Pet Memorial Plaque with Name and Photo with a Photo Tile Finish

Most people ordering a memorial for the first time focus on the material of the plaque — brass, granite, wood, slate — and assume the photograph will simply be printed onto whatever they choose. In practice, the finish applied over that photograph matters more to the finished result than the substrate underneath it, and no finish changes the character of a portrait more than a photo tile finish. A pet memorial plaque with name and photo produced with a photo tile finish has a depth, saturation and physical presence that flat printing cannot imitate; a pet memorial plaque with name and photo finished as a tile catches light the way a glazed ceramic photograph does, which is precisely why the format has become the default recommendation for families who want the portrait to be the centrepiece rather than a caption. This guide explains what a photo tile finish actually is, how it is manufactured, how each variant behaves over ten years outdoors, and exactly how to specify one so that what arrives matches what you imagined.

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What “Photo Tile Finish” Means, and What It Does Not

The term is used inconsistently across the memorial industry, so let us define it precisely.

A photo tile is a rigid panel whose top surface carries a photographic image sealed beneath, or fused into, a hard finished layer. The defining characteristics are:

• A physical finished face. The image is not sitting on top of the panel as an ink film you could scratch off with a fingernail. It is either absorbed into a polymer receiving layer (dye-sublimation) or sealed under glaze, glass or a hard clear coat.
• A defined edge treatment. Tiles have finished edges — rounded, bevelled, polished or framed — because they are designed to be seen from an angle, not just face-on.
• A thickness that reads as an object. Typically 6 mm to 20 mm. This is what gives a tile its physical presence; a 1 mm printed aluminium sheet is a plate, not a tile.

What a photo tile finish is not: it is not simply a glossy print, not a laminated sticker, and not a decal transferred onto stone. If a supplier’s product can be scratched with a coin, it is not a tile finish regardless of what it is called.

There are four genuinely distinct technologies sitting under this umbrella:

1. Dye-sublimation into a polymer-coated panel. Heat and pressure convert solid dye to gas, which permeates a specially coated surface. The image is inside the coating, not on it.
2. Glazed ceramic or porcelain. The image is printed, then fired or fired-overglaze, so the colour sits beneath a glassy layer akin to tableware glaze.
3. Sub-surface glass. The print is encapsulated behind glass, usually with a backing layer. Deep, bright, and heavy.
4. Solid-surface or resin-encapsulated. The print is set into a poured resin or acrylic body. Very high gloss, very deep, and the most vulnerable to UV yellowing.

Each produces a different look, and confusing them is the reason so many people are disappointed by what arrives.

Why the Finish Matters More Than the Substrate

Here is the counterintuitive part. Two plaques with identical photographs, identical lettering and identical dimensions will look like entirely different objects if one is finished in matte glazed ceramic and the other in high-gloss resin. The finish controls five things:

Perceived depth. A glossy or glass finish puts a specular layer between the viewer and the ink. Light enters, bounces off the print, and returns — so the image appears to sit behind the surface. Matte finishes scatter that light, and the image appears to sit on the surface. Depth reads as quality and as preciousness, which is why families almost always prefer it.

Colour saturation. Gloss increases apparent saturation because the specular layer suppresses scattered white light from the room. The same printed file will look roughly 15 to 20 percent more saturated under gloss than under matte. This matters enormously for dark-coated dogs, where a matte finish can make a black labrador look flat and grey.

Legibility of the name. Here the preference reverses. Gloss is beautiful for the portrait and worse for the text, because glare can wipe the name out entirely in direct sun. This is the central design tension of a photo tile plaque, and the solution used by good manufacturers is a hybrid finish: gloss or satin over the image area, matte or bead-blasted over the text area.

Tactile quality. People touch memorials. It is not sentimental exaggeration; visitors run a thumb over a plaque within seconds of encountering it. A cool, smooth, slightly rounded tile edge feels like an object of worth. A sharp, raw, laser-cut edge feels like a component.

Aging behaviour. Finishes fail in different ways. Gloss resin yellows. Matte ceramic gets dull but stays legible. Sublimation coatings fade evenly. Glass crazes at the edges. Knowing the failure mode lets you choose the one you can live with.

How a Dye-Sublimation Photo Tile Is Actually Made

Understanding the process explains most of the practical advice that follows.

Step 1 — The image is printed in reverse onto a transfer paper using solid dye-based inks. The reversal is necessary because the image is flipped when transferred.

Step 2 — The panel is prepared. The substrate (usually aluminium, or MDF with a polymer coating) carries a thin polyester receiving layer. It is cleaned of oils and dust, because any particle on the surface becomes a permanent inclusion in the finished tile.

Step 3 — Transfer. The transfer paper is taped to the panel, and both go into a heat press at roughly 180 to 200 °C for 45 to 90 seconds under firm, even pressure. At this temperature the solid dye sublimates — goes straight from solid to gas — and the gas permeates the open polymer structure of the receiving layer.

Step 4 — Cooling. As the panel cools, the polymer structure closes and traps the dye inside it. This is the critical difference from printing: the dye is in the surface, not on it, which is why sublimated tiles resist scratching and peeling.

Step 5 — Inspection and finishing. Edges are rounded or bevelled, the surface is wiped, and in better shops a secondary UV-protective layer is applied.

The practical consequences of this process are worth spelling out, because they drive three rules that most buyers never hear:

• Colour shifts on transfer. Dyes are formulated to reach their final colour only at transfer temperature. A proof on paper will look different from the finished tile. Always ask for a proof produced by the same process, not a printed mock-up.
• The whole panel heats uniformly. Anything uneven — a warped panel, a chip in the coating, dust — shows as a permanent flaw.
• Sublimation dye is still dye. It fades under UV. Slower than inkjet, dramatically slower with a UV-inhibiting overcoat, but it does fade. Anyone claiming a sublimated tile is permanent outdoors is being loose with the word.

Choosing the Tile Material

The outdoor verdict. If the plaque is going outside, the shortlist is glazed ceramic, porcelain, and coated aluminium with a UV overcoat. Everything else on that table is an indoor product. MDF and resin will fail outdoors — MDF by swelling, resin by yellowing — usually within two seasons, regardless of what the listing says.

The indoor verdict. If the plaque is going on a shelf or a wall, glazed ceramic and sub-surface glass both look superb, and the extra weight is an advantage rather than a problem because it makes the tile feel like an object rather than a card.

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Step-by-Step: Commissioning a Pet Memorial Plaque with Name and Photo with a Photo Tile Finish

Work through these steps in order. Steps 3, 6 and 9 are the ones people skip and later regret.

Step 1 — Decide where it will live. Indoor shelf, indoor wall, sheltered porch, or fully exposed outdoors. This single decision eliminates half the materials on the table above. Be honest about “sheltered”: a porch that gets afternoon sun is not sheltered in the relevant sense, because UV is what kills photo finishes.

Step 2 — Choose the tile material from the shortlist for your situation.

Step 3 — Specify the finish explicitly, in writing. Ask for a hybrid if the plaque carries both a portrait and text: satin or gloss over the image, matte over the lettering. If the supplier cannot do a hybrid, choose satin for the whole plaque — it is the best single-surface compromise.

Step 4 — Prepare the photograph. Minimum 300 dpi at print size; for a 100 × 150 mm tile with a 60 × 80 mm image area, that is roughly 700 × 950 pixels, though 1500 × 2000 gives the tile noticeably more to work with. Sharpen lightly. Do not over-sharpen — halos around the fur are very visible on a glossy tile.

Step 5 — Decide on the image treatment. Three options: full-bleed (photo fills the whole tile face), inset panel (photo in a bordered window with the text engraved into the surrounding frame), or split layout (photo one side, text the other). Full-bleed looks striking and modern; inset looks traditional and hides tile edge damage better.

Step 6 — Request a process proof. Not a JPEG mock-up on a screen — an actual proof produced on the same machine with the same dyes if the supplier offers it, or failing that a printed proof on the same material, even a small offcut. Colours on screen are RGB and backlit; the tile is reflective and viewed in ambient light. They will never match exactly, but a physical proof gets you within a few percent instead of thirty.

Step 7 — Set your colour expectations. Sublimation and ceramic both warm slightly. If your dog was very dark-coated, ask for the image to be lightened by 5 to 8 percent and the shadow detail lifted, because dark fur loses separation on tile. If your dog was white or very light, ask for highlight detail protection so the coat does not blow out to a featureless white.

Step 8 — Confirm the text method. On a ceramic tile, the name is usually either printed as part of the same image or engraved into the surrounding frame. Engraved is better: it survives the fading of the image layer and stays legible for decades after the portrait has softened.

Step 9 — Specify the edges and the backing. Ask for rounded or bevelled edges, and for the back of the tile to be sealed if it is a porous material. An unsealed ceramic back wicks moisture from whatever it is mounted on, and in a freeze-thaw climate the tile will spall from behind.

Step 10 — Choose the mounting hardware (see below) and order it with the tile.

Step 11 — Allow adequate lead time. A glazed ceramic tile involves firing and can take three to six weeks. A sublimation tile can be made in a day. Plan for the longer figure and be pleasantly surprised.

Step 12 — Inspect, then install. Check for pinholes in the glaze, inclusions in the coating, chips on the corners (ceramic ships badly if badly packed), and colour against your proof.

Throughout this, remember that the point is the portrait. A custom pet remembrance gifts with photo collection exists precisely because the photograph is the part families care about; get the finish right and everything else is detail.

Colour Management: Why Your Photo Looks Different on the Tile

This is the source of most disappointment, and it is worth understanding properly rather than accepting as unavoidable.

Screens are emissive; tiles are reflective. Your phone, laptop and television generate light. A tile reflects it. The same image file viewed on a bright screen will always look more luminous and more saturated than the same file on a tile, because the screen is adding energy the tile cannot.

Gamut differences. A screen can display colours that no dye or ceramic pigment can reproduce — particularly saturated cyans, bright greens and electric blues. When those fall outside the printer’s gamut, they get mapped to the nearest reproducible colour, which flattens them. This is why a photo taken on a vividly green lawn sometimes comes out muted.

Substrate white point. A cool white aluminium panel produces cooler, slightly bluer results. A warm white ceramic produces warmer, creamier results. This is a real and desirable difference, but it means a proof on one substrate tells you little about the other.

Practical mitigations that genuinely work:

• Convert your image to sRGB before submitting. Most consumer screens are wide-gamut and most print workflows assume sRGB; submitting an Adobe RGB or Display P3 file almost always causes a flat, washed result.
• Turn your screen brightness down to around 50 percent when you assess the image. It is a crude hack, but it approximates reflective viewing surprisingly well.
• Slightly increase mid-tone contrast (a gentle S-curve). Tiles lose a little contrast to their surface layer; adding 8 to 12 percent at the preparation stage compensates.
• Avoid pure black backgrounds and pure white backgrounds in the design. Both are hard to render evenly and both show tile defects most clearly. A warm mid-grey, deep navy or soft cream is more forgiving.
• Ask your supplier what profile they use, and if they have one, download and soft-proof against it.

Designing Around the Tile: Layouts, Borders and Frames

Full-bleed. The photograph covers the entire face of the tile. Modern, striking, and the best option when you have a genuinely beautiful portrait. Two cautions: the photo must be high quality, because there is nowhere for defects to hide, and the name needs to be either printed small in a corner or omitted, since there is no frame to engrave into.

Inset window. The photograph sits in a recessed or printed window, surrounded by a border that carries the name, dates and epitaph. This is the most forgiving layout and the one most suited to outdoor use, because the border protects the vulnerable tile edge and gives the engraver somewhere to cut that is not the image.

Split layout. Photograph on the left, text on the right (or photo above, text below). Reads clearly at distance and is the best option for two-pet plaques. Works better in landscape than portrait orientation.

Borders and frames. A simple 5 to 8 mm border around the image makes it read as intentional rather than cropped. Metallic-effect borders printed onto the tile look cheap up close; if you want a real metal frame, buy one separately and mount the tile into it.

Tile shape. Square and rectangular tiles are standard and cheapest. Oval, hexagonal, paw-shaped and heart-shaped tiles are available and suit a shelf display, but all of them waste image area and complicate mounting.

Multiple tiles. A set of three small tiles — one portrait, one name plate, one with a paw print or a short line — displayed together on a shelf is a genuinely effective alternative to a single large plaque, and it is much easier to replace a single damaged tile later.

Mounting a Photo Tile

Drilling ceramic or porcelain. If your mounting method requires holes in the tile, this must be done before firing or with a diamond bit afterwards, and it is the point at which most tiles crack. Ask the supplier to drill the holes during manufacture. Never drill a finished glazed tile with a standard masonry bit at home.

Outdoor mounting detail. Always leave a 3 to 5 mm gap between the back of the tile and the mounting surface, using spacers or a bead of adhesive thick enough to create one. A tile bonded flat against a wall traps water behind it, and in the first hard frost the trapped water will break the tile from behind.

Silicone, not grab adhesive. Use neutral-cure silicone outdoors. Acetoxy-cure silicone releases acetic acid as it cures and can attack some coatings. Standard construction grab-adhesive is too rigid for a material with a different thermal expansion rate and will eventually crack the tile.

Protecting the Finish Over Time

UV is the enemy. Every photo tile finish degrades under ultraviolet light; the only question is how fast. Approximate outdoor expectations, in full sun, facing the equator:

These are broad averages for temperate climates. Halve them for high-altitude, tropical or desert locations; add roughly 30 percent for a north-facing wall in a northern-hemisphere maritime climate.

Care routine. Dust with a dry microfibre cloth. Clean with a barely damp cloth and a drop of pH-neutral soap. Dry immediately — water spotting on gloss is real and on some glazes it etches. Never use glass cleaner containing ammonia on a sublimated or resin surface; it will haze the finish permanently. Never use furniture polish, which builds a waxy film that attracts dust and dulls gloss.

Re-coating. Some suppliers offer a re-coat service, and some outdoor-grade clear coats can be applied at home with an aerosol or a HVLP sprayer. If you go down this route, the tile must be perfectly clean, perfectly dry, warm, and out of direct sun during application. Two thin coats beat one thick one.

Choosing the Right Tile Size and Aspect Ratio

Tile size is usually chosen by budget, which is the wrong starting point. Choose it by viewing distance and by the crop your photograph will tolerate.

Viewing distance drives minimum text size. A name set at 10 mm cap height is comfortably readable from about 3 metres. At 6 mm it is readable from roughly 1.5 metres, which is fine for a shelf or a columbarium niche where people stand close, and useless on a garden wall. Work backwards: decide where the plaque will be viewed from, then size the lettering, then size the tile around it.

The crop drives the shape. Look at your photograph and ask what shape the dog’s head naturally occupies in it. A close portrait shot vertically tends to be tall and narrow and suits a portrait-orientation or square tile. A dog photographed lying down, or sitting at a distance, produces a wide, short crop and suits landscape. Forcing a tall crop into a landscape tile means either cutting off the ears or shrinking the head until it is a third of the frame, and both look wrong.

Standard sizes and what they suit:

Aspect ratio and the printer. Most sublimation presses and ceramic kilns handle standard rectangles efficiently and charge a premium for unusual shapes. If you want a heart, an oval or a hexagon, expect to pay 30 to 60 percent more and to lose 20 to 30 percent of the usable image area to the shape.

The safe rule. When in doubt, go one size larger than you think you need. An oversized tile on a shelf looks deliberate and generous. An undersized tile on a large wall looks lost, and there is no fixing it after the fact.

Typography and Text Placement on a Photo Tile

Text on a photo tile has one job the photo does not: it must survive the photo. Because the image layer is the life-limited component of every tile, the lettering should be produced by a method that outlasts it.

Three ways to get text onto a tile, ranked by durability:

1. Engraved or sandblasted into the surrounding border. Cuts into the material itself. Will outlast the image by decades. The clear first choice for ceramic, porcelain and stone-core tiles.
2. Applied as a separate metal name plate fixed below or beside the tile. Also permanent, and it means the tile can be replaced later without losing the name. Very common in columbarium and niche installations.
3. Printed as part of the image. Cheapest and simplest, and the only option if you want the text to appear over the photograph. Accept this only for indoor pieces, and accept that the text fades with the image.

Typeface choices that hold up. On a tile, stroke weight matters more than style. Very thin elegant serifs disappear at small sizes and on matte surfaces; very heavy condensed faces fill in and lose their counters. A mid-weight serif such as Garamond, Baskerville or Palatino, or a humanist sans such as Optima, Frutiger or Myriad, will be legible at 8 mm cap height on both gloss and matte. Script faces should be used sparingly — one line, at larger size, ideally the name and nothing else.

Contrast. Dark text on a light border is the safest combination. White text on a photographic background is fashionable and frequently illegible, because part of the photograph will always be mid-tone. If you must place text over the image, add a subtle drop shadow or a 20 percent dark gradient behind it.

Spacing. Leave a clear margin of at least 5 mm between the image window and the text, and at least 8 mm between the text and the tile edge. Crowded borders are the most common design error and the hardest to unsee.

Capitalisation. All capitals for the name reads as formal and monumental; small caps or title case reads as warmer and more personal. Both are correct. What to avoid is all-capitals for the epitaph as well, because two adjacent blocks of capitals make the whole tile look like a sign rather than a memorial.

An Ordering Checklist You Can Work Through

Print this, or copy it into a note, and tick it off before you press buy.

• [ ] Location confirmed: indoors, sheltered, or fully exposed
• [ ] Material shortlisted for that location
• [ ] Finish specified: gloss, satin, matte, or hybrid
• [ ] Size chosen from viewing distance, not budget
• [ ] Aspect ratio matched to the photograph’s natural crop
• [ ] Photograph at 300 dpi or better at final print size
• [ ] File converted to sRGB
• [ ] Background removed if you want a clean cutout
• [ ] Mid-tone contrast raised by 8 to 12 percent
• [ ] Dark coats lightened 5 to 8 percent; light coats highlight-protected
• [ ] Name, dates and epitaph checked by a second person
• [ ] Text method chosen (engraved border, separate plate, or printed)
• [ ] Typeface legible at the intended cap height
• [ ] Mounting hardware ordered with the tile
• [ ] Physical or process proof requested and approved
• [ ] Lead time confirmed against any key date
• [ ] Artwork file, wording and supplier details saved to one folder

That last line is the one people skip. A tile is a replaceable object; the artwork is not. Store the final file somewhere you will still be able to find it in ten years, and the memorial becomes permanent in the way that actually matters.

When you are ready to begin, a pet memorial plaque with name and photo page will normally let you choose the finish, size and text method in one place, which is far easier than trying to specify all three by email.

Three Case Studies

Case study 1 — The shelf memorial (Border Collie, 14). A household wanted an indoor memorial and chose a 150 × 200 mm gloss glazed ceramic tile, full-bleed portrait, with the name engraved into a walnut frame the tile was set into. Three years on, on a north-facing wall away from direct sun, the tile is unchanged. The lesson: mounting the tile into a real wood frame solved the text-legibility problem completely, because the name lives on the frame rather than competing with the portrait.

Case study 2 — The garden post (Labrador, 11). A family mounted a 125 × 180 mm sublimated aluminium tile onto a treated pine post at the edge of a vegetable garden, using four stainless screws through pre-drilled corners. The tile faces east and gets morning sun only. At year six there is mild, even fading that the family describes as “softening” rather than “ruined.” The lesson: orientation bought them years. A west-facing tile in the same garden would be visibly faded by now. They also, sensibly, kept the digital file and the supplier details, so a replacement is a five-minute order.

Case study 3 — The crematorium niche (Two cats). A pet crematorium needed a consistent memorial product for its columbarium niches, all identical size, all indoor, all under fixed lighting. They specified an 8 mm satin-glazed ceramic tile with an inset image window and engraved text in the surrounding border, sourced in volume from a custom pet gift manufacturer. Satin was chosen over gloss specifically because the niche lighting produced glare on gloss samples. Two years and several hundred units in, the finish has been completely consistent. The lesson: for a repeated, specification-driven product, satin glazed ceramic is the most predictable choice, and buying in volume from a single manufacturer is what makes the consistency possible.

Photo Tile Versus the Alternatives: Pros and Cons

Photo tile versus flat UV print.
Pros of the tile: real depth, better scratch resistance, better tactile quality, edges finished as a design feature, generally better fade resistance if glazed. Cons: heavier, more expensive, longer lead time, requires drilled holes or a frame for many mounting methods, and ceramic can shatter if dropped or struck.

Photo tile versus laser photo-etch into metal.
Pros of the tile: full colour, photographic fidelity, usually cheaper. Cons of the tile: the etched plaque will still be legible in forty years and the tile will not; etching is nearly impossible to damage; etching suits a formal or heritage setting better. If permanence outranks fidelity, choose etching.

Photo tile versus cast bronze bas-relief.
Pros of the tile: a fraction of the cost, actual photographic likeness, no sculpting lead time. Cons: bronze is effectively permanent, carries enormous prestige, and is the only appropriate choice for certain public and cemetery installations. Different budgets, different purposes.

Photo tile versus a framed photograph.
Pros of the tile: weather resistant, cannot be creased or water-damaged, no glass to break, reads as a made object rather than a print. Cons: fixed, cannot be changed, and a good frame with museum glass is genuinely beautiful in a way a tile does not always match indoors.

For retailers, veterinary clinics and crematoria building a repeatable product line, B2B pet memorial products sourced directly from a manufacturer give you consistent finish specification, private-label options and a unit cost that makes a memorial range commercially viable.

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Frequently Asked Questions

What exactly is a photo tile finish?
It is a hard, finished face over a photographic image, produced either by dye-sublimation into a polymer coating or by sealing the print beneath a fired glaze, glass or resin layer. The distinguishing features are depth of image, a finished edge, and a thickness that reads as an object rather than a sheet. If the surface can be scratched with a coin, it is not a true tile finish.

Will a photo tile fade outdoors?
Yes, eventually. All photographic finishes degrade under ultraviolet light. A sublimated aluminium tile in full sun will show noticeable change in five to seven years without a UV overcoat, and twelve to fifteen years with one. A fired glazed ceramic tile will look acceptable for twenty-five to thirty-five years. If the plaque is in full sun and you want it to last decades, choose glazed ceramic or porcelain rather than polymer.

Should I choose gloss, satin or matte?
Satin is the best single choice for most people. Gloss gives the most striking depth but produces glare that can make the name unreadable in direct sunlight. Matte gives perfect legibility but flattens the portrait and makes dark coats look grey. Satin sits between them. Better still, ask for a hybrid: gloss or satin over the image, matte over the lettering.

Why does my finished tile look darker than the photo on my screen?
Screens emit light and tiles reflect it, so an emissive image always looks brighter. Colour gamut differences also compress some saturated colours. Compensate by submitting an sRGB file, increasing mid-tone contrast by 8 to 12 percent, and asking for the image to be lightened slightly if your pet had a dark coat. Assess your own file at 50 percent screen brightness before submitting.

Can I use a photo tile outside in winter?
Glazed ceramic and porcelain, yes, provided the tile is fully glazed, the back is sealed, and it is mounted with a small drainage gap behind it so water cannot freeze against the back face. Polymer sublimation tiles handle cold fine but fade faster in strong sun. MDF-core and resin tiles should never go outdoors.

How thick should a photo tile be?
For an indoor shelf or wall display, 8 to 12 mm reads as a quality object. For an outdoor plaque, 10 to 15 mm in ceramic or porcelain gives you the mass to resist impact and thermal stress. Anything under 3 mm is a plate rather than a tile and will look insubstantial mounted alone, though it is perfectly acceptable when set into a frame.

How do I clean a photo tile without damaging it?
Dry microfibre cloth for dust. A barely damp cloth with a single drop of pH-neutral soap for marks, followed immediately by drying with a second cloth. Never use ammonia-based glass cleaner, solvent cleaners, abrasive pads, furniture polish or a pressure washer. Ammonia in particular will permanently haze polymer and resin surfaces.

Can the name be engraved rather than printed?
Yes, and it should be. On a ceramic or porcelain tile, the surrounding border can be engraved or sandblasted so the name is cut into the material rather than printed onto it. The advantage is longevity: when the photographic layer eventually softens after twenty years, the name will still be perfectly legible, which is the single best insurance you can buy for a memorial.

What happens if the tile arrives chipped?
Photograph the packaging before opening, then the tile, and contact the supplier within 48 hours. Ceramic and porcelain are the most likely to suffer transit damage, and reputable suppliers pack them in foam-in-place or double-boxed with corner protection. Do not install a chipped tile and then report it, because installation is generally treated as acceptance.

Can I order a replacement tile years later using the same file?
Yes, if you kept it. This is the most valuable piece of advice in this article: store the final artwork file, the exact wording, the supplier name, the material and finish specification, and the order number, in one folder. Reordering then takes five minutes. Without those details, reproducing a tile years later is a painful process of guesswork.

A Final Word

The finish is not a detail. It is the difference between a plaque that looks like a printed object and one that looks like a made object, between a portrait that reads as a photograph and one that reads as a memory held behind glass. Choose glazed ceramic or porcelain if the plaque will face weather and you want it to outlast you. Choose a satin sublimation tile if you want the truest colour at a sensible price and can accept that it will soften gracefully. Choose a hybrid finish so the portrait can glow and the name can still be read. And whatever you choose, keep the file.

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