@joojaa I don't understand your question in the new comment. What exception?

Why do we need to ask corporate HQ something?

@joojaa This is just an assumption but I think Photo.SE would have tried to get that for their Photo of the week if they could (just judging by their meta discussions)

This suggests they were trying to work around it photo.meta.stackexchange.com/questions/4811/…

One work around the CC could simply to take a photo of the final product (printed, set up, ...)

It still applies a CC but it's not like people could easily reuse the design if it's not laid flat

@Emilie I would love to post some of my projects here to get feedback from all you guys. The copyright issue is one thing, but I'm worried that I (or others) end up saying something which could be insulting to the client. And if it's on the web I can't be sure if they'll see it. It's not totally improbable that one of my clients find my profile and wants to see what I've posted.

@Wolff I know, the only stuff I can sort of fathom sharing right now are personal projects of mine

but if you're mostly working with the work of others, that sort of casts you out right from the start

Maybe less so if you take a picture of a multitude of mixed prints together

@Emilie I would never post something i merely checked for errors. I'm talking about my own designs for clients.

I meant from my understanding that you help clients print their artwork in a way that looks better than just a simple printed image, I may be confused :)

like you add work on top of their work

(not just error checking in that case)

I do both. I work in a cooperative company which was founded 40 years ago. Back then the focus was on mass production and orders were pouring in. Today, since we only have a 2-color offset machine, we can't compete with larger companies, so we are gradually moving towards graphic design and only use the printing press for special cases.

Process photos could be fun too

@Wolff Ah gotcha!

We also do broker work (is that he correct term?). Clients come to us with all sorts of special demands: special paper, custom built boxes, print on candy etc. and we find the right subcontractors and help the client by checking the files and so on.

So Wolff, the best example I can think of is very limited silkscreened concert posters. Things that are printed on gorgeous paper stock in one two or three colors.

But I would love to only make my own stuff. :-)

@Joshjurg Hi, example of what? I don't follow you.

Nvm forgot it was c.wiki :)

@Wolff I think what you are trying to do are Gig posters

@Wolf Like those of Andrio Abero from 10 years ago, at first I thought they were silkscreen printed, but then I saw them for sale in Paris and they were offset flat ink

hi. do you guys discuss ps and ai in here?

i'm looking for a way to apply blur selectively, like a gradient where in certain spots the blur is hardest/softest. in this picture the blur is very weak near the magenta dot, and really strong near the cyan one.

is there a way to do this sort of automatically?

@Wes Try to play around with Field Blur and Path Blur. never used them much myself, but they seems to be useful for something like this.

thanks, i'll try

@Danielillo Yeah that's nice examples. But I'm not trying to do anything :). Where I work we make (among other things) Pantone prints on an old 2-color offset machine. Just told a little about it.

I would love to make even more things in spot colors, but it's sometimes hard to convince clients. They seem to love the idea, but then they need one single image to be 4-color and the whole idea falls apart. I think it's up to me to sell the idea better.

@Wolff Found some fun stuff I don't mind sharing from a previous conversation we had

convo?

@Wolff Well, if you have access to that machine, which I suppose is in disuse, invest some money, do something and put it on sale. Having such an opportunity I would do it.

slang, sorry :) fixed

pic is too big, argh

@Danielillo We make money on that machine so it's in use almost every day. But since it's only two colors our expenses are a bit high for 4-color runs. So on 2-color Pantone prints we can give a much better price. And clients thinks it's "romantic" to come and visit and "help" the printer.

Lately we've used to print some really nice b/w images using 3 colors: black, grey and very black. I separated the images using tritone in Photoshop and the result was much deeper blacks than you normally see on ordinary CMYK prints.

The biggest problem with Pantone printing is the lack of a proper preview. We don't have the technology (=$$$) for a "scientific" approach, so you need to have some confidence.

@Emilie Lots of questions here on how to scale images in Photoshop :-)

@Wolff sounds very nice, I would like to see some samples of that very black print. I found a digital printer near where I live that have a machine for printing on flat surfaces, like cardboard and with all kinds of ink, including white. Tomorrow noon I'm going to do my first test.

I'm the kind of silly designers who get excited about this kind of thing

@Wolff On the home page? I haven't been checking a whole lot today

@Wes use a gradient mesh

@Emilie I'm joking.

@Wolff Gah x) And there I was looking on the home page lol

@joojaa thanks, illustrator is growing on me

@Danielillo This is the first tritone black print we made. One should see it in real life of course. The presentation doesn't really show the contrast of the original.

@Wolff Very nice, it has a retro feeling, it looks like revealed on silver halide photo paper (literal trans. from Spanish revelado en papel fotográfico de haluro de plata :-/

You printed the whole book?

@Danielillo I made the separation (and thereby altered the images slightly) and our printer did the printing. We did some test prints first with different versions of the tritone curve to get the result the photographer wanted. Very fun! But not where we earn our "bread". :-)

His images are very beautiful to begin with so it of course made my job easier. The print does have a "silvery" look irl, but the video seems to have a darkened white point.

@Wolff Ah!!! Then I was not so far with my guess about silver halides

I can see the silver look at the cover image, but not in the video

It looks like a high quality work, although the binding dulls it a bit

The cover does have a gray tone. I think the pages look a little gray. Anyway, we did another job for another photographer using only gray and black. It also got this silvery look. I think it comes from the presence of pure gray in the lightest tones. The whole idea was to be able to control the amount of ink in the dark and light areas independently.

@Danielillo Whoops, the binding... Should have been a real book in my opinion.

@Wolff Sure, such a big job for a flyer binding :-(

@Danielillo Today "real" books are in fashion among artists/designers here, but not too long ago it was in fashion to "do as little as possible" to keep the pages together.

@Wolff what a pity! I don't quite understand it. In reality, I will never understand that mania of doing quality work to then immerse it with concepts, according to my way of understanding things, of a certain simplicity.

The staples of the central page of the book are like two flashes that dazzle the moment of opening the page :-)

Lol.

Sending of prints for finishing is nerve wrecking. I also do the imposition and make the plates. When a finishing is bad it can come from errors from my side as well.

@Wolff I think it's much better to blame the bookbinder. Anyway, such a very good job, thanks for sharing it. I leave the chat now, after 12 km running I have trouble finding the keys on the keyboard. Hasta luego!

@Danielillo Bye, bye