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Last week we sent a bunch of Scout Books to SXSW in Texas with @rohdesign and @austinkleon for their Visual Notetaking 101 Panel.
These guys take awesome notes, and they designed this pocket notebook to offer you a chance to create beautifully illustrated notes, too. The cover features illustration exercises for better notetaking.
Count yourself lucky if you were at the panel and received one of these! They ran out right away! Collectors item.
Brooklyn photographer Jason Kempin had this business card printed, and boy is it lovely. The custom square shape makes it unique, and Pantone black soy inks printed on 100% recycled chipboard is always a great, classic combination.
WALL CALENDAR "ETNO" 2013 for Hospice Foundation / non-profit
TOFU Studio:
Project: Iwona Duczmal & Adam Chyliński
Coordination: Daniel Naborowski
Printing House NORMEX:
Technology:
Jacek Grzegowski, Joanna Reglińska, Margaret Frontczak
Offset printing:
Waldemar Sypniewski, Andrzej Laskowski, Robert Strosowski, Luke bubble
Cutting out and stamping:
Strzyzewski Kamil, Peter Meller
Bindery:
Marta Markowska, Mariusz Czerwinski, Elizabeth Janiec, Beata Banaszewska
ALBUS / Screen Printing Workshop
screen printing - Dariusz Ochenkowski
MARDOJ S.C.
hot-stamping, die-cutting:
Ariel Meyer, Mark Pielowski
ACHILLES POLAND
lamination, UV varnish:
Andrew Kibiersza
TREFL SA / Lab dies
punches
For Mayakovsky's poem About This, 1923.
The use of photomontage was being used by other designers in Europe who had communication with the Russian constructivists....Dada, Germany (J. Heartfield), Poland, Netherlands designers and offset printing, was this printed offset or letterpress? More questions in my mind.
Szymon Bojko writes in his New graphic design in Revolutionary Russia Against the back-drop of Mayakovsky's poem Pro Eto (About This) Rodchenko created his first series of eleven photomontages, one of his best works. In them we do not find a literal illustration of the poetic text, but rather the artist's own commentary. Through the use of ambiguous metaphors Rodchenko wove his reflections on such concepts as love, happiness and the middle-class ideal of life. But in this anonymous collection of objects and people, anonymous photographs and reproductions taken from old prints, a personal motif appeared: the superimposed photographs of the poet and his lover Lili Brik. This totally unexpected incursion deepened the artistic fiction, transporting the reader into the realm of philosophical deliberation. Collage, photomontage, typomontage, photogram and photograph become elements ever more widely used in Rodchenko's creative pursuits. In 1924 he decided to take up photography himself, and this step was decisive for his future career as an experimental photographer and had influence on his general artistic thinking. The photographic lens and photosensitive paper helped the artist to overcome stereotypes of perception as well as the conventional appearance of things.'
Book NOW available through www.arvobrothers.com
DESCRIPTION:
After a long time, we are glad to present our new book “Alien Project”.
Inspired by the works of geniuses H.R. Giger and Ron Cobb, this new project presented us with an opportunity to build one of the greatest icons of fantasy art. A journey from organic to geometric shapes, from dark to light, and the deep admiration that drives us to build all our creations as our only luggage. This book includes detailed, step-to-step instructions showing how to build the model, together with comments, pictures and diagrams that help the description and will contribute to your understanding of the entire process.
Build your own model. The technology gives us the opportunity. Now is the time.
Content:
220 pages divided into four chapters:
C1.- ESTIMATIONS
C2.- CONSTRUCTION OF THE MODEL (description of the building process)
C3.- INSTRUCTIONS (steps, building alternatives & catalogue)
C4.- GALLERY
Offset printing, hard cover.
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WALL CALENDAR "ETNO" 2013 for Hospice Foundation / non-profit
TOFU Studio:
Project: Iwona Duczmal & Adam Chyliński
Coordination: Daniel Naborowski
Printing House NORMEX:
Technology:
Jacek Grzegowski, Joanna Reglińska, Margaret Frontczak
Offset printing:
Waldemar Sypniewski, Andrzej Laskowski, Robert Strosowski, Luke bubble
Cutting out and stamping:
Strzyzewski Kamil, Peter Meller
Bindery:
Marta Markowska, Mariusz Czerwinski, Elizabeth Janiec, Beata Banaszewska
ALBUS / Screen Printing Workshop
screen printing - Dariusz Ochenkowski
MARDOJ S.C.
hot-stamping, die-cutting:
Ariel Meyer, Mark Pielowski
ACHILLES POLAND
lamination, UV varnish:
Andrew Kibiersza
TREFL SA / Lab dies
punches
Designer and illustrator Andy Pratt has some lovely work over on his website, www.andypratt.com. We printed four cover styles of Scout Books for him to create this wonderful urbanscape series.
Chipoard exterior, gridded interior, Pantone Process Cyan soy ink!
This card was created using a blind emboss, in which the artwork was letterpress "printed" onto the paper with no ink at all!
What a classy look! Duchess Clothier makes custom vintage men's suits right here in Portland.
Sara Linter is a Minneapolis-based graphic designer and the proprietress of Too Many Suitors, a creative goods business. We welcome Sara's Parliament Scout Books as the newest edition to our Friends collection: these snazzy notebooks are now available in the shop! These pocket-sized beauties boast two exterior ink colors and grid interiors.
Sara took some time to talk with us about her creative practice.
Oh, and why "Parliament," you wonder? It's the term for a group of owls.
Overview
Minolta is a company with long experience in the world of film, and extensive digital expertise that has so far been applied primarily in the areas of office electronics and imaging (copiers & printers). Recently though, they've been making significant waves in the digital camera and scanner markets, with their highly capable (and expandable!) Dimage EX 1500 Zoom digital camera, and a whole line of film scanners covering everything from APS to 35mm, to medium-format photography. We'll be reviewing the full range of the Dimage scanners, beginning with the Dimage Scan Speed that's the subject of this review.
The Minolta Dimage Scan Speed film scanner is quite a bit more capable than some of the "personal" film scanners we've reviewed in the past, positioned at the upper end of the "enthusiast" market with a list price as of this writing of $1,299. In many respects, its capabilities reach into the lower end of the "professional" market. We see it fitting the needs of users ranging from well-heeled photo enthusiasts, to businesses and professional photographers looking for top performance on a budget. In support of this market, we found the Dimage software did a particularly good job of providing the power demanded by pros, while remaining very approachable for the amateur.
"High Points" Overview
* 12-bit digitization, 3.6 Dmax
* 2820 dpi resolution
* User interface accommodates both beginners and experienced users
* "Preview" function can pre-scan entire APS film roll
* Cold-cathode light source for long bulb life
EZ-Print Page
In response to reader requests, we now provide copies of all reviews stripped of all their formatting, to faciliate printing. Click here to go to the EZ-Print page.
The Basics
The Dimage Scan Speed is a desktop device about the size of a hefty novel standing on edge. (The long side down.) It measures 3.6 x 6.3 x 10.7 inches (90.5 x 160.5 x 272 mm), and weighs about 4.4 pounds (2 kg). Interface to the host computer is via a high-speed SCSI-2 interface, meaning you'll need to have such a port installed in your computer to use it. (Macs typically come equipped with SCSI connections: On a Windows machine, you'll need to have an interface card installed. Appropriate cards range from $100 to $300 in price. The manual lists a number of Adaptec SCSI cards from the 1500 and 2900 series that are suitable. The only restriction seems to be that the 1500-series boards don't work with NEC PC98xx computers.) The standard unit can scan 35mm negatives or slides, in either black and white or color. An optional APS adapter is available for scanning that film type.
The software CD shipped with the unit supports both Mac and Windows platforms. Standalone scanning applications are provided for both platforms, as well as a Photoshop acquire plug-in for the Mac, and TWAIN drivers for the PC. (NOTE: Minolta specifies that the scanner requires either Windows '95 release 2 (OSR2), or Windows '98. If you're running Windows '95, be sure to check the revision level you have installed.)
Scanning resolution can be as high as 2820 dpi (a 2700-element CCD covering the width of a 35mm slide or negative). This produces maximum image sizes of 2688x4032 pixels for 35mm (32.5 megabytes), or 1920x3328 for APS (19.2 megabytes).
A note about scanner resolution, as compared to that of digital cameras: The 10.8 megapixel resolution of the Dimage Scan Speed is even higher than you might expect, when compared to the resolution of a digital camera. Because the scanner's CCD samples each pixel in all three red, green, and blue color channels, it's really equivalent to a digital camera with a 32 megapixel sensor and "striped" color filters. Thus, the first thing most people notice about images scanned from negatives and slides is the extraordinary level of detail captured. That said, the Dimage Scan Speed's scan resolution of 2820 dpi is at the top of the field for 35mm/APS scanners.
Another important scanning parameter is "bit depth," a measure of both color accuracy and the maximum density range the scanner can recognize. (8 bits per channel is good, 10 better, and 12 the best you'll commonly find in desktop scanners.) The Dimage Scan Speed captures a full 12 bits per pixel.
Scanner Optics & Light Path
Film scanners tend to take one of two approaches in their optical design, providing either fixed or adjustable focus. The Dimage Scan Speed employs fixed-focus optics. Given the extreme resolution of most film scanners, we're surprised that the lenses can be designed with enough depth of field to insure sharp focus in the face of minor variations in the film plane position. We're surprised, but the fixed-focus approach nonetheless seems to work quite well, as evidenced by the performance of the Dimage Scan Speed. The upside of fixed-focus designs of course, is that you don't have to worry about focusing, either in the form of twiddling a thumbwheel, or by waiting while the scanner adjusts its focus for every scan. In our testing, the Dimage Scan Speed produced sharp images every time, the sole exclusion being one orientation of our unusual "USAF 1951" resolution target, which is a glass slide with the pattern deposited on one side of it. With the pattern facing one way, we got sharp results, but decidedly blurry ones with it facing the other. We saw no evident focus deficiencies while scanning normal slides or negatives.
The Dimage Scan Speed uses a special fluorescent light source, producing strong spectral peaks in the red, green, and blue portions of the spectrum. We observed that this diffuse illumination source produced somewhat "softer" scans than some other scanners. The resulting scans had less of a razors-edge on fine detail, but were also much more forgiving of film defects and film grain. A good analogy (for those old darkroom aficionados out there) would be the difference between condenser and diffusion enlargers: The condenser optics tend to produce sharper images, but at the cost of greatly enhanced grain, while diffusion enlargers create a softer look. Note in this though, that while the scans produced by the Dimage Scan Speed have a somewhat "softer" appearance to them, they in fact appear to carry an extremely high level of detail, as evidenced by the results from our WG-18 (ISO-12233) resolution target scans.
Film Handling
The Dimage Scan Speed uses plastic slide- and filmstrip-holders to carry the film to the scanner: You first place the media to be scanned into the holder, then insert the holder into the scanner. The holders have detent notches on them that provide repeatable film positioning, and yet allow for manual advance of the film between frames. During scanning, the holder and film is moved past a fixed CCD array. The filmstrip holder can accommodate strips of 35mm film up to six frames in length, and the slide holder up to four slides. Both holders are reversible, a necessary feature for their use: Inserted into the scanner, you can access half of the total film frames by sliding the adapter in or out. To reach the remaining frames, you remove the adapter, flip it end for end, and reinsert it.
We found both the slide and film holders to be quite effective and easy to use. The film adapter is hinged, but only to the extent that a plate flips up to expose the recess into which the film is laid. (Unlike many "clamshell" designs, the slot holding the film is a fixed structure.) The back pressure plate then hinges back down and latches, clamping the film flat. This arrangement did a particularly good job of handling curled or damaged film, regardless of whether the film was curled side-to-side, or along its length. The film-holding slot is about a half-millimeter wider than the film itself, doing a good job of constraining the film position, yet still allowing minor adjustments to be made for fine alignment relative to the limits of the scanning area. We did find that the filmstrip holder crops the 35mm frame very slightly, about 3% in both vertical and horizontal directions by our reckoning. (For some reason, this appears to be a common characteristic of strip-film holders.)
The slide holder is also constructed of plastic, with four slots along the top edge into which the slides may be loaded. The edges of each slot set absolute limits for the horizontal position of the slide mount, but there's a bit more play (about a full millimeter side-to-side) with slides than is present in the filmstrip adapter. This is probably a good thing, as it allows you to correct for film misaligned in its mount: You can manually tweak the slides to achieve about two degrees of rotation in either direction, as needed. (Despite this looseness, we had no difficulty aligning slides square to the holder, as the edges of the "windows" in the holder provided good reference surfaces to align to, and simply "bottoming out" the slide in the slot yielded good alignment if the film was properly positioned in the slide mount.) The slide holder is also a little unusual in the way that the slides "float" between two sets of spring-loaded fingers. This seemed to do a good job of keeping the film plane well-centered about the point of optimum focus. The centering fingers gripped a particularly thick plastic-and-glass slide mount quite a bit more firmly than they did standard cardboard ones, but handled a wide range of mounts well. System Interface and Included Software
The Dimage Scan Speed uses a SCSI-2 connection to the host computer, providing the high speed data transfer necessary to handle the large amounts of data the scanner can generate. No SCSI card is included with the unit, but Minolta lists several models of Adaptec cards that the unit can be used with. (Adaptec is pretty much the standard for SCSI cards: You can find cheaper ones, but the Adaptec models are more likely to be compatible with a wide range of equipment. Note in particular, that some scanners, CD-ROM drives, and other equipment ships with low-cost SCSI cards included. In many cases, these are "dedicated" cards, that will only run the particular device they're shipped with. If you're buying a card to support the Dimage Scan Speed, take our advice and get a "name brand" Adaptec unit. The hassle you'll save will be more than worth it!)
Once connected to the computer, the Dimage Scan Speed is controlled through an excellent software interface that we'll describe in greater detail below. As noted earlier, the scanner-control software takes the form of standalone applications on both the Mac and PC, as well as a Photoshop plug-in on the Mac, and a TWAIN component on the PC. A particular strength of the Dimage software is the extent to which it provides powerful controls for experienced users, while at the same time offering a simple interface for novices.
A nice touch in the Dimage Scan Speed package was the inclusion of Adobe's Photoshop LE, for both Mac and Windows. Photoshop LE is a slightly trimmed-down version of the full Photoshop package, the primary omissions being support for color spaces other than RGB (such as CMYK, for commercial offset printing), and less in the way of color management. At one time, it was quite common to find Photoshop LE or even a full version of Photoshop bundled with many scanning devices. The combination of policy changes at Adobe (implemented in the form of radically higher prices to their bundling partners), and ever-tightening margins and declining retail prices in the scanner market have all but eliminated Photoshop from the "bundle" market. We applaud Minolta's inclusion of this program with the Dimage Scan Speed though: We suspect that many potential purchasers of the Scan Speed will be upgrading their imaging capability with the acquisition, and won't already have a copy of Photoshop. While trimmed-down somewhat from the capabilities of the full version, Photoshop LE is a dramatic step up from the "dumbed-down" interface and capabilities of Adobe's PhotoDeluxe, a much more common software bundle component these days. Don't get us wrong, PhotoDeluxe is an excellent program, but is clearly targeted at the casual user. Even at that though, we've long felt that removing key features such as the "levels" control is no gift to the end-user. While it may make the program easier to use, such simplification ultimately leaves users at a dead end, with nowhere to go as their skills and abilities improve. Photoshop LE is adequate to the needs of most semi-pro users, and will provide the full range of capabilities that most users will need to achieve the best results. Flame off for now, but repeated kudos to Minolta for taking the cost hit and including Photoshop LE with the scanner. One parting shot: You can't buy Photoshop LE, only the full version of Photoshop, which routinely sells for well over $500. Given that the LE version will be enough for the majority of users, the argument could be made that its inclusion in the Dimage Scan Speed bundle will save many people $500 or more. This fact alone is a significant differentiator for the Minolta's product.
Speeds and Feeds
As its name suggests, the Dimage Scan Speed is intended to be a fast scanner. In our testing, we found that it did indeed zip along pretty quickly. This appeared to be due partly to the basic mechanism and electronics (which moves the film and digests the data rapidly), and partly to the fixed-focus optics: When you tell the unit to begin scanning, there's no delay for focus adjustment before the scan starts. The unit does make one pass over the negative or slide first though, to determine an autoexposure level, a process that takes 4-5 seconds. Scanning throughput was quite good with the unit, helped by the flexible, easy-to-use software, but also by the fast scan times themselves. (We haven't in the past explicitly measured preview and scan times, so won't have comparable numbers for many scanners we've previously tested. From this point on though, we'll begin measuring these throughput-related timings on a routine basis...) Running the Dimage Scan Speed from an Adaptec SCSI card on our 350 MHz Pentium-II Windows machine, we measured the following scan times:
Preview/Scan Times:
Preview w/autoexposure:
20 seconds
Preview w/o autoexposure:
16 seconds
Low res (~600dpi) full-frame scan:
21 seconds
Full res (2820 dpi) full-frame scan:
44 seconds
Operation and User Interface
Other than the actual scans themselves, most of the story to be told about a film scanner has to do with the software that drives it, and to what extent the combination of hardware and software makes it easy to produce good-quality scans. Accordingly, we'll devote a sizable of this review to talking about the software that drives Minolta's Dimage family of scanners, and the Dimage Scan Speed in particular.
As noted several times already, we feel that Minolta has done a particularly good job of balancing capability with ease-of-use. This is a difficult equation to optimize, as the needs of "beginners" and "experts" can vary so widely. At the same time, the goal should be to provide a smooth gradation of capability, not introducing any abrupt hurdles to overcome as the users advance in their sophistication. Minolta has accomplished this difficult design goal by providing very basic, visually-oriented contrast/brightness adjustments for neophytes, while at the same time offering fairly sophisticated histogram and tone curve controls for those comfortable with more complex adjustments, and who need the control they provide.
As we write this, we're still searching for our "formula" that works best for scanner reviews, but are generally settling on a format in which we step through the scanner controls in the approximate order that a user would encounter them. (For a more complete walk-through of scanner operation, check out Minolta's excellent web site for their scanners: They've put together a comprehensive "on-line demo" of how the software works.)
The Preview Screen and Command Window
The most basic options and functions of the Dimage Scan Speed scanner are controlled via the Command window, shown below. The Command window contains two list boxes, two status displays, and a total of ten buttons, which we describe below, moving from left to right, top to bottom in the screen shot: (NOTE: This and all screen shots following have been scaled-down to better fit the 'web page -- The actual screens are larger and much more readable!)
* Film Format (List Box) - Options are 35mm or APS
* Film Type (List Box) - Options are Slide Film, Color Negative, B/W Negative, B/W Positive
* Current Job Selection (Display window) - Displays currently-chosen "job type", combining both input and output resolutions. (Translating input resolution (at the film) to output resolution (in the file and on paper when printed) is a tough process to make understandable: Minolta's "Job Type" approach does as good a job of this as any approach we've seen thus far.)
* Job Selection Button - Click for a pop-up menu of currently-defined job types, or create your own.
* Status Bar (Display field) - Displays descriptions of controls as your mouse rolls over them, and gives status information during the scan process. (Very handy for interpreting the sometimes-cryptic button icons, before you get used to them.)
* Index Scan Button (APS Only) - Creates thumbnail-sized index scans of an entire APS film roll.
* Prescan Button (APS or 35mm) - Generates a preview scan of the current film frame or slide. Preview scan sizes can be set to large, small, or automatic. Auto fits the scan resolution to the size screen you're working on. Generally, you'll want the largest preview scan you can get, to help in accurately setting white and black points and in adjusting the tone curves.
* Scan Settings Button - Brings up the Scan Settings window (shown at right), where you can manually adjust the input and output scan resolutions and set the units you want to work in (pixels, inches, or cm). NOTE that you can't set the resolution values when your units are set to pixels, as in the screenshot at right.
* Save Index Scan Button - To save time on subsequent scans (as well as provide a useful index of images on your APS rolls), you can save APS index scans to disk.
* Save Job Button - If you've created a custom Scan Settings configuration, you can save it under its own "job type," for immediate recall later.
* Preferences Button - Brings up the Preferences window, described later.
* Rewind Button (APS Only) - Rewinds APS film back into its canister.
* Help - (If you need us to explain what this button does, you probably shouldn't buy the scanner! ;-)
Preferences Window
The preferences window (not shown) controls a number of overall settings governing scanner operation. Most people will rarely need to visit this screen, as the default settings will suffice for many applications. About the only control you're likely to need to change with any regularity is the one for Color Depth, and even then, the non-default settings are likely to be useful to only a small cadre of advanced users. Herewith the Preferences functions:
* Auto Expose for Slides - This appears to be an overall exposure compensation adjustment for scanning very dense transparencies. It made no perceptible difference with our "train" slide though, perhaps because that slide also includes some very light areas.
* Close Driver After Scanning - This will be most useful when using either a TWAIN or Photoshop acquire module for scanning. It will close the scanning window after each scan, returning you to the host application. (Or to the desktop, if you're running standalone.)
* Prescan Size (Options are Small, Large, or Auto) - You can preset the size of the prescan window, or allow the scanning software to size it to your screen automatically. The last is the easiest, the fixed sizes perhaps being useful if you want to be able to see other windows on your desktop while the scanning software is running.
* Color Depth (Options are 8-bit, 16-bit, and 16-bit linear) - As mentioned earlier, the Dimage Scan Speed is a 12-bit per channel scanner. Since computer displays and most programs can only accept 8 bits per channel, what happens to the rest? Normally (in 8-bit mode), the scanner and scanning software translate the 12-bit data down to the 8-bit final data size, in effect "choosing the best 8 bits." For most uses, this is the easiest and most direct thing to do. For difficult subjects with particularly wide dynamic ranges though, you may want to employ some unusual tonal mapping, to preserve both shadow and highlight detail, or experiment with different approaches after the scan is complete. For these situations, Minolta provides the ability to capture all 12 bits per channel, and store them in a file. Since the TIFF file format only recognizes either 8 or 16 bits per channel, the option which preserves the full 12 bits of original data is labeled "16-bit," even though only 12 bits per channel are actually being stored. It's a little harder to understand the need for the "16-bit linear" option, but perhaps it has some use in scientific applications. What it appears to do is to turn off the analog "gamma" adjustment that takes place prior to the digitization of the image data. The same raw data is being captured, but the distribution of bits across the tone curve is very different. (In general, dark areas look VERY dark with the 16-bit linear option enabled.) As we said, this doesn't appear to be terribly useful for general photographic applications, but could find some use in photogrammetry.
APS Settings - not having had the APS attachment to play with, we didn't have an opportunity to experiment with these, and the main manual offered no description. Below are our "best guesses" as to what they do:
o Index Scroll Direction (Options are Horizontal or Vertical) - APS pre-scans produce arrays of thumbnail images. This option simply selects whether the display is set to scroll horizontally or vertically as you move through the array of images.
o Index Scan Priority (Options are Speed or Quality) - With up to 40 frames on a roll, you may sometimes prefer a "quick and dirty" pre-scan in order to view all your images quickly. At other times, you may want a higher-quality prescan, to facilitate image adjustments prior to the high-resolution scans themselves. (Note that you don't have to pre-scan the entire roll, if you know which image you're interested in, based on your APS index print: The software apparently displays blank thumbnails as soon as the roll is loaded, allowing you to choose the image you're interested in, based on frame number.)
o Max # of Frames - We're not sure what this control is for, unless it's to restrict the pre-scan operation to the first few frames of a roll
o Auto Film Rewind - Apparently an option to rewind the film back into the cartridge after the scanning is completed.
o Rotate All Frames 180 degrees - Depending on how the APS cartridge loads into the camera, rolls from some models could come out "upside down." This checkbox avoids the need to laboriously flip every individual frame separately.
Prescan Window
This window (shown below) is "home base" for the scanning process. From here, you'll launch off into other functions within the software, to adjust color balance, contrast, or tonal range. Controls here also adjust preview orientation, data readout, and exposure parameters for sequential scans. See the text following the screen shot for a description of the individual buttons and controls.
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/4165308993
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Old offset printing press (India)
I took this and those other photos in a small Print Shop / Book Editor in Delhi, called Jayyed Press.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Ina Weise is a young lady with quite a bit of creative experience under her belt. She is currently an intern at The Post Family, but before calling Chicago home, she studied in Austria, Poland, and her native Germany. Her command of geometric shapes is astonishing, and her work spans mediums from textiles to printmaking to apparel to installation. Her installation at the Post Family's Family Room Gallery will close this week; if you're in Chicago, stop in to celebrate the closing of her show The Following of One Thing After Another.
Ina explores circles in this pocket notebook, incorporating pen, pencil, cut paper, collage, xerox transfer and woven paper.
Mia Christopher is a whirlwind of bright productivity. As a multi-disciplinary artist residing in San Francisco, Mia is filling the art world with color and whimsy, participating in group and solo shows up and down the West Coast as well as internationally. All this while she's working toward her BFA from the California College of the Arts. We can't wait to see what's next from Mia. Stay tuned for more Scout Books from Mia; she filled up THREE with playful illustrations and material studies.
Very nice business card from studio Almost Modern ( nice name too ). A simple 1-color offset printing, but with a perfect modernist design.
Little Known Secret #5
I have only produced two serious pieces of art since 1998. This is one piece I did as a labour of love for my huzbear.
I was a graphic artist for 20 years, working primarily between silk screen production houses and the offset printing industry.
My second last job in this field was in silk screen production and my boss continually told me EVERY DAY that I was a slow worker and that he could replace me in an instant if he wanted to. After 3 and half years of hearing this, the last straw was that he gave me a 25 cent raise. The next day I looked for other work and quit the following Friday. My next job was no better. It was in a Kwik print shop and the first year was great. Good management and great people to work with, but the manager sold out to a pair of buffoons that had no idea about printing or how to manage a bun party. I was laid off once, because the one owner didn't agree with my 'lifestyle'. I took a month off, then phoned the union. The next day, I had my job back. A little while later, the one owner that had a problem with me sold out and then it was just the one owner looking after the business. What followed next was a daily barage of insults, verbal abuse and constant demeaning in front of staff and clients. But I was determined to not let him get to me. But after 9 years, all of his abuse had started to take it's toll. I noticed my personality had shifted from the fun-loving happy person I was into a short-tempered edgy, angry and emotionally unstable person.
I HAD to get OUT!
Then fate interveined and one day near closing, a friend I hadn't seen in over 3 years came in for some copies. While we chatted, he spoke of his new promotion at work and how they hadn't found anyone to fill his old position. He suggested I leave a resume with him and by chance, I had one right there. I was asked for an interview a week later and was offered the job on the spot. I eagerly accepted, went back to my boss and gave my two weeks notice. I wouldn't tell him where I was going and that drove him nuts! He offered me more money and I told him that money wasn't even a factor.
A week after starting my new job at Technicolor, people began to see a change in my personality back to my 'happy' self again. My job at Technicolor is my dream job! The people are great and we're like a family together. I'm able to be totally out and we have lots of fun.....AND get the work done.
Although I'm a happier person, I still find it difficult to pick up a pencil again. Those scars just haven't healed yet.
Been hitting press checks all week… lots of pieces to the puzzle for this Spring limited edition… The announcement is coming soon, be sure you're on our mailing list.
Portland violist and vocalist Lisa Molinaro is in the band Talkdemonic. She had this lovely illustrated business card printed up! Designed by Rebecca founder of Dork Orbit (www.dorkorbit.com). Black Pantone soy-based ink printed onto 100% Recycled Chipboard! Wow!
(Above and rings on the floor)
Rayyane Tabet
Ashqout, Lebanon, 1983. Lives in Beirut.
Steel Rings
Anneaux en acier
2013
Acier roulé et gravé, avec le km, la longitude, la latitude et latitude d’une localisation spécifique
Rolled and engraved steel, with the km, the longitude, the latitude and the altitude of a specific location
Diamètre / diameter: 80 cm
Largeur / width: 10 cm
Epaisseur / depth: 0,6 cm
Three Logos
Trois logos
2013
Trois icônes suspendus / Three suspended icons
Acier avec revêtement de peinture poudrée / Steel with powdered paint coating
Cheval rouge / Red horse: 260 × 200 cm
Ovale bleu / Blue oval: 200 × 300 cm
Etoile rouge / Red star: 200 × 200 cm
Courtesy the artist and Sfeir Semler Gallery, Hamburg/Beirut
The Trans-Arabian Pipe Line (also known as the Tapline) was conceived by American companies as a faster, cheaper, and safer alternative to the export of Saudi Arabian oil by ship around the Arabian Peninsula. Its origins lay in US-government coordinated efforts to replace the enormous drain on American reserves in ‘oiling’ the second world war. The Tapline was constructed between 1947 and 1950 as a joint venture of Standard Oil of New Jersey, the Socony-Vacuum Oil Company (both now merged into ExxonMobil), the Texas Company, and Standard Oil of California (now Texaco and its parent company Chevron, respectively). The pipeline was planned to run in a direct line from the Abqaiq oil field to Haifa, then in British-administered Palestine. Yet as the disputed 1947 United Nations Partition Plan divided Palestine into Arab and Israeli sections, a diversion had to be made in the route. The final stretch of the 1214 km line thus headed off at an angle through Jordan and Syria, and terminated in southern Lebanon. Oil exports flowed from 1950 until the Lebanese Civil War broke out in 1975. The Tapline later supplied oil exclusively to Jordan until Saudi Arabia stopped the agreement in 1990 in response to Jordanian support for Iraq during the first Gulf War. The pipeline has lain dormant ever since.
Crossing galleries 2 and 3, Rayyane Tabet’s Steel Rings (2013) addresses the pipeline as a form of line drawing. The artist distilled his exhaustive research into the history of the Tapline to focus on the abstract and geometric qualities of what was a remarkable feat of engineering and logistics. Tabet’s primary interest lies in the Tapline’s route as a cartographic vector, and the physical presence of a tube of steel that slices through five political entities. The steel rings replicate the scale of the pipeline in section. Each ring is engraved with the longitude, latitude and elevation corresponding to a kilometre-marker of the pipeline’s path. Three Logos (2013) evokes the numerous mergers and rebrandings of the American corporations involved. The blue oval of the Esso logo (originally a brand of Standard Oil), intertwines with the red star of Texaco and the winged horse of Mobil.
(Ground)
Martín Llavaneras
Lleida, Catalonia, 1983. Lives in Barcelona.
Touchpad
Pavé tactile
2016
Plaques lithographiques en calcaire / Lithographic limestone plates
Dimensions variables / Variable dimensions
Courtesy of the artist
Lithography is a printing technique discovered around 1796 by the Bavarian playwright Alois Senefelder (1771–1834) as an alternative to costly copperplate engraving. Its name derives from the Latin for stone, litho, and mark, graph. After drawing with greasy crayon on the surface of the local smooth limestone, Senefelder found that images could be repeatedly inked and printed on paper. Later refinements of the technique led to a broad range of possibilities for reproducing commercial and artistic images, and the development of offset printing. It is no coincidence that all known fossil specimens of the early bird Archaeopteryx lithographica have been found in Senefelder’s Bavaria—the exceptionally fine limestone mined for lithographic printing also preserved highly detailed imprints of Jurassic life.
Touchpad comprises a dozen stone slabs once used for lithography. As printing houses closed or upgraded their presses, many slabs were discarded and were often used as paving. Tracing this history of obsolescence from inky images to ghostly footprints, Martín Llavaneras is interested in these surfaces as lithic tactile interfaces.
Text: Latitudes
Photo courtesy: Latitudes/RK
Fall Letterpress Wedding Invitation
30 pt 100% recycled chipboard - Imported Italian copper paper and envelope - Chocolate and copper vegetable based inks - brass rivets
by appt. only @ Chicago, IL
email info@lambertletterpress.com or call 773.283.4988 for a custom quote.
We can do offset printing if you are looking for a more economical invitation.
photo bill lambert / erickson design
These skeletal Scout Books were created by Matthew Trevaskis of Hola Pistola. The image on the books was created from one of his favorite etchings by his favorite illustrator and artist, José Posada. Living and working in Melbourne, Australia, Trevaskis has plans for more pieces honoring Posada to accompany these Scout Books.
Archiv für Druck und Papier: Buchgewerbe, Graphik, Werbung; = Archives for printing, paper and kindred trades
INHALT:
— Von der Bugra zur Drupa
— Geleitwort der Deutschen Druck- und Papiermaschinenindustrie Dr. Hans Bolza
— Geleitwort der BGV Hans Weitpert
— Die Zeitschrift im kulturellen Leben der Nation
— Das hundertjährige »Archiv«
— Über die Kunst Papier zu machen
— Probleme an Papiermaschinen
— Berliner Meisterschule
— Papier, Buch, Schrift im Wandel der Zeiten
— Der unterirdische Strom, Stilformen als Ausdruck zeitgenössischer Mentalität
— Die Druckfarben, Rückblick und Aussichten
— Wechselbeziehungen zwischen Druckfarbe und Papier
— Ohne Kamera vom Original zum Klischee
— Die Fotografie im Dienste der Presse
— Über die Querkontraktion von Tiefdruckpapieren
— Satzherstellung im Zeichen weiterer Rationalisierung
— Hundert Jahre Reprotechnik
— Hundert Jahre Tiefdruck und die nächsten zehn
— Hochdruckmaschinen für Wickelplatten
— Die Rundform im Zweifarben-Buchdruck
— Eigenschaften und Bedruckbarkeit von Folien und Formkörpern aus Kunststoffen
— Falzwerke an Rollen-Hoch- und Rollen-Tiefdruck-Maschinen
— Kommen Offset-Rotationsmaschinen für Qualitätsdruck in Frage?
— Der technische Stand des Kleinoffsetdruckes
— Entwicklung und Zukunft der Industriebuchbinderei
— Die Bauelemente der Papierverarbeitungsmaschinen
— Farbnormung für den auto-typischen Hochdruck
TAELE OF CONTENTS:
— From Bugra to Drupa
— Preamble Dr. H. Bolza
— Preamble H. Weitpert
— The Periodical in the civilized life of the Nation
— 100 Years Archives, History and Mission
— The Art of Paper Making
— Problems with Paper Making Machines
— The College for Graphic Arts, Printing, and Advertising Berlin
— Paper, Book, and Type through the Times
— The invisible Stream. Style forms as expression of today's mentality
— Printing Inks. Review and Prospects
— Mutual Relations between Ink and Paper
— From Copy to block without a Camera Photography helping the Press
— Cross Contraction in Rotogravure Printing Paper
— Faster TTS Tape Preparation by Computer
— One Hundred Years of Reproduction Process
— A Century of Rotogravure and the next ten Years
— Printing Presses for Wrap around Plates
— The Rotary Plate Forme in Two-Colour Printing
— Features and Printability of Foils and Form Bodies from Plastics
— Folders on Web-fed Letterpress and Rotogravure Rotary Presses
— Can web-fed Offset Rotary Presses be considered for High-Quality Printing ?
— Technical Condition of Small-Size Offset Printing
— Development and Future: Prospects of the Industrial Bookbinder
— Construction Element of Paper Handling Machines
— Colour standardization for half-tone etchings
Schriftenverzeichnis Müggenburg & Beinert / Buch-, Stein- und Offsetdruckerei / Barmen-Wichlinghausen
Jakob Erbar’s Lichte fette Grotesk aka Phosphor (Ludwig & Mayer, 1923) on the cover of a printer’s specimen (“typeface directory”), featuring the fancy ampersand, a compact umlaut, and the form with perpendicularly sheared terminal for ‘R’ (but not ‘K’). The inclusion of Lichte fette Grotesk and Noblesse (Wagner & Schmidt, 1924) in an addendum suggest a mid-1920s/1930s date. Müggenburg & Beinert was registered in Wuppertal from 1906 to 1960 and offered letterpress, lithography and offset printing.
Arte de tapa e interior libro de FM La Tribu editado para sus 20 años.
Impresión Offset. Formato 16x22,5 cm. 128 páginas
Diccionario de palabras que muerden: Felicidad, Libertad, Conocimiento, Arte, Izquierda (entre otras) desarrolladas por diferentes escritores, periodistas, artistas visuales, fotógrafos, etc.
2009
.................
Inside and cover art Book by Radio La Tribu for its 20 years.
Offset printing. 16x22,5 cm. 128 pp.
It´s kind of dictionary of words like Happiness, Freedom, Knowledge, Art, Left developped by different writers, journalists, visual artists, photographers, etc.
2009
October 1970 working as a volunteer. We shoved a string of stock cars out on this siding west of the lumber mill off the main line. This scan is of the 3-M color key Sundance Publications used for a calendar picture--it scans darker that what the color key shows. A color key is made up of one sheet of acetate for each color made from the film used to make offset printing plates. The original of the color key is 7 1/2 x 11 and the original color separations were shot on a process camera from my original 35mm slide.
Incubate design is a firm located in Portland. These business cards are made of chipboard, metallic Pantone silver ink and Pantone black soy-based inks.
The wonderfully creative Emily Martin, aka The Black Apple, is a jill of all trades. We interviewed her as part of our Designer Highlight series over on our blog, CoinOp. Check it out!
A "death card" was issued by the family, usually Roman Catholic, of a soldier killed in action, in this case, by the family of Josef Knab, who, after 2 and a half years faithful service was badly wounded on the 30th October 1917 and died in hospital 9 days later on 8 November 1917.
Design:
Iwona Duczmal
Paper:
CURIOUS SKIN FIOLET
OLIN REGULAR ABSOLUTE WHITE
Technology:
screen printing + offset printing
Client: BPTO
WALL CALENDAR "ETNO" 2013 for Hospice Foundation / non-profit
TOFU Studio:
Project: Iwona Duczmal & Adam Chyliński
Coordination: Daniel Naborowski
Printing House NORMEX:
Technology:
Jacek Grzegowski, Joanna Reglińska, Margaret Frontczak
Offset printing:
Waldemar Sypniewski, Andrzej Laskowski, Robert Strosowski, Luke bubble
Cutting out and stamping:
Strzyzewski Kamil, Peter Meller
Bindery:
Marta Markowska, Mariusz Czerwinski, Elizabeth Janiec, Beata Banaszewska
ALBUS / Screen Printing Workshop
screen printing - Dariusz Ochenkowski
MARDOJ S.C.
hot-stamping, die-cutting:
Ariel Meyer, Mark Pielowski
ACHILLES POLAND
lamination, UV varnish:
Andrew Kibiersza
TREFL SA / Lab dies
punches
WALL CALENDAR "ETNO" 2013 for Hospice Foundation / non-profit
TOFU Studio:
Project: Iwona Duczmal & Adam Chyliński
Coordination: Daniel Naborowski
Printing House NORMEX:
Technology:
Jacek Grzegowski, Joanna Reglińska, Margaret Frontczak
Offset printing:
Waldemar Sypniewski, Andrzej Laskowski, Robert Strosowski, Luke bubble
Cutting out and stamping:
Strzyzewski Kamil, Peter Meller
Bindery:
Marta Markowska, Mariusz Czerwinski, Elizabeth Janiec, Beata Banaszewska
ALBUS / Screen Printing Workshop
screen printing - Dariusz Ochenkowski
MARDOJ S.C.
hot-stamping, die-cutting:
Ariel Meyer, Mark Pielowski
ACHILLES POLAND
lamination, UV varnish:
Andrew Kibiersza
TREFL SA / Lab dies
punches
Design:
Iwona Duczmal
Paper:
CURIOUS SKIN FIOLET
OLIN REGULAR ABSOLUTE WHITE
Technology:
screen printing + offset printing
Client: BPTO
Design:
Iwona Duczmal
Paper:
CURIOUS SKIN FIOLET
OLIN REGULAR ABSOLUTE WHITE
Technology:
screen printing + offset printing
Client: BPTO
Jeanne Lanvin (French fashion designer, 1867-1946); Pierre Brissaud (French illustrator, 1885-1964); Do you know your lesson?: Tailored ensembles imagined by Jeanne Lanvin; (Sais-tu ta leçon?: Costumes tailleur de fantaisie de Jeanne Lanvin); 1914 (publication), Paris, Ile-de-France, France; ink on paper (photomechanical lithograph) with hand-applied color (pochoir); 25.4 x 19.1 cm (width)
Dear all
hello.
we are based at jaipur ,india.
our city is popular as pinkcity in world.
our country is a worlds, largest democratic country, and all religions are acceptable here.
this is a great thought ,which we are following through centuries.
on the otherside, it,s heritage ,culture and historical sights are very well known worldwide.
it,s tradition, it,s music ,it,s tourist spots are very well known.
in the way to make rich fashion and tradition of india,we have started to manufacture and export the all kind of indian readymade garments , home textiles, handicrafts and it,s rich culture to worldwide.
our company karni exports is very well known among the importers of indian products.
we are always at your doorstep to serve our best quality products.
with very best regards and all time seasons greetings.
pradeep nahata
owner
KARNI EXPORTS
G1-155,EPIP,GARMENT ZONE,
SITAPURA INDUSTRIAL AREA,
TONK ROAD, JAIPUR-302022,INDIA
MOBILE-0091-98281-99329
EMAIL-- pradeepnahata@yahoo.com
Design:
Iwona Duczmal
Paper:
CURIOUS SKIN FIOLET
OLIN REGULAR ABSOLUTE WHITE
Technology:
screen printing + offset printing
Client: BPTO
WALL CALENDAR "ETNO" 2013 for Hospice Foundation / non-profit
TOFU Studio:
Project: Iwona Duczmal & Adam Chyliński
Coordination: Daniel Naborowski
Printing House NORMEX:
Technology:
Jacek Grzegowski, Joanna Reglińska, Margaret Frontczak
Offset printing:
Waldemar Sypniewski, Andrzej Laskowski, Robert Strosowski, Luke bubble
Cutting out and stamping:
Strzyzewski Kamil, Peter Meller
Bindery:
Marta Markowska, Mariusz Czerwinski, Elizabeth Janiec, Beata Banaszewska
ALBUS / Screen Printing Workshop
screen printing - Dariusz Ochenkowski
MARDOJ S.C.
hot-stamping, die-cutting:
Ariel Meyer, Mark Pielowski
ACHILLES POLAND
lamination, UV varnish:
Andrew Kibiersza
TREFL SA / Lab dies
punches
20x200's Kate Bingaman-Burt is the latest artist to team up with Pinball Publishing for the release of this month's offering in their designer card series. Images come from Kate's series of drawings, What Did You Buy Today? documenting daily purchases from the last three years and are printed on chipboard with rounded corners in Pantone 376 (a lively spring green), black, and opaque white. The designer decks are a collaboration between graphic designers, illustrators, and artists with Pinball's team to show-off exactly what offset printing can do.
Princeton Architectural Press will also publish 650 of Kate's daily drawings in a book forthcoming in March 2010. We can't wait.
Kate's site, Obsessive Consumption.
Kate's editions, I Bought All of These and Plattsmouth, Nebraska, Carts #1 on 20x200.
Kate in the recently released documentary, Handmade Nation: The Rise of DIY, Art, Craft, and Design.
Kate's exhibit at Jen Bekman Gallery.
-Youngna Park
Design:
Iwona Duczmal
Paper:
CURIOUS SKIN FIOLET
OLIN REGULAR ABSOLUTE WHITE
Technology:
screen printing + offset printing
Client: BPTO
Friends of Graphic Design is a student group at Portland State University. They created these Scout Books as a fundraising and promotional tool. They feature artwork by students Sarah Baugh and Nicole Lavelle.
www.friendsofgraphicdesign.org