Jeff Hazelton Exhibits 3D Art on Canvas

For more than a decade, graphic designers have experimented with advances in lenticular imaging to produce large-format advertising graphics that look three-dimensional. Now, LexJet customer Jeff Hazelton is part of new class of artists, photographers, and designers who are at the forefront of bringing 3D imaging into the world of art.  

Using Autodesk Maya and Photoshop CS4 software and LexJet Sunset Select Matte Canvas on an Epson Stylus Pro 11880 printer, he has converted some of his digital art into large-format canvas art prints that appear three-dimensional when viewed through specialized 3D glasses.

The art is part of an Avatar to Art exhibition that has been on display at the G.WIZ Science Museum in Sarasota, FL since July 2. The show features 14 large-scale, 3D images with the largest measuring 8 x 25 ft.  The exhibit was originally scheduled to close Aug. 1, but due to its popularity, has been extended through Sept. 19. 

It is difficult to appreciate the full effect of Jeff’s art shown here. But just try to imagine feeling immersed in this surreal landscape with the abstract forms seeming to float around you. The compositions also combine microscopic anatomy and “automatic drawings” from sketches Jeff drew while sailing to New Zealand and other islands in the South Pacific.  

A spokesperson for the gallery observed that the 3D environments in Jeff’s art seemed to extend the walls of the exhibit space and create a viewing experience that was totally unique.

Jeff Hazelton is a painter who turned commercial artist in the 1990’s. His company, BioLucid, produces medical animations for physician education and marketing at pharmaceutical and biotechnology companies. Jeff has been studying computer graphics and digital art since the mid-1990s and acquired formal training in 3D animation in Gnomon School of Visual Effects in Hollywood, CA in 2000-2001.

According to Jeff, the texture of the LexJet Sunset canvas didn’t affect the 3D effects of the prints. He notes that, “As a painter, I prefer the look and feel of canvas when producing fine art, and I like to gallery wrap my work.” He stretched the prints himself using custom-stretchers he built himself and used LexJet Sunset Gloss Coating to protect and enhance each print.

To ensure that the final prints would have the look he was going for, he made smaller prints first.  Each of the 14 works required an average of two to four smaller prints to test for 3D parallax and color.

With the art displayed at the G. WIZ museum, Jeff explains, “I wanted viewers to feel like they are part of the artwork, like they have been transported to a new place or are sharing a room with strange objects that are purely a product of their brain’s amazing comprehension of space.”

Overall, he says, “Feedback has been positive. People don’t mind wearing the glasses, and most observers say they have never seen anything like what I have produced.”

He is continuing to produce new works and is preparing for his next solo show in November in San Diego.

For more information about Jeff’s work, visit Or you can search for Some Guy’s Studio on Facebook.

Chris Dunker Uses Sunset Photo Metallic Paper for Gallery Show of Classic Car Art

When Chris Dunker of Dunker Imaging Services, Inc. in Logan, UT first learned that LexJet was planning to introduce Sunset Photo Metallic paper, he immediately knew it was a product he wanted to try. He was preparing to produce a series of prints of classic cars and motorcycles for an art-gallery exhibition and thought Sunset Photo Metallic might provide the ideal surface for showcasing the highly polished, meticulously photographed vehicles as works of art.

The showcard features a 2005 Harley-Davidson Softail Night Train FXSTB photographed by Chris Dunker.

Dunker, who is known for his artistry in photographing industrial architecture and machinery, was already using a somewhat unorthodox method of finishing and displaying limited-edition prints. After outputting his images on a smooth, matte watercolor paper on his Epson Stylus Pro 9800, he would then mount the prints to sheets of aluminum, using a cold-roll laminator and an acid-free mounting adhesive. Then, he would take the mounted prints to a friend’s auto-body shop and have them sprayed with a high-gloss, polyurethane coating.

Although the matte art paper produced prints with a subdued color gamut, the polyurethane dramatically increased the color saturation and contrast. The coating really made the colors snap and gave each print a distinctive look. Dunker wondered if the Sunset Photo Metallic paper would help him achieve the same type of look without the need to apply the polyurethane coating.

An Out-of-This-World Print on Hahnemühle Photo Rag

©Leland Melvin, NASA

Last November, an image by London-based photographer Elaine Duigenan was printed on Hahnemühle Photo Rag® and flown to the International Space Station aboard Shuttle Atlantis. The print was then photographed floating in the weightlessness of space. This image, shot by astronaut Leland Melvin, shows the print floating near the window of the Destiny Lab with Earth below.

Duigenan captures beautiful patterns in nature in way that calls attention to how these patterns seem to replicate on both micro and cosmic scales. The image chosen to go to the International Space Station depicts trails made when snails eat algae. When photographed from above, the captured patterns begin to take on the form of the Earth. This resemblance can be seen in the image taken aboard the Space Station with the world below.

©Elaine Duigenan

The print comes from Duigenan’s new series MICRO MUNDI (Small Worlds) that will be exhibited at The Klompching Gallery in New York from June 17-Aug. 7.

Duigenan, whose work in included at an exhibition at the Victoria & Albert Museum in London, says “The print is just as important to me as the initial image.” She says some people have compared the rich blacks in her images to etchings. She chooses to use Hahnemühle fine-art papers for her prints because “They have the quality, weight and feel to ideally complement the delicacy of my images.”

For more information about Elaine’s work, visit:

LexJet sells a wide selection of Hahnemühle papers.  If you have any specific questions about the paper or printing your images, you can contact a LexJet photo-printing specialist at 800-453-9538.

FBI Studios Hosts Gratitude 4: Giclée Print Art Show

To express their appreciation to the artists who hire Fine Balance Imaging Studios (FBI Studios) to reproduce their work, co-owners Joe Menth and Nancy MacFarland hosted the Gratitude 4: Giclée Print Art Show in February.  More than two dozen artists and photographers were featured in the show which was held at the Bayview Cash Store Hub from Feb 1-Feb 27 and from Feb 19-26 at the Open Door Community Gallery in Bayview Corner on Whidbey Island, Washington.

According to Joe, the show is unique for three reasons:

  • The artists get to be in a gallery show, without the usual gallery fees. 100% of the sales go directly to the artists.
  • All of the art on display are giclée fine-art reproductions, produced by Fine Balance Imaging.
  • The featured artists represent all skill levels and different kinds of original mediums, including acrylics, watercolors, photographs, oil paintings, and mixed-media collages. Some of the artists are internationally famous and some are just beginning their career. The artists featured in this year’s show ranged in age from 10 to 80.

Fine Balance Imaging hosts the shows, handles the marketing, and advises the artists on how to finish and price their work.  They also throw a big reception party for the artists.

In The Canopy by Gaylen Whiteman

FBI Studios uses the show as an opportunity to demonstrate that high-quality giclée printing can have the same visual quality as original art. On his blog post about this year’s Gratitude show, Menth pointed out that, “Works shown at the Seattle Art Museum for many exhibits (including reproductions of some paintings in the recent Michaelangelo exhibit) were created using the same process FBI Studios uses for local Whidbey artists. Many galleries offer these prints as viable alternatives to high-priced original works of art.”

He added that correctly produced giclée prints on certain types of papers will resist fading for over 200 years, which is decades longer than prints created with offset lithography: “In fact, most giclée prints will outlast original watercolor paintings and traditionally printed photographs.”

In addition to showcasing a variety of artists, the Gratitude show demonstrates how different types of print materials can enhance the look of different types of art. Eyescapes 6 by Ellen Martorelli was output on LexJet Sunset Photo Semimatte paper and Koi Attack by Chris Spencer  was printed on Moab Moenkopi Washi Unryu kozo/mulberry paper.

For the Gratitude show, the piece entitled In The Canopy by Gaylen Whiteman was output on Ellie Poo paper a 100% recycled paper that contains elephant dung. Reprints were available on Epson Ultrasmooth Fine Art or Epson Somerset Velvet.

This is the fourth year FBI Studios has sponsored the Gratitude show. They do it because they both feel so fortunate to be working with artists. As Menth puts it, “We love talking with incredible artists, being inspired by the conversations and friendships, and getting the chance to make a living doing something we’re really passionate about.”

Koi Attack by Chris Spencer

At LexJet, we like hearing stories about how our customers are helping their customers market their work. If you have stories you’d like to share, call your LexJet account specialist at 800-453-9538.

Eyescapes 6 by Ellen Martorelli

Hahnemuhle Announces World Tour for Their Anniversary Collection

The year 2009 marked the 425th year of continuous operation for Hahnemuhle’s paper mill in Germany. The mill was established on Feb. 27, 1584 under the name of Relliehäusische Papiermühle and is located on a crystal-clear river in the town of Relliehausen near Dassel in Solling.

"Skypool" by Frank Meyl

To celebrate the 425th anniversary, Hahnemuhle invited photographers from around the world to participate in a competition with the theme “For Originals.” Participants were encouraged to present their visions of people, objects, and environments from the most original perspective possible.

Nearly 1,800 photographers from more than 45 countries submitted more than 7,100 entries. In November, a panel of four judges evaluated the entries on concept, composition, and message and selected 41 images to become part of the Hahnemuhle Anniversary Collection.  

The collection includes the 12 images for which the photographers received cash awards. The cash prizes were given to three winners in three categories (People and Portrait; Landscape and Nature; and Architecture and Still Life) and three students.

In 2010, the Hahnemuhle Anniversay Collection will be exhibited in cities throughout the world. The first stop on the tour will be Sydney, Australia on Feb. 10. From there, the collection will be exhibited in Beijing, Berlin, London, Paris, Hong Kong, New York, and Istanbul.

The New York exhibition is scheduled for May 24-June 21. The award-winning images will also be displayed at the Photokina imaging exposition, Sept. 21-26 in Cologne, Germany. Additional cities for the tour will be announced on Hahnemuhle’s website.

"People 01" by Roberto Soares-Gomes

“There extraordinary images represent a full range of photographic subjects,” says Hahnemuhle’s Managing Director Jorg Adomat.  To ensure the best possible print presentation, Adomat said each winning photo will be output on the inkjet paper from Hahnemuhle’s Digital FineArt Collection that has the most suitable whiteness, structure, and other properties for that particular image. 

For complete information on the judging panel, winners, and tour dates, visit and click on “Creative and Informative.”

For more information about Hahnemuhle Digital FineArt Collection, including Hahnemuhle’s new Baryta FB glossy fiber-based paper, visit LexJet’s website or call a LexJet account specialist at 800-453-9583.  If you’re brand-new to exhibition photo printing, we can answer whatever questions you may have about how to get the best results with your printer.

Setting the Stage for a Major Exhibition at the National Geographic Museum

If you are planning to visit Washington, DC anytime between now and the end of March, consider visiting the National Geographic Museum to check out an amazing exhibit entitled “Terra Cotta Warriors: Guardians of China’s First Emperor.” The reason we’re talking about it here is because the National Geographic Imaging Department used an Espon Stylus Pro GS6000 and LexJet Sunset Satin Canvas SUV to print many of the graphics and visuals that tell the story of the Terra Cotta Warriors and artifacts on display. Below are excerpts of an article that appeared in Vol. 4, No. 12 of LexJet’s Expand newsletter.  

 One of China’s most popular tourist destinations is near the city of Xi’an, where archaeologists are continuing to excavate a massive, subterranean vault containing fragments of thousands of life-size terra cotta figures produced more than 2,000 years ago. The figures were created to guard the tomb of China’s first emperor, Qin Shihuangdi, who ruled from 221 B.C. to 210 B.C. 

More than 1,000 figures have been unearthed, and an estimated 6,000 more remain in the known underground pits. National Geographic magazine first published an article about these terra cotta warriors in 1978, after the first fragments were found four years earlier by farmers digging a well. The site is now regarded as one of the greatest archaeological discoveries of the 20th century. 

When it was announced that some figures and artifacts from Qin Shihuangdi’s tomb would be available for display in the United States, the National Geographic Museum was one of four museums chosen to present an exhibition.  Entitled “Terra Cotta Warriors: Guardians of China’s First Emperor,” the exhibit opened at the National Geographic Museum on Nov. 19 and runs through March 31, 2010.  The 12,000-sq. ft. exhibition is organized in four rooms on the first floor of the headquarters of the National Geographic Society in Washington, DC.

The “Terra Cotta Warriors: Guardians of China’s First Emperor” exhibit at the National Geographic Museum in Washington, DC runs through March 31, 2010. The exhibition showcases 15 life-size terra cotta figures, including two infantrymen, a chariot driver, two officers, an armored warrior, two archers, a cavalryman, two musicians, a strongman, a court official, a stable attendant, and a horse. Also on display are 100 sets of artifacts and an hour-long film that features an inside look at the massive tomb where the artifacts were found. For more information, visit (Photo: Kate Baylor, National Geographic)

The exhibit’s graphics and visuals were designed by Alan Parente, Art Director for the National Geographic Museum.  Dozens of text panels, illustrations, and other supporting graphics were produced by Rob Naylor of the National Geographic Imaging Dept. which is managed by Bernard Quarrick. 

About 95% of the graphics for this project were produced on the Epson Stylus Pro GS6000 low-solvent-ink printer that National Geographic’s Imaging Dept. had purchased from LexJet. The graphics include more than 75 large graphics panels printed on Sunset Select Satin Canvas SUV and 50 to 60 directional and informational signs printed on vinyl and posted inside and outside the museum.     

“We were extremely excited to get this exhibition,” says Parente. “We were all honored to be able to work on it.”

Because of the tremendous costs involved in transporting and insuring the artifacts, and providing additional security, this is the first time the National Geographic Museum has sold tickets for an exhibition.  When the exhibit opened in November, more than 100,000 advance tickets had already been sold.

Even though the artifacts had previously been shown at the Bowers Museum in Santa Ana, CA, the High Museum of Art in Atlanta, and the Houston Museum of Natural Science, Parente wanted to create a fresh design for the National Geographic Museum. He wanted to present the Terra Cotta Warriors in a way that would include the type of explanatory information that fans of National Geographic Society expect.

Parente chose earth tones for the color scheme to put the focus on the warriors themselves. He selected canvas as a no-sheen, natural-looking material for the entryway, explanatory text and supporting illustrations.  Most of the text panels are applied directly to the walls. The illustrations were printed on canvas, stretched as gallery wraps, and hung on the wall.

The walls of the opening room are completely covered in about 820 sq. ft. of LexJet Sunset Select Satin SUV Canvas printed on an Epson Stylus Pro GS6000 printer. The canvas was installed directly to the walls by a professional wallpaper-hanger. (Photo: Mark Thiessen, National Geographic)
Each of the other three rooms of the exhibit had 12 to 16 text panels. Each panel was about 8 to 10 ft. high, and varied in width from about 16 to 52 in., depending on the size of the presentation case. (Photos: Mark Theissen, National Geographic)

The exhibit graphics were produced during an intense six-week period from early October through mid-November. During this time, the GS6000 ran nearly non-stop including nights and weekends.

“The printer got a real workout on this job,” says Naylor. “But it came through like a champ.” Naylor also used the GS6000 with calendered vinyl to print floor graphics, outdoor signs, and directional signs. He used LexJet Sunset Fine Art Satin SUV by Hahnemuhle to produce promotional prints that could be displayed in the windows of local retailers. 

Supporting illustrations for the exhibit were printed on canvas, stretched, and displayed as gallery wraps. The largest illustration was a 16 x 3 ft. seamless panoramic image designed to give viewers a sense of the immensity of the archaeological dig site in China. (Photo: Mark Thiessen, National Geographic)

Producing graphics for the Terra Cotta Warriors exhibit enabled the National Geographic Imaging Department to demonstrate their full range of capabilities. Until now, most exhibits in the National Geographic Museum have featured the organization’s world-class images that show the richness and diversity of our world. Most of these images are printed on National Geographic’s Durst Lambda which uses RGB lasers to exposure images onto photo papers which are then fed through a silver-halide photo processor.

National Geographic Imaging is also equipped with a GBC Orca wide-format laminator and three Epson Stylus Pro 9800 printers which are used primarily to print maps and as proofing devices for National Geographic magazines and publications.

According to Quarrick, the graphics team at National Geographic Imaging can handle a wide range of exhibit-graphics work for other museums in the Washington, DC area. “We don’t like to turn down anything. What someone might consider a problem, we in National Geographic Imaging treat as a challenge,” says Quarrick.

Designer Alan Parente agrees that the Imaging Department has some very knowledgeable employees: “These guys are great partners to have. They are very creative in their own right. When I come to them with my ideas, I know I can rely on them to help me figure out how to make these things a reality.”

Naturally, everyone at LexJet is thrilled to see LexJet materials used in such a magnificent exhibit. Account specialist Jaimie Perez says, “I have been working with Rob for years, and was honored to help Rob find the perfect materials to fit their vision of the Terra Cotta Warriors exhibit.”

For more information about “Terra Cotta Warriors: Guardians of China’s First Emperor” exhibition, visit

For more information about using the Epson Stylus Pro GS6000 and LexJet materials to produce exhibit graphics and visuals, contact Jaimie Perez or any of the other helpful experts at LexJet ay 800-453-9538.