Martyn Lawrence Bullard drew Royal Fernery after the Majorelle Gardens in Marrakech, and the paper keeps the density of that place: leaves upon leaves, almost no ground visible, the eye moving without settling. The layout came out of an old French archive document, which explains why it behaves less like a print and more like a hanging. Bullard's interiors have always leaned on this kind of saturated botanical density, and the paper carries the same conviction: there is no relief anywhere in the pattern, and none is wanted.
The palettes are chalk-matte throughout, with no lustre anywhere in the range, and that flatness is what gives the foliage its tapestry weight. Depth is made by tonal layering rather than by shadow: fronds sit in front of fronds, each a shade apart, until the surface reads as woven. In low light it goes almost velvety; in strong light it stays soft rather than bright.
A 64 cm straight repeat and a 0.69 m roll keep the pattern generous while making it straightforward to hang and to plan around openings. The rooms that take it best are enclosed ones, where a wall of foliage is an event rather than a background: a dining room, a study, a cloakroom. It sits particularly well against dark-stained timber and old brass.
