Le site officiel de Vincent Perrottet. 2013. Family Los Angeles - Welcome DIY UV Exposure Unit with LED and Arduino I was looking around for a DIY exposure unit, because I almost never got perfect results with the Toner transfer method. I used photopaper, backing from vinyl film (worked even better than the photopaper) and Press n Peel (which was probably the best, but quite expensive). So I've decided to built my own UV exposure unit to keep the costs down to the minimum and get a good unit I can use for a long time. It is based on Arduino Atmega328P MCU, with over 430 UV LEDs The PCB board is made using Toner transfer method and isn't perfect. It was just too big and I was too lazy to do it again. The unit itself is on single sided copper clad board, no additional cables, no narrow paths (axcept for one for power on the MCU). Functions: Timer from 0 - 60minutes. The code isn't neath, but working perfect. The LEDs were bought on eBay for 30€ / 1000pcs. MCU is Atmega328P, and other parts are just stuff off the shelf (Iguess around €5 - €10 cost) Coper clad board was €8 from Maplin. Schematics as png:
L’Endroit est un atelier de création graphique, Jean-Marc Dumont, graphiste free lance, réseau de freelance pluridisciplinaires, logo, identité visuelle, communication graphique, affiche, illustration, lendroit Japanese Knife Imports Nontoxic Printmaking, Safe Painting & Printed Art Not Dying For Their ArtAlicia P. GregoryOdyssey, Fall 2000The following article was published in 2000 and is reproduced here with the permission of the author and editor of Odyssey Magazine for the University of Kentucky, and Gerald Ferstman. Ross Zirkle died in 2007. "Nobody should have to die to make art." That's the bottom line for UK (University of Kentucky) art professors Gerald Ferstman and Ross Zirkle. These devoted printmakers are creating non-toxic techniques to keep their craft alive. Toxic elements first seeped into the printmaking world with the invention of oil paint, Zirkle says. "My grandfathers were both pressmen for newspapers," says Zirkle. Ross Zirkle (left) and Gerald Ferstman at their metal press As a research fellow at the Tamarind Institute at the University of New Mexico, one of the most prestigious lithography schools in the country, Zirkle worked with an artist who had cancer in an arm. "Printmaking as we know it will change," Zirkle says. Alicia P. Lee P.
KIT DE SURVIE DU CREATIF /// metiersgraphiques.fr Il est très fréquent que des employeurs prompts à brouiller les cartes proposent à de jeunes freelances d’être rémunérés, pour des missions longues, sur une base similaire à celle d’un salaire (2000€ par mois par exemple, une paye royale selon certains, « comparée » au SMIC). Si vous avez bien lu tout ce qui précède, vos aurez compris que c’est parfaitement inacceptable et inenvisageable. Vouloir payer un freelance avec un salaire d'employé c'est le beurre et l'argent du beurre : on garde la flexibilité, l'absence d'engagement, de frais, de charges sociales et patronales, de démarches de l'un, et on y colle le prix réduit de l'autre. Un salarié à prix discount, sans aucun avantage salarial. Le super plan à 2000€ est effectivement une bonne opération… mais pour qui ? Notez qu'en outre ce genre de deal est bien souvent assorti d'une situation flagrantre de salariat dissimulé, un des autres pièges classiques tendus aux plus naïfs d'entre nous, comme abordé ici
BOOK STAND: JOURNAL Sophie Calle, SATURDAY : PINK, The Chromatic Diet (1998) BOOK STAND will be at the second annual L.A. Art Book Fair with a special collection of pink books and printed ephemera. Monochromatic wildflowers will be sold every day from 1-3PM courtesy of LA-based floral artist, Lili Cuzor. Location: The Geffen Contemporary at MOCA 125 North Central Avenue Little Tokyo Los Angeles, CA 90012 Hours: Opening Night: Thursday, January 30, 6–9pm Friday, January 31, 11-5pm Saturday, February 1, 11am–6pm Sunday, February 2, 12pm–6pm Happy New Year ! "We take a walk in a dark night of black paper printed blue. -María Serrano on Nella Notte Buia in Bruno Munari’s Books Here’s to another year of adventures with books. Happy 2014 ! Several Clouds Colliding by Brian Catling Presenting a selection of books from our archive. Mack Sennett Studios 1215 Bates Avenue Silverlake, California 90029 Dec 14th 12 - 7PM Dec 15th 12 - 5PM Deco Room with Plants The first book by popular Tokyo-based garden stylist Satoshi Kawamoto.
Using a Photopolymer Base - Letterpress Commons Photopolymer bases provide a foundation to make thin photopolymer plates type high. When mounted with the proper plate material, they should print like any other letterpress form. That said, there are some special considerations when registering the base depending on what type of press you use. Lockup and Registration Bases are locked up like any letterpress form, with quoin keys, furniture, leading, and/or reglets. Cylinder Press Lockup and Registration On cylinder presses, you can use a base that almost fills up the press bed. Platen Press Lockup and Registration On most platen presses, you’ll typically want your base quite a bit smaller than the chase. Platen presses have a “sweet spot” in the bottom center of their platen where the impression is heaviest. Heidelberg Windmill Lockup and Registration Although Heidelberg Windmills are platen presses, they don’t have the same constraints as other platen presses because of their unique design. Base Care Magnetic Base Usage
Best Awards The Excelsior Press Museum & School Fundraising Page So, Yes, this is our own unabashedly commercial "shameless commerce" part of the website. WE HAVE FINALLY REALIZED that developing and maintainining a collection of old printing presses - and paying the rent month after month for the past 25 years (so far) takes both a lot of time and a fair amount of money. And, since we've got more stuff than we really need, and since the simple fact that you are here viewing this page suggests that you might want or need some of these treasures we've collected over the past 45 years or so, we have some really neat stuff (and maybe some junk) for sale. We hate to part with any of it, actually, but really, how many midget-sized Hamilton Furniture Racks does one print shop need? We've got some spares. And we need to pay the rent. And, we've got furniture - loads of it. We've got type. Then there's 138 MORE fonts which we 'rescued' when Hobson Printing finally cleared out their composing room this past winter. And quoins! enough chatter. But.
nice device by pete brundle. web development | interaction design and code, melbourne australia Etching the stone The following factors govern the selection, application and effectiveness of etches during the process of desensitizing the stone: 1. The grease content of the drawing Drawings week in grease content require relatively little acid to liberate their fatty components into the stone. 2. Formulas for etching small stones up to 55x30 cm are based upon a single ounce (30 ml) of gum arabic. 3. Theoretically, there is an ideal point at which the strenght of etches and the cumulative result of their application will totally desensitize any given drawing without injuring either its image or its nonimage areas. 4. Hard and dense stone may be etched with relatively strong solutions. 5. The chemical action of an etching solution is accelerated by high temperatures and dry atmosphere; it is retarded by low temperatures and humid atmosphere. 6. Etching solutions Gum arabic is a major constituent of lithographic etches for stone. Etching solutions are prepared by measuring the gum arabic in measure.
Marian Bantjes I Wonder by Marian Bantjes 208 pages Hard cover 15.5 cm × 24cm (approx. 6 × 9½ inches) Printed in full colour plus gold throughout. List price: £19.95 / $40 Release date: October, 2010 Published in the UK by Thames & Hudson, ISBN 978-0-500-51529-7Published in the USA by The Monacelli Press, ISBN 978-1580932967 I spent 15 months writing, illustrating and designing this book. Every single illustration is new, created for the book, and the content is not about my work (i.e. not a monograph), but instead combines graphic art with the written word, and lends my own contemplative but frequently amused voice to my observations of the world. Some of the articles were originally published as blog posts for the now-archived blog Speak Up, but they have been resurrected, edited, rewritten and given new life in these pages. Those quirkier writings are interspersed between more philosophical musings on the nature of Wonder and Honour and Memory as they pertain to graphics and the visual world around us.