Find out why photographers and artists turn to Epson Signature Worthy® Papers for smooth or textured finishes and long-lasting results — now available at a reduced price. Signature Worthy prints adorn galleries and exhibitions worldwide and represent the very best of Epson’s professional papers. Regardless of the intended look and feel of your final print, the Signature Worthy line accommodates varying output needs.
You’ve asked for the educational tools to help you discover the opportunities that latex printing can provide. Today, we’re introducing our Latex Applications page, a one-stop online page that offers business-building ideas and explores the many creative uses and benefits of latex-printable products.
While many of our business partners rely on vinyl products for banners, billboards, outdoor signage and more, all of those applications — and many more — can be printed on latex-compatible media that’s less costly, easier to use and environmentally friendly.
Throughout our Latex Applications page, you’ll find quick overviews and images of the products in use paired with short educational videos and direct links to purchase pages.
In the videos, LexJet product guru Jeff Leto talks about the industry’s latest emerging trends, product highlights, installation suggestions, terminology definitions, and lots of easy-to-understand tips for getting the most out of the media in different environments.
You’ll also learn how the products can be used in a variety ways while helping you save time and money, and how to relate those benefits to your customers.
Visit the Latex Applications page and call a LexJet latex printing expert at 800-453-9538 to learn more.
Since its introduction a couple of weeks ago a lot of different types of print shops, designers, décor specialists, artists and photographers have made it a go-to photo paper for framed and mounted art and photo applications.
Take Art Foundry International, based in Lawrenceville, Ga., which recently completed a décor renovation for a hotel that featured around 300 framed abstract photo art pieces. The texture of Sunset Photo Canvas Paper was ideal for the project at hand.
“The designer requested artwork that would stay true to their color scheme. They didn’t want the usual floral or nearby landmark prints, but more of an abstract take on the nature which surrounds the location of their hotel. The warm colors of the wood bark really popped out on the paper, and complemented the room design very well,” explains Saloni Desai, President of Art Foundry International. “The images, such as the wood bark and moss-covered tree trunk, have a natural, textured feel, so they were looking for the right paper to highlight that.”
Art Foundry International produced about 300 framed prints on Sunset Photo Canvas Paper with the company’s inkjet printer at sizes such as 20″ x 34″, 34″ x 22″, 22″ x 35″, and 11″ x 11″.
“LexJet’s new canvas paper allows me to enhance the vision even further by really bringing my photography and artwork to life and giving it a lot of depth. It mimics a real canvas painting, which really helps hit a home run with the customization aspect. I am very pleased with the innovative quality of this paper and look forward to marketing the exclusivity I can offer my clients for their projects. The feedback we’ve heard from this project is that the pictures look so real they make you want to walk up to the frame and actually touch it, expecting to feel the tree bark’s texture,” says Desai.
Art Foundry International designs, interprets, creates, develops and distributes a diverse portfolio of artistically inspired products as a result of relationships with artists and designers globally.
The company markets these creations to its customers and clients, presenting value and beauty in the form of unique commercial, hospitality, and residential designer products.
A major part of Art Foundry’s decor furnishings business revolves around its custom framed artwork and mirrors that complements the design in each unique space.
Where does photography end and fine art begin? That’s the question the U.S. Copyright Office had for Wolfgang Jasper when he submitted his hybrid work for Copyright protection. It’s basically the same question judges at the recent Virginia Professional Photographers Association (VPPA) print competition.
After considering and re-considering Jasper’s submission of photography/abstract art called Icebound Anamoly, the judges awarded the print a 91 and a Sunset Print Award.
“The judges talked a lot about the framing and matting; they seemed to like that quite a bit. The type of work I submit is not the kind of stuff they usually give high marks to when it’s something they don’t understand or seen before. I was pleased they liked enough to give it such a high grade,” says Jasper. “I think the presentation had a lot to do with it, but I also had it printed on a matte paper by Richmond Camera this time and all my prints did much better. It gave it more of a look like a piece of art and helped the texture of the image along as well.”
Icebound Anomaly represents the direction Jasper’s photography is headed. Though his primary business is portraiture, his passion is thought-provoking fine-art photography that blurs the line between photography and fine art.
For Icebound Anomaly, Jasper used a Lumix Digital Single Lens Mirrorless camera to capture limbs and grass trapped in the ice of a nearby pond. After taking several shots the magic happens when he combines everything.
“I’ll layer the files, reverse them, put one on top of the other, and go back and forth until something good happens. I do a million and a half things; there’s a lot of layering and layer masking going on,” explains Jasper. “I want the viewer to be able to look at this image for more than just the surface and think about what’s going on. The judges thought it was a well-executed print and the presentation was exquisite. One of the judges couldn’t buy into it because he just couldn’t figure out what it was. Finally, the other judges pointed out the title. It says it’s an anomaly; you’re not supposed to know what it is. It came up three times, and the final score was a 91.”
Jasper got into photography after his return from Vietnam in 1971, landing a job with a portrait studio. He travelled all over the country shooting portraits and went to school for photography, but art struck his fancy and he ended up with a Master’s in painting and printmaking.
“A lot of my photography now is different because I come from a painting background and not a technical background. Portraits are still my bread and butter, but I’m trying to figure out how to make my photographs more like art prints and I think I’m getting closer with the prints I’m making. Eventually I’d like to do more design and textile work,” says Jasper.
This corporate fine art triptych is another colorful collaboration between Jeff Fina of Hudson Valley Giclee and abstract fine artist Bruce Bleach. The pair often team up to bring unique fine art to corporate and other environments.
In this case, Bleach created the overall design, which Fina tweaked in Photoshop and prepared for printing. Fina printed the image on LexJet Sunset Select Matte Canvas and coated it with Sunset Satin Coating.
“Red and blue are very hard to reproduce, but the red on this canvas is as deep a red as you can get. You typically can’t hit colors like that with canvas since it doesn’t have as wide a color gamut as Sunset photo papers, but the combination of this canvas with the coating really brought out the richness of the colors,” says Fina. “I like LexJet Sunset Canvas much better than any other canvas. It’s easier to work with, easier to wrap and the color gamut is better.”
Once printed and coated, the piece was glued to wood and Bleach cut it out along the lines that Fina included when he prepared the file for print. Bleach also added scored and colored pieces of metal that give the piece more shine and relief, complementing the overall look of the design.
“A lot of artists, and especially Bruce, want to experiment beyond just printing, so Sunset Select Matte Canvas is a really good medium to meet their need to experiment because it’s also durable and easy to finish, especially with the Sunset Coating,” says Fina. “I know someone who left his canvas with the Sunset coating in the snow. I’m not sure why or how it got there, but the canvas was still perfect after that and he never thought in his wildest dreams that would ever happen. So, when you cut around the canvas, there’s no damage to it at all because of the quality of the canvas and the coating.”
Cohesive collaboration is often the key to creating a successful project. An excellent case in point is the collaboration between fine art print expert Jeff Fina of Hudson Valley Giclee and abstract fine artist Bruce Bleach.
The pair has been collaborating for the past six years or so on a variety of multi-media projects for corporations and other organizations that are dynamic and detailed. One of their latest creations was a 9′ x 13′ wall mural of Lady Liberty for a corporate client.
A seemingly simple image to re-create, Bleach provided subtle touches that both preserve the integrity of the American icon while giving it a distinctive look.
“We first enlarged and sharpened the photography, and then did some Photoshop work to it where we colored the torch and rendered the rest of the image in black and white. We were able to take a fine art aesthetic and apply it to this project,” explains Fina.
Once the image was perfected it was on to printing and applying the giant piece. After consulting with his LexJet customer specialist, Joshua Mott, Fina decided to use Photo Tex repositionable fabric instead of a wallpaper-like material or an adhesive-backed vinyl.
“I watched application videos at LexJet’s YouTube channel, and it seemed pretty easy. We did some overlap, cut between the overlap and then peeled away the excess and it was seamless. The magic of the material is that it is so easy to work with. We made a couple of mistakes during application where the material stuck to itself, but it’s so tough and repositionable you just pull it out and re-apply it,” says Fina. “It makes it a lot easier to price out these projects when you know you don’t have to account for 20 percent extra for difficulties during installation.”
Fina also wanted to ensure the fidelity of the blacks and gradients since those can be difficult to hit with a fabric material. Ultimately, says Fina, he was able to maximize the image potential by adjusting various settings in the driver of his Epson Stylus Pro 9800. Fina printed the piece in 32″‘ x 60″ panels, which were applied with the aforementioned overlap to ensure perfect registration.
“We planned it so that we applied the whole left side from top to bottom. When we did the middle section, we started at the center as an anchor; if there was a mistake we could make up for it from top to bottom,” says Fina.
The results speak for themselves and Fina credits Bleach’s long history in the art market, as well as the personal attention he received from LexJet, for making this project work and work well.
“Bruce has been in the industry longer than I’ve been alive and we’re able to combine our strengths on the projects we work on together. Plus, LexJet has allowed me to go crazy so that there are no real boundaries for what we can do artistically,” adds Fina.