||Printing process is done using
six to eight high fidelity quality color separation
with Diamond Screen, which is the best available technology
producing bright, intense color rendition. A thermograph
process where plastic pebbles are melted and fused permanently
to the surface of the print applies the texture. This
process is resistant to scratching, peeling, or cracking.
Paper used is 100% cotton fiber Rageoat, acid-free to
Library of Congress standards. The ink film remains
undisturbed on the sheet surface and is protected by
an UV reflective high gloss coating for maximum protection
||The artagraph is dimensional oil on canvas,
which recreates not only the color of the original,
but also the surface texture in every detail. First,
digital laser scans the colors of the original. The
colors are printed overlapping layers using oil based
inks on oil substrate (oil base). Second, relief-molding
process is taken from the surface of the original by
using patented silicone gel substance. After capturing
every surface detail, 72 hours later, the mold is removed.
In the third stage, the negative mold, the printed oil
based substrate and the laminated canvas are all placed
into an oven press and heated (600° F) under high
pressure, causing the oil to liquefy into all crevices
on the mold. Immediately, the artagraph is shock frozen
with liquid nitrogen, leaving permanent surface texture.
||Canvas transfers have been recognized
over the past decade as an elegant alternative to glass
framed lithograph images. Canvas transfers give the
look and texture of an original oil painting to paper
art by simply transferring color onto an artist canvas.
First, a lithograph on paper is coated with acrylic
emulsion containing the highest recommended amount of
UV inhibitors. Then when the acrylic is dry, the print
is covered with a solution that helps to separate the
image from the paper it was printed on. The image is
now bonded to the acrylic and free of paper. This film
is then carefully bonded to the highest quality wrap-around
artist canvas. Finally, the image undergoes a series
of rigorous inspections that insure our work is of superior
quality. The result is a beautifully unique reproduction
that maintains the integrity of the lithograph while
increasing its appeal and value.
||The image has been etched into a copper
plate, ink is then applied 'to the plate. Dampened Fabrianno
Uno paper is then laid onto the plate and under extremely
High pressure from an etching press; etching felt is
used to force the paper into the ink in the copper plate.
These images are all Hand printed and may vary slightly
from print to print.
||May be either on Somerset paper or canvas.
Produced from the color transparency made from the original.
The environmentally safe vegetable dye ink (water based)
is applied by microscopic spray from four nozzles (each
carrying a different color) in a single pass with perfect
registration. The paper or canvas is attached to a drum,
which spins at 2Q feet per second, and translucent inks
are laid down on top of each other. The effect is fine
detail and excellent color. The Louvre uses the Iris
Printer for reproduction and display of many art works.
||Lassengraphs are similar to Mastergraphs
in final product appearance, however, Mastergraphs start
as a photographic reproduction, Lassengraphs are digital
image capturing which generates prints with six colors
of pigmented ink, mounted on Sintra and laminated.
||The image is drawn on a litho - limestone
or exposed to a light sensitive litho plate. The printing
surface is kept wet with a sponge; the ink is then rolled
by hand onto the plate or stone. Fabrianno, a 300 gm
weight rag paper, is laid onto the stone and through
a litho press. The colors are Hand pulled, resulting
in variation of tone from print to print.
||Also known as Chromagraph, mastergraph
prints are made from durable polyester-based material.
They possess a high gloss finish and yield maximum color
saturation while minimizing contrast gain. Mastergaphs
are produced with 'the most advanced photographic process
available to date. This process increases print longevity
and is environmentally safer than other methods. Mastergraph
prints are mounted to a plastic material referred to
as Sintra with an acid free permanent adhesive. The
print, adhesive, and Sintra material described represent
some of 'the finest materials available for producing
museum quality photographic reproductions. Further information
can be found in the publication, "The Permanence
and Care of Color Photographs by Henry Wilhelm.
||Combination of offset lithography and
silkscreen process. A lithographic reproduction is made
photographing a painting using color transparency and
then printing by mechanical photographic offset method
on the highest quality pH balanced paper. Next, silk-screening
process by which clear inks are squeezed through the
open areas in stretched silk. A certain design (water,
clouds, rocks) are cut into a stencil which is on top
of the screen. This combination is producing a slightly
textured appearance. Each print is made exactly alike.
||A digital application of pigmented ink
on canvas or Lysonic paper. Using elemental artist pigments
(pure color found in nature) and a combination of vehicles
(not oil) through a six-color process using ink jet
technology on a Roland printer. The artist pigments
are noted for archival longevity (100 years) regardless
of sub strate used.
||Hand drawn positives are produced for
each color by a master printer. A separate screen is
then produced for each positive, resulting in several
||Asahi Digital Print, Japan, our' exclusive
printer for our reactive ink on silk product, explains
to us (while protecting their trade secrets) that the
reactive ink used is specially formulated for silk,
and is applied in a digital (RGM) manner, using ink
jet technology on crepe silk fabric.