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All of my images are available as signed & numbered prints.
Each print is archival and museum-quality.

Information on my hand-crafted prints is shown below.
( Scroll down the page, or use these links. )

« Giclée / Archival Pigment »


« Platinum »

« Pigmented - Platinum »

To assist my collectors, I have also included suggestions on the
« care of your print. »

I am happy to assist you personally as you consider your purchase. Please
contact me directly to obtain current pricing,
or to request alternate sizing.

Interior Designers / Art Consultants
I enjoy working with designers and consultants on custom residential and corporate projects, both large and small. Please contact me to discuss how my fine art prints can enhance your interior designs, or to commission new work.

Click to view
« Interiors »


Art Directors / Graphic Designers

To request licensing rights on these or other images from my portfolios,contact me directly.

Phone
(612.872.9873)
Email (click here).

 

Giclée / Archival Pigment Prints


'Alien Blooms' from Natural Abstractions


My signature appears verso (on the back of the print).

Your giclée print is rolled with protective interleaving and shipped to you in a commercial-grade shipping tube. See « Caring for Your Hand-Crafted Print » .

I craft my giclée (ink-sprayed) prints using watercolor-type papers and archival pigmented inks. These are museum-quality prints that will remain vibrant for generations without fading or color shift.

I use heavyweight, fine art papers with a velvety surface and a completely matte finish. With pigmented inks, the print gamut is exceptional, providing both vivid colors and rich blacks. These prints have a visual and tactile depth that I find particularly well-suited to my imagery.

For additional detail on the archival inks and art papers that
I use, please contact me. I will provide technical specifications, upon request.


 

Details « Portfolio 1 »
~ 8 x 12
~ 12 x 18

Natural Abstractions « Portfolio 2 »
~ 12 x 18
~ 15 x 22

Impressions « Portfolio 3 »
~ 8 x 12
~ 12 x 18

Paper sizes:
13x19 paper for both 8x12 and 12x18
17x24 paper for 15x22
images

 
 
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Platinum Prints

Platinum printing is an historic photographic process that is prized for its extended tonal range as well as its archival permanence.

I mix a light-sensitive solution containing platinum and palladium (pt/pd) salts and hand-coat the emulsion onto art paper. The image is then contact-printed using a digitally enlarged negative (the negative is the same size as the print). The image is exposed to UV light and processed in traditional pt/pd chemistry.

I prefer to use translucent vellum paper which imparts a unique smoothness to the image. My finished platinum prints have luminous highlights and deep blacks with chocolate-colored undertones.

Black & White Collection « Portfolio 4 »

~ 8 x 12 (matted to 16 x 20)

Your platinum print is shipped to you flat. It is presented with a conservation mount that is ready for framing.
The window overmat is 8-ply, bevel cut, acid-free, museum white.

My signature appears verso (on the back of the print )
and recto (on the overmat).


' Reflection', from the Reflected Flora diptych
(The above image shows the proportions
of the matted presentation.)

 
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Pigmented - Platinum Prints


' Sunset Solitude '
(The above image shows the proportions of the matted presentation.)

To make colorized platinum prints, I first apply a layer of pigment on heavy-weight cotton rag paper with archival inks (much like the giclée process referenced above).

I then hand-coat platinum/palladium emulsion on top of the colorized layer. The image is contact-printed using a digitally enlarged negative, exposed to a UV lightsource and processed in traditional pt/pd chemistry. This print-making process yields painterly images with buttery colors and warm blacks.

Works on Paper « Portfolio 5 »
~ 6 x 9 (matted to 16 x 20)

Your pigmented-platinum print shipped to you flat. It is presented in a conservation mount that is ready for framing.

The overmat is 8-ply, bevel cut, acid-free, museum white and the mat window is cut to expose the irregular edge of the hand-coated emulsion. My signature appears verso (on the back of the print ) and recto (on the overmat).

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