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Weekend Heller: David King’s Jewel In The Crown

Steven Heller — Sat, 14 Jul 2018 05:42:59 +0000

Production Arts has another important collection for sale. Sixty posters designed by art director and collector of the Russian Avant Garde, David King (1943-2016). This collection features political and cultural posters King produced in the late 1970s and mid-1980s, following his ten-year (1965-1975) career as art editor of the then ground-breaking Sunday Times of London color magazine. King’s style is “an easily recognizable mix of explosive sans serif typography, solid planes of vivid color and emphatic rules is seen by some as a modern channeling of the graphic language of 1920s Russian Constructivism and photomontage. He arguably introduced this language to a generation of graphic designers in Europe and the United States. King was old school — he cut and pasted images and created the original camera-ready art. It was all black and white photolithography. He then would instruct the printer on where the colors were to be on the design. King’s poster work presaged the birth of computer-aided graphic techniques for commercial and political messages. His work may recall issues thought long won, but they remain relevant to this day.

The post Weekend Heller: David King’s Jewel In The Crown appeared first on Print Magazine.

Designer of the Week: Lana Roulhac

Callie Budrick — Fri, 13 Jul 2018 19:39:43 +0000

Lana Roulhac has more than 10 years of design expertise, focusing especially on bringing humanity and relevance to government design and technology brands. She’s worked on projects around the world, including in the UK, Asia and the US with brands like AMEX, Allied Vision, Min Cheng Bank and the World Health Campaign to end TB. She was also voted most likely to be president while in high school, so it’s probably a good idea to remember her name.

Name: Lana Roulhac

Location: Los Angeles

Website: http://www.siegelgale.com/people/lana-roulhac/

Design school attended: The Portfolio Center in Atlanta, master’s degree in design, art direction and illustration. Florida Agricultural and Mechanical University, BA in fine art

How would you describe your work?

Over the years my design approach has evolved to become more agile and collaborative. I am a firm believer in using simplicity to deliver clarity for clients. Having worked as a designer in Europe, Asia and the U.S, I have experienced cultural differences first-hand but, no matter where people are from, we all share the same basic human needs. In the UK, it’s interesting how the Government utilizes simplicity to communicate to the public. Think of the iconic “Keep Calm and Carry On” poster from World War II.

Similarly, I try to embed an element of humanity and empathy in everything I do. Emotional connection in my work matters. I’ve always been drawn to work that makes me smile, especially since becoming a mother.

I became interested in Siegel+Gale because our approach is truly is a mix of math, science and creative, which are the fundamentals behind all powerful work.

Where do you find inspiration?

Travel is a huge source of inspiration for me. By allowing yourself to be immersed in local culture you notice the little things as well as large similarities in societal values. The subtle nuances of the new and different can give you a deeper understanding about how cultures have evolved with certain design aesthetics. When you take the time to understand why these things may speak to you, you can tap into wells of inspiration that you could have never imagined.

Aside from traveling, I regularly look to alternative sources for inspiration. It can be anything from architectural details to a beautifully plated meal or car prototype. I walk a lot to look for alternate sources for inspiration. Sometimes, I notice something during these moments that provides me with unexpected solutions for problems I’m facing. You can look at concrete and see how the cracks in the sidewalk have formed. Inspiration is everywhere it just depends on how you’re viewing it.

Who are some of your favorite designers or artists?

Aaron Douglas, from the Harlem Renaissance inspires my work. Harry Beck’s famous London Underground map is a perfect example of how complex information can be cleverly simplified through color-coding and powerful design to connect with people.

Do you have a favorite among all the projects you’ve worked on?

Phoenix House, a nonprofit drug and alcohol rehabilitation center, was one of my most rewarding projects to date. Not only did we create a new visual identity and tagline, we helped to give the organization the tools they need to express their true identity. Building the brand strategy around the true meaning of the organization provided us with the inspiration for a hopeful new symbol – a Phoenix rising out of the ashes of addiction, which symbolizes the metamorphosis Phoenix House helps clients make. As designers, we’re normally stuck at our desks, but celebrating the rebrand with a walk across the Brooklyn Bridge and seeing those overcoming addiction with their peers and families, was extremely moving.

Is there a project that stands out to you as having been the biggest challenge of your career so far?

It’s a constant battle to get audiences to focus on the larger picture of strategic and creative concepts. Your focus as a designer is shifted to selling in the direction to get alignment from your clients’ teams.

Any project where there is not an approved strategy or research to build on can be difficult to get sell in for creative. The criterion for selecting a direction comes from a more subjective place and less through the lens of the brand.

I create designs for the future state of a brand. When a brand doesn’t think of the future and focuses only on their immediate needs it is harder to create a visual system that is future proof. Brands need to be agile and evolve to remain relevant with their audience.

With a past project, there were specific cultural sensitivities to consider for sell in that if ignored could have derailed the project. My team and I believed in our initial approach and committed to a rigorous refinement process until both the client and our team was happy with the result.

Being very rigorous with an approach and exploring to stay on brief is imperative to generate a clear direction. Helping clients and guiding them through the refinement process has been a tool to overcome the tactical or functional considerations that they may have. The refinement process is what solidifies the final outcome.

What do you hope to accomplish in the future?

II’d like to leverage my experience and design expertise to better communicate the barriers that different cultural groups face. I believe it’s important to ensure that from a young age kids from all backgrounds understand their career opportunities. Growing up, I didn’t realize design was a career option for me. In college, I started out studying engineering and it was only when I took an elective art class that I discovered a knack for design. Women of color are underrepresented in the design industry, and I believe getting the right resources for the youth to pursue design should be a priority.

What’s your best advice for designers today?

Don’t dwell on past missteps, use these as opportunities to learn and grow. Always look forward and find new ways to engage and create.

Register for this free course today.

The post Designer of the Week: Lana Roulhac appeared first on Print Magazine.

Nightmare! Bonnie and Clyde at it again

Fri, 13 Jul 2018 17:26:34 +0000

From Cullompton to the Czech Republic and from London to Lisbon, there’s been a collective groan.

New Xerox Workplace Solutions Boost Mobility, Print Management, Security and Cost Controls

Fri, 13 Jul 2018 09:12:00 +0000

UXBRIDGE, U.K., July 13, 2018 – With mobility and security dominating today’s workplace, Xerox has responded with new solutions that safeguard both data and devices while offering greater cost control.

Xerox Workplace Solutions includes print management and mobility offerings available in cloud or on-premise server versions. Ideal for companies operating fleets of printers and multifunction devices, the new offerings ensure customers’ print devices are as connected as their employees are–without sacrificing convenience, security or affordability.

“The development of Xerox Workplace Solutions is our way of walking-the-walk by delivering market-leading security and mobility features while helping customers drive costs out of their print environment,” said Tracey Koziol, senior vice president, Workplace Solutions Business Group, Xerox.

Security-focused Features

Beyond enabling printing from any mobile device, Xerox Workplace Solutions provides two innovative security offerings designed to guard data and device accessibility:

Content Security enhances security procedures and protects intellectual property by monitoring all content that is printed, copied or scanned. It provides enterprises with another layer of protection, automatically notifying content owners or administrators if sensitive information is being printed or shared. This feature is especially valuable for organisations that regularly handle sensitive or confidential information.
Mobile Phone Unlock provides convenience and cost savings by enabling a mobile phone to unlock and authenticate Xerox AltaLink^® and VersaLink^® devices. This feature eliminates the need for costly card readers and their proximity cards. Users are authenticated by the Xerox Print Portal app on their phone and the Near Field Communication built into the devices’ user interface (UI). Most mobile devices can also authenticate by scanning QR codes found on the UI of Xerox printers.

Additional features in the Xerox Workplace Solutions portfolio include:

Reporting dashboard enables a better understanding of device usage and costs by aggregating network-printing statistics in one place for analysis and monitoring.
Essential print rules restrict access to devices or features at the user or group level, enhancing cost control capabilities. For example, administrators could restrict access to printers during non-working hours.
A lower cost printing option for converting mobile documents to a print-ready format.
Support for the Federal Information Processing Standard 140-2 government encryption standard, a requirement in many federal offices and regulated industries.

Availability and Pricing
Xerox Workplace Solutions is available immediately; for pricing information contact a Xerox sales representative or channel partner.

Click to Tweet

About Xerox
Xerox Corporation is a technology leader that innovates the way the world communicates, connects and works. We understand what’s at the heart of sharing information – and all of the forms it can take. We embrace the integration of paper and digital, the increasing requirement for mobility, and the need for seamless integration between work and personal worlds. Every day, our innovative print technologies and intelligent work solutions help people communicate and work better. Discover more at www.xerox.com and follow us on Twitter at @Xerox.

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Media Contact:

Sonia Panchal, Xerox

+44 (0)1895 84 2877

sonia.panchal@xerox.com

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Xerox^®, Xerox and Design^®, AltaLink^® and VersaLink^®are trademarks of Xerox in the United States and/or other countries.

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The Space of Story: The Small Worlds of Leo Lionni

Maya P. Lim — Fri, 13 Jul 2018 05:33:23 +0000

Discover this hands-on approach to adding archetypes to your strategic and creative toolkit.

Parallels between the life of Leo Lionni, graphic designer and co-editor of PRINT magazine from 1955-1956, and the picture books he created.

Left: Tillie and the Wall, by Leo Lionni (Amazon) Right: Cover of PRINT magazine, “Italian issue” by Leo Lionni (Print)

I believe that a good children’s book should appeal to all people who have not completely lost their original joy and wonder in life.” –Leo Lionni

In 1989, the same year that the Berlin Wall was torn down, a children’s book illustrated with colored paper scraps was published. It told the story of a mouse who, motivated by curiosity, leaves her familiar land to forge a way under a seemingly impassable wall…ultimately surfacing on the other side to find a vibrant, welcoming community of mice like her. As long-separated families and friends reconnected across Germany, the story was a thinly veiled representation of (and encouragement for) reunion, rejoice, and relief.

From Tillie and the Wall, Leo Lionni (Archive.org)

Tillie and the Wall was not a publicly notable achievement by Leo Lionni, who—by any measures—could be called a man familiar with success. In his career spanning painting to poster design, advertising, magazine layout (including PRINT magazine), art direction (most notably for Fortune magazine), and sculpture, Lionni was something of a Renaissance man with a Midas touch, achieving international acclaim for leading new forms of expression in multiple art forms. His work was highly visible (even before the internet) and his influence was substantial; in Stephen J. Eskilson’s Graphic Design: A New History, Lionni’s design work for Olivetti is described as being so cutting edge that it led IBM, their industry competitor, to hire Paul Rand for a logo redesign…leading to the iconic IBM logo we know today.

Left to right: Leo Lionni for PRINT magazine (Print), Olivetti typewriters (Museum of Modern Art), Fortune magazine (Alliance Graphique Internationale)

Tillie and the Wall incited no such drama. It was one of more than forty books that Lionni wrote for children, and not one of his four that received the Caldecott Medal for excellence in children’s book design. But, arguably more than any other work by Lionni, this simple story offers a window into Lionni’s complex views on life, politics, and art. Like Tillie the mouse, Lionni was eager to explore the relationships between place and perspective, space and connectivity, and individuality and integration. With much of the same sense of adventure that Lionni showed in his childhood exploits and later in navigating his professional and personal life, Tillie and the Wall presents an idealized world formed through Lionni’s own experience, imagination, and hope.

From Tillie and the Wall, Leo Lionni (Archive.org)

Born in 1910, Lionni grew up internationally, moving between various European cities and the United States. By age sixteen, Lionni had learned his fifth language, Italian, and was beginning to absorb the language of politics. Witnessing scenes of persecution, book burning, and violence in the increasingly Fascist Italy around him, teenage Lionni immersed himself in communist ideology, eagerly seeking and reading banned novels by Tolstoy and Pushkin, among others. Throughout his adult life, he actively followed political issues, participating in dozens of political organizations between Europe and the United States.

But Lionni’s sensitivity for the places and conditions of defining the self was apparent early in his life. As a child, Lionni had nightmares about spaces, of endless corridors leading downhill to an unending void. He found paintings at once soothing and engaging in their ability to provide a securely contained, static scene easy for closer scrutiny. Fortunately, his world offered no shortage of them. With the decorations in his childhood homes, visits to museums, and the playful influences of an art-collecting uncle, Lionni seemed to find a stability in paintings that he lacked from a childhood in homes so often transitional.

As much as he loved still paintings, though, Lionni also loved living, breathing systems. In his youth, Lionni captured and kept tadpoles, salamanders, dragonflies, minnows, beetles, snails, finches, mice, butterflies, and more in his bedroom. He created terraria and aquaria for these creatures, designing tiny spaces where he could watch stories unravel and study how each individual held a role in the larger system.

Lionni realized decades later that these living dioramas and the interacting characters he nurtured reappeared in his life as the books he crafted for children. “My miniature worlds, whether enclosed in yesterday’s walls of glass or today’s cardboard covers, are surprisingly alike,” Lionni reflected in his autobiography, Between Worlds. “Both are the orderly, predictable alternatives to a chaotic, unmanageable, terrifying universe.” To accompany Tillie as she digs a tunnel beneath the wall is to experience moving between worlds, exploring uncertain spaces, and crossing boundaries—but all within the security of a contained object, a highly designed and curated environment.

From Tillie and the Wall, Leo Lionni (Archive.org)

Perhaps Lionni, with his frequent travels in childhood and geographic restlessness in adulthood, felt that a sense of self is discovered as much through solitude and stillness as it is in seeking and contributing to a community. Tillie could have ventured to the other side to find nothing more than sunshine, but instead, Lionni let her meet others there like her, eager to celebrate her arrival. Lionni may have recalled the feeling when he returned home from a greatly anticipated interview in New York City to see his wife sprinting towards him with arms outstretched, or perhaps when he voyaged back to Italy and was received with embraces all around from family and friends. This theme reappears in Pezzettino, Lionni’s story about an orange-colored block discovering his role in his community.

With Tillie’s story, Lionni seems to suggest that the accomplishments of the self are not more important than the connections we can build with others, a clue to Lionni’s appreciation for communist ideologies. Communist values are suggested in many of his picture books, down to the media he predominantly worked in—bits of paper assembled together in collages and mosaics to render a more significant, powerful whole. But the plotlines also speak for Lionni, such as that of Swimmy, in which one fish leads a school of fish to assemble in a form that frightens off the enemy; Frederick, in which one mouse uses his storytelling skills to uplift his community during a depressing time; and Pezzettino, in which an orange-colored block finds that he belongs in his community of mosaic-like friends.

From Swimmy, Leo Lionni (Archive.org)

From Pezzettino, Leo Lionni (Archive.org)

Perhaps it is this fascination with the influence of the individual pieces in contributing to interactions that explains how Lionni worked prolifically and fluidly across diverse media forms. Whether painting a picture, crafting a bronze sculpture, laying out a magazine, designing ads and brochures, or creating children’s books, Lionni consciously experimented with the interaction of individual elements in communicating a larger message.

Believing strongly that the context and position of every artistic element holds meaning, Lionni even taught university classes on his theories on the significance of dot placement on a page. In Between Worlds, Lionni reflects, “I never failed to stress [with my students…] to be aware of the fact that every position in space has a meaning of its own. In practical and moral terms, you must feel responsible for every line you draw, for every decision you make.”

From Little Blue and Little Yellow, Leo Lionni (Archive.org)

With this perspective that the position of any single mark can influence (and is influenced by) a larger whole, of course the number of possibilities for a design project would be endless. Of course other media would offer tempting modes of communication and interaction to explore. And of course Tillie and the Wall was about much more than a mouse and a wall.

Unlike many artists of his time, Lionni defied being pigeonholed into a specialty. Instead, he expanded the limits of what “an artist” could handle and express. With Tillie and the Wall, Lionni crossed an invisible border between children’s entertainment and political commentary, and in doing so, has left behind a glimpse into his complex individuality. Like Tillie, Lionni pushed boundaries with his curiosity and values, innovating opportunities where no path had existed before, showing that just one creature can make a difference.

The post The Space of Story: The Small Worlds of Leo Lionni appeared first on Print Magazine.

An Eames Immersion

Steven Heller — Fri, 13 Jul 2018 05:05:37 +0000

Charles and Ray Eames, two of the 20th century’s most influential designers. At The World of Charles and Ray Eames by The Henry Ford curator, Marc Greuther — making its U.S. premiere at Henry Ford Museum of American Innovation in Dearborn, MI (now until September 13) — hundreds of the couple’s most influential works, including architecture, furniture, films and more, come together to form an inspiring visual adventure full of color and ideas. Take a trip through the innovators’ careers, and explore the output of the Eames Office, where many of the team’s groundbreaking ideas were realized.

This exhibit provides a comprehensive timeline of postwar modernism through the lens of two of its most talented practitioners. Surround yourself with the tirelessly curious thinking that shaped the movement, and learn what’s possible when you break free from creative boundaries.

Trained in architecture and painting respectively, the duo always known as Charles and Ray met at the Cranbrook School of Art, Michigan, in 1940. The following year the couple married and moved to California to set up a home and a new studio – the Eames Office. The work of the Eames Office is characterized for most people by designs for furniture and products, yet their avid interest in addressing the needs of any given problem led them to design and communicate using a wide variety of tools and media. The World of Charles and Ray Eames charts their inspiring and prolific world and brings together key works and ideas explored at the Eames Office throughout its history. Highlights include the Revell Toy House, the film ‘Think’, The Henry Ford’s own Wills chair (a prototype perched on a garbage can that inspired their classic fiberglass chairs), and a wealth of documentation and contextual material from the professional archive of the Eames Office, and artifacts from their personal collections.

Charles and Ray collaborated and associated with the leading artistic figures of the 20th century and their immediate circle included Buckminster Fuller and Alexander Girard, innovators featured within The Henry Ford’s own collection. Alongside the rich array of Eames designs, the exhibition includes material which highlights the importance of these relationships to the couple’s life, philosophy and working processes. The artifacts are presented in the context of the inner world of their Office and network, alongside the political, cultural and social conditions which enabled and influenced their work.

The post An Eames Immersion appeared first on Print Magazine.

Comings, goings and retirements

Thu, 12 Jul 2018 17:53:44 +0000

There have been one or two big beasts stepping down from their roles in the business and heading off into the sunset and retirement.

Semaphore changes and more greeting cards

Thu, 12 Jul 2018 13:36:38 +0000

Business may seem slightly lacklustre these days, but there are always success stories as firms expand and take over existing companies.

GFTN-UK FOREST PRODUCT REPORTING SUMMARY FOR 2017

Ashleigh Grady — Thu, 12 Jul 2018 11:42:27 +0000

Immediate Media Co. has been a participant in WWF’s Global Forest & Trade Network (GFTN) in the UK since 2012.

All GFTN participants commit to progressively sourcing forest products from well-managed sources.

Immediate Media Co. undertakes due diligence to assess and mitigate any risk of illegal and unwanted forest products entering into the UK market from our supply chain. We collect as much information on supply chain sources as possible, and systematically work to eliminate poor sources which may not positively benefit forests as a future resource for people and nature.

To highlight our progress towards meeting our commitments to source well-managed and recycled materials, we’re publishing the status of our current supply chain for various categories of forest goods, as defined by the GFTN.

We hope the transparency of the UK GFTN members about their performance on forest sourcing will prompt others in the sector to follow suit. We also encourage all forest certification systems to continuously improve their performance in delivering responsible forest management.

At present, WWF and GFTN participants believe FSC represents the gold standard and a credible benchmark for other forest certification schemes to match. Our preference is to source increasingly from credibly-certified forests or verified recycled sources.

The European Timber Regulation aims to limit the trade in illegal timber. It provides a baseline of legality as a minimum for forest goods entering the European market and reaching consumers. GFTN participants want to make sure they’re playing their part in reducing the UK footprint on global forest resources, by sourcing sustainably – going beyond a compliance-only approach.

Our forest products reported for the 2017 calendar year are as follows:

22% Source Verified (including e.g. PEFC purchased with Chain of Custody)
78% Credibly Certified (e.g. FSC purchased with Chain of Custody)
0% Limited Knowledge
0% Recycled

In the past 6 years, our procurement of forest products, towards more responsible sourcing, has progressed as shown in the chart below.

Scope of reporting

All forest products procured and used by Immediate Media Magazine Production Department for the manufacture of magazines and supplements published in the UK and abroad.

Challenges

Immediate Media Co is committed to the responsible purchasing of forest products for all our magazine paper requirements and our long-term intention is to source all forest products that we purchase from well-managed forests which have been certified to credible certification standards.

This commitment will be realised through a step-by-step approach to responsible purchasing which utilises the best available techniques and information.

Immediate will not knowingly source forest products from:

Forests or forest product suppliers that do not comply with all relevant national and international legislation relating to the trade in forest products;
High Conservation Value Forests where these are recognised nationally or regionally, unless these forests are progressing towards credible forest certification in a time-bound, step-by-step and transparent manner;
Protected areas, parks or similar areas where harvesting operations are not complementary to responsible forest management;
Forests which are currently being converted to other land uses, or forests that have been converted since 1994; or
Forests which are in areas of armed conflict or civil unrest where there is a direct relationship between the forest products trade and the funding of such conflicts.

Priorities

Immediate Media Co remains dedicated to meeting our commitments as a member of GFTN and to source our magazine paper products from well managed sources. As such our priorities for 2017 are:

Scrutinise all suppliers of forest products purchased by the magazine Production Department
Seek information as to the source of all such forest products and evaluate this against our stated policy
Work with and encourage suppliers and forest sources in a process of time bound, transparent, step-by-step commitment to credible certification (such as WWF Producer Group members)
Work with key stakeholders to ensure that best practice is followed
Increasing supply of FSC certified stock within magazines and supplements by lobbying suppliers to support this certification scheme

Our Policy

Immediate Media Co responsible forest product procurement policy can be found here:

http://www.immediate.co.uk/immediate-media-company-responsible-forest-products-purchasing-policy/

Basware and Xerox Partner in Global Managed Services Deal

Thu, 12 Jul 2018 09:20:00 +0000

UXBRIDGE, U.K., July 12, 2018 – Global leader in networked source-to-pay solutions, e-invoicing and innovative financing services, Basware has selected Xerox to operate its scan and capture operations across 28+ countries.

As part of the agreement, Xerox will manage Basware’s scan and capture services operation, totaling 24 million invoices per year, providing a quick and cost effective solution for over 400 global Basware customers needing to process paper and e-mail invoices as they move towards digitisation.

Xerox and Basware will work together, enabling customers across both organisations to access the world’s largest e-invoicing network and best in class scan and capture global capability from Xerox.

“We want to help customers simplify their operations, spend smarter, and make all of our customers’ purchasing processes digital. This partnership is another strong example of how we increase operational focus and execute our strategy. Our focus is firmly on cloud growth and building a scalable global business,” said Vesa Tykkyläinen, Chief Executive Officer, Basware Corporation. “We selected Xerox because they deliver best-in-class technology and service in the document capture field, have multilingual capability and also share our values for building a strong partner ecosystem.”

“The combined strengths of Basware and Xerox bring to life our commitment to enabling physical-to-digital transformation,” said Hervé Tessler, President, International Operations, Xerox. “Basware and Xerox pursue the same objectives in delivering the best service to their customers and to support client growth through innovation.”

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About Basware
Basware is the global leader in providing networked purchase-to-pay solutions, e-invoicing and innovative financing services. Basware’s commerce and financing network connects businesses in over 100 countries and territories around the globe. As the largest open business network in the world, Basware provides scale and reach for organizations of all sizes, enabling them to grow their business and unlock value across their operations by simplifying and streamlining financial processes. Small and large companies around the world achieve significant cost savings, more flexible payment terms, greater efficiencies and closer relationships with their suppliers. Find out more at www.basware.com.
Follow Basware on Twitter: @Basware, join the discussion on the Basware LinkedIn, Basware Facebook and Basware Blog.

Media Contacts:

Jukka Jänönen, Basware

+358 (0)400 127 147

jukka.janonen@basware.com

Media Contacts:

Sonia Panchal, Xerox

+44 (0)1895 842877

Sonia.panchal@xerox.com

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Xaar and Stratasys form Xaar 3D

Thu, 12 Jul 2018 08:08:34 +0000

Inkjet printhead developer Xaar and additive manufacturing specialist Stratasys have invested to form Xaar 3D. The new company will leverage the synergies between the two, specifically Xaar’s technology relating to high speed sintering and industrial piezo inkjet printheads, and the commercial and market expertise of Stratasys.

Boost to Keyline MIS UK/Ireland sales drive

Thu, 12 Jul 2018 07:27:56 +0000

Cloud to Print - UK and Ireland distributor of the Keyline management information system (MIS) - has signed a five year contract with Resolve Business Management to handle sales and installation of the system in the region.

Drawing Is Another Language

Steven Heller — Thu, 12 Jul 2018 05:01:04 +0000

D.B. Dowd is a professor of art and American culture studies at the Sam Fox School of Design & Visual Art at Washington University in St. Louis. He serves as faculty director of the D.B. Dowd Modern Graphic History Library at the university, renamed in his honor in 2016. A graduate of Kenyon College (BA in history) and the University of Nebraska-Lincoln (MFA in printmaking) he is active as a writer, curator, and illustrator. He publishes Spartan Holiday, an illustrated journal, somewhat intermittently. He has also just published with the Norman Rockwell Museum in Stockbridge, Mass., Stick Figures: Drawing As A Human Practice. I’ve asked him to tell me the motivation behind and the need for having this unique book.

Tell me what Stick Figures: Drawing as a Human Practice is trying to tell us? Is
drawing as fundamental as speech . . . or as breathing?
Stick Figures argues that drawing is an ancient human activity, practiced by all
persons. How do I get to the airport? Pretend your phone is dead, so forget GPS.
Anyone trying to answer that question is likely to say, “Here, let me show you…”
and grab a pencil and an envelope to scribble on. That’s drawing! We use it all the
time. Explain the rules of hockey. Describe geology. Help me understand “The
Mason-Dixon Line.” These things have to be manifested visually. There’s
something intimate in such an exchange, and it has to do with a fundamental
sense of human agency. Coming to understand something, conveying it to others.
It’s a kind of manual citizenship.

You’ve published this in concert with the Norman Rockwell Museum in
Stockbridge, Mass. What is the connection between you, Rockwell and the
Museum?
I have been lucky to work with Laurie Norton Moffat and Stephanie Plunkett for
many years, going back to an exhibition I co-curated with Stephanie in 2007 on
the illustrator Al Parker. We have long shared a sense that illustration and
“graphic” forms need more critical attention. But the field has suffered from an
underdeveloped vocabulary; it’s been held back by condescension, yes, but to a
greater degree by incuriosity. What, really, are these pictorial artifacts we so often
take for granted? I was honored to be part of initial conversations, among others,
around the formation of the Rockwell Center for American Visual Studies, a
research initiative to catalyze such work, about ten years ago.

More recently I have worked with the Rockwell to help create a new Society of
Fellows, an effort to recruit and support talented academics to write on these
topics, to improve the overall quality of dialogue. Others are also gearing up. The
Illustration Research Group, based in the UK, has been holding annual symposia
and is publishing a journal. We’ve just announced a new MFA at Washington
University in Illustration and Visual Culture, that will integrate studio work, history/
theory, and curatorial studies. I think the future is bright.

On Rockwell himself: partly due to rising prices in the secondary market, Rockwell
continues to attract more scholarly attention. But the folks at the Museum know
that soon anybody who ever contemporaneously flipped through a Saturday
Evening Post with a Rockwell on it will be dead. The Center was a wise move, an
adaptation to that reality. They are committed to American illustration more broadly
now, and have been for some time. That applies to their collecting as well as their
exhibitions and programming.
We are living in a mechancial (in fact a digital) age, where our output is
determined to an extent by technology. What do you mean when you say your are
recasting drawing as distinct from “baby painting”?
I think there is an important distinction to be made between the digital and the
manual. We are physical creatures. Our hands are still fixed at the ends of our
arms, which is, in fact, a big deal: our brains exploded in size when our hands
gained functionality through opposable thumbs. The sheer number of nerve
endings in our fingers connects learning to touch and manipulation.

We behave symbolically. We manifest ideas, which is why hand painted signs are
often more intelligently constructed than many computer typeset ones. I think the
technology of the future is likely to be better adapted to what we are good at and
built for, and less about sedentary finger swipes.
I am eager to dissociate drawing from painting in part because that’s where all the
aesthetic anxiety comes from. As a historical matter painting aspired to create
extremely persuasive illusions: that was its job, one taken up by cinema and virtual
reality today. Those are all about specialized training and equipment, and often
require access to concentrations of wealth: court painters and blockbuster film
directors have some things in common.

Drawing is different. Drawing is a symbolic activity. Everybody can do it, does do it
—even though you hear people say ridiculous things like “I can’t draw a stick
figure!” We have to dissociate drawing from illusion-making. It can be used for
that, yes, but that’s not its most essential function.

What is the most important lesson that you want readers to take away?
Drawing belongs to all of us. We all do it, and we should do it more. It gives us a
way to learn, to understand, to consolidate our thoughts—a method for coming to
grips! It can be done with the most simple tools, going back to the first hominid to
make a line in the dirt to show where the water is.

What was your biggest surprise whilst doing research for the book?
The book engages an art school audience on some level—it had to start there,
because part of what I’m trying to do is to encourage and help rehabilitate the
students who crawl out of beginning drawing feeling defeated or dismissed. Beaux
Arts drawing—blended with abstract expressionist biases absorbed by the
painters who taught all the drawing classes after World War Two—is an outdated
contraption, often indifferently delivered. Students are expected to do it because
it’s good for them, even though very few practicing artists use those skills today.
Another part of that rehabilitation is ideological, because many fine art folks still, at
this late date and in the face of declining enrollments, sneer at the aspiring
designers and illustrators who fill the seats.

BUT the biggest surprise has been the conversations I have had with non-art, nondesign
people about drawing. Once freed to talk about drawing without having to
manage the aesthetic anxiety that seems to universally descend in the 6th or 7th
grade, people get really excited. I have long harbored a hope that anyone with an
interest in visual experience or human culture could get something out of the book.
I wrote it that way—it’s not really an academic book. I hope it will be used in
academic settings, of course. Honestly, the book is for everybody, just as drawing is.

The post Drawing Is Another Language appeared first on Print Magazine.

Sharing the joy of taking photos, the fun of decorating with photo prints, and the importance of preserving memories in pictures. FUJIFILM Global Photo Exhibition

Thu, 12 Jul 2018 05:00:00 +0000

Media coverage about a new factory being established in China

Ricoh Co.,Ltd. — Thu, 12 Jul 2018 01:00:00 +0000

Today, a newspaper reported that Ricoh is constructing a new factory in China.

Japan Tissue Engineering, Nagoya University, and Shinshu University sign patent license agreement for the development of a low-cost manufacturing technology for autologous CAR-T cell therapy with enhanced targeting efficiency against CD 19-positive acute

Thu, 12 Jul 2018 01:00:00 +0000

Why waistcoats have gone all northern

Wed, 11 Jul 2018 16:12:03 +0000

More than half of the England football squad in Russia were born north of Birmingham with six from God’s Own Country (as all true Yorkshire folk would describe their county).

Students shine at school media awards

Wed, 11 Jul 2018 13:35:20 +0000

The Shine School Media Awards took place last week, celebrating talented young people from institutions across the country. Held at Stationers’ Hall in London, there were 20 awards overall, judged by major figures from the world of print, journalism and photography.

New Global Graphics product designed to eliminate ‘inkjet smile’

Wed, 11 Jul 2018 12:15:49 +0000

Global Graphics has released a new version of ScreenPro, the high-speed screening engine tuned to smooth out imperfections in inkjet printing. It introduces a technology that reduces non-uniformity across the web, commonly known as the inkjet smile.

HP certifies Caldera V11.2 Rip software for Latex R series

Wed, 11 Jul 2018 12:14:31 +0000

The Caldera Version 11.2 Rip software has been certified to drive the HP Latex R series of printers.

Roland DG to sponsors FAB14

Wed, 11 Jul 2018 12:13:46 +0000

Roland DG has confirmed that it will again be a key sponsor of FAB14, the 14th annual meeting of the global Fab Lab community, to be held in Toulouse, France, 16 - 22 July.

Bestseller: e-retrofits from manroland web systems

manroland web systems — Wed, 11 Jul 2018 07:35:13 +0000

HT Media, India, are equipping an obsolete Interbus Loop with a modern system

The ravages of time take their toll, even on the electronics of a 12-year-old COLORMAN press at HT Media in New Delhi, one of the largest newspaper printers in India. A necessary investment in contemporary technology is the basic precondition required to ensure at least 7-10 more years of secure production, at a fraction of the costs of a new acquisition.

“Retrofits of the controls and operating elements are particularly popular currently among users of manroland web systems’ newspaper presses; this also applies to our long term partners in India” explains Daniel Popp, Service Manager India at manroland web systems. The electronics and the connected sensors and software or operating elements, are currently subject to much faster technological change than previously. Thankfully it would appear that this does not affect the mechanical components, which have been designed for decades of continuous load. In order that their customers can further benefit from these durable materials, manroland web systems have developed retrofit packages, especially for these requirements.

Recently, HT Media, which produces the Hindustan Times, one of the biggest English language daily Newspapers, replaced the Interbus Loop on their COLORMAN press. It involved a complete exchange of the now obsolete and no longer contemporary system. The spare parts, which were left over, were not scrapped but rather can be stored for usage on other printing presses in the plant.

The new software and electronics provide even more features than the future availability of coordinated components; for example a more detailed error description, which enables faster and more precise troubleshooting. The benefits provided by these ever more complex sensors and automation innovations are unbeatable for the everyday tight production slots of a daily Newspaper.

The new system links all sensors and actuators directly with one computer. Possible faults (e.g. a faulty component) can therefore be precisely located and exchanged without major production delays. Additionally, this improves the diagnosis possibilities for manroland web systems’ remote diagnostics tool TSC (TeleSupportCenter).

In close coordination with the customer, the complete retrofit was completed within two weeks and that without any interference with the nightly productions. “The new technology was installed by manroland parallel to the existing system, then tested and after approval by the customer, commissioned,” according to Popp.

Download:

Press Release | PDF

Der Beitrag Bestseller: e-retrofits from manroland web systems erschien zuerst auf manroland web systems GmbH.

Show Me Your Show Cards

Steven Heller — Wed, 11 Jul 2018 05:12:47 +0000

D.M. Campana was one of the most prominent china painters in the field at the time of his death at 85 in 1956. He founded the Campana Art Company at the turn of the century with china painting materials as its specialty. He developed his own line of china colors which he used and which were (and surprisingly are) sold with his name.

He was born in Marostca, Italy, a town near Venice. “Working in nearby ceramic factories as a child, he learned to decorate pottery, a skill which brought him ready employment when, in his early twenties, he migrated to America—with ten dollars in his pocket. In a few years, he had saved enough money to go back to Venice for training at the Academy di Belle Arti,” says the current website devoted to selling his wares in Pampa, Texas. Read more and see his legacy here.

The post Show Me Your Show Cards appeared first on Print Magazine.

Print industry stalwarts retire and sell up

Tue, 10 Jul 2018 16:06:01 +0000

Two of the most familiar faces of the printing industry have hung up their pica type scales and called it a day after decades in business.

Brexit: Government has listened to business

Tue, 10 Jul 2018 11:48:58 +0000

As David Davis walked away from the Prime Minister’s Brexit deal this week and Boris Johnson followed him soon afterwards, it appears the Government’s position is untenable. Or is it?

New MD appointed to Leach

Tue, 10 Jul 2018 10:40:31 +0000

New Leach owner Chargeurs has appointed James Lavin as MD and Adrian Ray as sales and marketing director of the UK operation.

Semaphore sold to The Print Centre Cardiff

Tue, 10 Jul 2018 10:29:03 +0000

The Print Centre Cardiff has acquired 33-year-old sign and display company Semaphore. The latter will continue to trade under it’s own name but will get a brand refresh and relocate to Cardiff Bay, where The Print Centre has had a factory since last year at the launch of its sign and display business. A second factory unit has been bought to accommodate the move.

Weathering a tough industry

Tue, 10 Jul 2018 09:44:16 +0000

In a difficult environment, where companies are falling by the wayside, most recently with the announcement that major names in the retail sector, including House of Fraser and Mothercare, were suffering, celebrating a decade in business is always an achievement.

Picon to exhibit at The Print Show

Tue, 10 Jul 2018 08:38:09 +0000

Picon will attend The Print Show this year. Bettine Pellant, CEO of the suppliers trade organisation - one time owner of the now defunct Ipex show - said: “Supporting members at trade shows is an important part of our service. Since its launch in 2015 The Print Show has grown and we feel the time is right to give it our support.”

SGIA supports 2018 skills competition

Tue, 10 Jul 2018 08:37:01 +0000

For the seventh year, members of the Specialty Graphic Imaging Association (SGIA) have supported the SkillsUSA National Leadership and Skills Conference (NLSC) - a partnership of students, teachers and industry working together to ensure a skilled workforce - by providing $96,000 in prizes and stipends for competitions designed to test participants in distinct, hands-on, technical trades.

Antalis now selling whole Stadur range

Tue, 10 Jul 2018 08:36:04 +0000

Antalis is now offering the whole range of Stadur lightweight foam boards and finishing accessories. The move follows the introduction of the Stadur Easyprint range last year.

DuBouchett and Paul Rand’s Illustrated Trademarks

Steven Heller — Tue, 10 Jul 2018 05:54:54 +0000

Paul Rand took over the Dubonnet Man from its originator A.M. Cassandre when the liquor came to the United States. He also created the Coronet Man, the mascot for Coronet Brandy. But did you know about the DuBouchett Man (a Harlequin by any other name)? These are all illustrative trademarks, of which he did many. One doesn’t think of Rand doing illustration but he was quite active in the genre, doing his utmost to keep them from turning into cliches.

Rand wrote about “The Trademark as an Illustrative Device” in Seven Designers Look At Trademark Design (Paul Theobald Publisher, 1952): “A trademark is not merely a device to adorn a letterhead, to stamp on a product, or to insert at the base of an advertisement; nor one whose sole prerogative is to imprint itself by dint of constant repetition on the mind of the consumer public. The trademark is a potential illustrative feature of unappreciated vigor and efficacy; and when used as such escapes its customary fate of being a boring restatement of the identity of the products maker. . . This is important; monotonous repetition eventually loses its impact and the trademark which becomes a visual cliche will fail to evoke a response from the spectator.”

So even a recurring character like Dubonnet, Coronet and DuBouchett can have life after a hundred uses. And today, they actually seem fresh as ever.

The post DuBouchett and Paul Rand’s Illustrated Trademarks appeared first on Print Magazine.

Disaster relief donation for people affected by the July 2018 torrential rain in Western Japan

Tue, 10 Jul 2018 01:00:00 +0000

Print firm bagged by Paragon

Mon, 09 Jul 2018 19:44:28 +0000

With the acquisition of Imprimus in Cornwall, Paragon Group’s Customer Communications UK has inched towards the magic £1bn turnover figure placing it firmly in the big league.

Friedheim to sponsor Print Show’s Printers’ Bazaar

Mon, 09 Jul 2018 12:33:36 +0000

Friedheim International has moved to sponsor the Printers’ Bazaar at The Print Show this September as it is ‘a positive vehicle for growth.’

Differentiation key for printers says Duplo

Mon, 09 Jul 2018 12:33:36 +0000

The festival-goers of the print industry made their way to Addlestone once again this year for DuploFest – the event that is fast becoming known for fun, innovative print solutions and music.

Simpson Group readies for Onset X3 installation

Mon, 09 Jul 2018 08:48:58 +0000

North-east based Simpson Group is preparing for installation this summer of the Onset X3 it ordered at Fespa 2018.

Leach times Raymond Weil job to perfection

Mon, 09 Jul 2018 07:41:46 +0000

Leach Impact has completed an interior rebrand project within the Manchester Arena for watchmaker Raymond Weil - recently announced as the arena’s ‘official time partner’ and headline sponsor of its VIP Icons Bar.

BCF printing inks members celebrate 25th anniversary

Mon, 09 Jul 2018 07:40:23 +0000

The British Coatings Federation has marked 25 years since it was formed through the joining of the Society of British Printing Ink Manufacturers and the Paintmakers Association on 4 July 1993. The celebration coincided with the recent opening of the BCF’s new home in in Spectra House, Coventry. A commemorative plaque was unveiled during celebrations at a BCF printing ink technical committee meeting, attended by over 20 printing ink members.

Paragon Group acquires Imprimus

Mon, 09 Jul 2018 07:39:34 +0000

Paragon Group has acquired Imprimus, formerly known as Stralfors UK. The latter is now part of the Paragon Customer Communications’ business in the UK.

Monday: The New Sunday

Steven Heller — Mon, 09 Jul 2018 05:06:20 +0000

Founded in Philadelphia in 1824, the American Sunday School Union (ASSU), a non-sectarian missionary society was the most prolific publisher of juvenile literature in 19th-century America. The Union’s publications were American in spirit and moral in tone. They cover a wide range of subjects including history, geography, biography, natural and physical sciences, poetry, catechisms, primers, and hymnbooks. A large archive (20k volumes) is in the Rare Books Division of the Free Library of Philadelphia.

The ASSU was founded in 1824 in Philadelphia, Pennsylvania to promote early literacy and spiritual development of children, teaching them to read through the use of booklets published by the Union. The ASSU continued its publication program until l960 and some time later changed its name to the American Missionary Fellowship, which. Although the publications were meant to be nondenominational, many of the images tell biblical stories with a conservative leaning. One such shows Adam and Eve in the Garden of Eden with a note: “Not to be used unless clothed.”

May 25, 1830 in Philadelphia the American Sunday School Union had adopted its name and constitution. Now the members were pledging themselves to take on an enormous task:

“Resolved, that the American Sunday School Union, in reliance upon Divine aid, will, within two years, establish a Sunday school in every destitute place where it is practicable, throughout the Valley of the Mississippi.”

In just two years they hoped to reach over 4,000,000 people in an area of over 1,300,000 square miles, The first year the American Sunday School Union sent out 49 missionaries. The next year, they sent out 112. Such small numbers could not hope to do the job alone. They were told to recruit helpers in every little community. Their instructions could be boiled down to: Start a class, teach it, and where possible find a Christian man or woman willing to lead it, give that person a bundle of books and tracts and set forth an multiply.

American Sunday-School Union was the most prolific publisher of children’s books in 19th-century America. The Union illustrated its books and periodicals copiously, mainly with wood engravings. The original woodblocks were used through multiple printings and retained by the Union and are now in the collection of The Library Company of Philadelphia: Teitelman Collection of American Sunday-School Union Woodblocks and Imprint.

There were few public schools so Sunday schools taught people to read and showed them how they could become voters. That made Sunday schools popular, making it possible for families to keep contact with distant members through letter writing. Education drew them into the life of the nation. And for families living alone in the woods or on the prairie, it was wonderful to look up and see the unfamiliar face of a missionary with news from the rest of the nation. Later, the Sunday School Union published Christian fiction that made reading a lot more fun for children.

This is one of those fun volumes, said to be illustrated In the style of Kate Greenaway. Many other famous illustrators, like Arthur Rackham were also employed.

The post Monday: The New Sunday appeared first on Print Magazine.

Weekend Heller: Playful Books

Steven Heller — Sat, 07 Jul 2018 05:31:44 +0000

Books are enjoying more than a revival.There was nothing to revive. They never went away. And at New York’s The Center For Book Arts they have been alive, thriving and inventive for a long time. This week, “Look, Look, Look . . . A Playful Book” organized by Elisabeth Lortic opens in their space at 28 West 27th Street (3rd Floor). Click on the announcement below to see who from the 20th and 21st Centuries are included in this wonderful exhibition.

The post Weekend Heller: Playful Books appeared first on Print Magazine.

Comics Speak Out

Steven Brower — Fri, 06 Jul 2018 05:41:04 +0000

Thankfully firmly rooted in the past, there was a time when serious subjects were antithetical to comic books. All this appeared to change when Maus, Art Spiegelman’s tale of his father’s experiences as a Polish Jew and Holocaust survivor, told with animals, won the Pulitzer Prize in 1992, the first graphic novel to do so. Spiegelman had begun publishing these stories in his magazine RAW, back in 1980.

Thanks to the newly published We Spoke Out from Yoe Books, we now know that this difficult subject matter was covered as early as 1951. Coauthored by Neal Adams, Rafael Medoff and Craig Yoe, with an brief introduction and afterward by Stan Lee, Adams notes, “Some stories are stronger than others. But that’s not the point. This isn’t a Greatest Hits album. It’s a slice of history…. This is how we tried, in our own modest way, to teach American kids about something very important that they weren’t learning about in school.”

While Hitler made his first comic book appearance being slugged by Captain America in 1941, and war comics as a genre began soon after the war, the Holocaust was hardly mentioned. However, according to coauthor, Dr. Medoff , Holocaust and Jewish historian, and founding director of The David S. Wyman Institute for Holocaust Studies, “During the 1950s, when the Nazis were fresh in the public’s mind and there was no Comics Code Authority to restrict what comics creators wrote and drew, a number of comic books featured starkly gory tales of Nazi concentration camp commandants engaging in torture and other atrocities. Often the victims would return from beyond the grave to give the Germans a taste of their own medicine.”

Impact #1, Al Feldstein and Bernie Krigstein, 1955

This began with EC comics, first in Frontline Combat #3 with the telling of Rommel, and Nazi atrocities, in “Desert Fox,” by writer Harvey Kurtzman and artist Wally Wood, and again in 1955 in Impact #1 with “Master Race,” by writer Al Feldstein and artist Bernie Krigstein. The later, which heralded “A ‘New Direction’ in magazines on the cover, is a masterpiece of comic storytelling, stark, painfully honest and passionately told.

Other publishers followed suit. Included here are “Escape from Maidenek,” from Stamps Comics #4 in 1952 from Youthful Magazines and “The Tattooed Heart!” from Beware! Terror Tales #4, published in 1953 by Fawcett Comics. All are still hard to read some 6 plus decades later.

Stamps Comics #4, art by Vince Napoli, Youthful Magazines, 1952

Eerie #9, by Archie Goodwin and Gene Colan, Warren Publishing, 1967

Sgt. Rock #351, Joe Kubert DC Comics, 1981

The book jumps ahead to the late 60s, and through the 70s and 80s, with the most recent entry from 2008. There are detailed essays for each comic story. I will let others be the judge as to how successful the stories are when brought into the superhero genre. There is no question that this is an important work, and the authors are to be commended. During these turbulent times, this should stand as a reminder to all, “Never Again.”

Blitzkrieg #2, Joe Kubert, DC Comics, 1976

Sgt. Rock Spectacular #13 by Robert Kanigher and Ric Estrada, DC Comics, 1978

Captain America #237 by Chris Claremont, Roger McKenzie, Sal Buscema and Don Perlin, Marvel Comics, 1979

The Uncanny X-Men #161 by Chris Claremont, Dave Cockrum and Bob Wiacek, Marvel Comics, 1982

X-Men: Magneto Testament #5, by Rafael Medoff and Neal Adams, Marvel Comics, 2008

The post Comics Speak Out appeared first on Print Magazine.

Another EUROMAN for Brazil

manroland web systems — Tue, 03 Jul 2018 10:01:05 +0000

A good offer produces ist own demand. And therefore the EUROMAN is a bestseller in Brazil.

The EUROMAN combines efficiency, flexibility and productivity while maintaining high quality and cutting-edge technology. This makes it the ideal offer for dynamic markets with high growth rates like in Brazil being in a transition from a market of mainly 16 pages presses to high volume presses up 32 to 64 pages presses. This had been realized by the printing company Pia Sociedade de São Paulo that has invested in a 2-web EUROMAN press from manroland web systems. The EUROMAN is ideally used for printing bibles as well as magazines and catalogs.

Quality, flexibility and efficiency – all at highest quality – this is what Brazilian printers like Pia Sociedade require today. The bestselling commercial press from manroland web systems is the ideal systems for this. The need for consolidation and industrialized production structures to cut the operating cost to a minimum requires to our customers investing in more efficient production systems like the EUROMAN.

Besides ideal flexibility and high quality, the EUROMAN in particular offers efficient automation solutions from manroland web systems. Regarding all these benefits, it’s no wonder that the triumphal march of the EUROMAN already lasts since 2005: Meanwhile 11 presses produce at different printing companies with 44 printing units, 11 reel splicers and 11 folders from manroland web systems.

EUROMAN – Made in Germany

What is appreciated most by most customers in Brazil is the proven manroland web systems technology of the EUROMAN that is offered for an optimal price-performance ratio. The EUROMAN is not only suitable as an entry level press for heatset printing coming from 16 pages presses to high volume presses – also for old stagers the press is a good alternative. On its way to become a perfect production system, the manroland web systems project management offers comprehensive personal support that is guaranteed by the local sales and service partner groupwork Serviços de Representação Comercial Ltda. This is also maintained through long-term service level agreements.

Download:

Press Release | PDF

Der Beitrag Another EUROMAN for Brazil erschien zuerst auf manroland web systems GmbH.

Rodolphe Töpffer and The First Sequential Visual Narrative

Steven Heller — Tue, 03 Jul 2018 05:01:18 +0000

On this July 4 (I know its only July 3 but it is the correct week) its only fitting that we celebrate the birth of our national treasure, the American comic strip, actually invented by the Lafayette of the sequential picture/narrative revolution, Paris-educated, Swiss-born Rodolphe Töpffer (1799–1846), a author, painter, cartoonist, and caricaturist, known for his ittérature en estampes, “graphic literature”), which the earliest sequential narrative. He is known as the father of comic strips (or what we now generally call graphic novels. This is a translation of his most famous and brilliantly constructed (see the way he uses panels and the long handwritten tracts of text – no speech balloons, though). He was also a schoolteacher and ran a boarding school, where he amused his students with caricatures.

This, for me, is Töpffer’s layered ittérature en estampes, “The True Story of Monsieur Crépin,” first published in 1837, featuring the adventures of a father who employs a series of tutors for his children and falls prey to their eccentricities. Read it in its entirety below.

He wrote six more “novels,” popular selling satires of 19th century society. Another story Histoire de M. Vieux Bois was brought to a United States audience as The Adventures of Mr. Obadiah Oldbuck and published in 1842 as a supplement in the New York City newspaper Brother Jonathan , essentially the first American comic book and launch of the graphic novel. You might say, a declaration of independence from the word-only book. And here is a PDF of another story Histoire Albert.

The eminent comics historian David Kunzle wrote in Father of the Comic Strip Rodolphe Töpffer: “Töpffer developed a graphic style suited to his poor eyesight: the doodle, which he systematized and also theorized. The drawings, with their “modernist” spontaneous, flickering, broken lines, forming figures in mad hyperactivity, run above deft, ironic captions and propel narratives of surreal absurdity.”

The post Rodolphe Töpffer and The First Sequential Visual Narrative appeared first on Print Magazine.

IMMEDIATE MEDIA CO SUCCESS AT THE 2018 PPA AND AOP AWARDS

Ashleigh Grady — Fri, 29 Jun 2018 14:21:54 +0000

Immediate Media Co, the special interest content and platform company, picked-up four awards at the 2018 PPA Awards and AOP Digital Publishing Awards in London, on Wednesday 27 June 2018.

Radio Times’ TV Editor Alison Graham won Columnist of the Year at the PPA Awards, in recognition of her agenda-setting weekly column. The judges praised Alison’s work as “Juicy, spirited, crackling with humour, irresistible”.

The PPA Awards showcase excellence, rewards innovation, and provides the benchmark by which all consumer and business media brands are judged.

BBC Gardeners’ World Magazine picked-up a Silver Award for PPA Front Cover of the Year as voted for by the public. The cover celebrated the 50th Anniversary of the Gardeners’ World television programme, featuring the magazine columnists’ (and TV show presenters past and present) Alan Titchmarsh and Monty Don.

BBC Gardeners’ World Magazine were also given a Highly Commended award in the Media Brand of the Year category.

olive magazine’s digital editor Alex Crossley was named Digital Publishing Rising Star 2018 at the AOP Awards on the same evening.

The judges praised Alex “For her collaborative spirit, commercial acumen, ability to identify value and take a broad view of the business, and for delivering impressive results for the olive brand and Immediate Media”.

The AOP Digital Publishing Awards are the only awards specifically designed to celebrate the work of the individuals and teams who fuel the success of the UK’s digital publishing sector.

-ENDS-

Notes to editors

For further information please contact: Holly Griffin, holly.griffin@immediate.co.uk

About Immediate Media Co

Immediate Media Co is the special interest content and platform company. We create compelling world-class content that inspires the passions of our highly engaged communities. And we deliver it wherever our consumers want it – in print, on digital platforms, and beyond. Immediate is one of the UK’s biggest consumer media businesses, employing over 1,100 people, predominantly in London and Bristol. We reach millions of people every month through over 70 consumer brands in print and on digital platforms. We sell over 74 million magazines each year and engage 33 million unique users every month. With over 1.1 million active subscribers, our audiences are affluent and loyal to their favourite brands. Our wholly owned brands include Radio Times, olive, Homes & Antiques, Cycling Plus, Bike Radar, MadeForMums, You&YourWedding and Mollie Makes. We publish BBC Top Gear, BBC Good Food, and BBC EasyCook on behalf of BBC Studios as well as BBC History, BBC Gardeners’ World, BBC Focus and the CBeebies portfolio, under licence. Follow us on Twitter @Immediate_Media

【Ricoh Imaging】 HD PENTAX-D FA★50mmF1.4 SDM AW, A large-aperture single-focus lens

Ricoh Co.,Ltd. — Fri, 29 Jun 2018 01:00:00 +0000

HD PENTAX-D FA★50mmF1.4 SDM AW, A large-aperture single-focus lens

RICOH THETA Plug-in Partner Program Goes Live

Ricoh Co.,Ltd. — Thu, 28 Jun 2018 01:00:00 +0000

Ricoh today announced that the RICOH THETA Plug-in Partner Program (URL: https://api.ricoh/products/theta-plugin/), including development tools and support for members, has gone live.

Additive manufacturing in the industrial sector

manroland web systems — Tue, 26 Jun 2018 08:52:24 +0000

manroland web systems has put a new process for manufacturing spare and wear parts, to the test

manroland web systems has been occupied with analysing and testing the benefits of alternative production methods, for quite some time. Results show that there is no getting around the topic of additive manufacturing processes. The Fused Filament Fabrication process (FFF) for plastic parts has been around since about 1990. In the meantime there are industrially mature approaches, which aim to exploit this process for metal parts also. This means that there is an opportunity to possibly facilitate easier procurement of spare and wear parts, which is a step that would bring massive benefits to customers.

The term additive manufacturing describes a process in which a component is built up, layer upon layer, on the basis of digital three dimensional design data, through depositing or connecting of materials. The familiar term, 3D printing, is ever more often used as a synonym for additive manufacturing processes. The next generation FFF process is a professional production process, which is currently in the very early stages of its development.

manroland web systems and additive manufacturing

One reason why manroland web systems has occupied itself intensively with this subject is simultaneously one of the most prominent benefits of additive manufacturing: shorter lead times. And it is almost immaterial whether it is a work piece with complex geometries or a relatively simple object. The development and production of tools and moulds is completely eliminated. Corrections to prototypes or short notice design modifications are also possible, without problems.

Time to Market and highest levels of flexibility

manroland web systems has developed an innovative business model for online trade over the past few years with the manroland web STORE and the B2B-trading platform, MARKET-X. The topics of speed and flexibility are naturally of great interest; in particular, for this successful e-commerce sector with its fast growing, ever widening spectrum of offered products. Various manufacturing processes, which provide further benefits to the customer, can be implemented, depending on how pressing the deadline is.

Sustainability and responsibility

A huge benefit of 3D printing which often receives short shrift these days, has however enormous significance: significantly less waste is produced during the production of work pieces by additive manufacturing, than would be with conventional production processes. In the future, for example, decentralised production would be conceivable in order to shorten transport routes. 3D printing provides very promising possibilities for designers regarding lightweight construction, which in turn means a reduction of materials used.

“Alongside the afore-mentioned benefits, additive manufacturing additionally brings an immense optimisation of inventories with it, because you can produce “on demand”. At the same time, we still have a definitive security of supply. These benefits mean that our customers will profit both monetarily and also through time savings and faster processes. We can also guarantee long-term reproducibility of mechanical parts without the use of specific tools or casting moulds. A lot of these processes are still not an option when it comes to mass production, however they are very suited to the production of conventional batch sizes in machinery and plant engineering,” explains Lutz Leonhardt, Vice President Global Supply Chain & Merchant Network at manroland web systems.

Benefit upon benefit

Alexander Wachter, Vice President eCommerce, Remote Service, Customer Support at manroland web systems, summarises the major benefits once again: “We want to permanently integrate additive manufacturing products into our e-commerce sector in the future in order to improve the availability of parts for our customers, provide alternative procurement opportunities for ourselves and thereby a stable high level of customer satisfaction through the creation of even shorter delivery time options. We will continue to support our customers to produce competitively and efficiently in the future, using the most modern methods.”

Franz Kriechbaum, member of the management board at manroland web systems, concludes: “The integration of additive processes into our stocking strategy means we are developing a further important technological benefit when compared with all of our competitors, making us the strongest performing business partners for our customers.”

Download:

Press Release | PDF

Der Beitrag Additive manufacturing in the industrial sector erschien zuerst auf manroland web systems GmbH.

Hickling & Squires is First Commercial Printer to Invest in Xerox Iridesse

Tue, 19 Jun 2018 09:58:00 +0000

UXBRIDGE, U.K., June 19, 2018 – Hickling & Squires has become the first UK commercial printer to invest in Xerox’s Iridesse Production Press as it looks to offer a greater variety of colour printing to its growing customer base.

The Nottingham-based print company will use the Iridesse to bring new production-level application opportunities, including metallic dry inks, to its clients spanning the retail, leisure, education and public sectors.

With increasing demand for metallic and iridescent colour printing, the Iridesse will enable Hickling & Squires to offer these features at a higher level of quality at a lower cost, and with greater flexibility than the previous alternative of using foils. The Iridesse can produce clear, silver or gold dry inks in addition to CMYK in a single pass.

The company has also invested in a new Xerox Versant 3100 press to manage the rising volume of orders.

“Following the success of our two Xerox Versant 180 devices, we decided to upgrade to Xerox’s latest technology so we could continue to offer our clients best-in-class print,” said Lee Jordan at Hickling & Squires. “The Iridesse will enable us to stand out from the competition so we can continue to grow our business and bolster our commercial print offering with more personalised, eye-catching designs.”

“This investment in the UK’s first Iridesse is a milestone for both parties and also marks the ten year anniversary of Xerox’s partnership with Hickling & Squires,” said Mark Cannons, director and general manager, Graphic Communications, Xerox UK and Ireland. “We look forward to driving further success over the years to come.”

About Hickling & Squires

Hickling & Squires, based in Newthorpe Nottingham has been trading for 65 years as a commercial printer. Historically litho technology has been at the core of the business but over the last 10 years investments in digital print has complimented our offering to clients. Hickling & Squires currently have 3 B2 colour litho perfecting presses and a range of Xerox digital printing presses. This print capability is complimented by a comprehensive range of conventional finishing as well as digital finishing kit.

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Media Contacts:

Sonia Panchal, Xerox

+44 (0)1895 842877

Sonia.panchal@xerox.com

Xerox^®, Xerox and Design^®, Iridesse™ and FreeFlow^® are trademarks of Xerox in the United States and/or other countries.

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