Heat. Paper. Design. A fan designed for the summer days of the Athens Epidaurus Festival, where functionality meets materiality and every detail becomes part of the audience's experience.

A small summer in yellow and blue. The yellow of the cover like the sun, the blue of the designs of Alekos Fasianos like the sea. Six poems of Jacques Lacarrière about Aphrodite, that alongside with the illustrations, compose a book flooded with sun and sea.

Hilma af Klint retrospective exhibition of a pioneering artist whose work was recognized posthumously, presented in Paris. The exhibition publications, the ABC Book catalogue and the exhibition journal, were printed on Munken Print White, an environmentally responsible paper containing a small percentage of wood pulp and offering a distinctive newspaper-like tactile quality. Hilma af Klint was a pioneer of abstract art, developing her own visual language before Malevich, Kandinsky, and Mondrian. She requested that her works be shown to the public twenty years after her death, believing that only then would they be properly understood. The exhibition catalogue was printed on Munken Print White 90 gsm. Despite its low grammage, the paper’s high bulk gives the book a substantial feel while keeping it lightweight for its size and exceptionally comfortable to handle.

Greece through the art of posters. The exhibition "Greece, iconic land. The art of posters of GNTO, 1929-1976" showcases 46 emblematic posters that formed Greece's national image and highlighted the dialogue between art, culture and tourism. A visual journey that showcases the country's aesthetic and identity through the works of leading visual artists and photographers of the 20th century. The edition accompanies the exhibition of ALPHA BANK in collaboration with National Historical Museum, in Banknote Museum of Ionian Bank in Corfu.

From the earth to the hand. Natural textures, calm shades and materials that carry their own story. A packaging designed to discreetly highlight the content, reminding that real luxury lays in the simplicity and respect to the environment.

Natural textures, subtle details, and materials that speak for themselves. Packaging that highlights its contents through simplicity.

The White Book. One hundred and fifty shades of white. A publication dedicated to paper, the material that carries ideas, conveys messages, protects products, and gives form to contemporary packaging. In a world seeking alternatives to plastic, certified paper takes on new significance: as a renewable raw material, a medium of communication, and a packaging solution with a meaningful environmental advantage. One hundred and fifty different personalities. One hundred and fifty distinct textures. One hundred and fifty ways to express, package, and communicate. A timeless material. A material more relevant than ever.

Μια έκθεση φωτογραφίας που δεν είναι για τους εσωτερικούς χώρους, αλλά σίγουρα μιλά γι' αυτούς. Λεπτομέρεια από τον κατάλογο της έκθεσης, τυπωμένο σε Colorplan Lavender 270gsm. Η ματ επιφάνεια του χαρτιού αναδεικνύει τις εικόνες, ενώ η γυαλιστερή εκτύπωση δημιουργεί ένα διακριτικό παιχνίδι φωτός και υφής. An exhibition of photography not about interiors, but certainly about interiors.

Some printed pieces are read, others are experienced. The By Heart programme by Tiago Rodrigues for Onassis Stegi is more than a performance booklet. It is a small extension of the work itself, a reminder that memory, words, and stories continue to live only when they are shared. The deep Colorplan Bitter Chocolate stock and the copper foil stamping reveal themselves through the light, following the same path as memories: at times vivid, at times almost invisible, yet always present.

For "The Little Prince" at Onassis Foundation’s Stegi, the program was designed as a small object you want to hold onto - with texture, weight, and a quiet tension between tenderness and rock. Printed on Colorplan Amethyst 270g paper with electric blue foil stamping that appears and disappears within the light.

On the occasion of the Open Studio for the EBGE days, Roleplay treated us to margaritas and handed out the recipe printed on Colorplan Citrine, Candy Pink, and China White. Imagination, teamwork, emerging creatives, and a refreshing cocktail.

“The World of the Avant-Garde: City, Nature, Universe, Human”, the publication on the Russian avant-garde from the Kostakis Collection for MOMUS at the National Gallery. Designed by DpS Athens and printed by The Future Format. A publication defined by strict rhythm, strong contrasts, and an obsession with detail. Typography, surfaces, and materiality function as a physical extension of the content itself. Cover printed on Munken Pure Rough 300g, with inside pages on Arctic Volume White 115g.

The visual identity of Houlaki Studio, designed by Chris Trivizas, bridges the analog and digital worlds through geometric forms and retro camera references. The business card was printed on Colorplan Candy Pink 270gsm paper, the letterhead on Munken Lynx Rough 120gsm, the envelope on Colorplan Candy Pink in 11.5×23 cm format, and the With Compliments Card on Colorplan Smoke 270gsm - materials that add warmth, tactility, and a strong physical presence to the brand experience. Pink was chosen as the signature color for its sense of sensitivity and understated femininity, while also creating memorability and strong brand recognition. The glossy black foil stamping balances emotion with professionalism.

As part of this year’s EBGE Awards and the Design Days events, Creative Director Yiannis Karlopoulos (Karlopoulos&Associates και LiFO) and Creative Director Nikos Georgopoulos (Marlon Tate) gave an open talk titled “Creative Directors on Creative Directors”, exploring what it means to be a creator and to think creatively in today’s world. On this occasion, Perrakis Papers, Marlon Tate, and the fragrance house The Things Past collaborated to create a premium limited-edition set of scented notebooks, exploring two creative states in time: the talented and ambitious emerging creator, and the wise, experienced veteran. Two fragrances. Two numbered editions of 150 copies each. One creative experiment where memory, design, and experience come together within an 8×12 cm notebook. The notebooks are printed on the world’s first paper featuring sensory lock technology - a perfume paper that preserves and releases fragrance for up to 8 hours. When an intangible scent becomes “locked” into paper, the boundaries between touch, memory, and creative experience begin to disappear. How many senses can ultimately fit inside an 8×12 cm notebook?

Open horizons for theatre, dance, and music. The Athens Epidaurus Festival, the oxygen of the Greek summer, once again opens its stage to the performing arts and this publication comes to accompany that journey. The choice of Munken is aligned with this experience: warm, sustainable, and tactile. A paper that embraces fluorescent yellow naturally, preserving the vibrancy of the color without losing its organic character.

Silver. Deep green. Cotton-white purity. Colorplan Racing Green on the exterior and Munken Print White for the body enter into dialogue with metallic printing. The raw texture of natural material and the silver sheen, opposites attract.

The edition serves as a natural continuation of the exhibition at the Museum of Cycladic Art. Splendorlux Mirror on the cover, a reflective surface that, much like Koons’ sculptures, incorporates the viewer into the work itself. Arctic Volume White 115gr for the interior - matte, tactile, with a clarity that renders the image with precision and presence. Between reflection and materiality, “Venus” enters into a dialogue with the Paleolithic “Venuses”, a journey through time that continues across the pages.

Portaitissa of Iviron Monastery A greeting card that goes beyond a simple print piece and becomes an object of value. Printed on Colorplan Claret paper

Corporate identity for Re-Pete, a studio that views design as a continuous return to essence. The “re” is not repetition but intention—a restart from the beginning each time. “Pete” ceases to be just a signature and becomes a field of creation and evolution. This logic is also embodied in the choice of materials. Munken Polar paper—ecological and naturally warm—serves the idea without noise. Flexible and consistent, it functions as a neutral yet essential foundation that allows the identity to breathe.

Contemporary Greek art exhibition featuring works that have shaped the scene over recent decades, drawn from the MIET Collection, at the Benaki Museum. A publication created with clear intent and disciplined design — the selection is rigorous, the flow is clean, and the content remains at the forefront.

A book about joy, imagination, and diverse identities. Color, movement, and a child’s perspective on every page.

Earthy texture, embossed details, and absolute minimalism. The corporate identity of Tella Thera hotel, printed on recycled Gmund Naturals Orange 330g paper, translates into material and form the calmness, quality, and authenticity of Cretan hospitality. A material with honesty: dyed in the mass, it does not crack or whiten when folded—it remains pure. Calmness is the new signature

Cards in the digital age. When everything becomes digital, touch turns into a luxury. Handmade paper, embossed typography, a quiet statement of quality.

A small publishing series by ERIS featuring texts by Albert Camus, George Orwell, Jorge Luis Borges, and Charles Baudelaire, written in English for an international audience. The grey, recycled, and certified eco-friendly Materica Clay paper used for the covers gives the series a distinctive character and a consistent identity, while the use of black-only printing enhances the minimalism of the design.

The father vulnerable, poetic, human; the son physical, gestural, here color becomes movement. Two voices, one origin. The exhibition at Theocharakis Foundation has come and gone. What remains is the book.

Nomas No22 is dedicated to Lisbon. Its history, its contradictions, and its people. “I arrived at Lisbon, but not at a conclusion,” wrote Fernando Pessoa, Portugal’s greatest poet. The issue is rendered in the blue of the azulejos and of the sea.

Small, collectable blocks that bring a second life to our unused swatchbook papers.

Introducing the brand-new PERRAKIS PREMIUM PAPERS 2025 Sample Collection! Featuring 100 new paper selections and 200 new envelope designs, carefully curated to meet the demands of today’s creative and professional world. Cover by Colorplan paper Rust and box Colorplan Rust with Embossing Morocco. Index printed on Munken Polar paper.

Paper : Special Making