Print Information

Pigment Ink on Paper

I print using an Epson 3800 printer and Ultrachrome K3 inkset on the highest quality archival pigment inks on a small variety of fine art papers. The papers that I like to use include matt-surfaced cotton rag papers as well as fine Japanese washi papers such as Moab Moenkopi Unryu.

Except where noted otherwise, all prints in currently offered sizes are in editions of 30. Each print is signed and dated by the artist on the front of the print.


Alternative Process Prints

In concert with 19th century-inspired craft and chemistry, I make use of 21st century imaging tools in a contemporary way of embracing the possibilities of the handmade print.

To make a print, I brush one or more kinds of hand-mixed emulsions onto fine art paper, which is then contact-printed utilizing large format photographic negatives made on an inkjet printer. The images on the negatives are either scanned from in-camera negatives, or created from digital camera files.  Much of the work I have produced is rendered as ziatypes, a palladium printing-out process derived from nineteenth-century processes.  For some images I overprint the ziatype using a pre-1850 process known as cyanotype. This overprinting technique adds shadow depth and color notes that are not possible using the ziatype process alone.

I produce my alternative process prints in very small editions and as monoprints. Because of their handmade nature, each editioned print may have unique qualities that distinguish it from others in the edition. Each print is signed, dated, and numbered as appropriate.


All my prints are sold unmounted/unmatted. My prints are made to last, and under ordinary conditions they should not fade or discolor, but I  recommend that you ensure this by using archival materials for mounting and matting, displaying the prints away from direct sunlight, and if you want to go the extra mile, protect them behind museum grade UV glass.