Dallas, Texas - United States
IndustryBio
Working in imaging and graphics my entire career, from C41 processing and printing from developed negs, when negatives came out of cameras, I moved to a stat camera shooting RA line shots and halftones at a print shop. Cutting my teeth on a multilith 1250 while getting operational instructions over the phone proved helpful; and I was operating a GTO by age 19, running process jobs 2 colors at a time. Flat build ups where common, often requiring 30+ burns per color on a plate. Over the years, while imagesetters and contact frames have all but disappeared, I've learned the science of my chosen profession and the fact that ink and water do not mix With CMS and Adobe certifications, we started to get bored with the CMYK ink set. With the road to expanded gamut opened up and metallic integration introduced to the mainstream, we now know how to do some trick print. Adding some old school ideas and some mind-numbing Photoshop separations, we can push the gamut even further. Adjusting pigment load and tack in ink also creates some cool effects. Toss in some effect or textured UV and you have a one of a kind printed piece. I'm here to help.