Mark Ryden's Porterhouse imprint & online shop), and he brings these talents to Pressure Printing, working with the artists not just on the technical aspects of the print, but also designing and making custom frames or packaging (for lack of a tony-er word) for each project, such as Mark Mothersbaugh's "Grandma Cyclops" (above & below; "Grandpa Cyclops" shown at top, appeared a few years earlier).
Pressure Printing's site offers an excellent overview of the its publications since starting, in 2002. Brad averages a few prints per year, with editions ranging from a handful to 100. He seems to have attracted a loyal following, as most are O.P. No books per se, but several portfolio collections, at least one of which (the deluxe edition of Baseman's Unattainable Beauty) could be described as an artist's book.
It's always energizing to encounter someone like Brad who is so clearly dedicated to the demands of traditional printmaking techniques, but using them to create contemporary work that pushes at the edges of form and content.