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I’ve been designing posters for seven years. I love that the medium has few rules. It’s a unique balance between art and information. Selling prints of my poster work usually means commercial printers using thermal or offset presses. But I’ve never been comfortable being that disconnected from the final product. I wanted to bring it in-house and have more of a hands-on role as an artist and create more of a connection between myself and the buyer. I wanted the end product to have a human touch, to feel more like a one-off than something that was run on a huge press 1,000 at a time.

After some research, I found that large-format ink jet printers and the Giclée process would best suit my needs. I was amazed at the quality and options this process afforded me as a designer. I chose the Epson 9900, which allows for up to 44” wide prints. This printer is capable of producing stunning output using a 10 color ink system; I’ve yet to see any other printing process that can match the quality.

I employ a lot of texture effects in my work so choosing the right paper was critical to reinforce the aesthetic of the design. I was very impressed with German firm Hahnemühle’s offerings, they create some beautiful papers with rich textures. I decided on the German Etching 310gsm as it had just enough texture without being overbearing and a good deal of weight to make the print feel substantial and durable.

I run the 9900 above my studio with the help of ISO50 student intern Alex Cornell. We typically print two up on to 24-36” rolls and then cut to size using a 51” Dahle cutter. A precision cutter like the Dahle is critical to the overall feel of the prints. A crisp, precise cut is a must when working with Giclées.

I felt like there was still another level of customization that could be achieved. I’ve always loved the idea of stamps, seals, and embossers and I knew I wanted to somehow incorporate these into the process to make these prints feel special. I had a custom embosser made using my logo that serves as an indelible stamp of authenticity for the pieces. This is stamped next to the signature and edition number on the bottom of each print.

The final barrier between the studio and the customer is the shipping process. I wanted this part of the process to feel just as detailed and carefully thought out as the rest. I found a way to package the prints that ensured safe delivery and a quality presentation. The prints are first covered by a sheet of pH neutral glassine paper which protects the finish from scuffing or wear. They are then rolled in kraft paper, sealed with pH neutral tape, and rubber stamped with the studio seal. This package is then suspended inside a larger cardboard tube so that it is not damaged if the tube is dented or bent during shipment. The tubes are each stamped with the studio logo.

The end result is an experience that I feel maintains the fine art print aesthetic from delivery to framing. A product that takes digitally created work and places it squarely in the real world, something that feels permanent in a time dominated by all things temporary.