3D Printing and Fabrication

Raghaus has always lived at the intersection of art and mechanics and machinery—where precision meets instinct and the work refuses to choose between the two. Our studio’s roots are in letterpress, a discipline that rewards patience, mechanical fluency, and a certain stubborn love for doing things the hard way. But we’ve never stayed in one lane. Restoration, fabrication, experimental processes—if it involves tools, texture, or pushing materials past their comfort zone, it tends to find its way into our orbit.

A few years back, 3D printing became another part of the toolkit. At first it was purely functional: custom parts, studio fixtures, the occasional odd object just to see what was possible. Raw printed plastic isn’t exactly beautiful—at least not in the way Raghaus defines beauty—but it has its moments, and it’s a powerful starting point. Some of those early prints ended up in film props, and some of the film work pushed us to level up the finish and ambition of what we were making.

That curiosity eventually grew into a pursuit of larger, more sculptural objects and a question we kept circling: How far can you take the surface of a printed form? We’ve always been drawn to materials that look lived‑in—weathered metal, oxidized surfaces, objects that feel like they’ve had a life before they reached your hands. The experiments shown above explore that idea: post‑processed 3D prints transformed into pieces that look aged, tactile, and convincingly real.

It’s a process that lends itself naturally to replicas, display objects, and props—anywhere authenticity matters more than perfection, and where the finish tells a story the material alone can’t convey.