Book Description
Today's digital cameras provide image data files allowing large-format output at high resolution. At the same time, printing technology has moved forward at an equally fast pace bringing us new inkjet systems capable of printing in high precision at a very fine resolution, providing an amazing tonality range and longtime stability of inks.
Moreover, these systems are now affordable to the serious photographer. In the hands of knowledgeable and experienced photographers, these new inkjet printers can help create prints comparable to the highest quality darkroom prints on photographic paper.
This book provides the necessary foundation for fine art printing: The understanding of color management, profiling, paper and inks. It demonstrates how to set up the printing workflow as it guides the reader step-by-step through this process from an image file to an outstanding fine art print.
Customer Reviews:
Fine Art Printing.......2007-10-02
This was a very in depth study of principals needed to handle art printing--and the price was fantastic!!
Incredible book on printing.......2007-08-23
I've always struggled to produce prints that match what I see on the screen. This is th best book I've ever read on the subject. It covers everything in great detail, and is very readable. For the first time, I'm able to produce prints that match what I'm seeing on the screen.
A Very High Quality Publication.......2007-07-09
Producing exhibition quality photographic prints on an ink-jet printer requires a knowledge of many areas - printers, papers, inks, color management, editing software, handling and preservation. This outstanding book covers all these topics with the authority of experts. The authors' in-depth knowledge enables them to distill the essence of each topic into very concise prose, which is a pleasure on both the first reading and for subsequent reference. I have tried using other books on producing exhibition quality prints and found them wanting. With this book, I have quickly taken my prints to a new level.
As a minor issue, there are a number of places where a good editor could have tightened up the prose, added a clarifying sentence, or removed a germanic grammatical construction. Maybe for the next edition the authors could engage a more discerning editor. However, this does not affect the book's overall clarity.
One of the pleasures of this book is its design, with beautiful examples of the authors' own work, and a very extensive list of references for further information.
Outstanding digital printing resource.......2007-04-01
The final product for many photographic creative artists is the making and exhibition of high quality prints. In the past, particularly with color prints, this was usually relegated to third-party printing agencies and service bureaus, but with the evolution of today's photo-realistic inkjet printers it is now possible to achieve stunning results right in one's own small office or studio. It's hard to describe the deep satisfaction of watching a perfect inkjet print emerge that is the product of one's considerable investment of time and creative energy.
The convergence of desktop computing power with wide-gamut, archival-quality inkjet printers has returned creative control to the artist. But along with control comes the weight of personal responsibility, and learning to use this sophisticated equipment takes a lot of time and mental resources. Many authors have addressed the general issue of digital image output, but none that I've read previously have done as good a job in bringing together and covering both thoroughly and with rare clarity the myriad of factors relating to the making and finishing of exhibition-quality fine art photographic prints.
There are many issues involved. The concepts of light and color and how photographic input and output devices encode and translate color is fundamental to the process, underscoring the absolute requirement for a carefully calibrated and profiled color management system throughout one's entire workflow. Types of ink affect not only how prints appear under different lighting conditions but how long they'll last. Papers come in an almost endless variety of types and surfaces, both of which impact final appearance and longevity. How one prepares a file in the selected image editor also has a large impact on final output and extensive methods are detailed for achieving optimum results. Specific printer operations are covered with screen shots of dialog boxes that make some otherwise obscure choices very clear. Several specialized printing programs are also discussed, including Qimage and two RIPs (raster image processors). Last but not least is an extensive resource listing providing internet contact information for many of the products discussed throughout the book. This has special merit today due to the speed with which technology advances, often quickly dating what is set to print in a bound book.
If you are serious about making the highest quality photographic inkjet prints for display, there is no better reference piece than this book to increase your knowledge of the subject. Very highly recommended.
If What You See Isn't What You Get, You Need This Book.......2007-02-20
This handy, easy-to-use book by Uwe Steinmueller and Juergen Gulbins leads the reader gently into the expensive and complex world of Fine Art Printing.
Your first question for Fine Art Printing might well be: Why bother? Why not have your large format prints done professionally?
For instance, Epson, one of the brands discussed in the book has come out with a new, UltraChrome K3 line of inks and 13- 44-inch-wide printers. From my experience, these printers do indeed produce studio quality prints and prepress proofs. With prices ranging from $850 to $5000, they are affordable within the context of commercial production. Nevertheless, it might be a risky investment if you don't have a good grasp of the process and mechanics of printing.
This book bridges that gap. From a very basic level of color, lines per inch to materials and inks to more complex CMS management and software manipulation, this books covers the subject in enough depth to give you a real understanding, but it doesn't drown you're your interest in a flood of super-technical details.
One of the most common problems in printing is the disparity between what you see on your monitor and what comes out of your printer. Color management and monitor calibration are huge in printing and these subjects are covered well in this volume. (If you need more, specific information he publisher, Rocky Nook has another excellent offering: Color Management in Digital Photography.)
The whole process is fascinating - seeing the scene, taking the photo, moving the photo to the computer for processing, outputting the photo to hard copy. The question is: Does your print convey the story/feeling you wanted to share when you initially took the photograph?
One thing about the book amused me. It is replete with color illustrations and many of them purport to show before-and-after and/or the application of various effects. It's probably just my tired old eyes, but in many cases I was hard-pressed to see any difference. Nevertheless, when I tried the suggested techniques on my own work, I saw the results and was very pleased with them.
The fact remains that the more you learn about the printing process, even at a very basic level, the happier you'll be with the hard copy version of your photos.
Book Description
Utilizing the combined experience of three traditional artists turned digital imaging pioneers, Digital Art Studio champions combining traditional art techniques with digital media. From their unique position as artists, educators, and technology consultants, the authors provide a wide range of ways to integrate digital processes, using them in unusual and challenging ways to reinvent traditional art techniques. The computer is profiled as the ultimate mixed-media machine, allowing the artist to readily combine an unbelievable array of media. The book covers the basic processes for preparing commercially available surfaces (canvas and watercolor and printmaking papers) and custom surfaces (handmade papers, wood, leather, and antique fabrics). More advanced methods are covered, including transferring digital images to absorbent surfaces and transferring digital images to three-dimensional surfaces. A showcase of the work of artists who have combined digital and traditional materials to produce outstanding work will inspire all artists, new and seasoned alike, to explore the new world of mixing traditional art with digital media.
Customer Reviews:
Digital Art Studio.......2007-09-30
I thought this book would offer a beginning to the discussion between old and new technologies in Fine Art. The descriptions of the digital techniques are good, however the examples shown are not varied enough. Everything starts to look alike - as though made for an "crafts" audience. I was hoping for something that explored the subject more in-depth. A good example is the chapter: where "Digital and Traditional Printmaking Meet". I couldn't find the "Traditional" Printmaking. I had hoped to use it for a text book, but it covered to wide a spectrum, and nothing in depth enough. It is a hard balance to find
Best book out there for combining inkjet and traditional media.......2007-08-11
I was recently introduced to the work of Dorothy Simpson Krause. In looking through her stunning portfolio on her site (www.dotkrause.com), I found a reference to this book. I had just purchased a wide-format Epson printer, so finding this book was like mana from heaven. The book is a fantastic overview of what you can (and can't) do combining digital and analog printing techniques. For each technique presented, the author covers caveats for particular printers, as well as necessary tools. Techniques are presented in a very straightforward manner, with many chapters including an aside of "creative explorations" for you to further explore the aforementioned techniques. The color plates alone are worth the price of the book. This book is a must have addition to any digital art studio bookshelf.
I have been having a blast with this book.......2007-07-24
I'm a photographer/digital artist who was feeling that he'd lost touch with the hands-on of image making. This book for me has been a guide to stepping back from Photoshop and getting my hands dirty again.
Right now I'm playing with the white gelatin fresco transfers and have been very satisfied with the results. I use an Epson 4800. The processes described in this book are very well written and precise, but also give you tips so that you can alter the process and find a variation that works for you.
Alternative processes in the digital realm are an adventure just as much as they are in the analog world. They cost both time and money with trial and error, but the results are always worth it in the end. Much more so than just putting store-bought materials in your machine and clicking 'print'. This book may not be for everyone, but if you like to think and work outside of the box, this book will be sure to inspire!
Best productivity book.......2007-05-07
The best book I ever bought for my work. Full of tips and tricks it's the best value for an "art" book I ever made. And every day I discover new things ... I hope there will be another book of the authors in the near future!
A Must for Artists Exploring Innovative in Art.......2007-04-12
I found the book incredibly helpful. There are many creative explorations artists can follow. It got me out of an artistic rut! All of a sudden I was excited again about art and all the different new ways I could create!
Some parts of the book require a large expensive printer, but most can be done with your desktop. I decided to explore one of the projects that required a really good printer so I simply contacted someone to print what I needed.
Overall, this book provides cutting edge methods and explorations in the digital world in which we live. Defintely worth the price I paid for the book.
Average customer rating:
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The Printing Ink Manual
Manufacturer: Springer
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Printing Ink and Overprint Varnish Formulations (Paint & Coatings)
-
Handbook of Print Media
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Printing Technology
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Offset Lithographic Technology
ASIN: 0948905816 |
Book Description
In print for over thirty years,
The Printing Ink Manual, published on behalf of the Society of British Printing Ink Manufacturers, is the industry 'bible' for all printing ink technologists, manufacturers, packaging and publishing printers all over the world. Thoroughly revised and updated throughout, the new material present in this fifth edition reflects the substantial developments that have taken place in recent years, including:
The dramatic expansion in the use of lithographic inks with particular attention to cold-set, head-set, sheet-set, sheet-fed and web offset and metal decorating inks.
The use of flexographic inks in newspaper printing
Ink-jet inks: a complete new chapter has been added
The most recent theories of high-speed measurements in the rheology of inks
The European Quality Assurance Standards ISO 9000
The latest legislation on health, safety and the environment. £/LIST£
All chapters have been reviewed, updated and expanded wherever needed. Further important features include a listing of all the raw materials used regularly in the manufacture of printing inks, giving full information on their physical and chemical properties. Formulation technology is fully illustrated with practical examples and the significance of environmental issues and quality management is also covered in detail.
Legislation, mainly European and from the United States, together with specifications set by world-wide end-users have established printing ink as a truly international product. Many of the chapters in
The
Printing Ink Manual have been written by authors working for international companies to ensure that the contents include the widest international practices and
The Printing Ink Manual therefore represents an international reference source which is used throughout the world.
Customer Reviews:
The inkologist`s bible !.......2004-04-22
A broad yet relatively complete technical foray into the specialized domain of printing inks. For inkies I find this book is most useful to shore up on ink types you are not most familiar with. Not too technical. A must for those involved in formulating inks.
Average customer rating:
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Printing Ink and Overprint Varnish Formulations (Paint & Coatings)
Ernest W. Flick
Manufacturer: Noyes Publications
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The Printing Ink Manual
ASIN: 0815514409 |
Book Description
This is a collection of more than 200 formulations for printing inks, overprint varnishes, and related products. The data represents selections from manufacturer's descriptions, without any influence from manufacturers or distributors. Only the most recent formulas have been included.
Each formula includes a description of the end use as well as: a listing of each raw material contained; the amount of each raw material included in the formula; a description of the formula; and the source of the formula (company or organization).
The formulas are divided into the following sections: Printing Inks; Overprint Varnishes; Coatings; and Miscellaneous.
Key Features:
- Includes the most recent information within formulas
- Includes chemical trademark section with chemical description and supplier's name
- Includes main office address and phone numbers of raw material suppliers
- Includes End Use Index for rapid location of various types of ink and varnish formulations
Customer Reviews:
delightful historical fiction for the entire family.......2004-05-13
I had trouble finding a book to use as a biography for our study of Gutenberg. I read a review of this book in a catalog and had to order it. Action, adventure, mystery are all interwoven with the biography of Gutenberg. My children begged me to read another chapter each night. You also get a feel for the time period. I am a fan of Louise Vernon and this book is among the best. We enjoyed it completely. Recommended
Gutenberg or Fantasy?.......2001-04-25
The known facts about Gutenberg need no dramatic license. The inventor of modern printing was a fascinating,wide-ranging genius in constant need of lawyers and lenders. His true story is one which deserves to be served without any fictional seasoning.
Unfortuately, Louise Vernon's INK ON HIS FINGERS mixes the author's imagination with history. One cannot tell which is which without prior knowledge of Gutenberg's story. Since no revealing insights or unique interpretations are provided by the author, the reader is left with a historical book in which historical fact is not clearly presented. A child reading it may well enjoy the entertainment of the narrative. However, the chance to gain information while being entertained is lost in the muddle.
Average customer rating:
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Solving Offset Ink Problems
Nelson R. Eldred
Manufacturer: Graphic Arts Technical Fndtn
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Binding: Paperback
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ASIN: 0883620901 |
Book Description
On the demand side, exporters and strategic planners focusing on black printing ink in Australia face a number of questions. Which countries are supplying black printing ink to Australia? How important is Australia compared to others in terms of the entire global and regional market? How much do the imports of black printing ink vary from one country of origin to another in Australia? On the supply side, Australia also exports black printing ink. Which countries receive the most exports from Australia? How are these exports concentrated across buyers? What is the value of these exports and which countries are the largest buyers? This report was created for strategic planners, international marketing executives and import/export managers who are concerned with the market for black printing ink in Australia. With the globalization of this market, managers can no longer be contented with a local view. Nor can managers be contented with out-of-date statistics which appear several years after the fact. I have developed a methodology, based on macroeconomic and trade models, to estimate the market for black printing ink for those countries serving Australia via exports, or supplying from Australia via imports. It does so for the current year based on a variety of key historical indicators and econometric models. In what follows, Chapter 2 begins by summarizing where Australia fits into the world market for imported and exported black printing ink. The total level of imports and exports on a worldwide basis, and those for Australia in particular, is estimated using a model which aggregates across over 150 key country markets and projects these to the current year. From there, each country represents a percent of the world market. This market is served from a number of competitive countries of origin. Based on both demand- and supply-side dynamics, market shares by country of origin are then calculated across each country market destination. These shares lead to a volume of import and export values for each country and are aggregated to regional and world totals. In doing so, we are able to obtain maximum likelihood estimates of both the value of each market and the share that Australia is likely to receive this year. From these figures, rankings are calculated to allow managers to prioritize Australia compared to other major country markets. In this way, all the figures provided in this report are forecasts that can be combined with internal information sources for strategic planning purposes.
Book Description
On the demand side, exporters and strategic planners focusing on black printing ink in Austria face a number of questions. Which countries are supplying black printing ink to Austria? How important is Austria compared to others in terms of the entire global and regional market? How much do the imports of black printing ink vary from one country of origin to another in Austria? On the supply side, Austria also exports black printing ink. Which countries receive the most exports from Austria? How are these exports concentrated across buyers? What is the value of these exports and which countries are the largest buyers? This report was created for strategic planners, international marketing executives and import/export managers who are concerned with the market for black printing ink in Austria. With the globalization of this market, managers can no longer be contented with a local view. Nor can managers be contented with out-of-date statistics which appear several years after the fact. I have developed a methodology, based on macroeconomic and trade models, to estimate the market for black printing ink for those countries serving Austria via exports, or supplying from Austria via imports. It does so for the current year based on a variety of key historical indicators and econometric models. In what follows, Chapter 2 begins by summarizing where Austria fits into the world market for imported and exported black printing ink. The total level of imports and exports on a worldwide basis, and those for Austria in particular, is estimated using a model which aggregates across over 150 key country markets and projects these to the current year. From there, each country represents a percent of the world market. This market is served from a number of competitive countries of origin. Based on both demand- and supply-side dynamics, market shares by country of origin are then calculated across each country market destination. These shares lead to a volume of import and export values for each country and are aggregated to regional and world totals. In doing so, we are able to obtain maximum likelihood estimates of both the value of each market and the share that Austria is likely to receive this year. From these figures, rankings are calculated to allow managers to prioritize Austria compared to other major country markets. In this way, all the figures provided in this report are forecasts that can be combined with internal information sources for strategic planning purposes.
Book Description
On the demand side, exporters and strategic planners focusing on black printing ink in Belgium face a number of questions. Which countries are supplying black printing ink to Belgium? How important is Belgium compared to others in terms of the entire global and regional market? How much do the imports of black printing ink vary from one country of origin to another in Belgium? On the supply side, Belgium also exports black printing ink. Which countries receive the most exports from Belgium? How are these exports concentrated across buyers? What is the value of these exports and which countries are the largest buyers? This report was created for strategic planners, international marketing executives and import/export managers who are concerned with the market for black printing ink in Belgium. With the globalization of this market, managers can no longer be contented with a local view. Nor can managers be contented with out-of-date statistics which appear several years after the fact. I have developed a methodology, based on macroeconomic and trade models, to estimate the market for black printing ink for those countries serving Belgium via exports, or supplying from Belgium via imports. It does so for the current year based on a variety of key historical indicators and econometric models. In what follows, Chapter 2 begins by summarizing where Belgium fits into the world market for imported and exported black printing ink. The total level of imports and exports on a worldwide basis, and those for Belgium in particular, is estimated using a model which aggregates across over 150 key country markets and projects these to the current year. From there, each country represents a percent of the world market. This market is served from a number of competitive countries of origin. Based on both demand- and supply-side dynamics, market shares by country of origin are then calculated across each country market destination. These shares lead to a volume of import and export values for each country and are aggregated to regional and world totals. In doing so, we are able to obtain maximum likelihood estimates of both the value of each market and the share that Belgium is likely to receive this year. From these figures, rankings are calculated to allow managers to prioritize Belgium compared to other major country markets. In this way, all the figures provided in this report are forecasts that can be combined with internal information sources for strategic planning purposes.
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