THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Copyright Š 2015 by Thinkink 965 Sutter street, San Francisco, CA 94909 www.thisisthinkink.com info@thisisthinkink.com All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. All images in this book have been reproduced with the knowledge and prior consent of the designers and the clients concerned, and every effort has been made to ensure that credits accurately comply with information applied. No responsibility is acceted by producer, publisher, or printer for any infringement of copyright or otherwise arising from the contents of this publication. Printed in the United States of America
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
I AM VERY FONT OF YOU BECAUSE YOU ARE JUST MY TYPE.
[THINKINK] THINKINK A PROJECT TO PROVE PRINT IS IS A PROJECT TO PROVE PRINT STILL ALIVE. STILL ALIVE.
CONTENT
Lenticular Printing _ 08 Introduction Print Process Sample
Book Binding _ 53 Bookbinding History Fundamentals of Bookbinding Binding Price Projects
Projects
Cutting _ 16
Screen Printing _ 82
Introduction
Introduction
Lesar Cut Process Cut Materials Projects
Andy Warhol and Artwork Printing Process Projects
Embossing & Debossing _ 118 Introduction Printing Process Projects
[THINKINK] THINKINK A PROJECT TO PROVE PRINT IS IS A PROJECT TO PROVE PRINT STILL ALIVE. STILL ALIVE.
Pantone Color Refrence _ 150 Color Mood The Combo of Color
Refrences_ 170
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
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Print is one part technique, one part soul, and it takes brilliant creative know-how to bind both together.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8 point size
lenticular printing lenticular printing lenticular printing lenticular printing
LENTICULAR printing printing PRINTING
12 point size
lenticular lenticular lenticular lenticular
printing printing
18 point size
lenticular lenticular lenticular lenticular
printing printing printing printing
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8 point size
lenticular printing lenticular printing lenticular printing lenticular printing
12 point size
lenticular lenticular lenticular lenticular
18 point size
lenticular lenticular lenticular lenticular
18 point size
printing printing printing printing
printing printing printing printing
lenticular lenticular lenticular lenticular
printing printing printing printing
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
14pt
INTRODUCTION Lenticular printing is a technology in which lenticular lenses (a technology that is also used for 3D displays) are used to produce printed images with an illusion of depth, or the ability to change or move as the image is viewed from different angles.
8pt
Examples of lenticular printing include flip and animation effects such as winking eyes, and modern advertising graphics that change their message depending on the viewing angle. This technology was created in the 1940s but has evolved in recent years to show more motion and increased depth. Originally used mostly in novelty items and commonly called "flicker pictures" or "wiggle pictures," lenticular prints are now being used as a marketing tool to show products in motion. Recent advances in large format presses have allowed for oversized lenses to be used in lithographic lenticular printing.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Lenticular printing is a multi-step process consisting of creating a lenticular image from at least two images, and combining it with a lenticular lens. This process can be used to create various frames of animation (for a motion effect), offsetting the various layers at different increments (for a 3D effect), or simply to show a set of alternate images which may appear to transform into each other. Once the various images are collected, they are flattened into individual, different frame files, and then digitally combined into a single final file in a process called interlacing. 8pt
From there the interlaced image can be printed directly to the back (smooth side) of the lens or it can be printed to a substrate (ideally a synthetic paper) and laminated to the lens. When printing to the backside of the lens, the critical registration of the fine “slices” of interlaced images must be absolutely correct during the lithographic or screen printing process or “ghosting” and poor imagery might result. Ghosting also occurs on choosing the wrong set of images for flip. The combined lenticular print will show two or more different images simply by changing the angle from which the print is viewed. If more (30+) images are used, taken in a sequence, one can even show a short video of about one second. Though normally produced in sheet form, by interlacing simple images or different colors throughout the artwork, lenticular images can also be created in roll form with 3D effects or multi-color changes. Alternatively, one can use several images of the same object, taken from slightly different angles, and then create a lenticular print which shows a stereoscopic 3D effect. 3D effects can only be achieved in a side to side (left to right) direction, as the viewer’s left eye needs to be seeing from a slightly different angle than the right to achieve the stereoscopic effect. Other effects, like morphs, motion, and zooms work better (less ghosting or latent effects) as top-to-bottom effects, but can be achieved in both directions.
There are several film processors that will take two or more pictures and create lenticular prints for hobbyists, at a reasonable cost. For slightly more money one can buy the equipment to make lenticular prints at home. This is in addition to the many corporate services that provide high volume lenticular printing. There are many commercial end uses for lenticular images, which can be made from PVC, APET, acrylic, and PETG, as well as other materials. While PETG and APET are the most common, other materials are becoming popular to accommodate outdoor use and special forming due to the increasing use of lenticular images on cups and gift cards. Lithographic lenticular printing allows for the flat side of the lenticular sheet to have ink placed directly onto the lens, while high resolution photographic lenticulars typically have the image laminated to the lens. Recently, large format (over 2m) lenticular images have been used in bus shelters and movie theaters. These are printed using an oversized lithographic press. Many advances have been made to the extrusion of lenticular lens and the way it is printed which has led to a decrease in cost and an increase in quality. Lenticular images have recently seen a surge in activity, from gracing the cover of the May 2006 issue of Rolling Stone to trading cards, sports posters and signs in stores that help to attract buyers. The newest lenticular technology is manufacturing lenses with flexo, inkjet and screen-printing techniques. The lens material comes in a roll or sheet which is fed through flexo or offset printing systems at high speed, or printed with UV inkjet machines (usually flat-beds that enable a precise registration). This technology allows high volume 3D lenticular production at low cost.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
the materials for lanticular print: plastic sheet, 2 points strip.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
LEFT EYE
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
RIGHT EYE
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
14pt
PRINCIPLE OF 3D LENTICULAR PRINTING The principle of 3D lenticular printing is based on binocular disparity. When we view an object, our left and right eyes see a slightly different image and when combined the brain perceives the sense of depth. In traditional printing, information can only go left-and-right and also up-and-down. The inand-out information is lost. In order to perceive in-and-out, we need a way to present the same object with a slight binocular disparity as shown in the picture on the right. A lenticular sheet serves exactly that purpose. When a picture behind such sheet is calculatedly sliced in such a way that some stripes will be seen by the left eye and some will be seen by the right eye, our brain will process these images to create the sense of depth. If you are interested in going deeper into the theoretical aspect of this field, you can find good articles in the References section. Each image is arranged (slicing) into strips, which are then interlaced with one or more similarly arranged images (splicing). These are printed on the back of a piece of plastic, with a series of thin lenses molded into the opposite side. Alternatively, the images can be printed on paper, which is then bonded to the plastic. With the new technology, lenses are printed in the same printing operation as the interlaced image, either on both sides of a flat sheet of transparent material, or on the same side of a sheet of paper, the image being covered with a transparent sheet of plastic or with a layer of transparent, which in turn is printed with several layers of varnish to create the lenses.
8pt
The lenses are accurately aligned with the interlaces of the image, so that light reflected off each strip is refracted in a slightly different direction, but the light from all pixels originating from the same original image is sent in the same direction. The end result is that a single eye looking at the print sees a single whole image, but two eyes will see different images, which leads to stereoscopic 3D perception.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Design is a solution to a problem. Art is a question to a problem. —John Maeda
[THINKINK] A PROJECT TO PROVE PRINT IS STILL ALIVE.
Design is a solution to a problem. Art is a question to a problem.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
14pt
LENTICULAR PRINT PROCESS Types of lenticular prints There are three distinct types of lenticular prints, distinguished by how great a change in angle of view is required to change the image: Transforming prints Here two or more very different pictures are used, and the lenses are designed to require a relatively large change in angle of view to switch from one image to another. This allows viewers to easily see the original images, since small movements cause no change. Larger movement of the viewer or the print causes the image to flip from one image to another. (The "flip effect".)
8pt
Animated prints Here the distance between different angles of view is "medium", so that while both eyes usually see the same picture, moving a little bit switches to the next picture in the series. Usually many sequential images would be used, with only small differences between each image and the next. This can be used to create an image that moves ("motion effect"), or can create a "zoom" or "morph" effect, in which part of the image expands in size or changes shape as the angle of view changes. The movie poster of the film Species II, shown in this article, is an example of this technique. Stereoscopic effects Here the change in viewing angle needed to change images is small, so that each eye sees a slightly different view. This creates a 3D effect without requiring special glasses, using many images. For example, the Dolby-Phillips Lenticular 3D display produces 28 different images.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
ArtFad 2013 Diplomas for the Contemporary Art and Craft Awards. Transparent and fluorescent methacrylate with a laser cut to create letter A.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8 point size
cutting cutting cutting cutting
CUTTING
12 point size
cutting cutting cutting cutting
18 point size
cutting cutting cutting cutting
18 point size
cutting cutting cutting cutting
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8 point size
cutting cutting cutting cutting
12 point size
cutting cutting cutting cutting
18 point size
cutting cutting cutting cutting
18 point size
cutting cutting cutting cutting
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
14pt
INTRODUCTION Die-cutting is a process used in many different industries to cut a thin flat material into a specific shape using a steel cutting die. It can be used to punch out a decorative shape or pattern to incorporate within a larger piece, or it can be used to create the main shape of an object by cutting the entire sheet of paper in an distinct/designed way. What exactly is laser die cutting? Laser die cutting, or laser digital finishing, is the direct, high-speed laser processing of flexible materials without the use of hard tooling. Laser processing systems are used to cut, score, etch, kiss-cut, and perforate roll- or sheet-fed materials with precision, flexibility, and speed. This non-contact process is an alternative to traditional die cutting and is especially ideal for applications that feature locations, tolerances, sizes, or material characteristics that would be difficult or cost prohibitive to process using a metal die. 8pt
Why would designers and buyers be interested in this technology? Laser die cutting adds an innovative, tactile element to printed pieces that simply cannot be obtained using traditional metal tooling. This finishing method accentuates printed design features while adding eye-catching details and functional elements to everything from promotional literature and direct mail to product packaging. Laser die cutting can be used to engage an audience or give visibility to a design to stand out amongst competitors. This finishing method creatively adds dimension and interest to everyday printed pieces, elevating them to new levels. What differentiates this finishing process? The laser digital converting process offers the versatility of unlimited cutting paths to achieving intricate, complex features without the shape restrictions associated with metal dies. Additionally, multiple processes (scoring, perforating, etching, and kiss-cutting) can all be performed by a single system in the same work area, eliminating the need for alignment during progressive die cuts and the downtime of machine setup encountered during pattern changeovers. Because this finishing technique is completely digital, modifying a cut design can be made on-the-fly without incurring the additional delays or costs of creating a new die. Other features,
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
like the ability to process variable data for instant order changes, along with the use of barcode readers and vision cameras, also make this technology cutting edge. Laser die cutting is suitable for high-volume production runs but also makes small batches cost-effective because of its digital flexibility. Laser digital finishing systems are capable of matching digital printing speeds and can therefore be integrated in-line with digital presses for increased productivity. 8pt
Can you name some of the most common applications in graphic arts? Common applications include marketing brochures, wedding and special event invitations, personalized business cards, corporate holiday cards, and specialty packaging such as decorative box wraps. The common thread amongst all these applications is the trend toward using laser die cutting in creative, innovative ways that enhance printed designs by adding a wow factor. This can include anything from incorporating intricate pop-up features into invitations, to laser perforating unique punch-out objects in direct mail pieces. The sky is the limit. And now, more than ever, it’s important for the print industry to stand out in new ways. Laser digital finishing equipment is capable of processing a variety of printed materials including papers, plastics, polyester, acrylic, vellum, and textiles. Because it’s a non-contact process, it’s also ideal for kiss-cutting pressure-sensitive materials to create labels and stickers, without the adhesive buildup that typically accumulates on metal dies.
Any rules of thumbs for designers/buyers who are preparing materials for laser die cutting? Artwork must be created in vector file format. This includes Adobe Illustrator and PDF files. Manually draw the outline of everything that should be processed by the laser. Additionally, it’s important to keep in mind that laser-cut features require bridges/connections to keep the piece structurally sound. When designing, think of the piece in a stencil format. For example, the letter D requires a break to hold the center in place to prevent it from falling through. The feature-to-feature distance and break thickness should be no smaller than .75 millimeters.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Creativity is always a leap of faith. You’re faced with a blank page, blank easel, or an empty stage. —Julia Cameron
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
LASER CUTTER MATERIALS
Safe Materials
Material
Max thickness
Notes
Warnings
Be very careful about cutting oily woods, or very resinous woods as they also may catch fire.
Many woods
1/4”
Avoid oily/resinous woods
Plywood/Composite woods
1/4”
These contain glue, and may not laser cut as well as solid wood.
MDF/Engineered woods
1/4”
These are okay to use but may experience a higher amount of charring when cut.
Paper, card stock
Thin
Cuts very well on the laser cutter, and also very quickly.
Cardboard, carton
Thicker
Cuts well but may catch fire.
Watch for fire.
Cork
1/4”
Cuts nicely, but the quality of the cut depends on the thickness and quality of the cork. Engineered cork has a lot of glue in it, and may not cut as well.
Avoid thicker cork.
Acrylic/Lucite/ Plexiglas/PMMA
1/2”
Cuts extremely well leaving a beautifully polished edge.
<1mm
Very thin polycarbonate can be cut, but tends to discolor badly. Extremely thin sheets (0.5mm and less) may cut with yellowed/discolored edges. Polycarbonate absorbs IR strongly, and is a poor material to use in the laser cutter.
Thin Polycarbonate Sheeting (<1mm)
Watch for smoking/ burning
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Safe Materials
Material
Max thickness
Notes
Delrin (POM)
thin
Delrin comes in a number of shore strengths (hardness) and the harder Delrin tends to work better. Great for gears!
Kapton tape (Polyimide)
1/16”
Works well, in thin sheets and strips like tape.
Mylar
1/16”
Works well if it’s thin. Thick mylar has a tendency to warp, bubble, and curl
Gold coated mylar will not work.
Solid Styrene
1/16”
Smokes a lot when cut, but can be cut.
Keep it thin.
Depron foam
1/4”
Used a lot for hobby, RC aircraft, architectural models, and toys. 1/4” cuts nicely, with a smooth edge.
Must be constantly monitored.
Gator foam
Foam core gets burned and eaten away compared to the top and bottom hard paper shell.
Not a fantastic thing to cut, but it can be cut if watched.
Cloth/felt/hemp/ cotton
They all cut well.
Not plastic coated or impregnated cloth!
Leather is very hard to cut, but can be if it’s thinner than a belt (call it 1/8”).
Real leather only! Not ‘pleather’ or other imitations!
Leather/Suede
1/8”
Magnetic Sheet
Cuts beautifully
Non- chlorine containing rubber
Fine for cutting.
Teflon (PTFE)
thin
Beware chlorinecontaining rubber!
Cuts OK in thin sheets
Carbon fiber mats/ weave that has not had epoxy applied
Can be cut, very slowly.
Coroplast (‘corrugated plastic’)
Difficult because of the vertical strips. Three passes at 80% power, 7% speed, and it will be slightly connected still at the bottom from the vertical strips.
1/4”
Warnings
You must not cut carbon fiber that has been coated!
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LASER CUTTER MATERIALS
Never try to use these materials in your laser cut projects
Material
Danger
Cause /Consequence
PVC(Poly Vinyl Chloride) / vinyl / pleather / artifical leather
Emits pure chlorine gas when cut!
Don’t ever cut this material as it will ruin the optics, cause the metal of the machine to corrode, and ruin the motion control system.
Thick ( >1mm )
Cut very poorly, discolor, catch
Polycarbonate/Lexan
fire
Polycarbonate is often found as flat, sheet material. The window of the laser cutter is made of Polycarbonate because polycarbonate strongly absorbs infrared radiation! This is the frequency of light the laser cutter uses to cut materials, so it is very ineffective at cutting polycarbonate. Polycarbonate is a poor choice for laser cutting.
ABS
Emits cyanide gas and tends to melt
ABS does not cut well in a laser cutter. It tends to melt rather than vaporize, and has a higher chance of catching on fire and leaving behind melted gooey deposits on the vector cutting grid. It also does not engrave well (again, tends to melt).
HDPE / milk bottle plastic
Catches fire and melts
It melts. It gets gooey. Don’t use it.
PolyStyrene Foam
Catches fire
It catches fire, it melts, and only thin pieces cut. This is the #1 material that causes laser fires!!!
PolyPropylene Foam
Catches fire
Like PolyStyrene, it melts, catches fire, and the melted drops continue to burn and turn into rock-hard drips and pebbles.
Fiberglass
Emits fumes
It’s a mix of two materials that cant’ be cut. Glass (etch, no cut) and epoxy resin (fumes)
Coated Carbon Fiber
Emits noxious fumes
A mix of two materials. Thin carbon fiber mat can be cut, with some fraying - but not when coated.
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Etching
Material
Notes
Warnings
Glass
Green seems to work best...looks sandblasted.
Only flat glass can be engraved in our cutter. No round or cylindrical items.
Ceramic tile
Anodized aluminum
Vaporizes the anodization away.
Painted/coated metals
Vaporizes the paint away.
Stone, Marble, Granite, Soapstone, Onyx.
Gets a white “textured” look when etched.
100% power, 50% speed or less works well for etching.
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14pt
ILLUSTRATOR GUIDELINES: In “Document Setup”, set Artboard Width to 32” and Height to 18”. All parts to be cut or scored must be lines” inside this perimeter to avoid bleed problem. Effectively, this makes the cutting area 31-1/2" x 17-1/2". Lines to be cut or scored (rather than engraved) must be expressed as vectors. Select the lines, and in the "Window", "Stroke", drop-down menu assign these elements a stroke of .001". You must type this in; it is not an option to be selected. Erase all stray lines. Remove all overlapping and duplicate lines. The laser will double-cut overlapping lines, with very negative results. The laser's kerf is approximately .008" centered on the drawn line. This will cause the parts that are cut to be slightly smaller than what is drawn. This fact is normally insignificant, but if it is critical to your work, please make a note of it. The rule of thumb for spacing between discrete parts is to allow at least half of the thickness of the material between relatively parallel cuts, particularly on acrylic.
8pt
For example, if you are using acrylic, allow 1/8" spacing between individual parts. Draw everything in Illustrator. Files drawn in other programs that are then imported or pasted into Illustrator will cause problems.
Ai create a line path in Adobe Illustrator
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Print is a creative tool.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
ArtFad 2013 Diplomas for the Contemporary Art and Craft Awards. Transparent and fluorescent methacrylate with a laser cut to create letter A.
++++++++++++++ ++++++
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Designer: Ruim Ruim (spacious, broad) is a group of young entrepreneurs with passion for the city of Hertogenbosch. Ruim wants to create a vibrant city where learning, creation and sharing comes together in their new typography designs.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
BOOK BINDING
8 point size
book binding book binding book binding book binding
12 point size
book book book book
18 point size
book book book book
18 point size
binding binding binding binding
binding binding binding binding
book book book book
binding binding binding binding
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8 point size
book binding book binding book binding book binding
12 point size
book book book book
18 point size
book book book book
18 point size
binding binding binding binding
binding binding binding binding
book book book book
binding binding binding binding
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The history of bookbinding
13th Century BC
2nd Century
9th Century
Scrol Binding
Coptic Binding
Treasure Binding
A scroll is a rolled up strip of a flexible material such as papyrus, vellum or parchment, paper, or some other material, which has been written or drawn upon.
Coptic binding or Coptic sewing was used from as early as the 2nd century AD to the 11th century. The term is also used to describe modern bindings sewn in the same style. First true codices, are characterized by one or more sections of parchment, papyrus, or paper sewn through their folds, and (if more than one section) attached to each other with chain stitch linkings across the spine.
A treasure binding or jewelled bookbinding is a luxurious book cover using metalwork in gold or silver, jewels and invory, perhaps in addition to more usual bookbinding material for book cover such as lether, velvet or other cloth.
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14th Century
14th Century
20th Century
Sewn Binding
Stitched Binding
Long Stitch Binding
Books whose Folios are stitched together and sewn to a cover. It is a method of binding in which the sections of a publication are inserted inside each other and secured through the middle fold with thread, or wire staples.
Long stitch is a bookbinding technique used for sewing togheter the sections of a book. There are different forms of long stitch sewings. It involves sewing each section directly through the cover where slots have been made at each sewing station. This sewing method creats a staggered line pattern visible on the spine.
The method was created by Anne Goy, a Belgian bookbinder. She was looking for a Western version of the traditional Japanese stab binding techniques. She wanted a book that would open flat but with the appearance of the stab sewing. Anne Goy calls this binding the â&#x20AC;&#x153;crisscross bindingâ&#x20AC;&#x153;. The book cover is made using three separate pieces: font cover, back cover, and spine piece.
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The type of binding is usually selected based on the function of the document, the number of pages it contains and the printing budget. Strangely, esthetics are usually considered last in the decision-making, unless quality is a priority and budget is not a factor, or the binding itself is part of the conceptual design.
We are thickly layered, page lying upon page, behind simple covers. And love, it is not the book itself, but the binding. â&#x20AC;&#x201D;Deb Caletti
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The contemporary binding type
Saddle Stitched (8-80 Pages)
Loop Stitched (8-80 Pages)
Perfect Bound (50-250 Pages)
Tape Bound (50-250 Pages)
Screw Bound (16-400 Pages)
Plastic Grip (2-250 Pages)
Comb Bound or Plastic Bound (2-250 Pages)
Spiral Bound or Coil Bound (16-275 Pages)
Stab Stitched or Side Stitched (2-300 Pages)
Sewn Bound (8-24 Pages)
Hardcover or Case Bound (60-400 Pages)
Wire-O Bound or Wire Bound (16-275 Pages)
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Saddle Stitching $ Probably the most common and economical binding method. Created by punching wire through the document?s outside spine, then bending the wire flat on the inside centre fold to grip all the pages. It may provide a similar look, but is not the same as stapling.
Loop Stitched $ Comparable to saddle stitching, but with a different effect. Loops are created with wire along the external spine in order to insert and secure the document into a 3-ring binder. Great option for information instalments that can be added to larger collection.
Stab Stitched or Side Stitched $ Stab or side stitching uses wire that is ?stabbed? into the front cover, through the inside pages and back cover of the document, instead of along the spine. Often covered to hide the wire.
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Sewn Bound $$$$$ Similar to saddle stitching, but uses thread instead of wire. Thread is stitched along the entire spine. As more pages are added it begins to closely resemble case binding, but without the hardcover.
Tape Bound $$ This method involves an adhesive tape being wrapped around the spine to hold the covers and inside pages in place. Usually pages need to be stitched together prior to affixing the tape to reinforce and provide added strength.
Perfect Bound $$ Sections of folded pages (signatures) have their spines trimmed off and roughed up to improve bonding with glue. All sections are collated and glued to its wrap-around cover.Cover is always scored on back and front, for ease of opening and less stress on spine.
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Screw Bound $$$$ In screw, stud or post binding, first holes are drilled through the complete document. Then a barrel post is inserted through the holes and a cap screw is added to the post to hold everything together. Frequently used for swatch books.
Hardcover or Case Bound $$$$$ Standard binding used for hardcover books. Several different types to choose from, but typically involves inside pages being sewn together in sections. These are then glued to end papers which are glued to cover?s spine.
Plastic Grip $ This simple and easy method uses a moulded 3-sided plastic spine. By prying apart the 2 vertical strips the entire document is guided through one end of the plastic grip until it covers the full length of the spine.
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Comb Bound or Plastic Bound $ Economical method suitable for manuals and books that need to lay flat when open. Using rectangular holes punched through the document, the plastic comb?s rings are threaded through holes. Page edges at spine are covered by plastic comb.
Spiral Bound or Coil Bound $$ Utilizes a smooth round coil to hold pages together. Allows book to lie flat when open or pages can be turned all the way around to the back if desired. Wire is threaded through punched holes and then Ends are crimped to prevent wire slipping off. Spirals or coils are available in variety of colours.
Wire-O? Bound or Wire Bound $$ Highly popular Wire-O? option uses formed wire that threads through punched holes. This allows books to lay flat when open. Wire loops are available in variety of colours to coordinate with cover colour. A durable option for a wide variety of project types
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
The art of bookbinding utilizes several different materials, tools and equipment. The process of bookbinding requires many raw materials such as paper, threads, tape, boards and fabric. All these items are available in the market in different quality levels and grades. Only the best of these should be used because low quality materials may not achieve a fine binding, which would put both time and efforts to waste.
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PREPARE FOR BOOK BINDING
Book Binding
Material
Notes
Cotton tap / Linen tap
Bookbinding tape is made from linen, cotton or polyester. Either linen or cotton tape should ideally be used, but both have their drawbacks. Cotton tape has a higher flexibility which makes pasting easier. Linen is stronger than cotton and more durable, but the flexibility is a little less.
Thread
The thread used for binding should be strong yet soft enough so that it does not cut and tear apart the signature paper. A thread which possesses all these qualities is the linen binderâ&#x20AC;&#x2122;s thread, but it is not available easily from highstreet stores .
Boards
A perfect board is one that is stable and dense, and does not allow the covering material to warp as it is pasted onto the board. At times, the material suffers from shrinkage after the paste has dried, which makes the board hollow onto one side.
Cloth
Cloth may be available in a wide range in the market, featuring attractive hues, beautiful designs, varying textures and different weaves. Every fabric does not have the same handling strength and behaves differently when pasted onto other materials.
Images
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Book Binding
Material
Notes
Carpenterâ&#x20AC;&#x2122;s Square
A carpenterâ&#x20AC;&#x2122;s square is a must have tool for cutting the paper and the board accurately. The recommended size is 16 by 24 inches. Squares in smaller sizes are also available, but using a professional sized model made of steel is more advantageous because it has a greater weight, and so does not slip or move from place during any cutting operation.
Steel Ruler
A ruler is used for various purposes when binding books together. These include, measuring, cutting, trimming, folding and other tasks that require using a sharp and straight edge.
Razor Blade
While you can use the knife for all sorts of cutting tasks, it is better to use a blade if you have to cut paper. Made of extremely thin and sharp steel, a razor blade cuts paper into pieces with very fine edges.
Knives & Cutting Mat
A rubber cutting mat & knife are essential for common bookbinding tasks. Your knife should feature a large handle which provides a strong and firm grip, whilst making the tool safe for use. The blade should be replaceable and/or be sharpened if it becomes blunt or wears out, a common Stanley knife is perfect.
Images
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Book Binding
Material
Notes
Shears
Shears will be needed for cutting cloth. Look in the market for a size that is around 8 inches and has offset handles, which can make the grip better.
Sewing Frame
A sewing frame can make your sewing job a lot easier because it leaves both your hands free for sewing, and does not require you to hold the materials in one hand, and the needle in another. You can use a frame to fix the tapes taut in appropriate positions, and use the platform for laying the signatures.
Press and Tub
A press and tub is the most vital binding equipment that you are going to need. A press has two types: a laying press and a finishing press. A finishing press can only help you with limited tasks, but a lying press can be used for all jobs that also cover the functions of a finishing press.
Wastepaper
Might sound surprising, but you actually do need wastepaper so that you can easily do the pasting and then dispose of the trash. A clean paper sized 14 x 17 inches is a good enough choice for this.
Rubbing Sheets /Vellum Paper
Rub all your pasted materials on a sheet made of vellum tracing paper (not standard tracing paper! â&#x20AC;&#x201C; The difference between Vellum Paper Vs. Tracing Paper) because it has a smooth surface and is nearly transparent. Once again, the recommended size is 14 x 17 inches.
Images
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Book Binding
Material
Notes
Paste Brushes
Buy a paste brush, which is approximately 7/8 inches in size because it would be suitable for all general work. You should also purchase a No 5 artist brush for finer work.
Piercing Awl
Easily available at the shops (buy the one in the picture to the right at Amazon.com here), but this is another tool that you should make at home. Ensure that it is slender enough and has a sharper point.
Beeswax
A beeswax is used for the treating the thread. Just buy one fourth of a pound, and it will last a long time.
Sandpaper
Buy a 120 numbered sandpaper made from silicon carbide. Cut the sheet into four pieces, and these would be enough for several books.
Needles
You can either buy the 1/5 sharp needles of the 3/9 millinerâ&#x20AC;&#x2122;s needles. Ascertain that the eyes are such in which you can easily pass the thread.
Images
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Photo journal created to document photography taken over time throughout the city of Chicago. Photos were timestamped and edited with duotones, halftones, scanned imagery, transparencies and was then compiled together in a handbound stitched book.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Photo journal created to document photography taken over time throughout the city of Chicago. Photos were timestamped and edited with duotones, halftones, scanned imagery, transparencies and was then compiled together in a handbound stitched book.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
We were asked to produce a design outcome along with our essay, therefore I just gave the words format and layout with this multi-layered book.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
ArtFad 2013 Diplomas for the Contemporary Art and Craft Awards. Transparent and fluorescent methacrylate with a laser cut to create letter A.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
SCREENPRINT
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
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14pt
TYPE OF SCREENPRINT One of the newest types of art in the West, screen printing (screenprinting, silkscreen, or serigraphy - from sericum, Latin for silk) is a twentieth century intaglio printmaking technique derived from traditional stencilling, itself one of the earliest forms of graphic art duplication. Usually, screen printing involves placing a fine mesh screen, which is stretched tightly over a wooden frame, above a piece of paper. Then colour is forced through the screen with a rubber blade called a squeegee. Usually the screen is made of silk, hence the name silk screen printing. However, as cotton, nylon or metal can also be used, the more inclusive term is screen printing. Some professional artists prefer to use the term serigraphy to differentiate between artistic screen printing and that of commercial printing. Screen printing was first developed about 1900 and used in advertising. Eventually it was popularised by American Pop artists like Roy Lichtenstein, Robert Rauschenberg, and Andy Warhol, as well as other contemporary art movements. These artists chose the medium of screen printing because it allowed them to maintain bold, bright colours when reproducing their works. Boldly colourful and novel, screen printing has become one of the basic techniques of postmodernist art.
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History of Screen Printing A style of screen printing first appeared in China during the era of Song Dynasty Art (960-1279), and made its way to Europe in the 18th century. However, it was not until silk mesh was more available for trade in the 19th century that screen printing began to pick up popularity. In 1907 Samuel Simon patented screen-printing in England. At first, the process was used to print interesting colours and patterns on wall paper and fabrics and then by advertisers. Eventually however it was adopted by artists as a convenient and reliable way of reproducing their works. In todays contemporary world screen printing is used by fine artists, and along with commercial printers who use graphic screen printing to place images on t-shirts, DVDs, glass, paper, metal and wood. In the 1930s a group of artists, who wanted to differentiate what they did from the commercial world, formed the National Serigraphic Society. In doing so, they linked the word Serigraphy with fine arts and screen printing. 'Seri' is Latin for silk and 'graphein' is Greek for to write or draw. In recent history, the Pop Artists are generally seen to have popularised the form of screen printing known as serigraphy. Pop artists, took their images from the world of mass culture, so it was appropriate that they used a technique known for its mass production ability. Op artists also valued the use of the medium, finding it suited their aesthetics.
8pt
The Basic Screen Printing Process In screen printing, the screen is first created by stretching a fabric (eg silk) over a frame of wood or aluminium. The image is first drawn (manually or with software) on a piece of paper or plastic, or captured in a photograph. Then it is cut out to form a stencil. Next, the stencil is attached to the screen. Then areas of the screen mesh are blocked with a waterproof masking medium. These areas become the negative areas of the final image. The screen is then placed over the desired substrate (eg. paper, glass, textile) and ink is then applied to top of the screen and spread across the screen, over the stencil and through the open mesh onto the substrate underneath. The ink is spread using a squeegee - a rubber blade usually the same width as the screen. The unblocked area is where the ink filters through and creates the image. Any number of colours can be used, although a separate screen is required for each colour. The stencil designs are generally created using software programs like Adobe Illustrator or Corel Draw. The designs are then printed on clear vellum, which is referred to as the film positive.
Film Images Used in Silkscreen Printing Using modern technology with UV sensitive photo emulsions, images can be created on transparent film and then replicated exactly on a nylon screen coated with light sensitive (UV) emulsion. The latter is applied to the whole screen which is then overlaid with the film upon which the artist has drawn his design, and both are exposed to UV light. The light passes through the transparent film, except where the artist's design prevents it. On those parts of the screen exposed to the light, the emulsion hardens. When the screen is then washed, all the emulsion is removed except for the hardened areas, thus creating a stencil on the screen that exactly matches the design down to the smallest detail.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8pt
Famous Silkscreen Artists Famous screen printers include Andy Warhol (1928-87) with his silk screen prints: Campbell's Soup Can on Shopping Bag (1966), Triple Elvis (1962), and Marilyn Monroe (1967), among others; Robert Rauschenberg (b.1925) with his Retroactive II (1964); Ben Shahn (1898-1969) with his silkscreen print Pleiades (1960).
The Pop Art leader Andy Warhol had a background in commercial art, which gave him a particular affinity with the technique of screen printing. Both Warhol and Rauschenberg extended the technique by screen printing a design onto a canvas to serve as the basis of a painting. Other figures of contemporary art, like Eduardo Paolozzi, Richard Hamilton and R B Kitaj used the medium to combine second-hand images as a kind of collage technique. Complexity of technique has increased, the American Superrealist painter Richard Estes sometimes uses up to 80 screens in one work.
Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art. â&#x20AC;&#x201D;Andy Warhol
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THE SCREEN PRINTING PROCESS
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8 point size
embossing & debossing embossing & debossing embossing & debossing embossing & debossing
EMBOSSING & & debossing & debossing DEBOSSING
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
8 point size
embossing & debossing embossing & debossing embossing & debossing embossing & debossing
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14pt
INTRODUCTION Embossing and debossing are the processes of creating either raised or recessed relief images and designs in paper and other materials. An embossed pattern is raised against the background, while a debossed pattern is sunken into the surface of the material (but might protrude somewhat on the reverse, back side). Embossing involves a separate stage in the production process, after any varnishing and laminating. It requires a separate press run, and is priced accordingly. In addition to being used as a design element, embossing can be used to improve the performance of paper products like napkins, diapers, and tissue paper.
8pt
Often used in combination with foil stamping, embossing alters the surface of paper stock or other substrates by providing a three-dimensional or raised effect on selected areas. The procedure requires the use of two dies: one that is raised and one that is recessed. The dies fit into each other so that when the paper is pressed between them, the raised die forces the stock into the recessed die and creates the embossed impression. A specific level of pressure is applied to the dies in order to squeeze the fibers of the paper, which results in a permanently raised area in the paper.When the dies are produced, a die maker engraves the desired image into several metal plates, which are the embossing dies for use on an embossing press. A thorough understanding the process will enable a more successful result. Generally, embossing is the process most often employed to attract attention or convey a high quality textural contrast in relation to the surrounding area of the paper stock.
â&#x20AC;&#x153;Debossingâ&#x20AC;? is similar to embossing, but recesses the design rather than raising it. Rather than the paper being raised in specific areas, it is indented. The process involves applying pressure to the front side of a substrate and forcing the material down from the surface. Although it is not as common as embossing, it is occasionally used to provide a different effect or appearance that fits a particular theme. Embossing and debossing on digitally printed applications is an off-line process, which may add a significant cost to the job.
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There are three responses to a piece of design: yes, no, and WOW! WOW is the one to aim for. â&#x20AC;&#x201D;Milton Glaser
[THINKINK] A PROJECT TO PROVE PRINT IS STILL ALIVE.
There are three responses to a piece of design:
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
14pt
EMBOSSING TYPES Blind Emboss Blind embossing does not include the use of ink or foil to highlight the embossed area. The change in the dimensional appearance of the material is the only noticeable difference resulting from the embossing. The blind embossing process provides a clean and distinctive or subtle image on paper stock. It is best used to create a subtle impression or low level of attention to the piece, yet provide some slight form of differentiation for the finished work.
Registered Emboss Registered embossing is a process that places the embossed image in alignment with another element created with ink, foil, punching, or with a second embossed image. Embossed in register (EIR) simulates the natural appearance of hardwood flooring by adding depth and texture in alignment with a print on the material.
Combination Emboss Combination embossing is the process of embossing and foil stamping the same image. It involves imprinting and aligning foil over an embossed image to create a foil emboss. A sculptured die, generally made of brass is used for this procedure. The process requires close registration that must be controlled to keep the image and foil matched precisely. The process of embossing and foil stamping is accomplished in one operation with the use of a combination die. The combination die has a cutting edge around the perimeter to cleanly break the excess foil away from the embossed area.
8pt
Pastelling Pastelling is also referred to as tint leaf embossing. It involves the process of using a combination die to provide a subtle antique appearance to a substrate that is embossed and foil stamped. Pearl finishes, clear gloss, or similar pastel foil finishes can be selected that provide a soft two-color antique look (without scorching) to the embossed image. Lighter colored stocks work best to provide this soft contrasting effect.
Glazing Glazing refers to an embossed area that has a shiny or polished appearance. Most often this process is accomplished with heat that is applied with pressure in order to create a shiny impression on the stock. Dark colored heavy weight stocks generally work best with glazing because the polished effect is much more noticeable and the dark color of the stock helps to eliminate or soften any burned appearance that may result from the application of the heat. When used in conjunction with foil, the process can provide the foil with a slightly brighter appearance.
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8pt
Scorching Scorching is similar to glazing except that it is not used to polish the stock. Instead, scorching does what it implies: as the temperature of the die heating plate is increased beyond a normal temperature range, a scorched effect is created in the embossed image, which results in an antique or shaded appearance. It is best to use a lighter colored stock for this procedure in order to provide a unique two-toned appearance. Caution should be used in requesting this effect, since it is easy to burn the stock if too much heat is used. If scorching occurs too close to the printed copy, it can interfere with the clarity of the printed copy; however, this may be the effect that is desired for a particular application.
Document authentication A notary public may use an embossed seal to mark legal papers, either in the form of an adhesive seal, or using a clamp-like embossing device, to certify a signature on a document, contract, etc., or cause to become certified through a notary public or bill. Registered professional engineers also use embossing seals to certify drawings, thereby guaranteeing to the recipient that due diligence has been exercised in the design.
On stamps Embossing on an 1886 revenue stamp of Great Britain. It has been used regularly on postage and other types of stamps. The embossed paper of a letter sheet or stamped envelope is called an indicium. Notable early examples include some of the earliest stamps of Italy, Natal, and Switzerland, as well as the early high values of Great Britain (1847â&#x20AC;&#x201C;54). Modern stamps still sometimes use embossing as a design element.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Tim Bisschop Location: Brugge, Belgium
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Le Tour imaginaire – small book – 15 x 10,5 cm – 512 pages – cover: letterpress
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK COLOR REFERENCE Orange Color Orange is the only color of the spectrum whose name was taken from an object, the popular fruit - the orange. In nature it’s the color of vivid sunsets, fire, vegetables, flowers, fish, and many citrus fruits. In our contemporary world, orange is the color of marmalade, Halloween, traffic cones, life rafts, cheetos, and Halloween. Orange symbolizes energy, vitality, cheer, excitement, adventure, warmth, and good health. However, pure orange can be brass; however, it may suggest a lack of serious intellectual values and bad taste. It’s worth noting that there are many shades of orange – and different meanings. Some may be more appealing to those who find orange difficult: terracotta or cayenne – a dark orange, persimmon - a red-orange, pumpkin - a pure orange, mango - a yellow orange, salmon - a pink orange, melon - a light orange.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Pink Color Pink is a combination of the color red and white, a hue that can be described as a tint. It can range from berry (blue-based) pinks to salmon (orange-based) pinks. Its symbolism is complex and its popularity is subject to so many influences. We can begin an analysis of pink by looking at natural and contemporary souces of this delicate color. First, regardless of your skin color, some part of your body is pink. So are sunsets, watermelons and Pepto Bismal. Depending on your age and culture, you may remember pink Cadillacs, pink flamingos (once considered in bad taste in American culture but now retro-chic), Pink Floyd, the Pink Panther, and the pink triangles of the Third Reich (which were used to identify male homosexuals).
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Blue Color Blue is the favorite color of all people. It’s nature’s color for water and sky, but is rarely found in fruits and vegetables. Today, blue is embraced as the color of heaven and authority, denim jeans and corporate logos. It is cold, wet, and slow as compared to red’s warmth, fire, and intensity. Blue has more complex and contradictory meanings than any other color. These can be easily explained by pinpointing by the specific shade of blue. Most blues convey a sense of trust, loyalty, cleanliness, and understanding. On the other hand, blue evolved as symbol of depression in American culture. “Singing the blues” and feeling blue” are good examples of the complexity of color symbolism and how it has been evolved in different cultures.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Purple Color Purple’s rarity in nature and the expense of creating the color and has given purple a supernatural aura for centuries. Purple is also the most powerful wavelength of the rainbow – and it’s a color with a powerful history that has evolved over time. In fact, the origins of the symbolism of purple are more significant and interesting than those of any other color. As civilizations developed, so did clothing and colored dyes. The earliest purple dyes date back to about 1900 B.C. It took some 12,000 shellfish to extract 1.5 grams of the pure dye - barely enough for dying a single garment the size of the Roman toga. It’s no wonder then, that this color was used primarily for garments of the emperors or privileged individuals. Today, science has revealed much more about purple than our ancestors ever realized: Purple is the most powerful visible wavelength of electromagnetic energy. It’s just a few steps away from x-rays and gamma rays.
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THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
Green Color Green is no longer just a color. It’s now the symbol of ecology and a verb. Since the beginning of time, green has signified growth, rebirth, and fertility. In pagan times, there was the “Green Man” - a symbol of fertility. In Muslim countries, it is a holy color and in Ireland, a lucky color. It was the color of the heavens in the Ming Dynasty. Today’s greens can be found in a wide range of objects: pea soup, delicate celadon glazes, sleazy shag carpet, sickly bathroom walls, emeralds, wasabi, and sage. The English language reflects some strange attributes: Would you rather be green with envy, green behind the ears, or green around the gills? (Idiomatic American English for extremely envious, immature or nauseated.)
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PA N TON E 10 0 C C :0 M :0 Y:51 K: 0
PANTONE 100 C C: 0 M: 0 Y: 51 K: 0
PANTONE 100 C C: 0 M: 0 Y: 51 K : 0
PA N TON E 10 0 C C :0 M :0 Y:51 K: 0
PANTONE 100 C C: 0 M: 0 Y: 51 K: 0
PANTONE 100 C C: 0 M: 0 Y:51 K : 0
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
REFERENCES
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.
THINKINK A PROJECT TO PROVE PRINT IS STILL ALIVE.