July '21

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1 1 0 G R A P H I C S P R O J U L Y 2 0 2 1 G R A P H I C S - P R O. C O M appears silky smooth as if glazed with numerous layers of oil paint, linseed oil, and Damar varnish, a technique employed by the old masters. Freezing and cracking the finished canvas produces a distressed look as if the image was painted hundreds of years ago and has developed numerous hairline cracks (Figure 11). Sometimes Reed will create multiple versions of an image, mixing components so that each image is entirely unique. The synthesis of the sublime surrealism of his photographic images and the simulated techniques of the old masters combined with the distinctive use of transfers and lamination create a compelling visual ex- perience of color, texture, form, and con- tent. His art is contemporary yet classical and pushes the concept of image transfer to the max (Figure 12). TRANSFER Transferring images to various substrates, as you have seen, can be extremely simple, involving a few common household mate- rials that you probably have lying around; or exceedingly complex, involving exotic media, precision registration, and sophis- ticated digital and manual techniques. No matter what method you choose to experiment with, transferring images can be a fun and creative process. The advan- tage is that you can apply images to al- most any surface without a lot of fancy equipment. Or if you are really motivat- ed, you can venture into the depths of the Jim Reed Dura-Lar technique. Give it a try! GP STEPHEN ROMANIELLO is an artist and educator, teaching digital art at Pima Community College in Tuc- son, Arizona, for over 29 years. He is a certified instruc- tor in Adobe Photoshop and the author of several books on the creative use of digital graphics software. Steve is the founder of GlobalEye Systems, a company that offers training and consulting in digital graphics software and creative imaging, and the CEO of Fireboy Productions, a publishing company. continued from page 95 THE DIGITAL EYE Examples include having wayfinding signage that matches corporate colors or simple vehicle wraps that give key brand identity and only the necessary contact in- formation. But, as Halloran stresses, start with the expectation of the end custom- er in mind. Understand the quality and durability expectations and work closely with vendors. And while the equipment may be able to multitask, the materials that a shop ex- cels in should always be the focus. "There is a learning curve that comes along with every new capability that businesses add," stresses Harmon. "Installing a car wrap is very different from installing a win- dow film. Building the knowledge base to know the best film to use, the best tech- niques, and tricks of certain installs can take time to accumulate." Knowing where you shine not only helps a shop stand out in a crowded market, but ensures custom- ers will keep coming back and spread the word of awesome graphic work. GP CARLY HOLLMAN is the former editor of Printwear magazine with over nine years of experience covering the decorated apparel industry. She currently works as a freelance writer and artist based in Denver, Colorado. She can be reached at continued from page 91 GRAPHIC FILM APPLICATIONS Beyond driving up costs, this is also an issue when it comes to simply fulfilling an order. For those graphics shops that can't order ink, it can be tricky navigat- ing their customers and getting orders out on time. "High raw material prices have started to, and will continue to, af- fect downstream users, like plastisol ink manufacturers and printers alike," says Landesman. "The immediate future is higher prices and maybe some con- strained supply of certain items. Printers should start to expect longer lead times for screen-printing supplies." Luckily, there are a couple things shops can do to soften the blow. "The best way a graphics shop can prepare is with proper forecasting," Lopez advises. "Watch how much ink projects consume and try to iden- tify a pattern. Based on normal projection years, order enough ink to cover what you expect to need, and additional sets of ink for backup." "If you are unable to obtain the ink your printer requires, don't do anything crazy out of desperation," caution Rodenhouse and Lamb of sublimation. "If you suddenly find a source for Brand Y but your printer uses Brand X, do not switch." They add that if you do switch, the two brands may not be chemically compatible, which could damage your printer. Plus, it's likely that the colors won't match. "Just be patient and stay in contact with the dealers that sell the ink that was manufactured for your print- er," they advise. Ultimately, whether you're working with screen printing, sublimation, or another digital ink, quality output is always the key to keeping customers. Despite shortages and other issues, graphics shops shouldn't compromise on using the correct ink to get the job done. GP CASSIE GREEN is the executive editor of GRAPHICS PRO magazine, and previously served as the editor for A&E magazine. You can reach her at 720-566-7278 or continued from page 15 IN THE INK POT TAKEAWAYS • The most common graphics can be classi- fied as permanent, temporary, or air-egress. • Key pieces of equipment can do multiple types of graphics; most jobs typically require a plotter, printer, laminator, and computer. • Troubleshoot using technical data sheets, technical tip documents, and the knowl - edge of your distributor or manufacturer. • Always consider the use of the graphic when deciding the type of art, film, and adhesive. • Focus on your strengths and know every style of graphic will have its learning curve.

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