Analyzing textures and topography from a recent high res topography scan for @flowerpressstudio_

Sharp as sharp can be, color accurate, and ultra even lighting. If you need your artwork scanned we have you covered. 👊🏼

Sometimes the only way to know is to test. With such a wide array of possible surfaces and substrates we often encourage testing and material exploration in order for our clients to discover what they really like or don’t like. It’s one thing to be told something is what you need or want, but finding that yourself is really the spirit of what we do here.

@brianhmerriam loves bringing us the challenging papers to print. The results certainly pay off. Check out his IG for news on these.

White on white on white with @garylangart // 36” aluminum circle with many many layers of white ink to build subtle undulations of topographical contours.

UV textured print created from a topographical scan on our Metis Scanner. No matter how many times we see the resulting print, the result just melts your brain. Something you have to see in person to realize how crazy it is. This particular sample even has the micro cracks in the surface of the paint that were captured during the scanning process.

Another behind the scenes look at surface prep on the oversized sheets of Kozo we recently printed. Really loving this agate burnisher from @vintage_paper_co_uk

Grace and Jeremy working the edges of custom made 430gsm Igarashi Kozo paper. The prep work on this paper - at this size ( 72 x 103 inches ) - is an immense undertaking with a lot of nuanced and very important steps to ensure that we end up with a great print, while also not damaging the delicate print heads on our machine. On these particular prints we also needed to print full bleed over the natural edge of the paper, which further complicates the process. @jasonoppenheim

More experiments with @brianhmerriam // this paper felt like a graham cracker made out of birdseed. Slightly unruly but worked out really well nonetheless!
