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Since our merger with Artisan Colour, Inc. we have started a new blog. Please follow us at - Colour Your World.
Thank you for your continued support!
Big Prints. Huge Quality. Gigantic Value.
When it comes to big images, size matters.
Océ Wins Double Gold at Euro-Reklama Outdoor Expo 2009
The PIF Gold Medal is awarded to a product that meets a number of criteria, including quality and innovation, and that has been produced using the best technology available. A panel of specialists in each industry judges the entries. The PIF Gold Medal competition jury has a 30-year tradition of recognizing outstanding products in various fields.
The Océ Arizona 350 GT UV curable flatbed printer uses Océ VariaDot™ imaging technology to deliver near-photographic image quality for nearly any application. Designed as a true flatbed system, it can print on a wide variety of rigid substrates and features a Roll Media Option for printing onto flexible media. A White Ink Option is available to enable under-printing on colored media or objects, over-printing for backlit applications on transparent media, and printing white as a spot color. The Océ Arizona 350 GT printer is ideal for producing a wide variety of applications such as event graphics, point-of-purchase displays, limited-term signage, banners, backlit and reflective rigid displays, transit advertising, and directional signage.
Mighty Imaging; AZ-based Shop Makes the Move to Automation -Gretchen A. Peck for Digital Output online
Mighty Imaging invested in a blend of print technologies in order to manage an array of large format graphics.
"Right now, the equipment line-up is the Océ LightJet for fine art and photographic applications, an Epson Stylus Pro 9800 for giclée output, and a Océ Arizona 350 GT UV flatbed for direct to substrate application," explains Fradin. "While the LightJet is our workhorse, the 350 GT is going to eclipse that rather quickly."
Corporate wall art is a strong market segment for Mighty Imaging. "We produce a fair amount of wallpaper for restaurants and bars, in addition to large prints and fabric graphics for lobbies, conference rooms, board rooms, and call centers. Our attention to detail and ability to manage color allows us to fill the fine art reproduction niche as well," he explains.
With growing volumes and a demanding customer base, it wasn’t enough to simply provide exceptional print. In addition, Mighty Imaging needed to offer sophisticated and stealthy finishing services. Thus, the company recently ordered its first digital cutting solution, a Zünd G3 digital cutter.
"Prior to the G3 I lived in the last century in regards to a cutting solution—panel saw, table saw, and hand cutting. The cost savings in labor and turnaround time should be significant, and of course, having every step in the workflow process under one roof is every print service provider’s goal," admits Fradin.
Fradin expects the G3 to eliminate bottlenecks in finishing by automating cutting and trimming. "Cutting by hand, with its inherent labor costs, potential for human error, and lack of efficiency, should be reduced to nearly zero," he says. "More importantly, unique applications will allow us to set our customers’ display graphics apart from others."
Larson-Juhl Receives Two Environmental Certifications
Larson-Juhl has been awarded chain-of-custody environmental certifications for moulding and matboard products from two worldwide organizations, Programme for the Endorsement of Forest Certification (PEFC) and Forest Stewardship Council (FSC). The Biltmore™ Frame Collection by Larson-Juhl® is PEFC certified and The Artique Biltmore™ Collection of Solid Color Core matboards is FSC certified.
...Third party independent auditors oversee harvesting through manufacturing, distribution, and sales to ensure that a product is certified as claimed and validate a chain-of-custody certification. Products that achieve certification can feature the logo and unique certification number designated to the company to prove validation.
Wallpaper gives small space character: by Christine Brun
Sometimes a room needs more than just a coat of paint, especially if it is a room that serves a distinct purpose.
It is exactly in smaller spaces such as an entryway or a powder room that we feel most comfortable experimenting with new things. If the result isn't quite what we imagined, it is easier and less expensive to correct.
Other times, however, the emphasis you seek is for an area of greater impact, such as a living-room wall just begging to be treated as a focal point. Maybe you want to do more than just paint it a different color. Fortunately for the wallpaper industry, after what seems like a long drought, many people are turning to wall coverings to achieve that pizzazz.
...The photo shows wallpaper designed by Candice Olsen, host of "Devine Design" on HGTV. The soothing color and subtle vertical-print pattern help "lift" the ceiling height in the room, a good strategy for smaller rooms in general.
How it's Done
The workflow is quite simple:
The first step shuts off color management on all RIPs. The RIPs will receive color-managed files, so they do not need to perform this function. However, the RIP still performs basic printer to media calibration for each media type. This involves printing a tone scale for each color, and making adjustments to optimize the match between requested and printed values. Once calibration is complete, the device is linearized.
The final step is creating a reference or “fingerprint” of the printer or press. A reference chart is printed and ‘read’ with a spectrophotometer. This allows the software to understand both what colors your printer can reproduce as well as how it produces them. Good color management software takes the printer color output, compares it to a preferred standard (GRACoL, for example) and creates a link to correlate the printer’s color capabilities to the color standard. Printers with a broader range of colors (gamut) support a better match to the color standard or original color being matched.
With the right software and training, you can deal with special circumstances. For example, some customers print the backside of polycarbonate then laminated over the print with a white film. The resulting color gamut is considerably smaller than GRACoL. In this type of case it is possible to compress the input color range to fit the available gamut.
....What once required a time-consuming, difficult to teach, and often inconsistent skill has become an efficient, productive process. Both you and your customers will take notice.
We are excited to announce that Ignite Phoenix will be returning to the gorgeous Tempe Center for the Arts for our fourth event on Tuesday, June 16th. The overwhelming turnout for Ignite #3 in February forced us to alter our plans, as we needed a venue that could hold 400+ people. Thanks to support from the City of Tempe and some generous sponsors, we will be in the TCA’s gorgeous 600 seat theater!
Ignite Phoenix has come a long way since the the first “I Wonder If Anyone Will Show Up” event last August, and from now on our goal is have the next Ignite scheduled and posted as soon as a previous event wraps up. We will also open up submissions immediately, so you can submit an idea any time it strikes you. The only time submissions will be closed will be during the judging period right before an event.If you have an idea you would like to submit for Ignite Phoenix #4, just visit our Submission Page.
STREEETCH and help some kids.
Help three small organizations that focus on education and other necessities mostly for kids in Uganda keep their programs running.
Let me explain.
As it is, small orgs must use whatever resources they have available not only in keeping the lights on but in trying to draw donations from a diminishing pool of donors in a increasingly competitive arena.
They draw donor attention through their communications tools, websites and mailers. Powerful photographs help make those tools successful. If the photographs are compelling, they convey the importance and strength of an organization. They motivate donors.
Small organizations, however, often can’t afford to bring an experienced, skilled photographer to their site. Their photographs are taken by staff-members whose expertise lies in education and social work. Those staffers are not trained in finding telling and emotional moments that make powerful photographs from which a viewer cannot look away.
Many of these organizations wish they could have work done by a pro.
With a little help, a little funding, a pro could be put into place without cost to an organization.
Wouldn’t it be even better if there were three or four organizations in the same area in Uganda with a similar need, the photographer is already in place to help out not just one, but several organizations accomplish the same goal?
Three for the price of one?
Just by pure coincidence (!?) atleast four organizations have expressed excitement at the prospect of getting great photographs of and for their programs:
Teach a Child to Fish http://www.teachachildtofish.org
Bega Kwa Bega (Shoulder to Shoulder) http://begakwabegaugandaorphans.org
Uganda Community School Project, Nawantale http://www.nawantale.org
Kirabo http://www.kirabocanada.ca
My plan is to spend about two weeks photographing these projects as a volunteer, as well as another five or six days of post production time. Travel expenses for two weeks, which would include, transportation, food and lodging, etc., will range between $3,000 and $3,600 depending upon the cost of the airfare. Departure depends upon how quickly these expenses are raised.
Teach a Child to Fish, will collect the funds, so, just fill out a check, and send with one of those “forever stamps” (remember the price is going up very soon) to:
Teach A Child to Fish
P.O. Box 491
Downers Grove, IL 60515
Enter in the notations, "NGO photo project."
TCF is 501(c)3 so, donations are deductible.
Once the expenses are covered, the rest of the donated funds will help TCF with their program.
Photoshop CS4 Photomerge
In the new CS4, there are some minor improvements to the Photomerge function, including the new collage option. Jay Kinghorn goes over the different ways of bringing your images into photomerge, the layout options, and some quick tips for creating better quality panoramas.
SPRING FESTIVAL 2009 March 27-29/ 10am to Dusk
The Tempe Festival of the Arts consistently ranks among the Top 20 art festivals in the nation by Sunshine Artist and has received the Pinnacle Award from the International Festival and Events Association. The spring and fall events each attract nearly 250,000 visitors to the Mill Avenue District over the course of a 3-day weekend.
Quality artists are fundamental to the success of the event. Each year, the Festival receives more than 1,000 applications from artists across the country. From these applicants, a jury comprised of members of the local art community selects the top artisans in each category to participate in the Festival. During the Festival, a new jury then selects the best overall artist and the top artist in each category.
Participants are separated into 18 different artistic categories for judging, ranging from woodwork to photography to ceramics and even wearable art. More than 400 artist booths line Mill Avenue and the surrounding streets presenting unique, and hand-made artwork that offers visitors a distinctive shopping experience.
Hang a Picture FrameCheck out the link to see all of the steps. You will be hanging pictures like a pro in no time.
Here is my method for measuring and hanging framed pictures. Your art will end up at the correct viewing height and will be even with other frames in the room, even if they are different sizes. This is my own preferred method; there are others, like some folks will hang pictures with the tops or bottoms at the same height; others so that the middles are all level. My method places the two-thirds point uniformly at eye level, which I think looks best....
step 6 Make a sketch
On a piece of paper make a diagram (this helps me). Make these calculations:
Take frame height ( H ), divide by three. This is ( E )
Measured down from the top of the frame, ( E ) is going to end up being eye level ( L, or 66" ), two thirds up the frame.
The difference between the 66 inch mark and where the hanger will go is ( D ).
Picture hanger is placed at ( X ).
So we have:
H divided by 3 = E ( Thirds )
E minus V = D ( Difference between wire and top third point )
66 plus D = X ( Eye level plus difference is where the hanger goes )
V corresponds to X ( The wire hangs on the hanger. Duh. )
It gets easier when you've done it once or twice.
(Tell me if I've made this stupidly complicated.)
8 Easy Things You Can Do To Improve Your Workplace & Workflow
Making improvements to your “workplace” also improves your "workflow".
The following will improve the quality of the product you produce and make your life a little easier at the same time.
1. Always have your monitor desktop set to a neutral color. Preferably a medium gray. Screen Savers don’t really “save” your monitor. If you are concerned about extending the usable life of your monitor simply turn it off when you are not using it.
2. Consistent subdued lighting in your workplace is a must. Avoid strong directional light whether artificial or natural.
3. Use neutral colors in the workplace. No bright yellow, (red, blue, green, etc.), colored walls. They may look cool but will definitely impact your ability to accurately color adjust images.
4. Wear neutral colored clothing when processing images. Your clothes reflect color onto your monitor screen.
5. Use monitor hoods. Monitor hoods block directional light and help improve the consistent subdued light environment mentioned in step two. In a perfect world, a monitor hood would come with every monitor.
6. Always view your print outputs in the same viewing area. This area should be as close as possible to your monitor. What is the correct light source for your viewing area? In a perfect world you would view your print outputs under the same light source they will be displayed under. Obviously that isn't practical.
A good all around color temperature for a viewing source is 5000 degrees Kelvin. There are several manufacturers who make lamps in this color temperature.
7. If you don’t do anything else on this list, CALIBRATE YOUR MONITOR! Adjusting Images using an uncalibrated monitor is like shooting a film camera without knowing what kind of film you’ve loaded.
As the old Chinese Proverb warns, “ If you don’t know where you're going any road will take you there.”
You can purchase a very accurate Calibration System (Hardware and Software) for about $250. It will pay for itself very quickly.
8. Work on the most powerful workstation you can afford. A powerful computer, properly configured, is the heart of any successful digital workflow.
The Art District in Old Town features art in all mediums, from antiques and galleries to artisan breads and fine food fusions.
From 1-8pm, come stroll the sidewalks and enjoy our beautiful climate, incredible food choices, large array of shopping options and Old West atmosphere of Historic 89A, as you meander through the wonderful spectrum of galleries and shops. Chances are good that music will be playing and the sun will be shining.
Every second Saturday there will be events to stir your artistic soul, and a new show at each gallery, every month, whose work you can newly appreciate.
As story tellers with cameras, Tom Kiefer and I may seem to be worlds apart. The paradoxical juxtaposition you see in this exhibition should not hide the passion we each bring to our work and the commitment to truth and beauty as we see it.
The pictures of Dennis and Maurice seen here were taken during their trip to Japan in 2008.The 16th exchange between photographers in Phoenix and Himeji, sister cities since 1976, began with the visit of Haruhiko Shimauchi and Noriyoshi Kanda to Arizona in February, 2008. Hosted by TEOE Photographers Dennis Scully and Maurice Sartirana, their shooting schedule included Super Bowl activities at West Gate, a Chocolate festival and fire cadet training in Glendale.
Sartirana and Scully will complete the exchange by traveling to Japan. The participants stay at each other's homes while traveling abroad, making the experience a rich cultural exchange that was about far more than making pictures. Each photographer will feature 20 prints in the resulting exhibit, presenting images of how two cultures perceive one another.
Group Show highlights talents of three artists during Art Detour
Simply titled, "3," this year during Artlink's Art Detour Jordre Studio will be hosting a show of three diverse artists, Jennie Ignaszewski, Tyson Crosbie and Kyle Jordre (owner of Jordre Studio). The opening reception is being held on March 6, 2009 during First Friday, 6PM-10PM. The studio will also be open during regular Detour hours, Saturday, March 7, 10AM - 6PM; Sunday, March 8, noon - 6PM.
Documenting urban beauty - as each is committed to and loves the Valley/Phoenix urban environment. Jennie has lived here longest and has created many images of the community and the local population; Tyson is deeply embedded in the social networking arena and is the creator of #pfn (phoenix friday nights) a group that you can find on twitter/facebook; and Kyle's studio is in the heart of the Grand Avenue arts district and he is active in the Grand Ave. merchants association. Each of these valley artists is committed to our downtown community and through their work, they document urban beauty quite uniquely.
Wallpaper is back and design-forward: Distributed by McClatchy Newspapers
Wallpaper was a booming industry for years until the late 1990s, when it fell out of fashion as faux paint finishes came roaring onto the interior-decorating scene. Floral patterns and fruit borders were no longer innovative.
Wallpaper looked tired.
But fear not, people: Wallpaper is back. But it's different -- so different, you might not recognize it. (Full disclosure: My husband is a wallpaper hanger, so some of my evidence is firsthand.)
Accent Design Studio in Fort Worth, Texas, has seen a big increase in the use of wallpaper in its interior designs in the past two years. And it's because the new papers really complement the faux-paint walls. "It may cost 40 percent more to wallpaper a room than paint it, but the impact is worth it," Accent co-owner Cindy Peck says.
Popular TV designer Candice Olson, host of HGTV's "Divine Design," wallpapers an accent wall in many of her designs and is helping to make wallpaper hip again. She started her own line of wallpaper, available through York Wallcoverings, a year and a half ago. Olson's new collection comes out in December.
Consider these emerging trends:
PHOTOGRAPHIC IMAGERY
When I saw this wallpaper, it took my breath away. It's absolutely a piece of art. Trove is a wallpaper studio based in New York. It uses photographic imagery to create depth in large-scale prints. This pattern, Indi, inspired by Alfred Hitchcock's "The Birds," is simplystunning. Roll width is 35.5 inches, $16 per square foot. The image featured is 12 feet high by 6 feet wide.
Trove, under the direction of Jee Levin and Randall Buck, began with images inspired by the 100-year-old flower market in the middle of Manhattan. The studio uses natural elements as the basis of its designs. Serendipitous, too, that the paper itself is eco-friendly and recyclable. Learn more at www.troveline.com.
We have a wonderful sponsor, BorrowLenses.com and they will be awarding a grand prize of a weeks rental of any of their great photographic gear. Our wonderful sponsor, Mighty Imaging will be presenting a free 16×20 for second place and our third place will receive the Lighting Essentials 1 DVD.
Fine Art from All Angles - Clare Baker
It's safe to say that fine-art printing is not for everyone, regardless of whether you've been in the business of wide-format printing for just months or you've spent dozens of years in the output arena. Besides the printer, media, and inks required for fine-art printmaking, the print provider must devise and accurate proofing process, be sensitive to the needs of fine-artists, and, of course, cultivate a viable client base, all of which can be a pricey and time-consuming undertaking. Fine-art printing, one might say, is an art within itself.
Mighty Imaging (mightyimaging.com), in Phoenix, also serves a more commercial demographic. Owner Peter Fradin says that his shop, which opened in 2005, serves those "who need the very best imaging on a large scale." He elaborates, "I felt that the large-format channel was being filled by sign shops and repro houses rather than true masters of color and printing, to detriment of fine art, high-end retail display, and interior design." His clients range from graphic designers "whose passion and vision get lost without high-quality output"; national Web-based companies with products that require printing and shipping; corporate wall-art programs that produce artwork and murals for lobbies, offices, conference rooms, and board rooms; architects and interior designers; and rounding out his client base, photographers and fine-artists. "I try to be solution-based when making a sale," says Fradin. "We are constantly bringing fresh ideas to market...At the end of the day [our shop is prepared] to produce all types of graphics and prints."
Looking Ahead
If you're still only in the deciding or planning stages of adding fine-art printing capabilities to your shop, it would not be surprising if you're hesitant to do so given the current economic climate. Even the most successful print providers are probably feeling their business soften as the economy continues to slow. While only you can judge what is best for your shop, the shops we spoke with are finding unique ways to keep as well as find business during these times.
Mighty Imaging's Fradin, for instance, has settled on an arguably bullish way to deal with the slowing markets: "We have decided not to participate in the recession," he jokes. Despite what he acknowledges as trying times, he's doubling theshop's marketing efforts in hopes of identifying those artists and businesses that are looking for a higher level of quality from their current large-format fine-art print provider. "We're in the process of acquiring the best technology and latest equipment to make those folks' vision a reality," he says. "I know I'm incurring a great risk right now in trying to grow my business in the current economic environment-but as I see it, if our efforts here don't make our customers money, then we really haven't done our job."
Meet 100 nationally acclaimed and award-winning artists passionately creating artwork inside or in the outdoor working cabanas. The Arizona Fine Art EXPO brings you seventy-four continuous days of spectacular art adventure!
Traveling around the world, contemporary photographer Linda Connor seeks places and traditions that convey such intangible qualities as time, faith, and spirituality. Her photographs connect these ethereal concepts to specific locales and to the natural world. She has worked extensively in India, Indonesia, Turkey, Cambodia, Egypt, Tibet, and the American Southwest. Included in the exhibition of more than 70 photographs are some of Connor’s best known images from the past three decades, along with more recent works that have had little public exposure.
Behind Obama's People - Editor's Letter by Gerald Marzoratti
EARLY IN 1976, with both the post-Watergate presidential election and the bicentennial celebration in mind, Rolling Stone approached Richard Avedon, America’s most celebrated portrait photographer of the time, with the idea of spending the year shooting pictures on the campaign trail. Avedon had other ideas, or, better, a bigger idea: To photograph the men and women he understood to constitute the political leadership of the United States. The result, published in Rolling Stone’s Oct. 21, 1976, issue and taking up the entire feature well of the magazine, was a portfolio of 73 black-and-white portraits — formal, frank in a stylized way and, page after page after page, thoroughly absorbing.
It was with that project very much in mind that The Times Magazine asked Nadav Kander — one of the more original and highly regarded portraitists at work just now — if he would like to photograph the administration of Barack Obama as it was being assembled. We, like many of our readers — like most Americans, it seems fair to say — sensed something eventful and potentially far-reaching about the election and the challenges the new president and his team would immediately face. Why not take account of this with portraits of those whose character and temperament and bearing may well prove consequential in the coming months and years?
The result is what we have titled “Obama’s People” — 52 full-page color portraits of the vice president-elect and the incoming president’s advisers, aides and cabinet secretaries-designate (some of whom may have been confirmed or may have withdrawn by the time you read this), along with those legislators who are likely to prove influential in helping to usher into law what the new administration sets out to do. (President-elect Obama declined to pose for a formal picture.) The portraits were taken in mid-December and earlier this month in Chicago and Washington. The magazine’s editor of photography, Kathy Ryan, along with two members of her staff, Kira Pollack and Stacey Baker, organized and oversaw the sessions. (To get a glimpse behind the camera, see the magazine’s back page.) Matt Bai, who has been the magazine’s chief political writer through the last two presidential-election cycles, drew up the list of whom to photograph and also wrote the elegant essay that serves as an overture to the issue and the moment. But Kander’s portfolio was never intended to be any sort of definitive representation of who mattered in and around the White House at the dawn of the Obama era. That will be the job of history. Kander was shooting in the conditional.
Art Space Talk: Tyson Crosbie
BS: Tell us more about the thoughts behind your work. For example, do you adhere to a specific school of psychology or philosophy as far as your practice is concerned?
TC: Nearly ten years is not enough time to develop any clear understanding of the meaning of anything. I am not so sure I'll ever reach any clear understanding, I can speak to where I am now.
I view my work as an evolution, the most important image I've ever made is the next one. It is my goal to create a lifetime body of work that evolves as I do that is recognizable visually as a journey of a life. The first abstracts that I took in school were exercises in composition and theory. What I call the Mexico series was when I became self aware as an artist. Following that the early work is when my language really starts to develop and refine. My most recent work is confined by rules and language and far more complex and yet the subtleties of information that I can contain in the imagery fascinates me.
Of course it is my obsession to observe the world, this ties me to the medium of photography intimately. Still I am drawn to contradictions like; Creating work as a purist, a traditionalist and using digital media. Loving observation and information as a scientist and an artist. Believing that I am solipsistic and an existentialist and an egoist at times.