About the studio
Digital Path Core began as a private stack of Iron Man armor plates that Kanya Prasert refused to hang until the printer’s margins had been logged. The stack became a cabinet. The cabinet now opens, by appointment, to collectors who will sit still for gloves and for gaps in the paper trail.
The viewing room is in Bangkok because that is where the cabinet already lived, and because a surprising number of armor-edition collectors in the region would rather fly two hours than mail a foil plate. Humidity is the uninvited partner. We schedule rest days after lots move, and we keep rainy-season foil off the afternoon list. That local weather is part of the practice, not a postcard.
We are not a publisher, not a convention booth, and not a marketplace counter. Marvel’s characters stay with their owners. We discuss editions we hold, certificates that travel with those editions, and technical art variants we can put under side light.
Kanya writes collector package notes and hosts viewings. She came to armor editions through printed film-adjacent plates bought in Bangkok second-hand shops, then through the duller work of logging chops and colour bars. She declines lots whose margins have been trimmed for frames.
Anan reads overlays: joint diagrams, cutaways, second-pass ghost lines. He taught print process in a Chiang Mai evening class before joining the cabinet. If a variant is a marketing extra rather than a schematic sibling, he will say so on the comparison sheet.
Briefs are read in English. Matching notes are PDFs. Deposits reserve a named lot; they do not buy a feeling. We would rather close an inquiry than pair a Mark-family hero plate with an overlay from another shop year. If that sounds slow, the collector package page lists the clock we actually keep.