Why? Because their projects entail a special set of expectations. An art client expects a faithful reproduction of a finished work, be it a photographic print, a drawing or a painting. Often our client is the artist and the project is a highly personal one. In any case, it is important that their expectations are tempered with the realities of the printing process.

Art reproduction is a translation process in which we convert an image from one medium to another. It is not unlike translating a book from one language to another. And like language, where there may not be an equivalent word or phrase, interpretation is often required. A painting rendered in oils on canvas cannot be the same rendered as ink on paper, but we can capture the spirit of the art and produce as close a match as our process allows.

Every process has its constraints including printing. Four inks known as CMYK are used to reproduce images and can be combined to produce a wide spectrum of colors. But they are no match for the wide variety of paints an artist can choose from or the intensity of color a photographer can capture on film. But by understanding the constraints, we have devised ways to push the envelope, like substituting one component of the CMYK combination or adding a touchplate to deepen a color.

Even black-and-white photography has color to a trained eye. The tones can impart warmth or coolness or make an image have a nostalgic or contemporary feel. We translate these images to duotones or tritones and a faithful reproduction hinges on choosing the right combination of inks. Based on decades of experience, we can confidently predict how inks will interact. We will specify just the right black, or perhaps a special-mix ink – whatever it takes to match the original.

It’s more than getting the images right. Choosing the right paper stock is an equally critical step in the reproduction process. We consider the weight, surface, texture, brightness and archival features that best suit your needs. Adding a varnish can also contribute to a fine reproduction. Different varnish treatments enable images to “pop” off the page or conversely feel like they are part of the paper. We will also advise you on finishing issues – trimming, scoring, folding, stitching – to ensure the overall quality of your final product.

We pick the right technology for the right project. Anaconda offers both direct imaging and traditional presses. That combination can pay off in big ways for our clients. For example, our Indigo digital press allows us to produce as few as 10 or 25 copies of an item without incurring the expensive setup of an offset press – or sacrificing quality. It’s ideal for test-marketing or proofing a product. Plus we can use our presses in tandem to save both time and money, starting the job on the Indigo and finishing it on a traditional press.

Work with specialists in art printing. Anaconda Press has been linked with art from our earliest days. When we opened our doors in 1974 we were located on 14th Street in Washington, DC, in the midst of artists’ studios and lofts. We had a one-color press and quickly earned a reputation for the patience and skill to make multiple passes and turn out faithful art reproductions. Today, we continue to serve individual artists as well as museums, galleries and cultural institutions. Our technology is more sophisticated but it is our depth of experience that remains our strongest asset.

Count on us to work with you as collaborator, consultant and craftsman. Expect more from Anaconda Press.