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Mounting bases and halftones

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  • 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
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      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]
    • 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 2 of 10 , Sep 3, 2002
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        > 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 3 of 10 , Sep 4, 2002
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          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
          >
          >
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        • 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 4 of 10 , Oct 4, 2002
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            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 5 of 10 , Oct 4, 2002
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              > 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 6 of 10 , Oct 4, 2002
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                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 7 of 10 , Nov 1, 2002
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                  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
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