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How the limited edition prints are made

Over thirty years of experience in art direction and print production is brought to bear on this latest series of fine prints. Carefull attention to detail in rendering and reproduction are apparent in these finely crafted images.

As with the paintings, I seek to use the intrinsic properties of the media to enhance the expression of visual concepts. The fluid quality of these images belies the fact that they were crafted using a stylus-controlled computer rendering system. These works could be divided into two categories, those based on photographic input and those created entirely on the computer, with most being the latter.(see my rant on computers as artists' tools)

Due to the limited dynamic range and short lifespan of prints such as Iris giclée, I had been reluctant to create digital reproductions. The recent introduction of the Roland HiFi Jet printer, delivering certified archival lifespan of up to 130 years, solved the archival issues. Coupling this with the services of a printer that employs highly skilled color experts has allowed me to combine digital media skills with fine art in a way that fit with my high regard for quality and endurance.

These fine prints are reproduced on an eight-color Roland HiFi Jet Pro digital printer, onto Legion Concorde 100% Rag Bright White paper. They are of the highest archival quality. Ongoing research by Wilhelm Imaging Research, Inc. predicts no noticeable fading, changes in color balance, and/or staining for 120-130 years, for this paper and press combination.

An added bonus to digital printmaking is that prints can be offered in varying sizes. Once optimized for the maximum size, quality reproductions can be made at any smaller size to fit customer demands. Currently, the largest size availabel is 50", by any dimension, larger or smaller (e.g.: 50"x90"). Edition quantity limits are not compromised, as each individual print is limited to the total number, regardless of size. There is an option for further limiting an edition to only prints sold up to a point (see How To Buy).

Detailed list of tools and materials

How the paintings are made

Mounted on 2-inch thick wooden stretchers, these canvases can assume a bit of 3-dimensional presence.I make my own strecher bars from individually selected 1/2" quarter round, glued and nailed to 2"x2" white wood. The stretchers are hand cut and assembled with 1"x2" cross braces and 1/4" thick triangular corner braces. These are covered with 12 oz., 100% cotton artist's canvas, which is wrapped around the side of the stretcher and fastened on the backside with 3/8" staples. This produces stretched canvases that are very sturdy and durable. They have an impressive presence on a wall. Many owners prefer to leave these works unframed since the canvas wrap provides an attrractive finish. Of course they are frameable if that suits one's taste and requirements. Some of his earlier works are framed in hand-rubbed pine with a 1/8" flat black recessed relief between the canvas and the frame.

The stretched canvases are sized and primed using Daniel Smith's World's Best acrylic gesso. I apply three coats, sanded smooth between and after, leaving a smooth yet natural canvas texture.

I mix my own formula of glaze medium with a variety of fine quality artist's oil paints from France, Holland, England and the U.S.

My studio is located in my north Seattle home where I work both indoors and out in surrounding courtyards and gardens.

Detailed list of tools and materials

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