The science behind the hue
“We use Tappi Brightness to evaluate the brightness of the pulp that we use. This ensures that we are using the best quality pulp and helps build a strong base product,” Starrs explains.
If pulp is considered on its own, it is naturally slightly yellow in hue, while at the other extreme, photocopier paper often appears violet or blue. “We can make a variety of whites in between - redder, less blue, more yellow, brighter - and these are controlled by careful control of our papermaking chemistry.”
Opacity is another key factor, particularly in lighter grammages. By adding various fillers, the paper maintains the right reflection and absorption of light, ensuring a consistent perception of white. “All these elements combined ensure that we produce beautiful white colours,” he concludes.
What sets James Cropper apart is that it doesn’t view white as a single shade that can be tweaked slightly warmer or cooler as required. Instead, white is an entire world of its own, containing an unlimited number of possibilities to be explored. From off-whites to ivories, creams, ashen shades, and, of course, Ice White, each has its own distinct personality that requires its own specialism to harness. This is why James Cropper has spent decades immersing itself in the world of white as part of its journey of colour mastery. To master colour is to master white – and everything that white can be.
Painting the room: Perception of white
The perception of white is subtle. And many of the details that go into developing perfect white shades are just as subtle. Beyond pulp, water and fillers play an essential role. “Time and time again, by using our water, by using the pulps that we use, and by using fillers to fill the gaps in between the fibre, we’re able to produce these nice whites,” Starrs says.
Reflection, absorption, and opacity all play a role. “To get the true colour, you need reflection. It’s how your eyes perceive it as white. Something that isn’t a true white, more of a bluer white, often relies on OBAs… but that isn’t a natural white.”
The role of OBAs, or optical brightening agents, is particularly nuanced. “I think it can be very complex, particularly as you start to saturate it with OBAs. An OBA, obviously, alters your wavelength, making the paper appear much bluer. But that isn’t a natural white,” he continues. These subtleties can dramatically affect perception, particularly under different lighting conditions or UV exposure.
Texture, surface finish, and opacity all interact with colour perception. “You could have the same colour - Ice White - but if the papers are made differently, it will look different. It’s not just the components; it’s how light reflects and absorbs on the surface. Touch and smoothness are part of it, too. Because one of the interesting things is, you could have the same colour, but different ways the papers are made - super shiny or matte - give off a different impression even if it’s the same area in colour space.”
This is central to James Cropper’s approach – to master colour, you have to think beyond it. That’s because in reality, colour is only one part of the equation. How light is reflected, scattered, and absorbed across the paper surface has an equally significant influence on the final visual effect.
The microstructure of the sheet, from fibre selection to formation and finishing, determines whether a white appears crisp and luminous, soft and diffuse, or warm and tactile. A high-gloss surface will reflect light sharply, increasing perceived brightness and contrast, while a matte or textured finish diffuses light, creating a more understated and natural impression, even when the colour sits in exactly the same area of colour space. Opacity further shapes this perception, influencing depth, consistency, and how the white interacts with inks, foils, and surrounding materials.
Touch is inseparable from this visual experience. Smoothness, drag, and surface resistance all subtly affect how white is read and remembered. This is where James Cropper’s expertise comes to the fore. By controlling the way papers are made, not simply the pigments within them, the business can deliver whites that are precisely tuned for their intended application, whether that calls for brilliance, softness, or quiet restraint. In this context, white is not a neutral backdrop. It is a deliberate, designed characteristic, refined through material science, craftsmanship, and a deep understanding of how colour truly behaves on paper.
Mastering the sweet spot
Producing a true white is a careful interplay of science, skill, and artistry.
Batch consistency is achieved through controlled pulp chemistry, targeted additive use, and precise machine programming. “It’s when we put those into production that it hits the sweet spot,” adds Starrs.
Even subtle shifts in brightness can alter perception. “If you go brighter, it goes bluer. If you go the other way, it goes yellow and darker. If you go too far, it can even go green and dark, losing brightness.” Mastering these delicate variations requires deep knowledge and constant attention. “We’ve got a defined product with its smoothness, its texture, and its colour - all the attributes that make it a sweet, light white.”
The canvas of creativity
White is more than a colour; it is a spectrum, a tactile experience, and a reflection of craftsmanship. It is a quiet foundation upon which creativity can shine, offering designers and brands a canvas that is both versatile and nuanced. And it is a platform that can enhance and empower everything else around it. In the hands of experts, white is never just white; it is a balance of warmth, purity, and light, a subtle art that speaks louder than the simplest of colours.
At James Cropper, this mastery comes alive in the Colour Lab, where every fibre, pigment, and finish is carefully curated to create whites that are both pure and nuanced. True white is never purely technical; it carries depth, warmth, and a subtle intelligence born from expert manipulation of materials.
