About JDCPhoto

JDCPhoto, led by photographer Jose Cantu, specializes in capturing vibrant and professional imagery. With an eye for detail and a passion for sharing his art, Jose turned to calendar printing as a way to showcase his photography in a format that customers and fans can enjoy every day of the year.

The Challenge

Jose wanted a calendar that not only looked professional but also reflected the quality of his photography. As someone who doesn’t consider himself “tech savvy,” he also needed the design process to be straightforward and accessible.

The Printing Solution

Using PrintingCenterUSA’s easy online system, Jose was able to upload his images, customize layouts, and create a finished calendar without any hassle. The specs gave his 2026 Gate Calendar a polished, professional look that highlights his photography on every page.

Project Specs

• Size: 11 x 8.5” (Landscape)
• Calendar Type: Wall Calendar
• Binding: Saddle Stitch
• Pages: 12-month (28 Pages)
• Cover Paper: 80# Gloss Cardstock (8 pt.)
• Inside Paper: 100# Gloss Text (5 pt.)
• Cover Ink: Full Color, Both Sides (4/4)
• Inside Ink: Full Color, Both Sides (4/4)
• Cover Finish: UV High Gloss

This combination of glossy finishes and sturdy binding makes Jose’s calendar both durable and visually striking which is perfect for showcasing vibrant photography. Check out Jose’s website to book your shoot or order a calendar from his Instagram!

The Impact

Jose was thrilled with the results, praising both the quality of the product and the ease of the process.

“This is my second-year ordering calendars from PrintingCenterUSA, and once again they did an outstanding job! The quality is excellent! From the paper stock to the printing, everything looks professional and vibrant. Their online system makes the design process so easy to use, even for someone who doesn’t consider themselves ‘tech savvy.’ I was able to upload images, customize layouts, and get exactly the look I wanted without any hassle. I’m very happy with both the product and the service, and I’ll definitely continue to order from them in the future. Highly recommend for anyone looking for high-quality, professional calendar printing!” Jose Cantu, JDCPhoto

Looking Ahead

After two successful years, Jose plans to continue producing his annual custom photo calendars. Each edition not only builds on his growing portfolio but also provides fans and clients with a collectible piece of his work. With the ease of PrintingCenterUSA’s design tools and the consistency of professional-quality printing, Jose can focus on what he does best; capturing the moments worth remembering and sharing them all year long.

Ready to turn your photography into a custom calendar? Start your project today with PrintingCenterUSA. Get started here.

The post Capturing the Year in Print with JDCPhoto appeared first on PrintingCenterUSA.

About Fun by Nature Studio

Fun by Nature Studio is the creative home of Jennifer Beck, a photographer passionate about capturing the natural beauty of wildlife. Her project, Lowcountry Lens, was inspired by a desire to highlight the incredible diversity of animals that call the Lowcountry home.

The Challenge

For Jennifer, the hardest part wasn’t taking the photos. It was selecting the right ones. Narrowing down her library to the images that would best capture the region’s beauty and diversity was no easy task. On top of that, she wanted to ensure that once chosen, the photos were printed in a way that reflected their vividness, texture, and life-like detail.

The Printing Solution

Working with PrintingCenterUSA, Jennifer chose specs that would make her book stand out in local bookshops while providing durability and a premium feel for readers.

Project Specs

• Size: 11 x 8.5” (Landscape)
• Binding: Hard Bound
• Inside Pages: 30
• Cover Ink: 4/0 (Full Color Outside, No Print Inside)
• Inside Ink: Full Color
• Inside Paper: 80# Matte Text (4 pt.)
• Cover Finish: Matte Lamination

This combination gave Lowcountry Lens a sturdy hardcover finish with a smooth matte feel that enhances photographs, while the full-color printing throughout ensures that every detail of the wildlife images pops off the page.

The Impact

Jennifer was thrilled with the results!

“My photobook was inspired by a desire to share a collection of the incredible wildlife that call the Lowcountry home. One of the biggest challenges I faced was narrowing down my images to the ones that would best showcase the beauty and diversity of these wild animals. PrintingCenterUSA went above and beyond in bringing my vision to life, and I’m thrilled with the results. I’m looking forward to sharing my book in local bookshops and hope it not only reaches readers who appreciate nature, but also inspires other wildlife photographers to create their own projects with the help of PrintingCenterUSA.” Jennifer Beck, Fun by Nature Studio

Now, Lowcountry Lens is ready to reach new audiences, both as a keepsake for nature enthusiasts and as inspiration for other creatives to pursue their own passion projects in print. Check out their YouTube Channel here!

Looking Ahead

With Lowcountry Lens complete, Jennifer is eager to place her books in local bookshops, where she hopes they’ll reach both nature lovers and aspiring photographers. Her ultimate goal is not just to share her work, but to inspire others to explore their own creativity and celebrate the wildlife around them. By using high-quality print as her medium, she’s ensuring that the beauty of the Lowcountry can be experienced, page by page, by readers near and far.

Ready to turn your photography into a professional-quality book? Start your project today with PrintingCenterUSA. Get started here.

The post Bringing the Lowcountry to Life with Fun by Nature Studio appeared first on PrintingCenterUSA.

About ONEshot Photography

ONEshot Photography is the vision of Jon Kammerman, a creative dedicated to capturing stories through images. With a passion for bringing moments to life in print, Jon wanted more than just a book of photographs. He wanted a piece that felt immersive, tangible, and timeless. CAPTURE Photographing Life reflects that vision, combining carefully curated images with a durable design meant to be enjoyed for years.

The Challenge

For Jon, the challenge wasn’t just creating a photography book—it was producing one that felt professional, sturdy, and elevated enough to stand alongside his creative vision. He needed something that balanced:

• Durability for frequent handling by customers and collaborators.
• Premium feel to reflect the artistic quality of his work.
• Color accuracy and finish that would do justice to each photograph.

He also wanted to make thoughtful choices about paper weight, coating, and binding so the final product would feel substantial in hand without sacrificing flexibility for the reader.

The Printing Solution

Working closely with Megan Drew, one of PrintingCenterUSA’s customer service representatives, Jon explored multiple options for paper stock, coating, and cover finishes before finalizing his perfect combination. Together, they landed on a design that paired visual impact with long-term durability.

Project Specs

• Size: 8.5” x 11”
• Pages: 72
• Binding: Perfect Bind
• Cover Paper: 100# Cardstock Matte (11 pt.)
• Cover Ink: Full Color (4/4) Both Sides
• Cover Finish: Soft Touch Lamination
• Inside Paper: 100# Matte Text (6 pt.)
• Inside Ink: Full Color (4/4) Both Sides

This choice of specs gave CAPTURE Photographing Life a luxurious, velvety matte cover that resists fingerprints, combined with smooth, heavy-weight inside pages that keep full-color images crisp and vibrant.

Visit ONEshot Photography to book a CAPTURE photoshoot today!

The Impact

The finished book exceeded expectations. With its perfect binding, soft touch lamination, and high-quality paper, CAPTURE Photographing Life feels like a collector’s piece. The balance of sturdiness and elegance allows readers to enjoy each page without worrying about wear.

Jon now has a photography book that reflects his artistic vision and one that resonates with clients, collaborators, and anyone who values the beauty of life in print.

“The final product turned out exactly how I envisioned it. The colors, the finish, the feel—it’s everything I wanted in a photography book. PrintingCenterUSA made the process simple, collaborative, and fun.” Jon Kammerman, ONEshot Photography

Looking Ahead

With CAPTURE Photographing Life complete, Jon is already exploring new ways to expand his work into print, from additional photography collections to potential magazine-style publications. By partnering with PrintingCenterUSA, ONEshot Photography has the tools to continue creating high-quality, professional materials that showcase creativity in its best light.

Ready to bring your vision to print? Partner with PrintingCenterUSA for high-quality, affordable books that make your ideas shine. Start your project today.

The post CAPTURE Photographing Life with ONEshot Photography appeared first on PrintingCenterUSA.

Welcome to the latest episode of Behind The Print, where we bring you the creative stories of industry leaders shaping the world of professional printing. In this episode of Behind the Print, we’re joined by Deborah Fritz, the creative force behind, not one, but two Santa Fe art galleries: Giacobbe-Fritz Fine Art and GF Contemporary. Deborah walks us through her passion for fine art and her journey that led her to Canyon Road Santa Fe.

Below, you’ll find the transcript of our conversation, edited for clarity to ensure easy reading. If you want the full, authentic experience, make sure to check out the video attached below.

Connor Shields: Welcome back to Behind the Print Podcast, where we feature industry leaders and uncover the creative minds and their businesses within the world of professional printing. Our mission is to provide you with inspiring actionable resources that elevate your business projects and accelerate your journey to excellence and profit and in print. 

Today’s episode is Canvas, Culture and Canyon Road, Santa Fe, Debra, Fritz Unframed. Joining me here today is the creative force behind, not one, but two Santa Fe art galleries. Deborah Fritz, welcome to the podcast. 

Deborah Fritz: Thank you. Thank you for having me, Connor.

 Connor Shields: If you’re ready, let’s just dive right in. Sound good?

Deborah Fritz: Sounds great. 

Connor Shields: So tell me a little bit about yourself and what you do. 

Deborah Fritz: I run two art galleries on Canyon Road in Santa Fe. Canyon Road is a very historic district in Santa Fe. It’s about a mile long and there’s about a hundred art galleries, restaurants, and shops.

It’s really super sweet. It’s really old. Our buildings are from the 1800’s. So think like Billy The Kid running around, grabbing a drink at the local bar here. And it’s just turned into an artist community and art galleries all along the road. I started in 2000 and so it’s just celebrated 25 years.

Connor Shields: Congratulations! 

Deborah Fritz: Yeah. Thank you. It’s been really awesome. I started GF Contemporary, 18 years ago and I’ve just plugging along. I pinch myself every day. It’s a really, really fun gig. 

Connor Shields: So how did you get into the business of fine art? 

Deborah Fritz: Well, I have a degree in Art Studio, and my dad was like “I spent a lot on that education. You better get a job.” And so I got a job at an art gallery and it was the booming 90’s. I was just writing up these dotcoms these $200,000 sales. It was just a really exciting time. And my sister, the Jacobi part of Giacobbe Fritz, she was working at Microsoft in Seattle.

Her and her husband actually ended up moving to Italy – he’s Italian – so we thought this would be a really good marriage of our skills because she had the business background and I had the art background. We would marry our skills and then they moved off to Italy and she started a family. I kind of learned the from “the school of hard knocks” but it’s been really fun. I employ eight people and we have no artist turnover. I really enjoy it. 

Connor Shields: What was the first art gallery you started working at? 

Deborah Fritz: It was called the Downey Gallery. They’re not a business anymore. It was a bootcamp for myself, but it was a really great place to learn. I was young, I was like 26 and learned so much and met a lot of artists too. I found out I’m a better administrator of the arts than like a creative force in the arts, and so I create the galleries.

Connor Shields: Was this also on Canyon Road in Santa Fe? 

Deborah Fritz: It was. Back in the nineties, I think I started there in 95. 

Connor Shields: Oh, wow. So you’ve been in the business for a while. 

Deborah Fritz: Hah, yes a while. 

Connor Shields: So when it comes to your art galleries, is there any specific art form that you tend to focus on?

Deborah Fritz:

“Well, I’m lucky there’s two different galleries. One is more traditional and representational, and the other one’s more contemporary and abstract. Sort of both worlds. One’s in an old Adobe house, it’s really, sweet. The other one’s got concrete floors and super high ceilings. So it’s a little more showy and we can highlight the more minimalist hanging that we do. And then at the other gallery, Giacobbe Fritz is more like a salon style gallery. It’s nice to be in both worlds.”

I even tried for a hot minute to do more of a super contemporary installation based, more conceptual gallery that was in the rail yards here in Santa Fe.  COVID shut that thing down,  and doing three galleries is just a little too hard for one person. 2 is hard, but I make it work.

Connor Shields: Yeah, I can imagine. So I guess you could say one is more of like an American Southwest theme type gallery, and the other is more modern, more contemporary. 

Deborah Fritz: Yeah, I would say that. 

Connor Shields: So what can you tell me about your typical clients? 

Deborah Fritz: Well, we’re really lucky because Canyon Road is such a mecca for our people to come looking for work for their home, for their office, for their third home, and it’s really fun. We had a really fun story that happened when they were filming Oppenheimer here in Los Alamos. One day Robert Downey Jr. Came in and he bought a bunch of art.

Connor Shields: I bet that was a surprise when he walked in. 

“Well, we’re really lucky because Canyon Road is such a mecca for our people to come looking for work for their home, for their office, for their third home, and it’s really fun. We had a really fun story that happened when they were filming Oppenheimer here in Los Alamos. One day Robert Downey Jr. Came in and he bought a bunch of art.”

Deborah Fritz: My gosh. It was the funnest day of our lives. It really was. He’s such an amazing man and he got some really great art from us, and I hope he’s treasuring it. 

Connor Shields: What kind of art styles is he into? 

Deborah Fritz: He’s kind of the gamut.  You’d think a lot of the celebrities would want to buy this blue chip art at auctions, you know the fish in the formaldehyde tank kind of thing.  But he wanted to really support living artists that are working and making a living at their career. And it was so, it was just really touching so see the whole process, and I really love that one artist supporting another artist. That happens a lot actually. We have a lot of artists  that buy art. We even have an artist who, when she sells one of her paintings, she just buys art with the money. When I see her coming, I get excited because she just had a sale and she’s gonna give it back to the art community, which is really nice because. It can be a little slow at times. It’s a feast or famine business. It really is. A lot of people leave. We are go busy from March till January. So we all take our VA vacations in February. 

Connor Shields: It’s great to hear that you guys have that really close-knit community and you guys support each other. When it comes to your clients, what are some problems that you typically help solve for these individuals?

Deborah Fritz: Hopefully it’s not too many like problems, maybe like blank walls, which aren’t that bad of problems to have. If those are your pains, they are champagnes. But we’ve seen a lot of commissions lately where people are having like specific needs, like size needs. We actually just did a really big installation on a curved wall.  We have an artist who does these stick installations. His name is Pascal Piermé, his works has this really great fluidity and undulation.   It was perfect for a curved wall because if you think about it, it’s just a series of sticks on this curved surface and it was perfect. But yeah, we’ve had a lot of commissions this year. The Travel and Leisure Magazine voted Santa Fe the best city to travel to in 2025. We kicked Charleston off the top of the list. So that was really exciting and I think that’s gonna bring a lot of tourism towards the latter part of the year.

But right now it’s been really slow. I don’t know if tourism is down. I think just travel is down right now. I’m hoping it will increase in the fall, which is a really busy time for us anyway. Santa Fe is beautiful that time of year. We’re the high desert. A lot of aspen trees, a lot of changing of colors. You’re in Montana, right? 

Connor Shields: Yeah, I’m in Great Falls, Montana now. But, about five years before that I was out working in Steamboat Springs Colorado. So I can definitely understand the high desert, especially during fall, the foliage and everything. It is breathtaking.

Deborah Fritz: Yeah. We get that here in Santa Fe and it’s really nice. 

Connor Shields: So you kind of already partially answered this, but my next question is, out of all of the clients you’ve worked with, who would you say is the most interesting? I mean Robert Downey Jr is pretty hard standard to beat. 

Deborah Fritz: Oh, I know. That was really great. We’ve had some celebrities and we’ve had some non-celebrities. We have clients that have furnished their whole homes with our art.  At GF Contemporary, we do a whole section of different artists altogether. It’s always been my dream that somebody would come in and say, “I’ll take this corner”, or “I’ll take this room”. But that hasn’t happened yet. But you go to people’s homes and I experienced that where they have a lot of art from us and they develop these relationships with our artists.

My social calendar gets pretty full when I’m going out to dinner with a lot of clients and artists and that’s so fun. Like that’s the best part of the job is to see where the art lives. 

At GF Contemporary, we do a whole section of different artists altogether. It’s always been my dream that somebody would come in and say, “I’ll take this corner”, or “I’ll take this room”.

Connor Shields: So you mentioned that Canyon Road has around a hundred art galleries.  So that’s quite a few art galleries just contained within a one mile strip. Out of all the art galleries, how does Giacobbe Fritz Fine Art and GF Contemporary stand out from the others?

Deborah Fritz: We do curate a little differently and people do walk in a lot of times to both galleries and say, “wow, this is so refreshing. It’s different”. So I don’t know how that offsets me from the others. I mean, we don’t represent the same artists. We have a contract with our artists where they can just be represented by us in this community here. But they have other galleries in Los Angeles and New York, and a lot of them have, like Tulsa and Scottsdale and that sort of thing too. We always stand out. I think every day you make a sale, you have people coming in and you find out if they’re looking for art or you may not make a sale today, but you develop this relationship with them. You get their email, you get them on the artist lists. So when new work comes in, because the artists are constantly producing and they may not see something they want today, but in the future we want them to be able to have access to getting what they want. And 25 years in business, I’ve developed quite a nice mailing list of people from across the world that collect from us, which is really nice. 

Connor Shields: It sounds like a much more personal approach.

Deborah Fritz: It is. These are all personality driven businesses 100%. The owners are in the their shops. It’s a really neat community. It’s very close knit. I know all of my neighbors and they’ve been around for a long time. And when a new person comes in, I think they’re welcomed. I’ve been in the business for a long time, so I’ve seen a lot of my contemporaries from when I started are retiring now.

I’ve also been seeing a lot of younger artists with an entrepreneurial spirit. They would come in and take the risk to start an art gallery. They have a high, high overhead and it’s a feast or famine business. 

“I’ve been in the business for a long time, so I’ve seen a lot of my contemporaries from when I started are retiring now.”

Connor Shields: So you mentioned the people j just starting out, the new entrepreneurs, the younger folks. What advice would you give to someone who’s trying to get into this business for the first time? 

Deborah Fritz: Anybody, anytime somebody says they’re going to start an art gallery, I get really excited and I hope that they’ve done a lot of research in our community to offer something that’s new and exciting. We have some really great new galleries that are run by young people. There’s like two but they offer things that maybe are missing in this community. Like one of them is $500 and below, and so you’re coming into town and everything’s $5,000 or $50,000 or $500,000. You can, start your collection pretty easily there. 

Giacobbe Fritz has a pretty wide range of art from different price points. We have things for $85 and you can start collecting. Because I think the younger generation does have a like a “no stuff culture”, but they want handmade things like precious things. They don’t want mass produced things. They really want authenticity and I think Canyon Road 100% offers that. We don’t have a Jamba Juice or a Starbucks. It’s very mom and pop the whole way up. And that’s part of our covenant with the city is, there’s place called Zoned to Arts and Crafts where it’s all handmade goods. It’s very historic, the sidewalks are raw there, the buildings are very unique little Adobe structures. The architecture’s very brown, but they used to be orchards. So there’s a lot of old orchard trees. We have a pear tree and an apple tree in front of the gallery that look like they’re out of a horror movie. We keep them alive because they’re hundreds of years old and we can’t bring ourselves to cut them down.

Connor Shields: Do they still produce fruit? 

Deborah Fritz: They do. It’s not very good. It’s a little mealy. I have to hire a guy to come and knock all the fruit down because it falls and it turns into like a soupy, smelly mess.

Connor Shields: Can you tell me about any major milestones or projects that have defined you or , your art galleries?

Deborah Fritz: Well I’ve been in the business for 25 years, I think that was pretty amazing to celebrate. 25 years in business. I still represent artists that I had right at that the beginning. That’s pretty wonderful. When I started, the rent was crazy high and I thought  “what am I doing?” I’d go to bed every night thinking “what if I never have another sale? What if I can’t make this work?” And you just keep putting your nose to the grindstone.  I think showing up is probably the biggest reason of my success is I don’t take a lot of days off. I do travel a lot, but I would rather be at work than anywhere else. I think having the doors open is a big, big thing. You know, you see a lot of people that don’t keep the doors open. They take Wednesdays or Mondays off, and I’m thinking, gosh, that’s a big portion of your income that you’re like giving away because you’re not open. Another big milestone was Starting GF Contemporary, that was a huge one.  In 2008 all the banks were failing and everything was going wrong in the world. And I was able to assume another gallery that existed, and the former owner wanted out. I think that was kind of a turning point in me too, as a professional as well. Because now all of a sudden you’ve got twice as much income. You’ve got twice as much work, you’ve got twice as many employees. So I had to learn a lot from that because the other one I could just manage all by myself.

And then when I did a third gallery, that was pretty huge as well. I got a lot of recognition on that. We did some museum shows, which was really fun. I think that’s kind of rare for a little art gallery to be able to be part of museums and, yeah. 

“Well I’ve been in the business for 25 years, I think that was pretty amazing to celebrate. 25 years in business. I still represent artists that I had right at that the beginning. That’s pretty wonderful.”

Connor Shields: That’s quite the list of achievements. Going back to what you were saying that you would just rather be working, it is so important to just enjoy what you do. I know this is cliche, but if you love what you do, you never work a day in your life. 

Deborah Fritz: My dad used to say that to me all the time. 

Connor Shields: So you did touch on this a little bit before, but what major challenges or obstacles or holding you or your businesses back right now?

Deborah Fritz: Well, it’s funny because I think what sets us apart from like being a big corporation is all of our things are handmade. I know exactly where they’re made. I go to the artist studios and I see them scraping canvas or sawing wood and they’re real people with something inside them that they need to get out. And, bringing that to people that maybe you wouldn’t be able to be exposed to that in a world where everything is so mass produced.  We don’t really have more fine art prints like etchings, Aquis, that sort of thing.  Monoprints where it’s like a kind of one-off and the artist is there with their hand and everything.

That’s, been a challenge about  caling the business. I don’t know how that would even look. I don’t even know if my artists could like, keep up. Because during COVID we had such good years. I told the artists at the beginning of COVID  “You guys stay in your studios. Your life’s not gonna change too much.” You’re usually isolated anyway, so your lives aren’t gonna change. So keep producing. Keep producing, we’ll sell it we’ll, you know, and it was just awesome. People wanted something for their home. They wanted to support small business, they wanted art, they wanted something precious and artwork is very precious.

It has value. It’ll live beyond us and it represents us once we’re gone. It was just such a great time for us, the COVID years and now it’s slowed down. Maybe it’s gotten back to like normal. I didn’t realize my businesses could do so much business during those times, and that was not a challenge. It was good. 

Connor Shields: Going back to what you were saying about staying in your studios and keep producing. That’s kind of a opportunity for you. And I think it also might be accurate to say that during COVID people still wanted something precious, they wanted something handmade. But another reason it might be they want a connection. You can’t go outside. You can’t interact in person. So just having that art, having that connection might’ve been, might’ve been a, a factor. 

Deborah Fritz: Yeah, I think it was really like healing and helpful for a lot of people during that time and, and you know, art can do that. It just really is an amazing thing. And when people say, “oh, I can’t afford art”, I’m like, “you can go to an art fair in your community and support an artist”, pay a hundred dollars for something or $50 for something, and it’s going to change their life. And it’s where the rubber meets the road for, supporting a creative individual other than, you know.

Connor Shields: Yeah, I think that’s a good way to start your collection. So, how has Print , helped elevate your business? 

Deborah Fritz: Well, I actually, during COVID I decided to do a coffee table book for an artist. Because it was the downtime, I thought “We’ve got the time. Let’s do it.” I got a writer, I got the book maker. I got all of these things together and then everybody got busy and the world ran out of toilet paper. It was such a challenging thing. But we do these really great booklets with PrintingCenterUSA.

You have this really amazing online design tool so I don’t have to pay a graphic designer or anything. We have editions for 2024, 2023, so you can really see like the breadth of an artist’s work in these printed books that are really affordable. You guys are awesome with this.

Connor Shields: We appreciate that. 

“You have this really amazing online design tool so I don’t have to pay a graphic designer or anything. We have editions for 2024, 2023, so you can really see like the breadth of an artist’s work in these printed books that are really affordable. You guys are awesome with this.”

Deborah Fritz: Yeah, everything about it, even like  the cover material with that soft finish. 

Connor Shields: We appreciate that. And back to what you were saying, the soft touch finish. A lot of printing is primarily visual, but with the soft touch finish it has a more tactile feel. Gives it more and weight. It just feels good in your hands.

Deborah Fritz: Yeah, so much so that we got our business cards with it because people love to feel it. It’s like leather or something. 

Connor Shields: So, sort of a different question here for you. If you had a day completely free to spend however you’d like, what would you choose to do? 

Deborah Fritz: And I don’t have to do chores?

Connor Shields: No chores. You’re completely off the hook. No obligations. Just completely free to spend however you’d like. 

Deborah Fritz: You’re gonna laugh, but sometimes I take a date with myself. I’m on the board of the Museum Foundation here in Santa Fe and I love going to the museums. I really do. It is so fun and you don’t always get to go and the. And that’s what I do. I tell my husband, I’m like, I’m gonna go on a date with myself and go to the museums, and that’s what I do. Yeah, that’s. 

Connor Shields: That’s great. I do the same thing myself. When I first moved to Great Falls, the first thing I did is I went and I checked out the Lewis and Clark Interpretive Center.

Deborah Fritz: Well, fun. I would love to go there. 

Connor Shields: But yeah, just going to museums by yourself, that is, that sounds like a great day.

Deborah Fritz: Oh, I would encourage anybody to do that.

Connor Shields: So one last question for you. How can our listeners get in touch with you, learn more, maybe purchase some art or collaborate with you on a project? 

Deborah Fritz: Oh, so we’re really easy to find. , So it’s giacobbefritz.com and GFcontemporary.com. Those are our websites and all of our socials are those too. Giacobbe is with A-G-I-A-C-O-B-B-E. It’s the, Italian spelling. , But just Google, Deborah, Fritz, and you’ll come up with me. I even have Wikipedia. 

Connor Shields: Yes, I saw that. 

Deborah Fritz: That’s hilarious, huh? 

Connor Shields: So, did you have any questions for me? 

Deborah Fritz: No, thank you for letting me be on this. I’ve never been on a podcast before. 

Connor Shields: Yeah, absolutely. We’re glad to have you. Well, I’d say that’s a wrap on another episode of Behind the Print. Thank you to our listeners for joining us as we explore the artistry and innovation of the printing world. Remember, having a strong vision, building the right strategy, and using tools like Print to amplify your message, will make your brand stand out from the crowd.

If you enjoyed today’s episode, be sure to get your sample pack today from printing center usa.com. Until next time, keep those creative sparks flying. And remember, there’s always more to discover behind the print 

The post Behind the Print: Canvas, Culture and Canyon Road, Santa Fe, Deborah Fritz Unframed appeared first on PrintingCenterUSA.

About Beansie

Beansie was created by parents who wanted a simple, screen-free way to keep kids engaged wherever life takes them. What began as a small family hack quickly grew into a thoughtfully designed play system that includes reusable activity sheets, a two-sided LCD/magnetic board, and the Jelly Bean Adventure Guide. With every detail built to inspire creativity, Beansie is helping families everywhere turn travel time and waiting time into imaginative playtime.

The Challenge

As parents themselves, the Beansie team saw a need: families wanted an easy, screen-free way to keep kids engaged on the go. What began as a simple “restaurant bag” hack grew into Beansie, a travel-friendly play system designed to spark imagination in cars, waiting rooms, and anywhere adventure strikes.

Their biggest challenge was bringing all their ideas together in a format that felt simple and inspiring for parents. They needed something durable, colorful, and easy to carry which led to the Jelly Bean Adventure Guide.

The Printing Solution

To bring their vision to life, Beansie partnered with PrintingCenterUSA to produce a bright, high-quality booklet that could withstand the adventures of family life. The team wanted something that would look professional, feel sturdy in little hands, and showcase their playful brand in full color.

Project Specs:

• Size: 7.38” x 9.53”
• Pages: 8 (Cover + 4 Inside)
• Binding: Saddle Stitch
• Paper: 100# Gloss Text (Cover & Inside)
• Ink: Full Color (4/4) on Both Sides

These choices gave the Beansie team exactly what they needed: a durable, portable, and eye-catching guide that could hold up through road trips, waiting rooms, and everyday play all while keeping families excited to flip through the pages again and again.

The Impact

The Jelly Bean Adventure Guide became the heart of the Beansie starter pack, tying together reusable play sheets, a two-sided LCD/magnetic board, and scannable QR codes for extended play. Families now have a screen-free, ready-to-go toolkit for fun anywhere.

“The Jelly Bean Adventure Guide was the unlock! It brought everything together into a simple way that parents can grab and take anywhere. PrintingCenterUSA brought that to life with a beautiful, durable booklet we’re proud to include in every starter pack.” Heidi, Beansie Team

Now, Beansie is growing into an essential part of family adventures everywhere.

Shop now at Beansie.co

Looking Ahead

As Beansie continues to grow, the team is excited to see their Adventure Guide become a part of family traditions, from road trips to everyday outings. With new play ideas and products on the horizon, their mission remains the same: to give parents easy, screen-free solutions that spark imagination anywhere. And with the right print partner by their side, the possibilities for bringing those ideas to life are endless.

Ready to bring your own project to life? Partner with PrintingCenterUSA for high-quality, affordable booklets that make your ideas shine. Get started today!

The post Beansie’s Jelly Bean Adventure Guide appeared first on PrintingCenterUSA.

About CTGallery

CTGallery is known for its unique artwork blending classic cars with natural elements, pairing iconic vehicles with birds, nests, and scenic details. Each piece tells a story that resonates with collectors and enthusiasts alike, combining nostalgia with an appreciation for the natural world.

The Project

For 2026, CTGallery turned to PrintingCenterUSA to bring this year’s vision to life in the form of a full-color, spiral-bound wall calendar. With twelve months of artwork, featuring pieces like “Out to Pasture” (1968 Ford Mustang with quail) and “Robin Egg Blues” (1932 Ford with a robin’s nest), the calendar is designed to be both functional and collectible.

Calendar Specifications

To bring CTGallery’s vision to life, PrintingCenterUSA produced a high quality wall calendar designed for both durability and visual impact. Every detail from the paper choice to the binding was selected to showcase the artwork in full color while ensuring the calendar is practical for everyday use.

Calendar Specs:

• Size: 11 x 8.5 inches
• Type: Wall Calendar
• Binding: Spiral
• Pages: 28 (12-month layout plus extras)
• Cover Paper: 100# Matte Cardstock (11 pt.)
• Inside Pages: 100# Gloss Text (5 pt.)
• Printing: Full color, both sides (4/4)

The finished product is sturdy, colorful, and easy to display, perfectly suited for collectors and art lovers.

Beyond the Calendar

The CTGallery 2026 calendar isn’t just a date-keeping tool, it’s a great way for Carol Thompson to share her artwork with a wider audience, offering a year-long gallery experience that hangs in homes and offices.

“I have used this company for eight years and they always offer great service and products!” Carol Thompson

Looking Ahead

CTGallery shows how a simple wall calendar can become something far more; a curated art collection, a storytelling medium, and a gift that lasts all year long. With the expertise of PrintingCenterUSA, their artwork is transformed into a professional, vibrant calendar that celebrates creativity month after month.

The post Capturing Art & Nature in CTGallery’s 2026 Calendar appeared first on PrintingCenterUSA.

Whether you’re raising funds for a nonprofit, boosting brand visibility for your business, or showcasing your photography, this toolkit will help you plan and execute effectively.

What’s Inside:

• Editable Calendar Templates (InDesign & PDF)
  
• Sponsorship Pitch Deck
  
• QR Tracker Sheet
  
• Marketing Checklist

The post A 2026 Guide to starting a Custom Calendar appeared first on PrintingCenterUSA.

Welcome to the official introduction to my new marketing concept that might change the way you think about connecting with your audience. I’ll detail some real examples displaying the difference and compare both B2B and B2C to H2H for you.

Now, let’s crack the code and get into it.

What is H2H Marketing?

H2H Marketing (Human to Heart) is a radical shift in perspective. It transcends the old B2B vs. B2C dichotomy and recognizes the universal truth: we’re all human. Behind every click, purchase, or partnership decision is a person with emotions, dreams, and desires. H2H Marketing speaks directly to that human heart, fostering genuine connections that fuel business success.

Why H2H Marketing is Your Marketing Goldmine

• Emotional Resonance: Forget dry facts and figures. H2H Marketing taps into the emotions that drive decisions, whether it’s a consumer’s love for a brand or a CEO’s trust in a partner. By igniting feelings of joy, inspiration, or even vulnerability, you create a lasting impression.
• Authenticity Breeds Trust: In a world of polished perfection, people crave authenticity. H2H Marketing encourages you to embrace your brand’s unique personality, share real stories, and build trust through transparency.
• The Power of Storytelling: Facts tell, but stories sell. H2H Marketing weaves narratives that captivate, inspire, and invite your audience to become part of your brand’s journey.
• Connection Beyond Conversion: H2H Marketing focuses on building lasting relationships, not just chasing transactions. When you connect with your audience on a deeper level, they become loyal advocates who champion your brand.
• Breaking Through the Noise: In today’s saturated marketing landscape, H2H Marketing is your secret weapon. By speaking to the heart, you’ll cut through the clutter and create a memorable impact.

Breaking Down the Walls: H2H vs. Traditional Marketing

Traditional marketing often operates within defined boundaries, creating a separation between B2B and B2C approaches. This can lead to impersonal, transactional interactions that fail to ignite a deeper connection.

H2H Marketing tears down these walls, recognizing that we’re all human beings with emotions, desires, and a need for connection. It’s a holistic approach that transcends these labels, focusing on building relationships and creating meaningful experiences.

If the concept of H2H Marketing feels a bit intangible or you’re unsure how to apply it to your own campaigns, let’s explore some real-world examples that compare traditional B2B/B2C approaches with the H2H approach. You’ll see how H2H Marketing can breathe life into your message and forge deeper connections with your audience.

Example: Marketing a Financial Services Firm

• Traditional B2B Marketing: “Our financial solutions provide comprehensive risk management and optimize investment portfolios.” (Focus on features and benefits)
• Traditional B2C Marketing: “Secure your family’s future with our reliable financial planning services.” (Focus on emotional appeal to individuals)
• H2H Marketing: “We understand the dreams you’re building for your family and business. Let’s create a financial roadmap that empowers you to achieve them.” (Focus on shared aspirations and emotional connection)

Example: Marketing a Tech Startup

• Traditional B2B Marketing: “Our cloud-based platform streamlines operations and increases productivity for your business.” (Focus on efficiency and ROI)
• Traditional B2C Marketing: “Simplify your life with our innovative app, designed to help you stay organized and connected.” (Focus on convenience and lifestyle)
• H2H Marketing: “We believe in the power of technology to empower people and transform communities. Join us on our mission to build a better future.” (Focus on shared values and a sense of purpose)

Example: Marketing a Sustainable Fashion Brand

• Traditional B2B Marketing: “Our eco-friendly fabrics meet industry standards for sustainability and durability.” (Focus on technical specifications)
• Traditional B2C Marketing: “Look good, feel good, do good. Shop our stylish collection of sustainable clothing.” (Focus on personal style and ethical consumption)
• H2H Marketing: “We’re more than just a clothing brand. We’re a community of changemakers who believe in fashion that’s kind to the planet and its people.” (Focus on shared values and a sense of belonging)

How it Works: H2H Strategy

Okay, now that you’re inspired by the transformative power of H2H Marketing, you might be wondering, “How do I actually do this?”

Don’t worry, it’s not as daunting as it may seem. In fact, H2H Marketing can be surprisingly simple and intuitive. It’s about shifting your focus from transactions to relationships, from data points to human hearts. Here are some key strategies to ignite your H2H Marketing engine:

1. Unearth Your Brand’s Soul: What are your core values? What drives your passion? Dig deep and uncover the heart of your brand.
2. Tell Your Story: Share the real, unfiltered story behind your brand. Let your audience see the human faces, the struggles, and the triumphs that make you unique.
3. Spark Emotions Through Every Channel: Whether it’s a heartfelt blog post, a visually stunning social media campaign, or a video that tugs at the heartstrings, make sure every piece of content resonates emotionally.
4. Foster Community: Create a space where your audience can connect, share experiences, and feel a sense of belonging.
5. Dare to Be Different: Take risks, experiment, and break free from the “same old” marketing tactics. Let your brand’s personality shine through.

H2H Marketing isn’t about choosing between B2B or B2C. It’s about recognizing the human heart behind every business and consumer and embracing the power of emotional connection to create a more meaningful and impactful brand experience.

H2H Action Steps: How to Do it

Forget complicated formulas or expensive campaigns. H2H Marketing is about tapping into your brand’s authentic heart and sharing it with the world in a way that resonates with your audience. It’s about infusing every touchpoint with a human touch, from your website and social media to your emails and print materials.

Here are some actionable steps to ignite your H2H Marketing engine and start building relationships that last:

1. Embrace Vulnerability:

• Example: Instead of a polished “About Us” page, create a video where your founder shares the struggles and setbacks they faced when starting the company. This raw honesty can create a powerful connection with your audience.
• Copy: “Our founder’s journey wasn’t easy. From late nights coding in a garage to overcoming financial hurdles, we’ve faced challenges that have shaped us into the resilient company we are today.”

2. Speak the Language of Emotion:

• Example: Instead of a generic product description, use vivid language that evokes the feeling of using your product. Describe the joy it brings, the problems it solves, or the transformation it enables.
• Copy: “Imagine the freedom of a clutter-free inbox, the peace of mind knowing your data is secure, and the joy of effortless collaboration. That’s the experience our software delivers.”

3. Tell Stories That Connect:

• Example: Create a blog series highlighting customer success stories. Interview customers about how your product or service has impacted their lives, solved a problem, or helped them achieve a goal.
• Copy: “Meet Sarah, a single mom who transformed her financial life with our budgeting app. Read her inspiring story and learn how you can take control of your finances too.”

4. Foster a Sense of Community:

• Example: Host a virtual event where your customers can share their experiences, ask questions, and connect with each other. Create a dedicated social media group where your audience can interact, share ideas, and provide feedback.
• Copy: “Join our online community of like-minded individuals who are passionate about [your brand’s mission/values]. Share your story, connect with others, and be a part of something bigger than yourself.”

5. Visualize Your Brand’s Soul:

• Example: Instead of generic stock photos, create custom illustrations or graphics that capture the essence of your brand’s personality and values. Use color psychology, typography, and visual storytelling to create a memorable brand identity.
• Copy: “Our vibrant color palette reflects the joy and energy we bring to our work. Our clean, modern typography conveys our commitment to innovation and simplicity. And our playful illustrations showcase our creative spirit.”

Remember, these are just a few examples. The key is to find authentic ways to connect with your audience on a deeper level, whether it’s through storytelling, visuals, or community building. Embrace the power of H2H Marketing, and watch your brand thrive as you build lasting relationships with your customers.

Ready to Print with Heart and Soul?

At PrintingCenterUSA, we’re more than just a printing company. We’re your partners in crafting print materials that not only look amazing but also tell your brand’s unique story and connect with your audience on a deeper level.

Let’s transform your next print project into a powerful tool for H2H Marketing.

Contact us today to explore how we can infuse your brochures, business cards, direct mail pieces, and more with the heart and soul that will make your brand unforgettable.

Remember

The most successful brands aren’t just selling products or services; they’re building relationships. With H2H Marketing, you can turn every print piece into a conversation starter, an emotional touchpoint, and a lasting reminder of the human connection behind your brand.

The post Step into the Future of Marketing: Are You Ready to Connect with your Audience? appeared first on PrintingCenterUSA.

Below, you’ll find the transcript of our conversation, edited for clarity to ensure easy reading. If you want the full, authentic experience, make sure to check out the video attached below.

Connor Shields: Welcome back to Behind the Print Podcast, where we feature industry leaders and uncover the creative minds and their businesses within the world of professional printing. Our mission is to provide you with inspiring actionable resources that elevate your business projects and accelerate your journey to excellence in profit and in print.

Today’s episode is Hospitality Art Consultation, and joining me here today is the Founder and CEO of Graphic Encounter Fine Art, Ron Golbus. Welcome to the podcast.

Ron Golbus: Thank you very much for inviting me to be part of your community.

Connor Shields: Thank you for joining us. We’re, happy to have you. So if you are ready, let’s just dive right into it. Sound good?

Ron Golbus: I’m ready to rock and roll.

Connor Shields: So you’ve been doing this for a long time. How did Graphic Encounter Fine Art begin?

Ron Golbus: So when I got discharged from the military in 1970, I started as what turned out to be a full-time job selling artwork door to door in office buildings in and around Los Angeles, carrying artwork in a laminated decoupage plaque format of art prints that I would carry under my arm and go office buildings to see if I could sell the art that I was carrying around.

Connor Shields: And how did that expand into a Graphic Encounter Fine Art, it’s a bit different from door to door sales to what you are now.

Ron Golbus: It’s kind of a long story because I’ve been doing this for 55 years, but at the very beginning I was so successful selling artwork door to door in office buildings that I had teams of young people like myself in my twenties also canvassing office buildings, selling artwork. I met someone whose uncle was an artist, he did silkscreen prints of Victorian homes that were hand colored, and I started selling those framed to Levitz Furniture back in the day, which was a big furniture company that had distribution across the United States. Then I took that idea and tried to sell it to Hilton Hotels back in 1974. That’s how I got into the hospitality aspect of my business, and at the time, Hilton Hotels had me design artwork like silkscreen in colors to match their room decor. That’s how it started.

Connor Shields:  So you serve some pretty massive organizations. What can you tell me about your typical clientele?

“At the very beginning I was so successful selling artwork door to door in office buildings that I had teams of young people like myself in my twenties also canvassing office buildings, selling artwork. I met someone whose uncle was an artist, he did silkscreen prints of Victorian homes that were hand colored, and I started selling those framed to Levitz Furniture back in the day, which was a big furniture company that had distribution across the United States. Then I took that idea and tried to sell it to Hilton Hotels back in 1974. That’s how I got into the hospitality aspect of my business, and at the time, Hilton Hotels had me design artwork like silkscreen in colors to match their room decor.”

Ron Golbus: So over time, my focus was to develop relationship with interior designers and architectural firms that were helping to design projects in Las Vegas. I lived in Los Angeles but Las Vegas was attractive to me because in the early seventies it was very underdeveloped. I went there to try and find out who I could work with, who were the interior designers that were working on projects in Las Vegas with scale and consequence. At the time there were no big hotels in Las Vegas, so I created a relationship with a design firm in Los Angeles that had an office in Las Vegas, and we designed artwork for the first 3000 room hotel called Excalibur. That was the first 3000 room hotel in the world, and we designed artwork for all the guest rooms.

That’s what got me into the Las Vegas arena, so to speak. Then I wound up doing almost every hotel in Las Vegas just because of relationships that I created with designers and architects, because they actually asked me how I could help them with artwork for their guest rooms.

Connor Shields:  So when you’re dealing with these massive hotel chains, what kind of problems do you typically run into when you’re putting in the yard?

Ron Golbus: So if you don’t get in front of what would turn out to be a problem, it will be a disaster. We have the creative division – an art studio in Los Angeles, that that creates original artwork for all the projects that we work on. The art design capability is developed in Los Angeles and my art studio in Los Angeles dialogues directly with the designers and architects for the artwork that corresponds to the narrative that they give us for a particular look and feel of a project’s needs. The art is all created in Los Angeles, but we print all of the art in different parts of the country because we print artwork on paper canvas, die bond, aluminum, laminated glass for the sides of buildings.

Not only we do artwork for guestrooms of hotels, which is always my focus because that’s where all the quantity holds, but we also do the wallpaper for all the corridor. We do artwork for restaurants. We do artwork for spas. We do artwork for Indian gaming projects throughout the country. When we design the art, we have to make sure that the designers sign off on the designs that we do. So we always create what we call an art spec that shows all the imagery that we do and the designers who we never actually  meet. Very rarely do we meet the designers across the country. It’s all done virtually, then they sign off on the PDFs that we send to them that shows the artwork that corresponds to their narrative.

“So if you don’t get in front of what would turn out to be a problem, it will be a disaster. We have the creative division – an art studio in Los Angeles, that that creates original artwork for all the projects that we work on. The art design capability is developed in Los Angeles and my art studio in Los Angeles dialogues directly with the designers and architects for the artwork that corresponds to the narrative that they give us for a particular look and feel of a project’s needs.”

In addition to that, we have to create the actual samples on the different substrates, whether it be paper or canvas or aluminum, and we send samples to the design firm for them to sign off. The next step would be that depending on their timeframe and the scope of the project, they would have us put together what they call a model room.

Once we design everything and print everything and frame everything – whether it be in Los Angeles, New Jersey or Tijuana, Mexico – we ship everything for the model room, then they sign off on it. That helps prevent problems from unfolding subsequent to our delivery of the product, to the job site. The fabrication of the product has to be perfect so that every single piece of a thousand of one unit or a thousand of five units is fabricated correctly in Tijuana, because I’m not at the Tijuana factory, so I’ve trained the production facility in Tijuana, in Los Angeles to fabricate everything perfectly.

Everything we provide to the hospitality industry is individually boxed, and then we box by room. So to answer your question even more specifically, when we did the Wynn Las Vegas project, the Wynn organization asked me to provide five pictures for every one of the 3000 guest rooms that they were building.

So we did 15,000 Andy Warhol prints for the Wynn Las Vegas project. Then we did 3000 images on Canvas for Encore at Wynn Las Vegas, which was the second tier project behind Wynn Las Vegas, and everything was packaged by room, which is one of the distinguishing aspects of my production overview. If there are five pictures required for one room, regardless of the size of the pictures, they’re individually wrapped, but all five pictures go in one box.

In this case there are five labels on the outside of the box. So if we get the room matrix from the hotel developer as to what’s required on each floor, because floors are divided into queen compliments and King room compliments.

So you can imagine a 3000 room hotel when the artwork is delivered to the project site, they don’t install all the rooms all at one time. They probably do three rooms, three floors at a time. So they tell the warehouse what they need for those three floors, and because we palletize by floor, they only get what they need. Typically, our competition fabricates and ships all the artwork and wooden crates, and they’re not individually packed by room and they’re not individually packed by floor. So this a distinguishing logistic paradigm that I created for the factory that separates Graphic Encounter from all of our competition.

We don’t have inventory of art, everything for every project is unique, and so my production teams have to fabricate it correctly for the installation aspect of our business model. There was never one mistake. No marks, no damage. We guarantee all of our products, if anything ever gets damaged when transit, we replace it free of charge.

So in my 55 years of doing this, I’ve identified working procedures and fabrication protocols that eliminate all these problems that you’re talking about.

Connor Shields:  Sounds like you run a pretty tight ship. I mean, you have to in your business.

“So in my 55 years of doing this, I’ve identified working procedures and fabrication protocols that eliminate all these problems that you’re talking about.”

Ron Golbus: I’m in Aspen, Colorado. I’m not at any of the factories. I’m not at the design firm office. I’m not at the hotel where artwork is being installed. The algorithm that I’ve created for all this over time is a set of procedures that make sure that there are no problems, there is no breakage. That’s how I’ve run my company. That’s why we’re successful at that level of market. We don’t provide art to Holiday Inns. We don’t provide artwork to the brand standards. They call it like Hilton Hotels. We really specialize as a boutique fine art consulting company on four and five star projects.

That’s been my focus over time are the larger projects that have towers. We’re working on two new projects in Las Vegas that are each a thousand rooms. So the design process corresponds to our creating artwork that reflects the narrative given to us by the designers, and that’s the art side, but the, the selection of the frames and the printing of the items on different substrates like paper or canvas or die bond aluminum or glass, is something that I take upon my production team’s plate to make sure that my fabricators do everything correctly.

Connor Shields:  You did go over this a little bit previously, but could you walk me through a bit more of the consultation process? Like how do you determine the type of art that goes into the hotel? And not just the type of art, but like the framing, whether it’s canvas or paper, that sort of thing. How do you determine the type of art and its framing that goes into each hotel.

Ron Golbus: So that’s a perfect question. It’s actually quite simple, but it’s not easy. What happens is the design firm will give us a very abstract narrative. We’re working on a project that has a mid-century look. We need abstracts in colors like what kind of imagery can you provide to us? It’s actually shown on my website, we have an overview of how we work and it talks about the essence of their brand that they’re wanting us to develop that corresponds to their client satisfaction when they see the art. That’s the. Unifying factor in the guest room.

Their focus is how to bring their brand forward. So when we work with Caesar’s Entertainment, or if we work with MGM International, or if we work with Wynn design and development on these projects, their personality is personified by the art in the guest rooms. I mean, yes, the carpets are important, and yes, the bedding is important and the furniture design. But when people walk into a guest room, of course they’re looking at a horizontal display of art. They’re wanting to see art on the walls, and so their narrative that they give to us is interpreted by my art studio in Los Angeles, and we provide to the designers our interpretation of their narrative.

We just did a project for Churchill Downs in Kentucky. So they wanted images printed on die bond aluminum metal. They wanted a different substrate, so we generated these large four by eight foot panels of custom art that was printed on metal and then custom framed. So once the client chooses the art, they choose the substrate they want.

Then the issue of the framing unfolds. So we work with the largest molding company in the United States for the picture frame moldings. There are only two molding types that correspond to a project. You either have shadow box frames, which are used when images are printed on paper. There are canvas floater frames for images printed on fine art canvas.

So the designers don’t really understand how to choose the frame for the substrate, so we educate them. My job is to educate them by providing samples of canvas, floater frames and shadow box frames, and we send these samples free of charge to the design firms. So now they’re looking at the art.

Now they’re looking at the samples of the frames. So that’s how the design narrative given to us for the art design. The choosing of the substrate that the images are going to be printed onto, and then the frames that correspond to the substrate that the images have been printed onto. Those are the steps are what we specialize in, handholding the process for the designer to understand, and then showing them all the samples. We don’t charge for the samples, we don’t charge for the design time, we charge for the model room, but all of our design is all done pro bono. Some art consultants might charge by the hour or maybe they charge by the project. But we don’t do that. It’s just not an industry standard to charge for the design time. So we basically just absorb those costs on our side to get the project going.

Connor Shields:  That’s like you said, it’s easy on paper, but when it comes to like execution, it’s a little more complicated

Ron Golbus: It’s very complicated with all the steps involved. Speed is everything in this industry. I’m looking at a design narrative that just came in yesterday. It’s for 5,000 pieces of art for a project in Las Vegas. 2,500 pieces of two different designs. So we respond within 72 hours to give back to the design firm our vision for those art pieces.

One of the things that separates my company out from our competition is what we call one-on-one art consulting. So my firm has a creative director that speaks directly to the interior designer on a one-to-one basis so that the designer can talk to the artist. It usually takes us like 72 hours. They love that.

“It’s very complicated with all the steps involved. Speed is everything in this industry. I’m looking at a design narrative that just came in yesterday. It’s for 5,000 pieces of art for a project in Las Vegas. 2,500 pieces of two different designs. So we respond within 72 hours to give back to the design firm our vision for those art pieces.”

Connor Shields: That’s quite the turnaround.

Ron Golbus: You have to be fast because they have deadlines and the people they have deadlines for have to be accountable to the construction team that have their own deadlines. We did a project for Resorts World in Las Vegas. They needed 10 pieces of artwork that had to be there in four days. So between the time they contacted us, we designed it, we printed it, we framed it, and then we had an someone drive from Los Angeles to Las Vegas, and we did all that within four days. They could not believe the turnaround.

We actually hired someone to drive from Los Angeles in their own vehicle to Las Vegas. We couldn’t even wait for a trucker to like dedicate a truck. We just made the samples in Los Angeles. We drove it directly to Las Vegas and brought them right into the hotel that needed a model room put together. It had to be done in one day. That’s what’s helped me gain market share because I understand the time-driven needs that they have.

Connor Shields: So in addition to your one-on-one consultations, your insane turnaround time, and the fact that you’re one of, if not the oldest hospitality consultation companies, what else really sets you apart from other businesses in your field?

Ron Golbus: Well, we don’t import anything from overseas. A lot of my competitors manufacture things in overseas for less money. But the dependability of timeframes for delivery puts those firms lower on the ladder of a company that these large design and architectural firms want to use because they don’t have time to wait for a lower price.

Connor Shields: Yeah. Going back to what you said about your domestic production, you need a turnaround of 72 hours and your stuff is being made in China, it’s not gonna happen.

Ron Golbus: Right. It’s not gonna happen.

Connor Shields:  And especially your personal approach, it makes you seem less like a company and more personal.

Ron Golbus: It’s totally personal. I’m in charge of everything that happens and when I get ahold of a job. It’s going to be perfect. It has to be perfect. Otherwise you can’t do the next job. So we just finished Paris Las Vegas for Caesar’s Entertainment. They had 18 floors of artwork that was required for the corridors. All the images were custom designed to look like Paris and Versailles, so they had 18 pictures on the floor. But the 18 pictures were divided into six sets of three.

“It’s totally personal. I’m in charge of everything that happens and when I get ahold of a job. It’s going to be perfect. It has to be perfect. Otherwise you can’t do the next job.”

As I told you before, we packaged by floor. We put in six boxes. Each contained three items on one pallet. So they took the pallet to the floor and all those 18 pictures divided into six sets of three were on one pallet. That could never happen if you were buying things from overseas.

So the Paris Las Vegas installation team were able to seamlessly put all the artwork into the corridors because they had been separated by sets. We put each set in its own individual box as though the box was the room. So we had six boxes for each floor, and there are 18 floors, so it was perfect. It all turned out perfect, but that’s because I envision how the installer works.

Connor Shields: Now going back to what you said, you said you have boxes by floor. Do different floors have different art styles?

Ron Golbus: Well, it’s not really different art styles. There are different room types that each have their own compliment of items. So the King Room might have the same art style as the Queen Room, but the King Room requires five different pieces. And the queen room might require three different pieces.

They’re different pieces to one another, but they fall under the same narrative. I see. So it’s kind of, so when we get the room matrix by the floor. We obviously printed per that room type, the artwork required for that room type. And then we separate out the floor by the different room types, and that’s how it’s palletized. So it’s the same design concept, but there’s different images in each room type.

Connor Shields: So you get your own unique experience per room.

Ron Golbus: Right. And again, the artwork is designed to help move their brand forward to court. We’re working on a project now in Las Vegas where we are going to have a Zoom call, not only with the designers and architects, in addition to the architectural firm in Hong Kong are located in different parts of the country, including Las Vegas.

And so that room type and that room design and that coordination of everybody’s look. Corresponds also to the furniture manufacturer being part of that zoom call because they want the artwork fabricator Graphic Encounter to work in concert with the furniture designer who’s designing furniture to compliment their envisioned brand identity.

So when the artwork fabricator Graphic Encounter is working with the furniture designer, the architects and the designers are part of that collective phone call. Then the artwork becomes a visceral part to the furniture. And the furniture is a visceral part to compliment the artwork. So when you walk into the room, everything was done in concert in consideration of the other aesthetic contribution that each of those components provide to the room.

So the furniture, the design of the beds, the design of the armoire, the design of the different components in the room, the different fabrics they use, the different colors that are used. It’s all a coordinated effort by all the players that the corporation has called into. In this case, be on the Zoom call so that each item in the room.

Connor Shields: I guess you could say it’s like an ecosystem of style.

Ron Golbus: It is. It’s like an orchestration. It all has to be coordinated ahead of time. It can’t be done on the fly, and it all has to be done quickly and perfectly because everybody’s looking at the other person to make sure that if they’re part of the overall assignment that they’ve been given. That your contribution is not only complimentary, but if the quality of the furniture is 110%. The corners of the frames have to be perfect. They have to be hung straight. They have to be printed on the right kind of paper. They have to be in the right kind of frame. It all has to be perfect. It’s simple to say when you see it, that it all looks great, but the protocols on our side to get there to be perfect.

Connor Shields: Absolutely. So when it comes to Graphic Encounter Fine Art, or just yourself personally, what would you say your greatest milestone was or your greatest achievement?

“It’s like an orchestration. It all has to be coordinated ahead of time. It can’t be done on the fly, and it all has to be done quickly and perfectly because everybody’s looking at the other person to make sure that if they’re part of the overall assignment that they’ve been given.”

Ron Golbus: Well, of course the early eighties it was the artwork provided for the Excalibur Hotel, which was the first 3000 room hotel, the design firm that gave us that project. Gate Silverman. We did Excalibur, we did Paris, we did New York, New York, and other Indian gaming properties with Yates Silverman. So that was a tremendous milestone to get into the Las Vegas market. But the most notable achievement again is having worked with Wynn Design and Development. When you’re vetted by Wynn Design and Development, as is the case with Caesars Entertainment, who we work with regularly, and MGM International, when you’re vetted by those three companies, every other company in the country already knows that you’ve been vetted by the best. If you can work with Wynn Design and Development and MGM and Caesars Entertainment, then all the other design firms and architectural firms that are thinking about using you, because they might have seen a project that we did, or they go on to our website, graphicencounter.com, or they see our brochures in someone’s office and not really a brochure.

We call it an art book because we don’t make a brochure. You can buy artwork from our art book is a compilation, by the way, of course, your company printed our art book. We appreciate it and we get compliments all the time. The quality of the work that you did in that art book. This is also the first time I’ve had a visual call with someone who works with PrintingCenterUSA. I’ve spoken to other members of your team over the phone and everyone I’ve interacted with is so personable and so engaged as though they’re so excited to hear from. When my creative director created our art book for PrintingCenterUSA to print, he’s always reached someone who has technical skills that are of consequence, whose customer service skills are above board by a thousand percent. And you print everything within four days and ship it to my company here in Aspen, Colorado, which I then distribute to my sales agents throughout the country. And when they go into different design firms and architectural firms. This 150 page book that you printed for us is so professionally done.

The way you put that together it’s bound so perfectly and the finish on all the pages are so perfectly done. When I print these art books, the names of all my sales agents are in the back of the book, but when they go into the different design firms and they have that as a marketing tool, it’s unquestionably the door opener and the project to qualifier.

Graphic Encounter is a tremendously successful art consulting company because of this art book that you guys printed. It’s, it’s over the top.

Connor Shields: Well, I guess you could say our process is a little bit like yours. It’s fast, it’s personable. It’s a lot of times one-on-one. We do our best and we really appreciate your business.

“Graphic Encounter is a tremendously successful art consulting company because of this art book that you guys printed. It’s, it’s over the top.”

Ron Golbus: Well, we just found you online. And by the way, the article that you printed about my company came up on chat. Qualifying my company as an outstanding art consulting company, possibly the leader in my industry. Because of an article that you printed was quite illuminative for me, that my company’s brand is out there in these different social posting platforms.

Connor Shields: It’s very reassuring to, hear you say that. You guys are great. So what kind of challenges are holding you or your company back right now?

Ron Golbus: I think we don’t really have any real challenges. Our fabrication and creative components are so perfectly aligned. My focus is always how to do a perfect job every time. So I would have challenges if my fabrication wasn’t being done correctly. I would have challenges if my fabricators wouldn’t respond. I would have challenges if my brand was perceived as anything other than what it is, which is a company that’s highly responsive to both the creative aspect and the production aspect.

If you ask me, my focus is to build my brand and to build the size of the company. Certainly one of the ways is that we have always underscored the value of email marketing to designers and architects around the country. It talks about our process. It has links on the homepage to go to different parts of our website, graphicencounter.com, that talks about the different way we work with designers and what our objectives are, brand essence that we’re trying to build for a client, client satisfaction that we’re helping them build for their clientele. I know it almost sounds self-serving, but we don’t have any problems, so our clients have no problems. So there are no challenges there.

Connor Shields: That’s great to hear. Going back to what I said, you run a tight ship and you absolutely have to. So, you already partially answered this before, but how has print helped elevate your business?

Ron Golbus: I used to print brochures or pamphlets in the past. But they were done in Los Angeles and it was fine at the time, but as my company became more prominent and we worked with design firms and architectural firms that were consequential and the projects that we were garnering were of more consequence, like Wynn Las Vegas or Encore Las Vgas, or Bellagio or the Cosmopolitan or Paris Las Vegas.

The need to bring together the look that we wanted people to embrace, we can provide for them, required that we search out, which we did online, your company as it turns out, to be able to bring together the look and feel, the aesthetic that we offer. And the set of standards exemplified in the art book that you printed so perfectly, actually provided a variety of assets to us. My sales agent goes in with the book that you printed for us and a sample, an actual frame sample of what we do so they can see the quality of how we manufacture things. Your printed art book on our company brand, together with a framed sample when they go in and make a presentation. The response from the designers and architects is “We’ve never seen a book like this. It’s the only one we’ve ever seen.”

And of course the brand book that you printed for me has the Wynn Project and has Bellagio and has Encore, and has Paris and has Churchill Downs and has all these five star and six star venues in the book. So I understand that people say the print world is being outdistance by social media. Virtual presentations and no one has time to look at things, get it on their cell phone, and the world has become desensitized to things that are printed at some level.

“The set of standards exemplified in the art book that you printed so perfectly, actually provided a variety of assets to us. My sales agent goes in with the book that you printed for us and a sample, an actual frame sample of what we do so they can see the quality of how we manufacture things. Your printed art book on our company brand, together with a framed sample when they go in and make a presentation.”

But this business is really a show and tell business as a company. Graphic Encounter Fine Art has a printed art book that shows the projects we’ve done. It has testimonies from Steve Wynn inside. It has testimonies from notable designers and architectural firms. There is something about this industry that appreciates the touch and feel of a printed book. They have resource libraries in each of the design firms that has everything from carpet, tiles, fabrics, catalogs of every company that sells anything to the hospitality industry.

Connor Shields: Absolutely. It’s one thing to see something like on a screen, it’s another thing to have a physical copy of it that you can hold in your hand.

Ron Golbus: So that book, when you feel it, feel the weight of that book. It’s got some heft. You can’t dismiss that. It’s not a pamphlet, it’s not a brochure. It’s a table coffee table book. When we give that to people, I would find it hard to believe that they would throw it away.

If you gave somebody an eight by 10 saddle stitched, 12 page view of your company, they don’t have room to keep it. But invariably, they’re not going to throw mine away. They’re not throwing that away because the projects that are in there. You’ll see Bellagio in there. You’ll see Paris in there. You’ll see Churchill Downs in there. You’ll see these projects that we’ve done in Macau. There are pictures in there. Different installations, but there’s also information there about the art industry and there’s fashion in there.

We represent the original paintings of Dennis Hopper to the hospitality industry. Do you know who he is? No, you’re too a little too young.

Connor Shields: Haha, I’m a little too young for that.

Ron Golbus: Did you ever hear of Hunter Thompson?

Connor Shields: Absolutely. He’s one of my favorite authors.

Ron Golbus: Well, after his cremation, his ashes where shot out of a cannon at the Roadside Bar in Woody Creek, Aspen, Colorado. Hunter Thompson’s whole thing is about Aspen. He had a big Aspen footprint, so he’s in the book. We tried to make the book personify the credibility of Aspen being an art community, it has a page about Bauhaus, which is an art style that came here from Germany. That the philanthropists that helped founded Aspen, created here in Aspen.

So there’s things in the book besides what we’ve done for projects. We’re always trying to portray the personality of our company because it’s more than just art on the wall. It’s the personality of the company behind the art that’s created. In concert with the narrative given to us. If you have a high performance Ferrari, you’re not going to take it to the corner Grease Monkey service station to do a tuneup on your Ferrari. They’re, they’re incompatible. So my goal is always to create a reason for designers to come to us because there’s a, a resonance there that’s synchronicity, so to speak.

Connor Shields: So, kind of a different question for you here. If I was, if you had a day that was completely free to spend however you like, how would you spend it?

Ron Golbus: Well, I’m lucky. So when I moved to Aspen, Colorado 30 years ago, even though I had skied here in the seventies, my goal was always to move here one day. So when I was in my twenties, I said I, I want to move to Aspen one day. So I moved here 30 years ago with my young family and had my youngest child born here.

But my perfect day unfolds every day. So in the winter, I ski every single day. So last year I logged a 102 days, 2 million vertical feet. I know you’re a skier too. So every day I get up at 4 in the morning and I have a gym in my house. I work out every day. I leave the house at a quarter to six. The mountain opens up at 8:15a.m. for first tracks with the instructors. I ski every day at 8:15 and I usually leave the mountain at 1o’clock and I come home and then I work. So for a hundred days, virtually in a row in the winter. That’s my perfect day.

Connor Shields: That sounds like, that sounds like my perfect day.

Ron Golbus: And in the summer, although it’s smoky here because of the fires. I rode bike up into the mountains to maroon bells, which is a very famous and very photographed spot in all of Colorado. So my year is divided up into two seasons, and every one of those days is perfect.

Connor Shields: That’s great to hear. I’m definitely think I’m going to be checking out Aspen this winter.

Ron Golbus: We’ll do some turns.

Connor Shields: Sounds good. Sounds good. Alright, so one last question for you. How can our listeners get in touch with you to learn more, to collaborate, anything like that?

Ron Golbus: Well, ours is really easy. Our website, graphicencounter.com or graphicencounterfineart.com, we’re pretty easy to find. You wanna know where the name came from?

Connor Shields: Yeah, sure.

Ron Golbus: So I went to Beverly Hills High School and I used to sit next to Richard Dreyfus, you know, from

Connor Shields: Jaws.

Ron Golbus:  Jaws, yeah. So Richard, we called him Ricky sat on my right. And do you know who the actor Albert Brooks is? He was in Taxi and he was in quite a few movies. He’s a comedian, Albert Brooks. He used to sit on the other side of me, but his name was really Albert Einstein. That was his real name at Beverly Hills High School. But his brother’s name was Bob Einstein. He used to write for the Carson Show.

You know who Johnny Carson is, right?

Connor Shields: Yes.

Ron Golbus: Okay. So anyway, so when Ricky did Close Encounters of the Third Kind, do you ever heard of that movie?

Connor Shields: Yes, I’ve seen it.

Ron Golbus: Okay. So I was selling art at swap meets and I didn’t have a company name or anything like that. So when someone rented me a space for a swap meet, they said, “well, we can make a sign for you above your, your booth” So what would it be called? So I kind of manipulated the Close Encounters of the Third Kind and just cut it off at Graphic Encounter. And that’s how I got the name. So if, if he hadn’t have done Close Encounters, I probably would’ve a different company because everybody thought I was in the graphics business.

But I took the name from the extrapolation of that and just made a Graphic Encounter, but it was because Ricky was in Close Encounters of the Third

Connor Shields: That’s a very interesting story, man. That must have been really cool going to high school with two of these actors. Jaws is one of my favorite movies. Did you happen to know, Robert Shaw?

Ron Golbus: Haha,1600 people went in and only 400 came out. Yeah, he was great. Yeah. And, and, and you know who else went to Beverly High was Rob Reiner. So when the movie came out with Tom Cruise, so he directed that movie. A Few Good Men Rob Reiner was in one class behind me, so he’s one year younger than I am. But, uh, such a, you know, famous director. You know.

Connor Shields: Next thing you’re gonna tell me, you also knew Jack Nicholson.

Ron Golbus: I met Jack Nicholson up here in Aspen, but only, no, I didn’t really meet him. There were a lot of parties here that I would go to, you know, and I went to a party that was at his house, but I had never really met him.But Jack Nicholson, he was an easy rider too. He was on the back of the motorcycle, was kind of a football helmet.

Connor Shields: That’s quite the story. That’s a really good story about how you got your company name. That’s interesting that you just grew up with these actors. Well, I’d say that’s a wrap on another episode of Behind the Print. If you enjoyed today’s episode, be sure to get your sample pack today from PrintingCenterUSA.com and share it with your fellow business enthusiasts. Until next time, keep those creative sparks flying. And remember, there’s always more to discover behind the print.

Ron Golbus: Thank you so much, Connor.

The post Behind the Print: Hospitality Art Consultation appeared first on PrintingCenterUSA.

About GSG Essentials LLC

GSG Essentials LLC is on a mission to bring light to some of the darkest days in people’s lives by providing care packages to incarcerated individuals. Their work goes beyond products, it’s about people. Every package is designed to help families maintain meaningful connections with their loved ones, rooted in dignity, compassion, and hope.

“Although expanding into all state facilities across the country takes time, we look forward to offering more essential items and fresh foods across New York state,” said Alyssa Gigante, President of GSG Essentials LLC. “Our mission is about bringing comfort and helping families stay connected during the correctional journey.”

The Project

To share their vision and expand outreach, they created the GSG Essentials Catalog with PrintingCenterUSA. The catalog was designed as a 28-page, full-color booklet that highlights their offerings and mission.

Catalog Specs
Size: 8.5” x 11”
Binding: Saddle stitch
Cover: 10 pt. gloss cardstock, UV high gloss finish
Inside Pages: 70# uncoated paper
Cover Finish: (UV) High Gloss

The catalog is both professional and approachable, designed to represent the heart of their mission while showcasing products and services with clarity.

Beyond the GSG Essentials Catalog

The catalogs give GSG Essentials a professional tool to share their mission with families, facilities, and potential partners. This tangible piece helps them build trust and communicate their dedication to compassion and dignity.

“Our work isn’t just about products; it’s about people.” Alyssa Gigante

Looking Ahead

GSG Essentials LLC shows how a simple printed catalog can become something far greater, a bridge of hope and connection for families navigating the correctional system. With the support of PrintingCenterUSA, their vision has been transformed into a powerful resource that will continue to grow alongside their mission.

The post Bringing Light to Dark Days with GSG Essentials LLC appeared first on PrintingCenterUSA.