30 October 2011

Printmakers Talk about Impact7, 3 Nov, Dunedin

For those of you in the far South...
Neil Emmerson, Victoria Bell & Steev Peyroux
will be giving a talk, reporting back about their experience
of the recent Impact7 Print Conference in Melbourne.

The talk will be from 12.15-1.15pm on Thursday 3 November 2011 
at Dunedin School of Art, in P152 Lecture Theatre.

Neil Emmerson, G.O.D (made me do it...), 2009
Print, mixed media. Installation at Mora Galleries (AU).

Victoria Bell, Stanley (Teatowel), 2009
Screenprint on cotton, edition of 50 

Steev Peyroux, Wrap Round Bull Creek, 2008
Collagraph, pencil.

Neil, Victoria and Steev are staff members 
of the Printmaking Studio at the Dunedin School of Art 
and are all exhibiting artists.
If you are in (or near) Dunedin this week put this in your diary.

28 October 2011

Term 4 Printmaking Classes, ArtSight, Wellington

Artsight in Wellington are offering these printmaking classes for Term 4,
Some of them are starting next week, so register now if you are interested!

Screenprint Essentials (Evening Course)
This course is suitable for those new to screenprinting or with some experience.
The programme will cover stencil and photo-emulsion techniques.
Students will have the opportunity to screen print on paper and fabric surfaces.
Mondays 7.00pm-9.30pm, 31 October - 19 December (8 weeks)
Being tutored by Peter Lendvai, limited to 6 students, cost $320 (most materials supplied) 

Peter Lendvai, Ancestor, 2008
Screenprint, 50x70cm
Monoprint & Intaglio Processes (Day Course)
This course covers a range of monoprint and intaglio techniques.
The course uses non-toxic water based inks
and is suitable for beginning and more experienced printmakers.
Tuesdays, 10am-12.30pm, 1 November - 22 November (4 weeks)
Being tutored by Basia Smolnicki, cost $170 (includes all inks and paper) 

Relief Print Processes (Day Course)
This course covers a range of woodcut and collograph techniques.
The course uses non-toxic water based inks
and is suitable for beginning and more experienced printmakers.
Tuesdays, 10am-12.30pm, 29 November - 20 December (4 weeks)
Being tutored by Basia Smolnicki, cost $170 (includes all inks and paper) 

Mixed Media Classes at Artsight Wellington

Mixed Media Printmaking (Evening Course)
This course includes collage, composition and layering prints using different processes.
The course uses non-toxic water based inks
and is suitable for beginning and more experienced printmakers.
Tuesdays, 7-9.30pm, 1 November - 22 November (4 weeks)
Also repeated on Tuesdays, 7-9.30pm, 29 November - 20 December (4 weeks)
Being tutored by Basia Smolnicki
Cost $170 for 4 weeks, or $295 for 8 weeks (includes all inks and paper) 

27 October 2011

Native Aotearoa, Shane Hansen, 28 Oct-19 Nov, Auckland

Shane Hansen's exhibition Native Aotearoa
will be on at Momentum Gallery in Auckland
from this Friday 28 October until Saturday 19 November.

Shane Hansen, Piwaiwaka, 2011
Limited edition screenprint on plywood

Described as: "works that celebrate our selves, our souls, our land, our love
The exhibition promises a treat for your eyeballs 
with Shane's delicious contemporary Maori-inspired pieces
 including the launch of two new pieces!"

Shane Hansen, Te Kopara Topa (The Bellbird Soars), 2011
Limited edition print on Fabriano paper 

Also, you could be in to win a copy of Tuatara Aotearoa
just by turning up at the exhibition opening tomorrow,
5.30-7.30pm, Friday 28 October
at Momentum Gallery, 182 Jervois Road, Herne Bay Auckland

Shane Hansen, Tuatara Aotearoa, 2011
Limited edition press print, 44x39cm

Shane Hansen will also be giving two artist's talks 
11am-1pm on Saturday 29 October and Saturday 5 November.
Will be a great opportunity to hear from Shane, so mark it in your diary now!

Woodblock Workshop, 5-6 Nov, Napier

Ahuriri Art School in Napier will be hosting a printmaking workshop
taught by NZ printmaker Sheyne Tuffery on 5-6 November 
The 2 day course cost $225
Numbers are limited so be in quick if you want to register!

Sheyne Tuffery, Pacific High Rise

This workshop is designed for people to make contrasting dynamic prints 
using methods of tradition, experimentation and handy shortcuts in colour and black & white. 
It will be a hands on demonstration into the world of woodblock printmaking 
including the rules and process of the print studio, from the idea to the finished print.

The process will be to make background mosaic patterned prints 
from printing one single block in differant ways. 
They link up to make contrasting patterns then printing a silouette block over the top of that. 
It is a great way to go through the whole process of printing 
so you get a feel for it then you can elaborate and experiment as much as you like.

Sheyne Tuffery, Red Hot Hoi Ho's

These workshops uses water based inks 
which is easy on clean up and friendly on the environment.
I will provide all the materials including 
the press, inks, chisells, paper, rollers, newsprint and custom wood.

You will only need a pencil, old shirt, 
and some ideas for images you would like to depict in a silouette form in print ,
don't worry if you cant think of anything, 
usually things will come to you while your making your pattern prints.

The best thing about this workshop is that you will walk away 
with a folio of great hand made prints to hang on your wall 
or give away to your friends and family.

26 October 2011

Letterpress Workshop, 26 Nov, Auckland

Graham Judd is offering a Letterpress Workshop 
on Saturday 26 November in Birkenhead, Auckland.
This workshop is open to all levels of experience.
Cost is $140 plus GST per person, max of 4 people.

Our one day letterpress workshops are in two parts...

Part 1: Handset and print type in a creative way (9.30am-12.30pm)
Jumping straight in, participants will draw on an eclectic collection 
of lead and wood type and ornaments, to design and print a page of a font catalogue. 
This is a hands on, learning as you go, workshop 
with the expertise of Graham Judd and Lesley Smith.

Part 2: Letterpress Postcard (1-4pm)
Participants will design and produce a set of personal cards 
with their own choice of subject. 
This is an opportunity to choose a quote from a book, a favourite poem etc

*There is also a Christmas Card Workshop 
planned for Saturday 3 December,
so if you are interested in either of these two courses
and register your interest now to avoid missing out!

25 October 2011

Kelvin Mann & Margaret Silverwood, til 26 Nov, Wellington

Currently on at Solander Gallery in Wellington 
there is an exhibition of works by Kelvin Mann 
and Whanganui printmaker Margaret Silverwood.

Kelvin Mann, originally from Dunedin,
is master printmaker at Stoney Road Press in Dublin.
Kelvin's new etchings demonstrate his considerable compositional skills 
and his typically quirky way of seeing the world.
I especially loved the whimsical play on 'flock' of birds and 'gold' fish!

Kelvin Mann, Koru, 2010

Aquatint and photo etching, 48x69cm paper, edition of 45

Kelvin Mann, A Flock of Black Birds, 2011
Flock on 58x76cm paper, edition of 40

Kelvin Mann, Goldfish I, 2011
Gold leaf and flock on 50x65cm paper, edition of 25

literally 'draws together' images from books and old magazines 
of people, plants, animals and domestic situations 
to explore the complexities of our relationship with the rest of the natural world.
Mostly drawings, I liked the characters from these two etchings.

Margaret Silverwood, This Beautiful Hour, 2011
Etching, 19x25cm paper, edition of 10.

Margaret Silverwood, This Beautiful Hour (Pink Terraces), 2011
Etching, 23x25cm paper, edition of 10.

Print Show, 27 Oct-15 Nov, Kerikeri

Firstly, a reminder that the 2nd International Open Submission Print Prize 
deadline for the first stage of selection is 1 November, 
so make sure you enter now... 
The winning artist will be awarded a solo gallery show in 2012.

An international judging panel will decide the result of this year's exhibition. 
The panel consists of Georgi Kolev (Director, Lessedra Print Gallery, Bulgaria)
Robert Peters (Director, Seacourt Print Workshop, Northern Ireland)
Laura Widmer (Artist Printmaker, Canada) and
Duncan Bullen (Senior Lecturer, Fine Art Printmaking, Brighton University, UK).

Also, starting this week, Art At Wharepuke is hosting and exhibition of works
by Danielle Creenaune (Australia/Spain) and Carsten Borck (Germany),
the joint winners of the 1st International Open Submission Print Prize in 2010,
on show from 27 October to 15 November in Kerikeri.

Carsten Borck, 2010-8-23 VIII, 2011
Danielle Creenaune, 2010

This exhibition is the result of a collaboration between the two artists, 
producing a complementary series of 20 prints (10 per artist). 
Printed in Berlin and Barcelona and titled ‘2010-08-23’ 
the work is presented in a boxed portfolio, and as wall pieces. 
Additional works from each artist will also be exhibited.

Or for those of you who can't make it up north for the show,
images can be seen here on Art At Wharepuke's Flickr site 

22 October 2011

Freak of Nature Print Exchange Catalogue

Rona Green (AU) recently curated an international print exchange folio 'Freak of Nature', 
the works from which were exhibited at the Switchback Gallery in Australia last month.

Sam Broad, PollyMath: Centrifugal, 2011
Linocut and woodcut, 25x18cm, edition of 49

Some New Zealand artists were invited to take part, including: 
Sam Broad, Kyla Cresswell, Vincent Drane, Simon Kaan,
Kelvin Mann (NZer now living in Ireland),
 Margaret Silverwood, Sheyne Tuffery and Fleur Williams. 

Although the show has finished, I thought you might like to see the catalogue.
Here is the link if you are interested in checking it out:

20 October 2011

Periodic Table On Show, 24 Oct -21 Nov, Palmerston North

The Periodic Table is touring Australia and New Zealand
and will be in Palmerston North at Te Manawa from 24 October - 21 November.

This collaborative project involved 38 Tasmanian printmakers,
 who produced editions of the 112 elements of the Periodic Table,
based on information provided by 79 chemists.

Periodic Table
Made by 38 printmakers from Tasmania

For those of you unable to see it in Palmerston North,
the Royal Australian Chemistry Institute website has an interactive version,
when you click on each element it shows the print and the information,
Very educational art!

19 October 2011

Lithograph Exhibition, 25 Oct - 18 Nov, Auckland

SnowWhite Gallery in Mt Albert, Auckland
will be exhibiting a selection of recent lithographs 
from Auckland Print Studio called Oil & Water

from 25 October - 18 November

Andrew McLeod, Silk Road
Photo-lithograph, silver ink on black stonehenge, 665 x 575mm. edition 20

The exhibition is curated by John Pusateri and Kim Meek,
and is a survey of recent activities by visual artists at APS, 
including: Nuala Gregory, Jason Greig, Andrew McLeod
Ayanah Moor, John Pusateri, Tiffany Singh, Tim White and others.

Auckland Print Studio was founded in 2008 
and is located at Unitec New Zealand in Point Chevalier. 
APS is equipped with a 30″ x 50″ Charles Brand lithography press 
and has an assortment of stones. 
APS is also capable of printing photo-positive lithography plates, 
enabling films to be created off site. 
Access to the studio is mostly by invitation, 
but capable printers may apply for press time.

18 October 2011

Impressive 2, 18 Oct - 13 Nov, Auckland

 Impressive 2 is opening tonight, Tuesday 18 October 6-8pm.

The exhibition will be on at Nathan Homestead  Manurewa
from 19 October-13 November

A special feature of this year's Impressive 2 exhibition
are selected items from Auckland Museum's Pacific Collection
on view to the public for the first time
during the SouthSide Arts Festival.

Cerisse Palalagi, Without, 2011
 Mixed media print

Curator Gabrielle Belz says:

"In Asia and the Pacific, print and the decoration of fibre has an ongoing tradition, 
imparting messages and information, recording history and anecdote in a visual media. 
Many textile works from these regions have significant decoration indicating mana, 
prestige and the identification of the wearer.

The development of books in both Asia and Europe also contributed to print, 
and made the duplication of illustrations available 
to a wider public with the use of woodcuts.
 Japanese prints influenced the French Impressionists. 
Screen printing in the West began around this time 
as a direct influence of the Japanese works.

Some of this history is recognisable in the artists selected for this exhibition 
represented by new works from 
Fatu Feu'u, Dagmar Dyck, Kijae A Lee, Alexis Neale, Cerisse Palalagi, 
Susan Hurrell-Fieldes, Prue Mac Dougall, Daniel Waswas and Beth Sarjeant."

15 October 2011

Print & Artists Books, Melbourne

If you are heading over to Melbourne anytime before 16 February 2012
you might want to check out this exhibition of beautiful limited-edition books 
by 20 Melbourne artists and printmakers,
at the State Library of Victoria

 Angela Cavalieri (AU), INRI (detail), 2005

Tommaso Durante & Chris Wallace-Crabbe (AU),
Skin, surfaces & shadows: a triptych
 (detail), 2007
Max Gimblett & Alan Loney, Holloway Press
Fishwork (detail), 2009

"In the digital era the future of the printed book seems uncertain, 
yet the handmade artist's book is a flourishing artform. 
Each of these works is unique in its use of design, typography, paper and binding, 
both drawing upon and extending the history and tradition of the book.

The artists featured include Angela Cavalieri, Daniel Moynihan, 
Bruno Leti, Inge King, Gracia Haby and Louise Jennison."

14 October 2011

Exercising the Dog, 14-27 October, Dunedin

Exercising the Black Dog is a new series of aquatints 
by renowned Christchurch printmaker Barry Cleavin, 
exploring the metaphorical nature of walking the dog. 

Barry Cleavin, Exercising the Black and Tan Dog, 2011

Of his work Cleavin says
"Mostly I reduce the world to absurdity; in that form it is manageable".

The exhibition is on at Brett McDowell Gallery in Dunedin from 14-27 October

13 October 2011

Kia Ora Koutou, til 22 Oct, Auckland

I just read this write up in The Aucklander about the Kia Ora Koutou exhibition.
Thought it would be good to share with you.
Have you been to see it yet???

"The grey wet day outside the historic former Grey Lynn police barracks on Ponsonby Rd
gives the hallway a kind of gloom. 
Up on the second floor, the gloom gives way to the bright ArtStation gallery.
On the wall, 75 horizontal and 168 vertical prints are arranged in a poutama step pattern, also known as the "Stairway to Heaven" or the "Steps to Enlightenment".

Print Artist Dan Mace is part of a collaborative print installation at Artstation
to show RWC visitors the richness of our increasingly multi-cultural society.

Dan Mace, a graphic designer and animator, is displaying three of his works: 
Whaea, Papakainga and Toto, all of which feature stylised enigmatic statements. 
"Words," he says, "I find them beautiful. Art is about communicating."

The work of Mr Mace and 19 other print artists 
features in the gallery's Kia Ora Koutou exhibition. 
The show's aim is to explain the diversity of art in New Zealand 
to overseas visitors who've come for the Rugby World Cup. 

"This," curator Alexis Neal says of the Rugby World Cup, "isn't really my first inspiration. 
But I do accept that we'll have a bigger audience to show off to."
Co-curator Janneen Love explains the show is not confined to attracting RWC visitors.

"It's not like we have to produce wonderful souvenirs 
for these people who are coming in but produce something first for ourselves," 
says Ms Love, who likens the exhibition to a series of conversations.

"It's a conversation with yourself and a conversation with others. 
The secondary conversation is with the 40,000 people out there. 
There's not really a chance to talk to them."
The exhibition will show visitors 
a "non-edited" and unframed version of print and art in New Zealand.

"The idea is for the public to come in and carry away any works that interest them. 
As they take the work off, it will alter the look of the poutama pattern. 
The installation is an art in itself," says Ms Neal. "It's a little bit experimental. 
I've spent most of last week worrying about it."
Also a printmaker, the idea of a print installation came naturally to her.

Alexis Neal, Whariki series (detail), 2009-2011 
"There is not always a lot of big public exhibitions celebrating print. 
Works on paper, whether drawings, paintings or edition prints 
would really be a nice medium to showcase, 
not just from a Maori perspective, but from the wider community. 
We've got such a rich printmaking community in New Zealand. 
I don't think it's celebrated enough in those big institutions."

The artists are varied, not just from a cultural perspective 
but also in terms of experience with the medium. 
Mr Mace, for example, is new to the printmaking process.

The exhibition also features works by Sheyne Tuffery, 
a respected Samoan-Maori printmaker. 
He is also the only contributor whose works are inspired by rugby.

Ms Neal says the prints are reasonably priced .
"We're trying to meet the market in turbulent times and get the works off the wall," she says.
About 300 prints will be sold in the tradition of cash and carry. 
The prices range from $75 to $350.

Kia Ora Koutou is open until October 22. 

12 October 2011

Print by Steam Roller?!

I just read about an event at Pushing Print in Margate, England
where they printed using a steamroller!

Sounds like fun! 
I'll post pictures of it once they have been added...

Hooksmith Press & Vandercook 14

Here's a great story that Russell Frost sent me
about how he returned to NZ and established Hooksmith Press,
and his restoration of Vandercook No.14...

"Early this year we decided to re-locate to NZ after 5 years in London, UK.  
I had become heavily interested in letterpress printing the year before 
and had purchased an Adana 8 x 5 as well as numerous metal and several wood founts.  
A short course in letterpress printing at Central St. Martins 
built on my self taught beginnings
 as well as giving me the opportunity to use a Vandercook SP15.  

Deciding that this press would suit me well, I set about seeing if I could locate one in NZ, rather than trying to ship one from the UK.  
During this period I must have terrorised most NZ printers in my quest, 
but alas did not locate one.  
I did however chance upon the NZ Printmakers website.  
Delwyn kindly made an advert to put on the website.   
Currently I am still looking; in the mean time a good thing has happened.  

After a month or so back in NZ, an email came 
from a very generous Alison Murray in Wellington – 
Would I be interested in an early model 14 Vandercook?” She also sent pictures.  
The press looked somewhat basic (without grippers), though in good shape.

I was a little hesitant, as it could be difficult to get parts for such a press, however, 
I sent a resounding “yes” and arranged for a mate to go and check it out.  
My friend Gavin is particularly strong, and capable of moving large objects.  
(I once watched him take a bulldozer across the Buller River 
 in pieces on a wire rope, re-assembling it on the other side!)  

 Alison informed me it had been dismantled since the photos were taken 
and that it was now in a couple of pieces going rusty in her garden.  
By now I had my heart set on the press and thought I would take a punt.  
Gavin borrowed one of his mates old wharf barrows 
and promptly went to pick it up from a steep hill section somewhere in Wellington.  
Once in his van he delivered it to me in Hamilton.  

The cylinder was very rusty and seized.  
A weekend fully submerged in diesel freed up the mechanism 
and Gavin lifted the cylinder back on.  
Cleaning the teeth on cylinder bearers/tracks mounted on the press bed 
allowed the cylinder to move very freely up and down the tracks 
and allayed any fears of parts being warn or broken.  

A couple of things were needed to complete the press and make it operational:  
A cylinder blanket, a couple of screws 
and the flat bar to hold the end of the blanket around the cylinder.  
A guy Bob from the Waikato Times kindly gave me a discarded off-set blanket (1.95mm) 
attaching this to the cylinder took a bit of trial and error, 
but I eventually figured it out; a very effective mechanism once you work it out.  
I had a galley height piece of metal made, 
though with the thick blanket, it was not required, 
as the cylinder could not even begin to travel down the bed.  

Biding my time waiting for my type and other supplies to arrive from the UK, 
I registered the press with the Vandercook website 
and found some interesting information out from a very helpful Paul Moxon.  
This press was built in Chicago.
Vandercooks built under license in Great Britain began after WWII.
Before then Vandercook & Sons had a network of foreign dealers
including Alex Cowan & Sons in Melbourne, Australia.
Net weight without the optional cabinet is 525 lbs

'The Old Trout'

My printing equipment arrives 
and after several days of organising all of the various equipment, 
I feel the time is right to launch ‘The Old Trout
(apparently every press needs a name, 
and what could be more fitting for a member of the Hooksmith Press).   

I had purchased a couple of large shaded grot sorts 
 before leaving London and these had been begging to go first.
I set the form straight into the press bed and then proceeded to hand ink the type 
(this was a whole lot less exacting than setting a form in a chase for a platen). 
Then I carefully placed my brown wrapping paper 
(cut with a knife off a roll – very crude I must add)!   
With no suitable packing material either 
(corrugated cardboard does not cut it!) 
I then ran the first proof.  
The result was a very poorly impressioned print 
but none the less a big sense of achievement.  

I have since had some paper cut to size professionally, 
as well as getting a better packing material 
though still think a felt would be better than a card, 
as any blocks which are greater than type-high can leave 
a permanent impression in the packing which affects subsequent prints.  

I have recently had works accepted into the Soul Gallery in Hamilton 
and still relish every opportunity to compose and print on this wonderful press.  
Thanks Delwyn, Allison and Gavin.

The above press was never really intended for ‘finished’ print run type work, 
hence the term proof press.  
However it is suitable for artistic edition work 
if one is realistic about the minor flaws, slurs etc.  
With a desire to do some finer 2 colour work, 
close registration is necessary (grippers and lay adjusters) 
and the hunt still continues for an model SP15.  

Russell is also on the look out for more poster font/wood type and embellishments, 
as well as old advertising cuts. Email: ticklishtrout@gmail.com

10 October 2011

3D Printing Exhibition, Amsterdam

I was reading about this exhibition of '3D printing'
and thought I'd see what you think:

Materia Goes 3D Printing is on from 8 September 2011 – 18 January 2012,
at the Materia Inspiration Center, Amsterdam. 
See their website: http://www.materia-ic.nl/

"This exhibition is presenting a rather complete overview of what is today’s 3D printing.
This is showcasing the main techniques which have been developed those last years:
rapid prototyping, rapid manufacturing, rapid tooling, 
3D printing, stereolithography, and laser sintering.

For each technique: an explanation, a scheme, and some samples and results.
Some techniques even have the actual machine presented.

The PolyJet Matrix technique presented by the firm Objet 
also shows off some pretty convincing results: 
different colors, different transparency and different softness of material available.
And everything, of course, printed in one single object, at once.

If we can print different 'softness/transparency/color' as one single material,
let’s create a material that is soft where it should be soft and stiff where it should be stiff.
If we can print closed shapes, 
let’s print a waterproof and dustproof engine which would never stop working.
If we can print bigger structures everytime, 
let’s scale it up and print directly upholstered buildings."

I'm curious to know if you think it is a 'print'???
 I'm undecided.
Has any of you ever tried 3D printing? Email me.

It makes me wonder if there are ways it could be used
to make digitally-formed relief plates to use with traditional printmaking?

08 October 2011

Marian McGuire's The Labours of Herakles, Palmerston North

Marian Maguire's exhibition The Labours of Herakles
is currently touring and is now on at
Te Manawa in Palmerston North from 8 October 2011 - 29 January 2012

Marian Maguire, Herakles attempts to train Kerberos as a Sheep Dog, 2007
Etching on German Intaglio 350g

07 October 2011

“Not-So-Mini Print” Exhibition and Exchange, Canada

Each year, the Artist Proof Gallery (Alberta, Canada) 
holds a non-juried show and sale to showcase the work of local printmaking artists, 
and to raise funds towards A/P’s artistic and educational programming.

Each participant will receive 8 prints created by other artists, 
and A/P will retain 2 works from each edition for sale in our studio and gallery.

Deadline for submissions is 15 November 2011
Submissions must include
An edition of ten 15” x 11” prints, a completed submission form
Submission fee of $15 (non-members)

The exhibition will run from 30 November to 22 December, 
All interested artists are eligible to participate in this non-juried exhibition. 

06 October 2011

Antique Press & Type For Sale

I just saw this on TradeMe and thought maybe one of you might be interested:

Furnival & Co Ltd hand fed printing press in good order. 
Dating back to late 1800's to early 1900's. 
Unsure of the year it was built.

It has two chase and three ink rollers in very good condition.

The press looks to be in overall good condition 
apart from a broken frame that holds the ink duct, 
it looks like its been broken before so not major. 

There are over 25 drawers of type to choose from. 
Some look like they havent been used. 

Types are:
14pt,18pt,36pt Marina Script
8pt,10pt,12pt,14pt,18pt,30pt,36 pt Old English
36pt Mercury
30pt Studio
12pt,30pt Rockwell
66pt Discus
24pt Gothic
48pt Times
24pt,36pt Cond
48pt Times Italic
18pt, 24pt Palace Script
42pt Discuss Bold
30pt Universe medium

I would love to keep but have too many hobbies as it is, 
so would love to see someone enjoy this.

Advertised for approx $2000, but also listed 'open to offers' .
(It is currently in Canterbury but could freight to Auckland, approx cost is $240 +GST.)

If you are interested see TradeMe listing (closes Sunday) 
or ph 027 6277717 to discuss offers

05 October 2011

Print Handbook for Designers

This little handbook is crammed with stuff which will be very helpful, 
especially if you're into designing anything to go to a commercial printer.
Their goal is to help you see if your ideas will translate well when printed,
as well as show some print possibilities you may not have considered before.

Hopefully, it will cut down on the guesswork that happens
when your job goes from screen to print.

The handbook is printed with 4 process colours, plus one Pantone spot colour.
It includes four different types of paper (uncoated, silk, gloss and the cover)
and has a one colour gate folded cover with a foil.

Check out all these sections inside the Print Handbook
Over printing examples, Golden ratio info, Paper sizes table, 
Colours on different paper stocks, Line weight examples 
Dots per inch examples, Black examples, Skin tone values 
Colour charts, Glyphs, Point sizes examples, Tints and text examples 
Monotone, duotone & tritone examples, File type examples 
Folds diagrams, Trapping examples, Typefaces, Conversion table 
Colour tints & legibility, How the handbook was printed, How it was designed

It could be a very useful resource, I might get one or two for myself...
For more information, and some other handy tips, see their website:

03 October 2011

Something About Appropriation, 8-30 Oct, Matakana

I just recieved this invitation from Nicol Sanders-O'Shea and Graeme Cornwall
to their exhibition Something About Appropriation, which is on from 8-30 October
at A Fine Line Gallery in Matakana, just north of Auckland.

Feel free to come to the opening event on 8 October from 2-5pm