Loading ...
Sorry, an error occurred while loading the content.
 

Mounting bases and halftones

Expand Messages
  • Bryan Hutcheson
    Thanks to everyone who gave me feedback on the mounting base questions I posted last week.!!!!!!!!! Also thanks to everyone who gave me info on the halftone
    Message 1 of 10 , Sep 7, 2000
      Thanks to everyone who gave me feedback on the mounting base questions I
      posted last week.!!!!!!!!!

      Also thanks to everyone who gave me info on the halftone question I posted.


      [Non-text portions of this message have been removed]
    • David Goodrich
      This discussion has been most interesting and I would like to expand it a little further. Whenever a new technology has been introduced, the first instinct has
      Message 2 of 10 , Sep 3, 2002
        This discussion has been most interesting and I would like to expand it a
        little further.

        Whenever a new technology has been introduced, the first instinct has been
        to apply it so as to mimic the processes already in use. Only after time do
        the possibilities of the new technology become apparent and entirely new
        processes and uses emerge.

        When the industrial revolution first started applying power (water and later
        steam) to perform tasks, the initial devices employed closely imitated the
        hand processes that had been used. Some of the contraptions first devised
        seem pretty ludicrous today. Only after inventors realized that the rotary
        nature of the power drive called for a totally different approach to
        designing machinery did the real benefit appear.

        Similarly, when people first started conceiving robots in the 1930's they
        were little metal men with hands and legs who performed tasks just as people
        would. They were a joke. But today computer driven robots perform all
        sorts of precision tasks in the manufacturing process and they look nothing
        like any human counterpart.

        As Gerald pointed out, computers are simply big adding machines. When IBM
        first applied them to business record keeping, they "emulated" the manual
        bookkeeping procedures that had been developed by large corporations for
        handling thousands of transactions: they sorted, added up and summarized
        individual records and transferred the totals to larger and larger summary
        files of data. It was only when programmers took advantage of the
        computer's capabilities to work with random access memory that the ability
        to manage and use information created a revolution in how business itself is
        conducted.

        In our own narrow field, Gutenberg created a technology that attempted to
        mimic handwritten manuscripts. It took Aldus to recognize that the new
        technology created possibilities for the widespread diffusion of inexpensive
        and easily portable books and he created a new typography suitable to its
        purpose.

        There is no question in my mind that the application of computers and
        digitalization to the graphic arts is in its infancy. Although imitating
        little lead castings is one possibility, the ultimate use of this technology
        has not yet even been imagined.
      • bielerpr
        ... ogy ... HI David Well thought out, but I just have a guestion or two I d like to pose in regard to your last statement here. Perhaps this needs to be
        Message 3 of 10 , Sep 3, 2002
          > There is no question in my mind that the application of computers and
          > digitalization to the graphic arts is in its infancy. Although imitating=
          > little lead castings is one possibility, the ultimate use of this technol=ogy
          > has not yet even been imagined.

          HI David

          Well thought out, but I just have a guestion or two I'd like to pose
          in regard to your last statement here. Perhaps this needs to be
          considered?

          I recently read on that statistical page in Harper's that the
          majority of humans living on the planet have never used a telephone.
          This is an interesting statistic don't you think? What does that say
          for the notion of unimpeded progress for digital technology in a
          world where most folks don't participate? Especially considering that
          our material resources are not infinite and economic decline is
          almost inevitable? (In eight years we will reach the half way point
          in exploiting the earth's "possible" bio mass—another debatable
          statistic but this revealed from the oil industry itself). So,
          perhaps digital technology is not in its infancy, but already in its
          middle age???

          I suppose I sound like a Luddite. I'd like to think I'm not. But to
          put our faith in a continuous technological progress (in which very
          few of us, or any of us, actually play a part) may not exactly be a
          desirable, or realizable, goal.

          I suspect what I have said here would then tend to diminish the value
          of our letterpress work here and now... perhaps. Perhaps not. We do
          live in the here and now. And what we do here and now is what we have
          to offer the future. Just as we were informed by the past, that is also
          what we have to give over. We worked with our hands, and our minds, and
          our hearts. Is that too small a message to send to the future?

          Gerald
        • Sue Clancy
          Hi all, As a former digital addict (I ve a BFA in fine art with an emphasis in graphic design) - I gotta admit I ve fallen back in love with the human touch
          Message 4 of 10 , Sep 4, 2002
            Hi all,

            As a former digital addict (I've a BFA in fine art with an emphasis in graphic
            design) - I gotta admit I've fallen back in love with 'the human touch' after years
            of work as a 'graphics' person. So much so that some 5 years back I decided that I
            could no longer stomach my job as a graphic designer/pre-press person at a local
            printing press. (I couldn't contribute to the landfill by creating slick coated
            mass-produced things that had a very very short shelf life - things like media
            guides for sporting events etc.)
            I quit and went to work for myself - making hand made stuff. I won't go into the
            long-winded list of what all I'm doing now, but I LOVE seeing other artists
            letterpress work! I LOVE seeing original pen and ink illustrations. I LOVE doing
            pen and ink illustrations and 're-producing' them via woodcuts or linocuts!
            There's nothing better than getting your hands dirty and making something with a
            personal flavor (both in the creation of, and the reading/looking.)
            There's also nothing better than looking at something someone made with the sweat
            of their brow.
            And there's no better feeling - for me anyway - than after having worked a hard
            days work, settling down in my easy chair with a cold beer knowing that I exerted
            myself body, mind and spirit and that I gave it my all!

            Sue


            bielerpr wrote:

            > > There is no question in my mind that the application of computers and
            > > digitalization to the graphic arts is in its infancy. Although imitating=
            > > little lead castings is one possibility, the ultimate use of this technol=ogy
            > > has not yet even been imagined.
            >
            > HI David
            >
            > Well thought out, but I just have a guestion or two I'd like to pose
            > in regard to your last statement here. Perhaps this needs to be
            > considered?
            >
            > I recently read on that statistical page in Harper's that the
            > majority of humans living on the planet have never used a telephone.
            > This is an interesting statistic don't you think? What does that say
            > for the notion of unimpeded progress for digital technology in a
            > world where most folks don't participate? Especially considering that
            > our material resources are not infinite and economic decline is
            > almost inevitable? (In eight years we will reach the half way point
            > in exploiting the earth's "possible" bio mass—another debatable
            > statistic but this revealed from the oil industry itself). So,
            > perhaps digital technology is not in its infancy, but already in its
            > middle age???
            >
            > I suppose I sound like a Luddite. I'd like to think I'm not. But to
            > put our faith in a continuous technological progress (in which very
            > few of us, or any of us, actually play a part) may not exactly be a
            > desirable, or realizable, goal.
            >
            > I suspect what I have said here would then tend to diminish the value
            > of our letterpress work here and now... perhaps. Perhaps not. We do
            > live in the here and now. And what we do here and now is what we have
            > to offer the future. Just as we were informed by the past, that is also
            > what we have to give over. We worked with our hands, and our minds, and
            > our hearts. Is that too small a message to send to the future?
            >
            > Gerald
            >
            >
            > • To respond to a post or post a message to the membership:
            > PPLetterpress@yahoogroups.com
            > • Encountering problems? contact:
            > PPLetterpress-owner@yahoogroups.com
            > • To unsubscribe:
            > PPLetterpress-unsubscribe@yahoogroups.com
            >
            > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
          • Katie Harper
            A while back, there was a discussion on this list about scanning either grayscale or color artwork and using Photoshop tools to turn the image into really
            Message 5 of 10 , Oct 4, 2002
              A while back, there was a discussion on this list about scanning either
              grayscale or color artwork and using Photoshop tools to turn the image into
              really nice, clean line art. At least I think that was what we read about. I
              can't seem to find those messages now. Can someone refresh my memory about
              the technique involved? I have an old Victorian print that a customer wants
              me to turn into line art for a letterpress plate. My thinking right now is
              that the most successful method will be to simply redraw the image, tracing
              over it. However, I'm stumped as to what to do with the subtle tonalities of
              grays. Perhaps doing a sort of wood cut effect to render the gray tones
              would be an option.

              Any other suggestions? If you email me offlist, I can send you a PDF of the
              scanned artwork, if that will help.

              Thanks.


              Katie Harper
              Ars Brevis Press
              Cincinnati, OH
              513-233-9588
              http://www.arsbrevispress.com
            • Gerald Lange
              ... Katie The thread ran in and out from message 775 into the early 800s with a follow up or two. I believe what you are inquiring about was Mark Attwood s
              Message 6 of 10 , Oct 4, 2002
                > A while back, there was a discussion on this list about scanning either
                > grayscale or color artwork and using Photoshop tools to turn the image into
                > really nice, clean line art. At least I think that was what we read about. I
                > can't seem to find those messages now. Can someone refresh my memory about
                > the technique involved?
                >

                ....

                > Katie Harper
                > Ars Brevis Press
                > Cincinnati, OH
                > 513-233-9588
                > http://www.arsbrevispress.com

                Katie

                The thread ran in and out from message 775 into the early 800s with a
                follow up or two.

                I believe what you are inquiring about was Mark Attwood's recipe for
                reworking color scans into line work. It works quite well in that
                regard but I have not had similar results with grayscales of line
                art. I've found the "unsharp" feature he discussed seems to
                "splinter" the line work if there is not enough tonal gradation to
                begin with. I've found a reverse procedure, slight application of
                blurring filters, works better in that regard.

                Gerald
              • Gerald Lange
                Katie A bit further comment on this: I don t trust in the notion that a high resolution scanner alone will do the job for you, the higher the better, etc., and
                Message 7 of 10 , Oct 4, 2002
                  Katie

                  A bit further comment on this:

                  I don't trust in the notion that a high resolution scanner alone will
                  do the job for you, the higher the better, etc., and that's that.
                  Certainly hi-rez will help but not if you rely solely on it. If you
                  are going to print the image letterpress you have to get it to a
                  state where it will replicate exactingly despite all the additional
                  problems associated with presswork; ink gain, impression.

                  This requires a bit of handwork; thinning the weighty strokes,
                  rebuilding the thin strokes, incorporating ink traps (breaking
                  curves, bracketing tight angles, etc), and when possible, the
                  construction of inking supports and drains. If you do it right and
                  enlarge the piece at all, it will look a bit odd. But the proof is in
                  the printing. I find this to be a very intuitive process and relying on
                  mathematics and exact pixel configuration isn't actually going to get
                  you to where you need to be.

                  Gerald
                • cmcgarr1957
                  I use Photoshop to scan in images either b/w or grayscale. Then I use Adobe Streamline to turn it into line art. I ve been using Streamline for about 10 years
                  Message 8 of 10 , Nov 1, 2002
                    I use Photoshop to scan in images either b/w or grayscale. Then I use Adobe
                    Streamline to turn it into line art. I've been using Streamline for about 10 years
                    and it's wonderful. If you need help with correct setting in Streamline please
                    reply. Oh, when scanning in b/w art you must scan in at 1200 resolution to
                    keep the integrity of the line, when it is turned into vector art the line remains
                    smooth.

                    Casey McGarr


                    --- In PPLetterpress@y..., "Gerald Lange" <bieler@w...> wrote:
                    > > A while back, there was a discussion on this list about scanning either
                    > > grayscale or color artwork and using Photoshop tools to turn the image
                    into
                    > > really nice, clean line art. At least I think that was what we read about. I
                    > > can't seem to find those messages now. Can someone refresh my
                    memory about
                    > > the technique involved?
                    > >
                    >
                    > ....
                    >
                    > > Katie Harper
                    > > Ars Brevis Press
                    > > Cincinnati, OH
                    > > 513-233-9588
                    > > http://www.arsbrevispress.com
                    >
                    > Katie
                    >
                    > The thread ran in and out from message 775 into the early 800s with a
                    > follow up or two.
                    >
                    > I believe what you are inquiring about was Mark Attwood's recipe for
                    > reworking color scans into line work. It works quite well in that
                    > regard but I have not had similar results with grayscales of line
                    > art. I've found the "unsharp" feature he discussed seems to
                    > "splinter" the line work if there is not enough tonal gradation to
                    > begin with. I've found a reverse procedure, slight application of
                    > blurring filters, works better in that regard.
                    >
                    > Gerald
                  Your message has been successfully submitted and would be delivered to recipients shortly.