Brilliant Studio Continues the Tradition of Collaborative Printmaking

By Dustin Flowers

Brilliant Studio is located in a warm and welcoming facility in the countryside about 30 miles from Philadelphia.

The newest issue of LexJet’s In Focus newsletter shines the Artist Spotlight on one of my customers, photographer and master printer Bob Tursack of Brilliant Studio and Brilliant Graphics in Exton, PA (near Philadelphia). 

Brilliant Studio provides top-quality printmaking in the broadest sense of the word. While Bob can reproduce art with the utmost fidelity, he believes he does his best work for artists and photographers who trust him as a collaborator. He regards printmaking as an art in itself—an extension of what can be achieved with cameras, paintbrushes, or drawing tools alone. Thus, he feels comfortable recommending ways clients can achieve the highest artistic realization of the image they had visualized from the start.

Brilliant Studio works with many galleries, publishers, artists, and photographers and has printed reproductions for painters such as the late Andrew Wyeth and photographs by Michael Furman, George Tice, and Yaakov Asher Sinclair.

At first, Brilliant Studio outsourced the printing of artists’ books and gallery catalogs. But because Bob grew up in a family that ran a commercial printing business, he decided to establish Brilliant Graphics as a companion business. He bought a Heidelberg press, developed a computer-integrated printing workflow, and now prints brochures, annual reports, corporate marketing materials, catalogs, posters, and perfect-bound and casebound books.

Brilliant Graphics provides these printing services not only to galleries, artists and photographers, but to other businesses as well. They are particularly skilled in printing publications that require superb image reproduction. For example, Brilliant Graphics produced catalogs for Swann Galleries, the New York auction house that sells works from the earliest days of photography to images by modern masters.

Outstanding Facilities: Earlier this month, I was honored to be invited to the Open House Brilliant Studio hosted for current and prospective clients. Their studio was unbelievably clean and well-equipped. Not only were their customer reception and proofing areas immaculate, but so were their camera rooms, printrooms, and computer rooms.

Brilliant Studio is equipped to produce giclee prints, exhibition prints, intaglio copperplate etchinigs, relief prints, and offset lithographs. They also provide scanning and mounting services.

The post-and-beam construction of their building may look rustic, quaint and homey, but everything inside the building was specifically designed for optimizing workflow, enhancing communications with customers, and controlling print quality.  

For capturing original artwork, Brilliant Studio uses Phase One and Hasselblad cameras and Creo Eversmart Pro Scanners.

They can make prints on a wide range of equipment, including four 44-in. Epson Stylus Pro 9800 printers with the ImagePrint RIP, a 64-in. Epson Stylus Pro 11880 printer, and a Ryobi four-color waterless offset lithography press. In the midst of all new technology stands an antique etching press, which can be used either for copperplate etchings or relief prints from woodcuts or linoleum cuts.

Empathy and Advice: As a photographer himself, Tursack understands that when photographers give him an original file to print they are giving him a piece of their soul. He says, “I know what goes into creating an image and the sense of great disappointment that can be felt when something you created isn’t reproduced well.”

He encourages artists to freely tell him when they don’t like something. But he also feels comfortable enough to suggest ways they can improve the market acceptance of their work without compromising their artistic integrity.

Marketing Support: Bob Tursack and his staff are happy to help good artists get their work noticed. When appropriate, they introduce artists to some of their gallery or publisher clients.

And the marketing consultants and designers at Brilliant Graphics can help artists create branding and identity packages, and advertise their work in regional lifestyle magazines and art trade journals.

Brilliant Studio also produces a bimonthly mailing of full-color art cards to 3,000 qualified contacts in the print-sales marketplace. Each card features the work of a single artist with details about the artist and available print sizes.

To promote efficiency and communications, all of the estimating, customer service, prep and planning are done in one location. (Photo: Brilliant Graphics)

In-Depth Media Evaluation: One role Tursack takes very seriously is helping the artist choose the right paper or canvas for each print. He recommends a paper for a particular job based on its color gamut, maximum density, tactile quality, archival nature, and what the paper will add to the personality of the print.

Depending on the requirements of a particular job, he may recommend a Hahnemuhle German Etching, Photo Rag Bright White, Photo Rag Satin, Fine Art Pearl, Photo Rag, or Fine Art Baryta. For prints output on canvas, I am pleased to report that he uses LexJet Sunset Select Matte Canvas or Instant-Dry Satin Canvas.

Bob Tursack evaluates different materials so that the artist’s trust in his expertise will be rewarded. He believes that “Understanding where an artist is trying to go with their work is by far the most important part of what we do.”

 It’s hard to describe how impressed I was when I visited Brilliant Studio earlier this month. I encourage you to read more in the story In Focus, or visit the websites of Brilliant Graphics and Brilliant Studio and see for yourself what makes this business unique.

The Brilliant-Graphics website includes a virtual tour of their facilities. Shown here is one of two customer viewing areas and conference rooms.

Graham Editions: Appreciating the Art in Art Reproduction

Not all companies that offer fine-art reproduction services are equally well equipped—particularly when it comes to the most important phase of the process: the digital capture. Significant variations exist in the type of capture equipment and lighting set-ups used.

If the original artwork isn’t captured at sufficiently high resolutions and under the correct lighting, the intricate brushstroke detail that adds texture and nuance to a work won’t reproduce as well as you might like—especially if the painting is enlarged from its original size. And some areas of the reproduced painting may show more detail than others. Color quality can become a concern if the printmaker lacks sufficient experience in the finer points of digital color reproduction.

One printmaker who values the importance of high-res capture and color management is Geoff Graham of Graham Editions in Canoga Park, CA.

 

Geoff Graham regards his printmaking atelier as a fine-art boutique, offering whatever high-end scanning, capture, and fine-art printing services a client might require. Graham Editions routinely produces large editions of high-end works for art publishers, but also enjoys working with individual artists and photographers who just need a few prints. www.grahahm-editions
Geoff Graham regards his printmaking atelier as a fine-art boutique, offering whatever high-end scanning, capture, and fine-art printing services a client might require. Graham Editions routinely produces large editions of high-end works for art publishers, but also enjoys working with individual artists and photographers who just need a few prints.

Having worked as a commercial photographer for more than 25 years, Graham has acquired an in-depth knowledge of color along with the high-end imaging equipment needed for top-quality fine-art reproduction. He is totally committed to achieving the best possible quality during every step of the art-reproduction process.

For capture, he typically uses a Sinar P2 4×5 view camera with a PhaseOne FX scanning back. Combined with his powerful North Light 900 HID lighting set-up with UV filters, he can create ultra-high-resolution files with all of the detail required to make beautiful, consistently detailed reproductions.

“I’ve been using large- and medium-format cameras since I can remember,” says Graham. “The scan back cost $37,000 when I first purchased it, and the quality it reproduces is mind-blowing. It has an area of 10,500 x 12,600 pixels and the detail is phenomenal. I use high-end reprographic lenses so I can get as close to the image as I need to. I also have lots of flexibility in my lighting.” This flexibility enables him to adjust the lighting according to the nature and texture of each piece of art.   

He typically reproduces originals painted with oil and acrylic on canvas in sizes from 16 x 20 in. up to 48 x 72 in. but he has captured paintings larger than that.  He says, “If it’s any bigger than 48 x 72, I can shoot it in sections and blend in Photoshop.”

The files are output on one of three Epson printers. Graham generally uses the 44-in. Epson Stylus Pro 9600 for black-and-white printmaking, the 44-in. Epson 9800 with fine-art papers, and the 64-in. Epson Stylus Pro 11880 with LexJet Sunset Select Matte Canvas. Having each printer dedicated to certain types of jobs makes it more efficient to keep the workflow totally color managed. 

Geoff Graham has considerable expertise in color management, which he regards as the key process in fine-art reproduction. He did some consulting in the early years of the digital color management, and knows how to use and interpret profiles. He uses ProfileMaker software and i1 color-measuring devices now sold by X-Rite to create custom profiles for all of his capture, display, and output devices.

He keeps the studio exceptionally clean, which is particularly important during the printing and finishing phases. Graham meticulously coats all canvases by hand. He typically applies two coats of varnish and creates profiles for his print media based on how the prints will look after the varnish is applied.

Graham doesn’t expect clients to understand all of the technical reasons why this fine-art reproduction workflow produces great-looking results. Instead, he simply shows them the high level of printmaking skills he has attained since going into the fine-art reproduction full-time business several years ago.

All of the cameras, scanners, printers, and monitors at Graham Edition are color managed. “Everything is closed-loop,” says Graham. “What I see on the monitor is exactly what I print out.” In order for the colors in a reproduction to be accurately viewed, the studio has neutral gray walls and overhead lighting that simulates pure daylight
All of the cameras, scanners, printers, and monitors at Graham Edition are color managed. “Everything is closed-loop,” says Graham. “What I see on the monitor is exactly what I print out.” In order for the colors in a reproduction to be accurately viewed, the studio has neutral gray walls and overhead lighting that simulates pure daylight

Clients can inspect the high-end reproductions on the walls of the studio, view samples of previous jobs, or examine some of the high-res files that he has captured. “I zoom in 100% and let clients see the dots in the canvas,” explains Graham. “Even at 100%, each corner is razor sharp.” 

 When you talk to Graham, you quickly understand that he’s not only passionate about reproducing the art to the best of his ability, he’s also passionate about the art. As he explains to visitors to his website, “I serve the vision of you, the artist, and put you in the driver’s seat while using state-of-the art technology.”

When some customers ask why doesn’t do serigraphs or lithographs, he explains that those methods aren’t “print-on-demand.” The prepress set-up requirements for serigraphy or lithography make it cost-prohibitive to produce only a few prints as needed. The ability to print only as many copies of a print as you can sell is a key advantage of digital-printing technology.

Plus, advances in inks and materials make it possible to produce prints on canvas and paper that will last for 100 to 150 years under typical gallery display conditions.

Inkjet printing technology has improved to the point that it’s nearly impossible to tell that the print is created from dots. As Graham observes: “Digital printing technology is so evolved, I don’t think anyone will go to lithography again.

For more information, visit the Graham Editions website: www.graham-editions.com

Catalog Showcases Materials for Inkjet Photo and Art Printing

SLJCatCover09LRMany posts on this blog showcase some of the creative ways that photographers and artists are using some of the materials they have purchased from LexJet, including Water-Resistant Satin Cloth, Absolute Backlit Film, and Sunset Photo eSatin Paper 300g.

You can see additional examples of how photographers and artists are using LexJet materials by downloading a copy of the 2009 Edition of the The LexJet Catalog for the Professional Photographer and Fine-Art Printmaker 

The 28-page catalog also lists roll size, sheet size, and pricing details about many of the inkjet-printable materials available from LexJet, including:

  • LexJet Sunset Photo Paper
  • LexJet Sunset Fibre-Based Paper
  • LexJet Sunset Fine Art Paper
  • LexJet  Sunset Select Gloss and Matte Canvases
  • LexJet Instant-Dry Satin Canvas
  • LexJet Inkjet Paper
  • Hahnemuhle Fine Art Paper
  • EPSON Professional Media

 The catalog also highlights:

  •  LexJet Specialty Films
  • LexJet Adhesive-Backed Media (including Photo Tex PSA)
  • LexJet Banner Media, (including Water-Resistant Satin Cloth
  • 3P Inkjet Textiles
  • Pigment Inks for Epson, Canon and HP Printers
  • Hahnemuhle Standard and PRO Galerie Wrap Stretcher Bars
  • LexJet I-Banner Spring Back Banner Stands
  • Banner Finishing Accessories
  • Sunset Coating

Most of the materials in the catalog are designed for use on the Canon imagePROGRAF, HP Designjet, and Epson Stylus Pro  inkjet printers that use aqueous dye or pigment inks. However, the catalog also features LexJet papers, canvases, banner materials, adhesive-backed media, and specialty films that are used by higher-volume printmakers who use the Epson Stylus Pro GS6000 and other printers that use solvent or UV-curable (SUV) inks.

The catalog lists only some of the products LexJet carries and more products are being added all the time. As the imaging business continues to evolve, LexJet can provide the equipment, supplies, and knowledge you need to adapt.

Over the past 15 years, LexJet account specialists have helped thousands of photography studios, fine-art printmakers, service bureaus, and printing companies discover new ways to profit from printing. We can help your imaging business too!  To learn more, visit www.lexjet.com or call an account specialist at 800-453-9538.

Along with traditional photo and art papers, LexJet sells materials that can be used to print promotional graphics. For example, Picture This Photography in Avon, IN used AquaVinyl adhesive-backed vinyl from LexJet to print these graphics for the vehicles the studio uses to store and haul props. LexJet account specialists can provide tips on how to produce, apply and remove these types of graphics, which can be a cost-effective way to promote your studio wherever you go.
Along with traditional photo and art papers, LexJet sells materials that can be used to print promotional graphics. For example, Picture This Photography in Avon, IN used AquaVinyl adhesive-backed vinyl from LexJet to print these graphics for the vehicles the studio uses to store and haul props. LexJet account specialists can provide tips on how to produce, apply and remove these types of graphics, which can be a cost-effective way to promote your studio wherever you go.

Tips from an Artist on Finding a Giclee Printing Service

By Darren Vena

Finding the right company to reproduce your art can be a challenge, partly because so many different types and sizes of businesses now offer fine-art reproduction services. Each business seems to offer a different mix of services, capabilities and expertise.

So, at Studio LexJet, we’d like to introduce you to some of the many LexJet customers across the US that offer giclée-printing services. We will also pass along some of their insights that can help artists and art buyers who are trying to make sense of the ongoing digital revolution in art reproduction.

In previous posts, we’ve profiled Lizza Studios in Tuckhannock, PA, and Fine Balance Imaging on Whidbey Island, WA.

Artist Mike Damico runs the Frame & Art Gallery in Fort Myers, FL
Artist Mike Damico runs the Frame & Art Gallery in Fort Myers, FL

Here, let me tell you about Mike Damico who runs MindYourPrints.com. Mike Damico is a trained and talented artist, who sells his works through the small gallery he operates as part of the Frame & Art Gallery custom frame shop he owns in Fort Myers, FL.  

His giclee-printing business, MindYourPrints.com, offers high-quality large-format printing services to individual artists and photographers as well as other gallery owners. Damico uses an Epson Stylus Pro 9800 and typically recommends either LexJet’s Sunset Matte Canvas, Sunset Textured Fine Art Paper, Sunset Photo eSatin Paper 300g, or LexJet Premium Archival Matte Paper.   

In addition to printing, Damico offers high-quality scanning of 4 x 5 transparencies, dry mounting of prints and canvas, spray-coating of printed canvases, canvas stretching, and custom matting and framing.

For jobs that require original paintings to be digitized, Damico has partnered with the Nautilus Photograpic Studio, also in Fort Myers. The studio is equipped with the controlled lighting and a 32-megapixel Hasselblad camera for capturing all of the details necessary for a good reproduction.

Here are five tips from Mike Damico for finding the right printmaker for your work:  . The initial digitization of an image will make or break a final product.

1.            Work with professionals who understand the value of a quality image capture. The initial digitization of an image will make or break a final product.

2.            Ask who the printer’s primary customer is. If the answer is photographers and/or artists, then the printmaker should have a good handle on how to produce a quality image.

3.            Try to find someone locally, so you can get a better understanding of the process and have more control over quality. Find someone you work well with and who can meet your needs. Doing business with someone you have a good relationship with can have a huge difference in the overall quality of your prints.

4.            Expect to pay more for a high quality art reproduction (giclee) than you would pay for a photo enlargement on canvas. Compared to busy lab that is simply outputting digital photographs, the giclee printmaker uses only top-quality materials and is likely to spend far more time attaining the best possible color match to your original, compared to a lab that is simply outputting a digital photograph.

printerflowerColor matching can be very challenging because the surface texture, depth of light penetration, light absorption rates, and even the chemistry of a surface or pigment can affect how light reflects back to the eye. As Mike puts it: “To take an image that was painted on canvas and convert it to millions of little dots of cyan, magenta, yellow, and black inks is a feat in itself. Getting the millions of ink dots to look like the original can be mind-blowing.” Plus, different types of display lighting can play funny tricks on your eye—especially when the final print isn’t produced from the same compounds as the original art.

5.            Find someone you trust to keep up with the most important advances in digital printmaking. A lot of information has been published about digital fine-art reproduction. It’s OK if you don’t absorb and understand all of the intricacies. The key is to work with someone you trust—someone who has proven that they can deliver the type of quality you need.

Other Words of Advice for Artists and Art Buyers: Once the work has been printed and sold, make sure your customers understand what they’re buying, advises Damico. When selling a reproduction of an original painting, your buyers should understand that it’s a reproduction. If it’s a print that’s been hand-embellished, they should know that, too. 

Damico believes it’s important for everyone in the art community to adapt to changing times and accept that digital imaging is a legitimate method of creating and reproducing art. The time has also come to recognize that digital tools can be a bona fide means of expressing an artistic vision, and not something that inherently requires less skill. Even so, Damico emphasizes, “We must never forget the foundations and evolution of art.”

The next time you’re in the Ft. Myers area, we encourage you to stop by and visit Mike Damico’s Frame & Art Gallery. Or visit his website: www.mindyourprints.com.

If you aren’t sure where to find good digital printmakers in your part of the country, contact me or one of the account specialists at LexJet at 800-453-9538. We would be happy to refer you to printmakers in your area who can provide the types of digital art-reproduction and post-printing services you need.

Desk-Front Displays for Photo, Art, and Promotional Prints

By Darren Vena

Fine Balance Imaging Studios uses changeable panels in their desks to exhibit their clients' art and promote their own services. (www.fbistudios.com)
Fine Balance Imaging Studios uses changeable panels in their desks to exhibit their clients' art and promote their own services. (www.fbistudios.com)

At LexJet, we love it when photographers and artists send us pictures that show some of the creative ways they are using some of the inkjet-printable materials we sell.

In two previous posts on this blog (about photographers Leslie D. Bartlett and David DeJonge), we’ve shown you why LexJet’s Water-Resistant Satin Cloth is quickly becoming a popular option for printing photo and art exhibitions. For one thing, the inkjet-receptive coating on this smooth, lustrous, wrinkle-resistant cloth is designed for high-resolution, full-color imaging. And, because prints on Water Resistant Satin Cloth don’t need to be framed or mounted, shipping exhibition prints from one site to another is a breeze.

But here’s one use of Water-Resistant Satin Cloth that we hadn’t seen until now. The clever, desk-front display system shown here was devised by Joe Menth of Fine Balance Imaging on Whidbey Island, Washington, a mecca for artists, photographers, and nature-lovers about 25 miles north of Seattle.

FBIPanoDeskShotJoe built the desktop display system earlier this year when Fine Balance Imaging moved into a spacious new studio, which was more than twice the size of their original working quarters. He says the desks from the old location simply looked out of place in their new surroundings.

So he customized the desks with fixtures designed to hold changeable graphic panels made from satin-cloth prints attached to recycled door moldings. (The door moldings are used like stretcher bars in canvas gallery wraps.) The panels can be slid in and out of slats in the desk fixtures whenever Fine Balance Imaging wants to feature something new.

“In the desks, the panels looks seamless and permanent because we’ve put trim over the top,” says Menth. “But we simply pull up the trim, pull out the frame, and drop the new prints in.”

The images are printed onto LexJet Water Resistant Satin Cloth using the ImagePrint RIP and the Epson Stylus Pro 9800 printer.

The desktop graphic panels are just one of the ways that Menth shows clients what’s possible with high-resolution inkjet printing and different types of materials. As you can see from Joe’s panoramic shot below, when clients walk into Fine Balance Imaging they see bold splashes of color almost anywhere they look.

SLJFBIpanorama view 2

Along with promotions for the studio’s services, visitors can see small exhibitions of the work produced by clients such as Michael Foley. His macrophotography series Miracles in Minutiae was printed on LexJet’s Sunset Select Matte Canvas and is displayed for everyone to see.  In the corner of the studio is a print on an aluminum sheet made possible with Golden Digital Grounds for Non-Porous Surfaces.  Hanging above the desk are paintings enlarged to 400% and printed onto Color Textiles Habotai Silk.  Most of the framed photographs were printed on Epson UltraSmooth Fine Art paper.

As for promotional graphics, a front counter sign is printed on LexJet Water-Resistant Polypropylene and the graphics in the I-Banner Stands are printed on either Water-Resistant Polypropylene or Water-Resistant Satin Cloth.

Fine Balance Imaging was founded in 2004, a couple of years after Nancy McFarland and her son Joe Menth had moved to Whidbey Island intending to start a small, family-run art gallery. Nancy and Joe are both photographers and artists at heart, but had worked mostly in technology-related careers that they never were fully passionate about.

At the art gallery, they started making small art prints for a few of their new artist friends. They opened Fine Balance Imaging in direct response to what the artists in the area said they needed. The fine-art business has since expanded to include an extensive array of capture, design, finishing, and marketing-support services for artists, photographers, small businesses, and consumers. These services include: high-end film and flatbed scanning; photography; graphic design; panorama stitching of multiple images; and photo restoration, color correction, and retouching.

But the bulk of the studio’s business revolves around wide-format printing of fine art, photographs, posters, banners, and displays. The studio uses the Epson Stylus Pro 4800, 7600, and 9800 printers with ColorByte Software’s ImagePrint RIP for consistent color from print to print.

For artists who want prints ready to sell at local festivals, Fine Balance will provide shrink-wrapped or polybagged mounted prints. Finishing options include UV-coating, hand deckling, or custom trimming.

As their services have expanded, so has their base of customers. And that’s why they needed to move to a bigger space and chose to do something more creative with their desks.  When more customers see for themselves the type of images that can be produced on Water-Resistant Cloth, Menth says, “More and more clients are using it to create frame-free, ready-to-hang art.” Fine Balance Imaging sells the prints complete with a simple hanging system made from dowels and satin cord.

This type of ingenuity in producing ready-to-hang prints that has made Fine Balance Imaging very popular with their clients. Plus, “Doing work that we truly love motivates us to uphold incredibly high standards,” says Joe.

He adds that, “Our clients don’t care what equipment is used to create their prints. They just care that we spend time with them personally to make sure that they’re happy when they leave, so they will come back to us again and again.”

You can read more about Fine Balance Imaging and how they find ways to help artists succeed in LexJet’s In Focus Newsletter (Vol. 4, No. 7) and in future posts on Studio LexJet. Or visit the Fine Balance Imaging website: www.fbistudios.com

Lizza Fine Art Studio Can Handle Big Giclée Projects

Artists have traveled from as far away as South Africa to have their work reproduced at Lizza Fine Art Studios. According to Studio Manager Betsy Green, “Most visitors are delighted to discover such a high-tech studio based in such as a quaint, small-town setting. The studio itself is a converted roller rink.”
Artists have traveled from as far away as South Africa to have their work reproduced at Lizza Fine Art Studios. According to Studio Manager Betsy Green, “Most visitors are delighted to discover such a high-tech studio based in such a quaint, small-town setting. The studio itself is a converted roller rink.”

The number of studios using wide-format, pigment-ink inkjet printers for fine-art reproduction has multiplied in recent years. Having more choices can be wonderful if you simply want to make a few copies of work that you can sell at art fairs, use to promote yourself, or give to friends and family members.      

But if you have special requirements such as extra-large print sizes or need hundreds of prints quickly, it’s important to know about giclée-printing studios that can efficiently produce the best possible reproductions. Significant differences exist in the type of image-capture and inkjet-printing equipment that various studios use for giclée printing. And some studio owners are more experienced in the world of art than others.

One company well-equipped to handle just about any type or size of art-reproduction project you might require is Lizza Fine Art Studios. Located in the small town of Tunkhannock in northeastern Pennsylvania, Lizza Fine Art Studios has handled projects for artists from as far away as South Africa, including artists who exhibit at the International Artexpo in New York each spring.

The studio’s founder Bob Lizza knows what matters to artists, because he is a painter himself. He also has an eye for color honed by graphic design and close to 20 years of experience in the print world. For Bob, giclée is more than a printing process; it the intersection of art and science—an act of creation leading to a work of art.

 

The final quality of the reproduced art depends largely on the quality of the image capture. Lizza Studios is one of the few giclee-printing studios in the US to have a Cruse C285 ST large-format, flatbed scanner.
The final quality of the reproduced art depends largely on the quality of the image capture. Lizza Studios is one of the few giclee-printing studios in the US to have a Cruse C285 ST large-format, flatbed scanner.

Scanning Large Paintings: Because Lizza knows that every brush stroke and detail is important to the artistic integrity of a painting, he invested in the Cruse C285 ST scanner, one of the most technologically advanced, highest resolution scanners in the world. When a painting is placed on the bed of the scanner, a Synchron table system moves the art steadily under a bank of lights, providing even illumination as the image is captured using a large-format digital lens and a 10,000-pixel CCD array. The system was designed to minimize the amount of time the original painting is exposed to the levels of lighting needed to capture all the fine details in the art.

The Cruse C285 ST scanner can handle paintings as large as 60 in. x 90 in. in one pass and produce files sizes as large as 1 GB. Due to the efficiency of the lighting system and precision of the Synchron table, much larger originals can be accommodated. Positional lighting allows total control over how variances in textured surfaces can be captured.

Printing Large Jobs: Lizza Fine Art Studios has two 64-in. Epson Stylus Pro printers: an Epson Stylus Pro 11880 aqueous-ink printer and an Epson Stylus Pro GS6000 solvent-ink printer. Because it uses three densities of black inks, the Epson Stylus Pro 11880 is ideal for black-and-white photographs and images with subtle midtones. The Epson Stylus Pro GS6000 uses orange and green inks in combination with  traditional CMYK inks, making it possible to reproduce artwork with bold, vivid colors.  Because of the nature of the solvent inks, the GS6000 printer can print on less costly materials and run at faster speeds. Plus, the prints don’t require the additional step of adding a protective clearcoat. Thus, the Epson GS6000 can be used to produce higher quantities of art reproductions at more affordable prices.

An Eye for Color: No matter which printer is used to reproduce your work, Lizza knows how to achieve the best possible color match between the prints and your original art. Bob Lizza has spent more than 17 years scanning and matching originals, examining images on a computer monitor and managing colors that have been reduced to bits and bytes of data. Combining data gathered with high-quality color-measurement tools and his own eye for color, Bob can color match the vibrant red of an individual flower petal or the rich green in the eye of the trout.  If his naked eye sees any differences, such as greens that are just a shade too yellow, he knows how to adjust the colors until the match between the scanned image and the artwork is exact. Only when the color match is perfect is Bob ready to print.  He creates custom ICC profiles for the exact printing conditions and materials that will be used for your printing job. He knows how to adjust the profiles for precise, optimum control of the ink applied to the substrate.

After the Printing is Done: Lizza’s extreme attention to detail and service doesn’t end with the printing. For works printed on canvas, Lizza Fine Art Studios uses a spray system that provides a great deal of control over the varnishing process. They can lightly coat the print once, or apply two or three coats if you prefer a glossier look.

Lizza Fine Art Studio also provides custom-framing services. And if you request it, Lizza will issue a certificate of authenticity. The certificate not only assures buyers of your art that the piece is a genuine, limited-edition giclée, it also ensures that you have a record of what was printed, what substrate was used, the date it was printed, and how many pieces were produced.

As an artist himself, Bob Lizza believes that modern giclée printing is the best possible way to reproduce your original art. He points out that, “It has a higher resolution than lithography, and a wider color range than a serigraph.”

To learn more about Lizza Fine Art Studios, visit their website www.lizzastudios.com or call 570-836-8806. Or, you can read more about their work in the June issue of LexJet’s In Focus newsletter.

Giclée printing replicates the color, depth and texture of original works art by using sophisticated image-capture technology and wide-format inkjet printers that use six or more colors of pigment inks with the highest quality artist papers or canvases. Modern wide-format inkjet printers, such as the 64-in. Epson Stylus Pro 11800 and GS6000 printers used in Lizza Fine Art Studios, spray millions of droplets of ink per second onto canvases or art papers that have been pretreated to receive the ink. The spray of ink is so fine that the droplets cannot be seen by the naked eye. It takes a 10X or 15X loupe to see the black dots, which are the largest dots on the canvas or paper. A finished image is made up of close to 20 billion dots of ink, which are applied in continuous tone or stochastic screening patterns that can make it difficult to distinguish the final print from the original.
Giclée printing replicates the color, depth and texture of original works art by using sophisticated image-capture technology and wide-format inkjet printers that use six or more colors of pigment inks with the highest quality artist papers or canvases. Modern wide-format inkjet printers, such as the 64-in. Epson Stylus Pro 11800 and GS6000 printers used in Lizza Fine Art Studios, spray millions of droplets of ink per second onto canvases or art papers that have been pretreated to receive the ink. The spray of ink is so fine that the droplets cannot be seen by the naked eye. It takes a 10X or 15X loupe to see the black dots, which are the largest dots on the canvas or paper. A finished image is made up of close to 20 billion dots of ink, which are applied in continuous tone or stochastic screening patterns that can make it difficult to distinguish the final print from the original.

Fine-art printmaking studios across the US have purchased wide-format inkjet equipment and top-quality canvases and fine-art papers from LexJet. We will feature many of these other studios in upcoming posts on this blog. If you would like to locate a giclee printing studio in your area of the US, please call a LexJet account specialist at 888-873-7553.