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A short chronicle of the new plotter’s arrival at the office.
Be ready for new prints, new projects and new exhibitions!

“The new plotter allows us to make tests at the studio and have them under control more quickly. By trying to equalize our printer with Grieger’s in Dusseldorf, we can immediately check the result and correct the files without going through tedious international shipping, a process that can take several weeks.

Of course, it’s all pure theory because it’s proven to be harder than we expected!”

Massimo

“We still print the final versions at Grieger in Dusseldorf, where the pictures are mounted under plexi and then framed at Frank Terhardt’s. We use the same Canon Inkjet printer that allows us to produce 150x190cm large format prints and has a color optimizer, a transparent coat that flattens the small ink drops without being too three dimensional, which makes the process of mounting the pictures under plexi easier.”

Massimo

“What prompted us to switch to inkjet is that lightjet printing machines have been somewhat abandoned by manufacturers, and it has become increasingly difficult to find specialized technicians. Often there has been a long downtime because there was no one who could fix the problem.”

Andrea, the studio colorist

“Kodak paper, the only one which exists in the 180 cm high format, had become increasingly gray and with a warm base. Inkjet, on the other hand, guarantees paper with a brighter base, for greater contrast. The advantage is that the number of colors of the inkjet is much wider than the chromogenic printing, allowing for more saturation and depth in the blacks.”

Andrea, the studio colorist

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