Notes taken from the talk
Litho Printers Sheffield
Gloss, Un-coated, Silk
Un-coated,-flatter imagery, organic look, bulks up hand on quality
Litho-15,000 sheets an hour
-more expensive but comes out better
Max sheet size digital 340x440 sra3, limited litho gives you bigger paper size
Uses vegetable inks.
5 colour plates
Charges per sheet 40-60p per sheet on digital print
Litho charges on make ready charge, Plate cost b2 machine 1 set full colour £100
make ready £60
Fredrigoni paper samples
Things designers get wrong
-Bleed 3mm, ticks and crop marks needed
-Business cards need to be individual with bleed
-Brochures and Booklets needs to be single pages not spreads. Send front cover so that the artwork can be tweaked to fit
-dont use transparent spot colours, set them to overprint
-Cutting foram individual spot colour
-Image size roughly the exact size of what it is 300dpi
-8's, 16's 32's when designing books etc.
Are the benefits of the stock going to be appreciated when covered in ink.
Work in turn- each sides backs each other
Sheetwork 8 plates not 4 more expensive different image on the back
Cheaper to print a white stock, then add a tint
Pete Mckee and Judge Gill use this Evolution Print a lot.
Showing posts with label ougd504. Show all posts
Showing posts with label ougd504. Show all posts
Sunday, 24 November 2013
Monday, 18 November 2013
OUGD504 Laser Cut Induction
Health and Safety
The laser cutters are relatively risk free in comparison to much of the machinery to be found within the college. Having said that, there are a few rules and pointers.
1. The laser cutter is not to be left unattended- whilst the risk of fire is small, the situation can quickly escalate without prompt action. (The have been instanced of fire before on these cutters)
2.Ensure that the fume extraction is on and operating properly before cutting any materials.
3.No mirrors/reflective materials to be place in the laser cutter. The laser beam of light, light reflects on mirror to cut somewhere else.
4.Please do not put any materials in the cutter that are coated in solvents, chemicals etc as these cause toxic fumes and or increase flammability
5.You must book the laser cutter for use. The booking form can only be accessed by your course administrator or workshop staff and enables you to reserve the cutter and for staff to be sure that you are appropriately trained in the safe use of the cutter.
6. Be aware of where the emergency power cut off is and the location of the extinguisher in event of emergencies.
7. Do not interfere with any of the safety mechanisms
Note: A breach of any of these rules will result in immediate banning from the laser cutter.
Basic Specifications
Materials:
Paper- Nearly all types of paper cut well. Exceptions to this are those with reflective coatings, which may need a piece of newsprint over the top to negate the reflective properties. There are several paper types listed in the cutter at present and more can be added as appropriate.
Fabric-Most fabrics will work fine although you should be aware that some materials might have been coated which will affect performance. Common fabrics that have already been tested and calibrated include, cotton poplin, satin, silk, felt, wools, leathers and polyesters.
Plastics- Acrylic, acetates, polyesters, vinyl, melamine, and Perspex etc all work particularly well with the cutter. Ideally the plastics you use should be "Thermodynamic" plastics as these cut the best, do not burn or warp. A guide to the most common plastics (both Thermodynamic and Thermosetting) is listed in the file plastic types.doc
Wood-The laser cutter is capable of handling small quantities of wood. Manufactured woods such as chipboard, MDF and Ply board will generally only cut up to a depth of 6-9mm, others ail vary according to the density of grain but it is not unreasonable to be in the region of 10. These materials are particularly slow to cut and will be subject tot approval by workshop staff.
Glass- Etching and engraving only. Subject to approval by workshop staff.
Ceramics, Stone, Concrete, Plaster and other aggregates compounds- Etching and engraving is possible although this is a slow process. Stone is dependant on the type and finish as to the depth of cut.
Metals- The machine is insufficiently fitter to cut or etch metals. Even low and soft density metals such as Copper or tin will not mark let alone cut.
Sizes:
The machine will handle a flat surface area measuring approx. 720mm wide by 930 mm high although cutting to the fullest extents of this is not always possible. In general it is best to work on the basis of a sheet of A1 size material as anywhere can be cut.
Depth of materials can be manually calibrated to allow for this thinnest of materials up to a maximum material depth of 81mm for a full sheet design, with smaller samples i.e A3 having a maximum depth of 92mm.
File-types:
Raster (i.e photoshop) -JPG,BMP,TIFF,GIF,PICT,EPS
Vector (i.e Illustrator)- AI,DWG,EPS,DXF
N.B Vector files are generally by far and away the quickest and easiest files to cut.
Raster is only really practical for photographs reproduction (for printing blocks etc.)
Media Devices:
USB removable storage devices, DVD, CD, Floppy disk.
Note: The cutter is not networked so neither internet access or intranet are possible.
Logging on and accessing the programme:
Turn Laser on (lower right hand corner at the front of the cutter), ensuring that extraction system starts also)
Power up computer
Click on 'start' tab at the bottom left of the computer screen, which will bring up a programme menu.
Select 'ApS-Ethos Series' from the start menu
A log in dialogue will appear- Password is at present disabled although you should note that this may change from time to time as appropriate for administration and training purposes.
This will take you into the program ready to start opening designs.
Opening designs, scaling and orientation:
Opening designs:
To load a 'Vector' o,age (we'll come back to Raster/Photoshop images in a later session) select tje 'Design' tab from the top and then scroll down to select 'Import', the Adobe Illustrator' (ai extension).
A new dialogue window will now open enabling you to select the file, click on your file and press open.
As in the case of initially opening a design page, you will be presented with the dialogue box below. Again double click the 'Laser Effects' box located to the right.
Your image will automatically open now and be displayed.
Scaling designs:
First select your design by either left clicking the mouse and drag and drop to select your design work or pressing 'CTRL A' which selects all design work.
Select the 'Edit' tab from the toolbar at the top and then scroll down to select 'Rescale'
The design size window will now appear-enter the size that you require the design to measure.
Note: All sizes are in millimetre (mm) and take that you do not select a design size bigger than your substrate/material.
Standard A-series sizes of paper in mm are as follows,
A5-148 * 210
A4- 210 * 297
A3- 297 * 420
A2- 420 * 594
A1- 594 * 841
Type in your scaled size and then press ok
Orientation:
Generally when you open your design work you will have already set the orientation. However, now and again it is convenient to rotate your design for a best fit for your material choice.
From the top tool bars, on the right hand side select the 'rotate' tool tab.
You can now rotate your image manually by left clicking and dragging on the corner points or alternatively select 'CTRL N' and a prompt will open up alllowing you to rotate am exact amount i.e 90 degrees.
Setting material Area for the Laser Cutter
1. Ensure the Laser Cutter is turned on/off switch is located on thr front of the cutter. Check also that the emergency power off switch has not been activated
2. Lift cutter lid and place your material in the cutter. Lower lid.
3. All the functions to specify the machine cutting area are carried out from the control panel located on the front, top right of the cutter.
4. Press Online (hand button)
5. Press the material button, cutter display will read "load media"
6. Press Enter
7. Cutter display will now read "set origin". This is to determine the start of you material and is the bottom left of your page. Use the control panel curser to move the cutter head to the bottom left of the page
8. Press Enter
9. Cutter display will now read "set media"- Repeat as for step 7, although this time you are moving the cutter head to the top right of the page.
10. Press Enter and you are done
11. Return to computer and Cut design as per handbook
Adjusting the laser height
At the front of the laser barrel you will see a black plastic thumbscrew (focus adjustment screw) for height adjustment. Undo this and adjust to the height of your material accordingly. Ideally the laser barrel should be 3mm above the surface of material being cut. (use scrap piece of 3mm acrylic as a spacer)
Cut effects and cutting:
You now need to inform the laser cutter of how you want to cut the image.
Drag and drop the mouse cursor over the elements of your design to be cut.
Now that the image is selected you need to assign the elements of your drawing with a colour- this colour is used by the cutter to determine which elements of the will be cut or engraved etc.
If your drawing has no colour it is possible to assign colours from the toolbar at the top. 1st select the bits of drawing to be coloured and then select a colour from the drop down colour palette .
Now, select the 'Tools' tab from the toolbar and ten ' edit cut effects'
You will then be presented with the cut effects dialogue window.
Select an effect-e.g. 'Cut through' and then highlight the colour of your design (in the example of the giraffe, red) select the set option.
Note that the red colour tab now read 'cut-through' as opposed to 'unassigned'
Select your next effect- e.g. 'Engrave' then highlight the colour of your design (in the example of the giraffe, green), select the set option.
Note that the green colour tab now reads 'engrave as opposed to to 'unassigned'
This process has now informed the cutting programme (Aps-Ethos) which elements of the drawing you wish to cut, engrave etc.
N.B The colours you select do not matter, they are for visual purposes only.
As a general rule I always select red for cut, green for engrave and orange for a deeper engrave, like traffic lights as mnemonic for remembering the cutting order.
The next stage is to inform the cutter of your power and speed requirements for cutting.
To do this:
Select the 'Output' tab from the toolbar and then Material Manager followed by Setup
A dialogue window will now open.
Press the delete option (Dont worry, you are not deleting any information, you are merely informing the laser cutter that you wish to give some new instructions.)
This will now open up the Material Manager properties dialogue window.
Here you can select your material type (highlighted in green). If your material is not here you may need to create a new one.
If you need to create a new material or adjust the cut settings- contact a course tutor.
Press Ok
You are now ready to commence cutting.
If you are ready to cut, select the 'Output' tab from the toolbar menu and then 'Cut Design'
A dialogue window will now open, enabling you to view the cut settings and make any last alterations to the design- confirm that the material and design are all correct and press ok.
A dialague window will now prompt you to confirm that a new material exists. (The machine is checking that you want to cut the material in the cutter.)
Press Ok- The cutter will now commence)
Rastering a Photo:
In some instances such as creating a woodblock it can be more convenient to 'raster cut' your image rather than use file types such as illustrator.
N.B This process is very slow in comparison but great for reproducing photographic type imagery
Example Image (image can be a TIF file installed in Ethos/Images)
To place an image, go to 'Image' from the toolbar then 'Insert image'.
This will open up a window asking you to select your file- Images may be in tiff, jpeg and bitmap files amongst others.
Select your image and press open and then drag and drop onto the desktop
Rescale as appropriate.
You should now have something similar but with your own image.
Note your image will automatically turn to 64 bit colour greyscale
An example is on the computer called 'Image.tif'
Next select the image then go to 'Edit' on the top toolbar and scroll down to select properties.
Click on the 'Engraving Properties' tab if it is not already visible . To enable an image for engraving the 'Enable Engraving' check box should be set on.
The "scan line resolution" is the distance between the laser lines as it scans back and forth across the image. A setting of 0.2 will give a good definition, higher values will produce a lined appearance (less dense coverage).
The "white space" setting is the overrun value added to either end of the scan lines to allow the laser head to accelerate to the correct speed before laser firing begins. In most cases 10mm is adequate. In the future, if the laser head speed is increased this value may also need to be increased.
The vertical setting should usually be left on. This setting dictates whether the engraving is made up by and down motions or side to side.
The grey levels setting is used at output time and indicates the colour reproduction to be applied to the grey scale image. For example the default of 64 will produce up to 64 different laser power levels, while 16 will only produce up to 16. The value you choose will be dependant on the image you are engraving (photos may require 64 greys while a flat colour clip art may only require 16).
The negative setting is usually off, but when engraving on dark materials (such as denim) should not be set to ON to invert the colours of an image.
The "Power Contrast" setting is an output parameter which will process the laser powers used by the image to enhance the final engraving results. Usually on tonal images the "high" value gives excellent results but you may find that you will need to drop the values down for more flat colour images which use less colours.
The "fill colour" and "use images" are not used in this case and should be left as they are.
In this example the default settings are adequate and the "Enabling Engraving" is checked.
Press Apply to assign these settings to the image. If you have imported a colour image then it will be automatically converted to 256 grey scale image when the settings are applied. Press ok to exit the dialog.
Select 'Output" from the top tool bar and then 'Material manager'. Select your material type and then for the Default Cutting Effect you need to select 'Raster' as your cut setting.
To cut your image, go to 'Output' and 'Cut Design' as per earlier instructions.
How to show the laser cutter where you material is.
1. Make sure the machine is ONLINE
If it isn't press the hand button
2. Next, to show the cutter where your work is on the bed press the button under the hand followed by the arrow button
3. Now use the curser arrows to move the red dot shining out of the laser nozzle. The red dot should be lined up with the lowest left corner of your material.
Press the arrow button to store this first position
4. Now use the arrows to move the red dot to the highest right corner of your material, remember to add an extra 3cm both above and to the right. Again use the arrow button to store this second position
(note that the nozzle will move back to the first position you stored.)
The laser cutters are relatively risk free in comparison to much of the machinery to be found within the college. Having said that, there are a few rules and pointers.
1. The laser cutter is not to be left unattended- whilst the risk of fire is small, the situation can quickly escalate without prompt action. (The have been instanced of fire before on these cutters)
2.Ensure that the fume extraction is on and operating properly before cutting any materials.
3.No mirrors/reflective materials to be place in the laser cutter. The laser beam of light, light reflects on mirror to cut somewhere else.
4.Please do not put any materials in the cutter that are coated in solvents, chemicals etc as these cause toxic fumes and or increase flammability
5.You must book the laser cutter for use. The booking form can only be accessed by your course administrator or workshop staff and enables you to reserve the cutter and for staff to be sure that you are appropriately trained in the safe use of the cutter.
6. Be aware of where the emergency power cut off is and the location of the extinguisher in event of emergencies.
7. Do not interfere with any of the safety mechanisms
Note: A breach of any of these rules will result in immediate banning from the laser cutter.
Basic Specifications
Materials:
Paper- Nearly all types of paper cut well. Exceptions to this are those with reflective coatings, which may need a piece of newsprint over the top to negate the reflective properties. There are several paper types listed in the cutter at present and more can be added as appropriate.
Fabric-Most fabrics will work fine although you should be aware that some materials might have been coated which will affect performance. Common fabrics that have already been tested and calibrated include, cotton poplin, satin, silk, felt, wools, leathers and polyesters.
Plastics- Acrylic, acetates, polyesters, vinyl, melamine, and Perspex etc all work particularly well with the cutter. Ideally the plastics you use should be "Thermodynamic" plastics as these cut the best, do not burn or warp. A guide to the most common plastics (both Thermodynamic and Thermosetting) is listed in the file plastic types.doc
Wood-The laser cutter is capable of handling small quantities of wood. Manufactured woods such as chipboard, MDF and Ply board will generally only cut up to a depth of 6-9mm, others ail vary according to the density of grain but it is not unreasonable to be in the region of 10. These materials are particularly slow to cut and will be subject tot approval by workshop staff.
Glass- Etching and engraving only. Subject to approval by workshop staff.
Ceramics, Stone, Concrete, Plaster and other aggregates compounds- Etching and engraving is possible although this is a slow process. Stone is dependant on the type and finish as to the depth of cut.
Metals- The machine is insufficiently fitter to cut or etch metals. Even low and soft density metals such as Copper or tin will not mark let alone cut.
Sizes:
The machine will handle a flat surface area measuring approx. 720mm wide by 930 mm high although cutting to the fullest extents of this is not always possible. In general it is best to work on the basis of a sheet of A1 size material as anywhere can be cut.
Depth of materials can be manually calibrated to allow for this thinnest of materials up to a maximum material depth of 81mm for a full sheet design, with smaller samples i.e A3 having a maximum depth of 92mm.
File-types:
Raster (i.e photoshop) -JPG,BMP,TIFF,GIF,PICT,EPS
Vector (i.e Illustrator)- AI,DWG,EPS,DXF
N.B Vector files are generally by far and away the quickest and easiest files to cut.
Raster is only really practical for photographs reproduction (for printing blocks etc.)
Media Devices:
USB removable storage devices, DVD, CD, Floppy disk.
Note: The cutter is not networked so neither internet access or intranet are possible.
Logging on and accessing the programme:
Turn Laser on (lower right hand corner at the front of the cutter), ensuring that extraction system starts also)
Power up computer
Click on 'start' tab at the bottom left of the computer screen, which will bring up a programme menu.
Select 'ApS-Ethos Series' from the start menu
A log in dialogue will appear- Password is at present disabled although you should note that this may change from time to time as appropriate for administration and training purposes.
This will take you into the program ready to start opening designs.
Opening designs, scaling and orientation:
Opening designs:
To load a 'Vector' o,age (we'll come back to Raster/Photoshop images in a later session) select tje 'Design' tab from the top and then scroll down to select 'Import', the Adobe Illustrator' (ai extension).
A new dialogue window will now open enabling you to select the file, click on your file and press open.
As in the case of initially opening a design page, you will be presented with the dialogue box below. Again double click the 'Laser Effects' box located to the right.
Your image will automatically open now and be displayed.
Scaling designs:
First select your design by either left clicking the mouse and drag and drop to select your design work or pressing 'CTRL A' which selects all design work.
Select the 'Edit' tab from the toolbar at the top and then scroll down to select 'Rescale'
The design size window will now appear-enter the size that you require the design to measure.
Note: All sizes are in millimetre (mm) and take that you do not select a design size bigger than your substrate/material.
Standard A-series sizes of paper in mm are as follows,
A5-148 * 210
A4- 210 * 297
A3- 297 * 420
A2- 420 * 594
A1- 594 * 841
Type in your scaled size and then press ok
Orientation:
Generally when you open your design work you will have already set the orientation. However, now and again it is convenient to rotate your design for a best fit for your material choice.
From the top tool bars, on the right hand side select the 'rotate' tool tab.
You can now rotate your image manually by left clicking and dragging on the corner points or alternatively select 'CTRL N' and a prompt will open up alllowing you to rotate am exact amount i.e 90 degrees.
Setting material Area for the Laser Cutter
1. Ensure the Laser Cutter is turned on/off switch is located on thr front of the cutter. Check also that the emergency power off switch has not been activated
2. Lift cutter lid and place your material in the cutter. Lower lid.
3. All the functions to specify the machine cutting area are carried out from the control panel located on the front, top right of the cutter.
4. Press Online (hand button)
5. Press the material button, cutter display will read "load media"
6. Press Enter
7. Cutter display will now read "set origin". This is to determine the start of you material and is the bottom left of your page. Use the control panel curser to move the cutter head to the bottom left of the page
8. Press Enter
9. Cutter display will now read "set media"- Repeat as for step 7, although this time you are moving the cutter head to the top right of the page.
10. Press Enter and you are done
11. Return to computer and Cut design as per handbook
Adjusting the laser height
At the front of the laser barrel you will see a black plastic thumbscrew (focus adjustment screw) for height adjustment. Undo this and adjust to the height of your material accordingly. Ideally the laser barrel should be 3mm above the surface of material being cut. (use scrap piece of 3mm acrylic as a spacer)
Cut effects and cutting:
You now need to inform the laser cutter of how you want to cut the image.
Drag and drop the mouse cursor over the elements of your design to be cut.
Now that the image is selected you need to assign the elements of your drawing with a colour- this colour is used by the cutter to determine which elements of the will be cut or engraved etc.
If your drawing has no colour it is possible to assign colours from the toolbar at the top. 1st select the bits of drawing to be coloured and then select a colour from the drop down colour palette .
Now, select the 'Tools' tab from the toolbar and ten ' edit cut effects'
You will then be presented with the cut effects dialogue window.
Select an effect-e.g. 'Cut through' and then highlight the colour of your design (in the example of the giraffe, red) select the set option.
Note that the red colour tab now read 'cut-through' as opposed to 'unassigned'
Select your next effect- e.g. 'Engrave' then highlight the colour of your design (in the example of the giraffe, green), select the set option.
Note that the green colour tab now reads 'engrave as opposed to to 'unassigned'
This process has now informed the cutting programme (Aps-Ethos) which elements of the drawing you wish to cut, engrave etc.
N.B The colours you select do not matter, they are for visual purposes only.
As a general rule I always select red for cut, green for engrave and orange for a deeper engrave, like traffic lights as mnemonic for remembering the cutting order.
The next stage is to inform the cutter of your power and speed requirements for cutting.
To do this:
Select the 'Output' tab from the toolbar and then Material Manager followed by Setup
A dialogue window will now open.
Press the delete option (Dont worry, you are not deleting any information, you are merely informing the laser cutter that you wish to give some new instructions.)
This will now open up the Material Manager properties dialogue window.
Here you can select your material type (highlighted in green). If your material is not here you may need to create a new one.
If you need to create a new material or adjust the cut settings- contact a course tutor.
Press Ok
You are now ready to commence cutting.
If you are ready to cut, select the 'Output' tab from the toolbar menu and then 'Cut Design'
A dialogue window will now open, enabling you to view the cut settings and make any last alterations to the design- confirm that the material and design are all correct and press ok.
A dialague window will now prompt you to confirm that a new material exists. (The machine is checking that you want to cut the material in the cutter.)
Press Ok- The cutter will now commence)
Rastering a Photo:
In some instances such as creating a woodblock it can be more convenient to 'raster cut' your image rather than use file types such as illustrator.
N.B This process is very slow in comparison but great for reproducing photographic type imagery
Example Image (image can be a TIF file installed in Ethos/Images)
To place an image, go to 'Image' from the toolbar then 'Insert image'.
This will open up a window asking you to select your file- Images may be in tiff, jpeg and bitmap files amongst others.
Select your image and press open and then drag and drop onto the desktop
Rescale as appropriate.
You should now have something similar but with your own image.
Note your image will automatically turn to 64 bit colour greyscale
An example is on the computer called 'Image.tif'
Next select the image then go to 'Edit' on the top toolbar and scroll down to select properties.
Click on the 'Engraving Properties' tab if it is not already visible . To enable an image for engraving the 'Enable Engraving' check box should be set on.
The "scan line resolution" is the distance between the laser lines as it scans back and forth across the image. A setting of 0.2 will give a good definition, higher values will produce a lined appearance (less dense coverage).
The "white space" setting is the overrun value added to either end of the scan lines to allow the laser head to accelerate to the correct speed before laser firing begins. In most cases 10mm is adequate. In the future, if the laser head speed is increased this value may also need to be increased.
The vertical setting should usually be left on. This setting dictates whether the engraving is made up by and down motions or side to side.
The grey levels setting is used at output time and indicates the colour reproduction to be applied to the grey scale image. For example the default of 64 will produce up to 64 different laser power levels, while 16 will only produce up to 16. The value you choose will be dependant on the image you are engraving (photos may require 64 greys while a flat colour clip art may only require 16).
The negative setting is usually off, but when engraving on dark materials (such as denim) should not be set to ON to invert the colours of an image.
The "Power Contrast" setting is an output parameter which will process the laser powers used by the image to enhance the final engraving results. Usually on tonal images the "high" value gives excellent results but you may find that you will need to drop the values down for more flat colour images which use less colours.
The "fill colour" and "use images" are not used in this case and should be left as they are.
In this example the default settings are adequate and the "Enabling Engraving" is checked.
Press Apply to assign these settings to the image. If you have imported a colour image then it will be automatically converted to 256 grey scale image when the settings are applied. Press ok to exit the dialog.
Select 'Output" from the top tool bar and then 'Material manager'. Select your material type and then for the Default Cutting Effect you need to select 'Raster' as your cut setting.
To cut your image, go to 'Output' and 'Cut Design' as per earlier instructions.
How to show the laser cutter where you material is.
1. Make sure the machine is ONLINE
If it isn't press the hand button
2. Next, to show the cutter where your work is on the bed press the button under the hand followed by the arrow button
3. Now use the curser arrows to move the red dot shining out of the laser nozzle. The red dot should be lined up with the lowest left corner of your material.
Press the arrow button to store this first position
4. Now use the arrows to move the red dot to the highest right corner of your material, remember to add an extra 3cm both above and to the right. Again use the arrow button to store this second position
(note that the nozzle will move back to the first position you stored.)
Friday, 15 November 2013
OUGD504 Print Seminar with Amber
Chronologies Print
Print definitions
1. To produce by applying inked types, plates, blocks, or the like to paper or other material either by direct pressure.
2. To reproduce by engraving on a plate or block
3. To form a design or pattern upon, as by stamping with an engraved plate or block to print calico
4. To cause a manuscript, text to be published in print
"I love a ballad in print alive, for then we are sure they are true" Shakespeare
If it is print then it is seen to be true.
It is correct. It is factual.
Documentation. Communication. Reproduction.
It is correct. It is factual.
200AD woodcut print, one of the earliest prints
Woodcut earliest print technique that we know.
Europe started printing 1,500 years laters.
First printed book 650AD from China (Buddhism) Forms a community as religion attracts people. Religion has money
Mass Communication
First movable type 1000AD - Asia
Guggenheim Press
Literacy Boom
Upperclass who could read and write, where as the lower classes started become aware of the importance of learning to read and write.
The Medium is the Message
Marshall McLuhan 1911-190
Predicted the world wide web 30 years before it became into fruition.
Through language and reading technology socially how it has changed. Explored this and the new technologies. Ultimately this press and this form of press. He explored into individualism, democracy, capitalism and nationalism.
Linotype- Revolutionised the world of printing. Type something and it would come out as a solid block of type, rather then letterpress where the characters are individual however this was no more with Linotype. Line casting. late 1800- 1960/70's popular with newspaper publishing.
First Etching- Religious theme Mass communication happened with image printing as it was visual.
Propaganda-
Daily Star-2010 This paper is aimed particularly demographic its essentially propaganda.
Print definitions
1. To produce by applying inked types, plates, blocks, or the like to paper or other material either by direct pressure.
2. To reproduce by engraving on a plate or block
3. To form a design or pattern upon, as by stamping with an engraved plate or block to print calico
4. To cause a manuscript, text to be published in print
"I love a ballad in print alive, for then we are sure they are true" Shakespeare
If it is print then it is seen to be true.
It is correct. It is factual.
Documentation. Communication. Reproduction.
It is correct. It is factual.
200AD woodcut print, one of the earliest prints
Woodcut earliest print technique that we know.
Europe started printing 1,500 years laters.
First printed book 650AD from China (Buddhism) Forms a community as religion attracts people. Religion has money
Mass Communication
First movable type 1000AD - Asia
Guggenheim Press
Literacy Boom
Upperclass who could read and write, where as the lower classes started become aware of the importance of learning to read and write.
The Medium is the Message
Marshall McLuhan 1911-190
Predicted the world wide web 30 years before it became into fruition.
Through language and reading technology socially how it has changed. Explored this and the new technologies. Ultimately this press and this form of press. He explored into individualism, democracy, capitalism and nationalism.
Linotype- Revolutionised the world of printing. Type something and it would come out as a solid block of type, rather then letterpress where the characters are individual however this was no more with Linotype. Line casting. late 1800- 1960/70's popular with newspaper publishing.
First Etching- Religious theme Mass communication happened with image printing as it was visual.
Propaganda-
Daily Star-2010 This paper is aimed particularly demographic its essentially propaganda.
Tuesday, 12 November 2013
OUGD504 Print formats, Print Finishes
Coated-Gloss
UV- Ultra violet coating
Glass and Plastic
Can be applied on spot locations of the paper by flooding the page
Can also be used with wood
Coated/Un-Coated
Papers are easily distinguished
Coated has a shimmer to its surface
Will feel smooth and waxy to the touch
Un-coated papers appear matte and will feel rougher or grainier to touch
Coated papers as being like a pane of glass
Un-coated like a sponge
Printed coated will appear bright and colourful almost as though the user were sitting on the surface
Die-cut manufacturing process used to generate large numbers of the same shape from a material such as wood, plastic, metal or fabric
Emboss/Deboss
Emboss it to raise an image up above the surface of the paper whereas debossing pushes the image down into the surface of the paper
Either process can have colour or can be blind. i.e no colour
Produced on letterpress equipment, require film and metal dies to be made
Laminate
The litho-laminate process is a means of creating corrugating board that has a high quality, litho printing surface. The litho laminating process can be sub-divided into 3 main types- Inline, offline, and sheet to sheet
Duplex- Printing is a feature of computer printers and multi-function printers (MFPs) That allows the automatic printing of a sheet on both sides
Foiling- Stamping, typically a commercial print process is the application of pigment or metallic foil, often gold or silver can be various patterns or what is know as pastel foil
To Do...
With a focus on stock, substrate and 'special' print finishes find as many variants as possible for each of the following ares:
Branding and Identity
Packaging and Promotion
Publishing and Editorial
Information and way finding
You should consider Production values, Scale and functionality in relation to appropriate contexts and target audiences and evaluate their impact on the design decisions that you have been made.
Whereever possible you should aim to collect physical/actual examples of print as this will help you to evaluate the important tactile, formal and functional elements of your source material.
Your findings should be recorded and critically evaluated on you Design Context blog.
UV- Ultra violet coating
Glass and Plastic
Can be applied on spot locations of the paper by flooding the page
Can also be used with wood
Coated/Un-Coated
Papers are easily distinguished
Coated has a shimmer to its surface
Will feel smooth and waxy to the touch
Un-coated papers appear matte and will feel rougher or grainier to touch
Coated papers as being like a pane of glass
Un-coated like a sponge
Printed coated will appear bright and colourful almost as though the user were sitting on the surface
Die-cut manufacturing process used to generate large numbers of the same shape from a material such as wood, plastic, metal or fabric
Emboss/Deboss
Emboss it to raise an image up above the surface of the paper whereas debossing pushes the image down into the surface of the paper
Either process can have colour or can be blind. i.e no colour
Produced on letterpress equipment, require film and metal dies to be made
Laminate
The litho-laminate process is a means of creating corrugating board that has a high quality, litho printing surface. The litho laminating process can be sub-divided into 3 main types- Inline, offline, and sheet to sheet
Duplex- Printing is a feature of computer printers and multi-function printers (MFPs) That allows the automatic printing of a sheet on both sides
Foiling- Stamping, typically a commercial print process is the application of pigment or metallic foil, often gold or silver can be various patterns or what is know as pastel foil
To Do...
With a focus on stock, substrate and 'special' print finishes find as many variants as possible for each of the following ares:
Branding and Identity
Packaging and Promotion
Publishing and Editorial
Information and way finding
You should consider Production values, Scale and functionality in relation to appropriate contexts and target audiences and evaluate their impact on the design decisions that you have been made.
Whereever possible you should aim to collect physical/actual examples of print as this will help you to evaluate the important tactile, formal and functional elements of your source material.
Your findings should be recorded and critically evaluated on you Design Context blog.
OUGD504 Print induction
Embossing and Photo Etching
Etching-Line or tone work
Shallow marks on a copper plate
Cover copper in varnish, then you can etch the lines
Photo Etching
Coat to plate in light sensitive uv then you expose the copper to get the image
San-serif fonts, no smaller then 10pt/12pt
the serif starts to fill out when etched.
Fine line between detail and depth
7hrs to etch
Metal and MDF, good to use, card starts to impact.
Etch photos and print them, it was originally for.
Roll the ink, try avoid embossing letters with ink as the colour/ink doesn't come through.
If you don't want embossing marks then the copper plate needs to be bigger then the substrate i.e paper
How to make the plate
Copper plate, check for marks
Sand it in circular motion
Desgrease it
Scrub with sponge
Rinse so the water runs of in a sheet
Blot it, with paper rub over the top
Light sensitive film
Put the plate on a press
three layers
UV sensitive
Peel off the frosted layers
Put plate on acetate
Add the blankets on the press
Press needs to be tight
Wind through steadily
As it goes through smooth it off
Do not touch, adds anchor points
Rotate 90 degrees
Run it back- "Good workout"
Can go faster, irons out air bubbles
Get rid of acetate
Air bubbles would create a positive mark
Cut off the excess edges,using knife
Go to uv box
Place positive, ink side down
Lettering print out as you read
Piece if skotch tape place on top
Sellotape will create lines
Clamp UV box
Vacum on
7-9 line units
Sodium Carbohydrate
10grams
18 degrees centegrade
Little bit of hot then cold water to dissolve
More sodium develops quicker
Hotter waters develops it quicker
3 lots of it in the bath. Averages it out
when the UV box is done the light goes out
Turn vacuum off
Should go a darker blue
Take the protective layer off
Place in the bath
Time it
Rub with a sponge every 30 seconds
Embossing plate can be too over liberal/ liberal
As it develops gets lighter
Run your fingers over the top to feel if it has gone
Finest of films can cause a blockage
In corners tiny specks create a barrier
So check for these thoroughly
Rinse with cold water
Flush thoroughly
Blot dry
Leave to dry off in the screen rom for a few minutes
Good business cards/book covers
Face down, blast with uv light 70 light units
Vacum on
The film gelatine-Post hardening makes it rigid and brittle
Tape it up over the type, smooth then trip the excess
Tape a hook to the back
Chloride, brown and bubbling
Put it in the acid for 7 hours
Transfers copper solution
Slides down the place
Gravity draws out, so needs to be rotated
Allows it to be neater and even
If you forget about the plate and leave it for longer then 7 hours then it
can burn all the way through the copper.
Time consuming process
Emboss
Place plate in the centre of the board
Whatever you want to emboss on top
Put tissue over the top for better result
Slide into the hydraulic nipping press
Wheel tighten towards you.
Black button out
Pump the handle
Bed rises up
Push button in
Pump the handle
Different results, different effect
More pressure more depth
4,000 pounds per sq inch- 6,000 pounds per sq inch
Black button out
Undo the wheel
then you have the emboss
make sure everything is central, so its even.
Etching-Line or tone work
Shallow marks on a copper plate
Cover copper in varnish, then you can etch the lines
Photo Etching
Coat to plate in light sensitive uv then you expose the copper to get the image
San-serif fonts, no smaller then 10pt/12pt
the serif starts to fill out when etched.
Fine line between detail and depth
7hrs to etch
Metal and MDF, good to use, card starts to impact.
Etch photos and print them, it was originally for.
Roll the ink, try avoid embossing letters with ink as the colour/ink doesn't come through.
If you don't want embossing marks then the copper plate needs to be bigger then the substrate i.e paper
How to make the plate
Copper plate, check for marks
Sand it in circular motion
Desgrease it
Scrub with sponge
Rinse so the water runs of in a sheet
Blot it, with paper rub over the top
Light sensitive film
Put the plate on a press
three layers
UV sensitive
Peel off the frosted layers
Put plate on acetate
Add the blankets on the press
Press needs to be tight
Wind through steadily
As it goes through smooth it off
Do not touch, adds anchor points
Rotate 90 degrees
Run it back- "Good workout"
Can go faster, irons out air bubbles
Get rid of acetate
Air bubbles would create a positive mark
Cut off the excess edges,using knife
Go to uv box
Place positive, ink side down
Lettering print out as you read
Piece if skotch tape place on top
Sellotape will create lines
Clamp UV box
Vacum on
7-9 line units
Sodium Carbohydrate
10grams
18 degrees centegrade
Little bit of hot then cold water to dissolve
More sodium develops quicker
Hotter waters develops it quicker
3 lots of it in the bath. Averages it out
when the UV box is done the light goes out
Turn vacuum off
Should go a darker blue
Take the protective layer off
Place in the bath
Time it
Rub with a sponge every 30 seconds
Embossing plate can be too over liberal/ liberal
As it develops gets lighter
Run your fingers over the top to feel if it has gone
Finest of films can cause a blockage
In corners tiny specks create a barrier
So check for these thoroughly
Rinse with cold water
Flush thoroughly
Blot dry
Leave to dry off in the screen rom for a few minutes
Good business cards/book covers
Face down, blast with uv light 70 light units
Vacum on
The film gelatine-Post hardening makes it rigid and brittle
Tape it up over the type, smooth then trip the excess
Tape a hook to the back
Chloride, brown and bubbling
Put it in the acid for 7 hours
Transfers copper solution
Slides down the place
Gravity draws out, so needs to be rotated
Allows it to be neater and even
If you forget about the plate and leave it for longer then 7 hours then it
can burn all the way through the copper.
Time consuming process
Emboss
Place plate in the centre of the board
Whatever you want to emboss on top
Put tissue over the top for better result
Slide into the hydraulic nipping press
Wheel tighten towards you.
Black button out
Pump the handle
Bed rises up
Push button in
Pump the handle
Different results, different effect
More pressure more depth
4,000 pounds per sq inch- 6,000 pounds per sq inch
Black button out
Undo the wheel
then you have the emboss
make sure everything is central, so its even.
Thursday, 17 October 2013
OUGD504 Design Production Design for Print
Brief
Produce an approriately designed 'info-pack' of things to know, consider or remember in order to produce successful Design for Print. You should use the seminars and tasks from the module as a starting point for your own individual/independent investigation of the methods, processes and formats that can be used to create innovative but practical solutions to print based design briefs and all aspects of print- based delivery.
For submission and assessment you will also be required to select, summarise and evaluate appropriate primary & secondary source material and submit it in an appropriately designed and produce graphic format that reflects your cretaive and technical appreciation of graphic design. Your submission should demonstrate your understanding of print processes, conventions and creative options from the perspective of a graphic designer. It should also demonstrates your ability to effectively organise and present a body information in a designed format. As well as presenting your resolution you should upload a multi page pdf version to your Design Practice & Design Context blog via 'Issuu'. See additional briefings for further information.
Commercial print processes are of concern to you especially as, at times, you will have to relinquish the hands –on production control of your work for a more specification/managerial role.
- Your research will be informed by the seminars delivered as part of the module but how much more can you find out?
- What do you need to know about print production and what is relevant to your own practice?
- How do you communicate your research in a way that is reflective of your creative ambitions.
- Your considered opinion is important. You should use appropriate examples of professional creative practice in order to demonstrate your breadth and depth of understanding
Different methods of Printing.
Screen Printing:
http://visual.ly/what-screen-printing 17th October 2013
Cyanotype-
http://printclublondon.com/2013/cyanotype-printing/ 17th October 2013
We begin by making our artwork as a negative as opposed to a positive like we would do with screenprinting. This way, areas which are black will block the light and appear white [or the colour of the media] on the print.
A light sensitive solution is made up from 2 different chemicals mixed with water. As you would coat a screen in light sensitive emultion, here we coat directly onto the paper with this solution then leave to dry in a dark room environment.
We then expose UV light through the negative onto the prepared paper. Here, we’re using the exposure unit for exposing artwork onto our silk screens. The beauty of using an exposure unit designed for exposing silk screens, is that we can control exactly how much UV Light we want to expose with, as this can have a big effect on the final print.
As if by magic your artwork immediately appears as a positive on your paper once exposed to the UV light!!
The light yellow green areas are where the light has been blocked out by your negative. These unexposed areas need to be washed out under cold water ‘fixing’ your artwork so it is no longer light sensitive. This turns this greenish hue in a beautiful prussian blue and the unexposed lighter colour washed away to the colour of the paper!
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