When we do topographical scans of textured originals the raw data is basically useless unless we know how to fine tune it for print. There’s a fine line between a good print and a great print. This texture test for @mara_paints turned out phenomenal. We captured and reproduced every individual thread from the gauze overlay that was collaged onto the original work. Seeing a near facsimile copy of an original like this is always uncanny.
Had to memorize some player names to properly work with @pat_riot_art on these textured UV prints. His originals, which are created with thousands of pieces of chewed bubble gum, are on display now in LA. Check his IG for location and details!
Color verification check on a 6ft acrylic print. UV print on acrylic, back mounted to white dibond.
Multi layered UV printed + laser cut museum board photo collage for @robert_schwan
Sifting through an accumulation collection of fabric tests and fragments.
We recently had the absolute pleasure of scanning and reproducing a privately owned Diego Rivera pastel drawing. Incredible piece to see in person. There is a certain level of color matching sensitivity that is required for these heirloom projects, often due to the fact that we’re capturing something that is inherently aged. Accurately reproducing not just the image but working to capture the subtleties that show aging is much harder than one would think, at times. It’s easy to become obsessed with extremely nuanced details.
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.
From 22 x 30 to ultra super size. UV print on 100% cotton canvas.
@brianhmerriam loves bringing us the challenging papers to print. The results certainly pay off. Check out his IG for news on these.
@kenz123 came by the studio to sign her new limited edition prints. Thank you, Mackenzie!
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!
Custom humidifier box for flattening some very stubborn paper. 32 sheets left inside overnight and now they’re looking nice and flat. When we can’t find a tool we need, we make it.
