While working through Joyce’s material history — letters, bindings, marginalia — we came across the artwork for the original Ulysses cover. Not a reproduction of a reproduction, but the design itself: letterforms with weight, spacing chosen deliberately, restraint as an aesthetic principle.
 
We chose to bring it back to life in the only way that felt honest: hand-made, screen printed, on 100% cotton sheets from Fabriano, measuring 56x38cm.
 
Founded in 1264, Fabriano is not simply a paper company; it is an institution of continuity. Fabriano introduced watermarks to Europe. They supplied artists, printers and governments. They understand that paper is not a neutral surface — it is an active participant in meaning. Cotton fibres hold ink differently. They breathe. They age with dignity.
 
Screen printing, too, is slow by design. Each pass leaves a trace. Each sheet is slightly different. The method resists uniformity in the same way Joyce resisted simplification. What results is material memory: ink pressed into cotton, echoing ink once pressed into Joyce’s own working papers.