The prints you see above have all been reprinted and restocked over at The ISO50 Shop. Many were out for quite some time and they usually move fast once back on the shelves, so if you’ve been holding out for your favorites to be in stock, now’s the time.
I often get asked where I get my prints made so I thought now would be a good time to touch on that subject and go into a little more detail about the process. I have all of the small format posters done at a print shop in Sacramento, CA called Blue Moon Printing & Graphics. I found the place back when I used to live in Sacramento and even after moving to San Francisco I still use them as my primary printer. They are a relatively small shop so the service and attention to detail is far beyond anything you’ll find at some of the larger printing companies. I’ve found that personal attention to the output is the key element in getting your prints back looking the way you intended. It’s very difficult to make the transition from what you see on your screen to a printed piece of paper and no matter how well calibrated your equipment is you’re always going to experience a shift in color, saturation, contrast etc. The trick is to tweak the original file and the printer itself to try and compensate for these shifts and it’s important to find a print shop that is willing to work with you through this process.
I have the prints made on a digital thermal press which is essentially a toner-based process. I really like the output of this process because in the darker areas the toner builds up a thicker layer, giving an almost screen-printed effect when viewing an area of high contrast (such as a transition from cream to dark brown; the dark brown will appear to be painted on top of the cream background). The other advantage of the digital press (as opposed to offset) is that there are no plates involved so proofing and tweaking is a much quicker (and cheaper) process. You can adjust the file and run off a new proof in about 5 minutes as opposed to etching new plates and resetting the press as you would in an offset scenario. The only real downside of this process is the format limitation, the prints can only be 12"x18" at the largest. You are also limited to the type of paper you use as the toner won’t adhere to coarser papers; although I like to use a natural tone cover stock which is pretty smooth so this is not a big issue for me. The natural tone stock also has a yellow cast to it so that the yellow range in the lighter areas of the image is boosted. It gives the image a sort of aged, authentic feel which I think takes a bit of the edge off the digital output.
Blue Moon does have a traditional offset press but they just recently got it and I’ve yet to test it out. If you’re looking for a good printer I highly recommend them, and since they can do the whole proofing process via mail it doesn’t really matter where you’re located (my friend in New York does all his printing through them). You can find more information at their website: http://blumoonprinting.com.
I’ll be doing a post on monitor calibration soon in which I will go into more detail about preparing work to be printed and working with color profiles and printers…stay tuned.
I always wondered how much of an influence the music i grew up listening to had on the sort of stuff I gravitate towards now days. I hope some of these “oldies” are a nice change of pace for everyone, hey i might even link this post to my Dad.
I wouldn’t normally post something like this, but it is Friday and this is pretty good. I am having bad flashbacks from my freelance days, sort of in the same vein as this. Enjoy the weekend, but if you have clients like these, I am sure you’ll be stressing all the way through it anyways.
Stuart Dixon sent in these slides from a 1975 IBM presentation. They’re posted in a collection featured at Square America; the only information listed is the tagline at the top:
"It’s 1975 And This Man Is About To Show You The Future (Scenes From An IBM Slide Presentation)"
Have a browse through the rest of the collection, there are some really nice slides in there. I particularly like the information design examples like the last image pictured above. As far as I can tell much of it is set in Helvetica, but there seem to be a couple other faces floating around in there. The segmented slide (4th one down from top) would be great as a massive wall hanging. Someone needs to email Square America and see if we can get hi-res versions of these; many would make great posters.
While I was in Detroit for DEMF last month I taped a segment for Current TV as part of a feature on Ghostly International (the label which I record for as Tycho). The feature is a good introduction to what Ghostly is about and includes some interviews with a few artists (Osbourne, Kate Simko, and myself).
Yes, it was a bit early and I think I’d had one coffee too many for that interview; no, I don’t know why there are random clips of me taking pictures of dumpsters. A couple of the pictures I was taking in those clips are included in the Detroit DEMF post. There’s also a clip of some of the actual DEMF set towards the end. The whole experience was a bit surreal; I played the opening set at DEMF around 1pm after a long night, was weird to be playing outdoors, in the early afternoon like that. The coolest part was that you could see Canada from the stage (look across the river in the shot from behind).
Some more brilliant covers from N+M (Naturwissenschaft und Medizin) Magazine. They were designed by Erwin Poell in the late 60’s. These are such incredible examples, not only are they beautiful, but they are no doubt conveying some extremely complex concepts through information design. There is apparently a book covering Poell’s work (via Thingstolookat):
Title: Entwürfe für den Alltag. Typografie, Grafik-Design, Art Direction Author: Erwin Pœll Year: 1992 Publisher: Birkhäuser Verlag Basel ISBN: 3-7643-2758-8
All the tracks today are remixes, all in which i feel stand strong comparable to the original track.
This Burial remix of Bloc Party is by far a favorite of mine in the last week, also i can’t find a digital version of it anywhere. I think what attracts me to Burial’s sound is the softening and quietening of that UK Garage low end, its done so well by him.
The Erol Alkan remix of Midlake sounds like a Fleetwood Mac cover to me but i just can’t put my finger on it. I’m glad its not this club bomb or noisy edit, he actually does add a great fullness to the track that is riding a thin line to being an AM Gold/beard and tinted glasses/amber lit wooden studio jam which isn’t a bad thing at all (puts on a Gordon Lightfoot LP and watches this commercial on mute).
Praveen does wonders with the track Pinconning, the resonance from the kick drum and accordion makes it sound like your listening to it while your underwater.
I was hoping with this last one that i could find an Album Leaf song that Album Leaf fans didn’t have, hopefully i did for some of you. As for the song it makes me jealous that i don’t have a xylophone or vibraphone to play on everyday but if i did have one i’d probably never get anything done.