Experiments in inkjet colour tests for printmaking

The motivation for this research is based on how artistsmix and print colour by traditional means (painting andprintmaking) and how these differ from colour picker tools,slider bars and methods developed for digital printing, andwhether it is possible to incorporate both? Artists have been expert at mixing colour for centuries, yet although the artist and designer has access to a wide range of digital imaging tools and technologies, that on first glance, are dedicated to the creation of colour mixtures, the resulting colours are often disappointing. It appears that hardware, software tools and methods for digital printing are not necessarily suited to the specific requirements of the artist. In fact, they are toogeneralised to obtain a high degree of quality and too inflexible to allow artists to obtain precision and predictability. Based on existing hardware and software, the paper suggests alternative approaches to custom colour ink mixing and printing. Through the development of alternative ink colours specifically mixed for inkjet printing the paper demonstrates specially designedcharts for printing and double printing of custom mixed inks

Problems and prospects of exploring Draw and Paint technique for digital illustration on Adobe Photoshop Cs4 application

Photoshop, a program powered by Adobe incorporated, made its debut in 1990, is used for Photo editing, digital drawing and painting, the newer versions of the software were released into the market subsequently as years went by. Awareness and use Photoshop among many Nigerian artists, photographers and advertising designers came in view in the early 21st century. In art schools and corporate graphic and advertising firm, few professional artists explore all the creative possibilities of Photoshop. In local printing and publishing firm, designers with no formal art training make use of it to edit photographs only. However, Photoshop, not only for photo editing, is also a paint program which can be used to create bitmap or raster illustrations for printing, publishing and wall art. This area has not been properly harnessed by aforementioned users of the software. The production processes for applying digital colours and rendering of line drawings scanned onto Adobe Photoshop Cs4 Layout will be explored in this study. Problems and limitations revolving round traditional to digital illustration will be discussed in this study. The research will provide basic information towards traditional to digital bitmap illustration with Photoshop CS4.Keywords: Digital Illustration, Photoshop, Vector, Bitmap, Draw-and-pain

Computational colour, the visual artist and the printed artefact

A peer reviewed journal article published in the Journal of the International Colour Association (JAIC). This paper outlines the limitations of digital printing in respect of its ability to replicate the nuances of colour that might be achieved by the artist. It is proposed that there is now available an opportunity for artists and colourscientists to work together to innovate new multi-head printers that could render the ‘tactile surface qualities and opaque ink set’ of the painter

Lone Star imPRESSions: A History of Small Press in Texas

Welcome. I believe that small press publishing is a force in Texas, and this exhibit is my way of honoring that. There have been so many different small presses to exist throughout Texas history that I could spend years collecting that information. So I decided to create an exhibit that highlights some of the oldies and some of the new players on the block. The exhibit is not a comprehensive history, but its a window into a history that is diverse and rich. If you are looking to read further on small press, check out my exhibit catalog at guides.lib.utexas.edu/utpc/currentexhibit. I have taken the liberty of providing additional details about each press, adding some others that couldn’t quite fit the exhibit, and providing submission details on each press for those of you looking to publish. I hope you enjoy the exhibit. Welcome to the hard work and perseverance that is Texas small press!UT Librarie

The digital transformation of business models in the creative industries: A holistic framework and emerging trends

This paper examines how digital technologies facilitate business model innovations in the creative industries. Through a systematic literature review, a holistic business model framework is developed, which is then used to analyse the empirical evidence from the creative industries. The research found that digital technologies have facilitated pervasive changes in business models, and some significant trends have emerged. However, the reconfigured business models are often not ‘new’ in the unprecedented sense. Business model innovations are primarily reflected in using digital technologies to enable the deployment of a wider range of business models than previously available to a firm. A significant emerging trend is the increasing adoption of multiple business models as a portfolio within one firm. This is happening in firms of all sizes, when one firm uses multiple business models to servedifferent markets segments, sell different products, or engage with multi-sided markets, or to use different business models over time. The holistic business model framework is refined and extended through a recursive learning process, which can serve both as a cognitive instrument for understanding business models and a planning tool for business model innovations. The paper contributes to our understanding of the theory of business models and how digital technologies facilitate business model innovations in the creative industries. Three new themes for future research are highlighted

Trendswatch 2013: Back to the Future

TrendsWatch 2013 highlights six trends that CFM's staff and advisors believe are highly significant to museums and their communities, based on our scanning and analysis over the past year. For each trend, we provide a brief summary, list examples of how the trend is playing out in the world, comment on the trend's significance to society and to museums specifically, and suggest ways that museums might respond. We also provide links to additional readings. TrendsWatch provides valuable background and context for your museum's planning and implementation

Printmaking of the Past, Present, and Future: The Legacy of Sam Z. Coronado

Latin American Studie

A simple, low-cost conductive composite material for 3D printing of electronic sensors

3D printing technology can produce complex objects directly from computer aided digital designs. The technology has traditionally been used by large companies to produce fit and form concept prototypes (‘rapid prototyping’) before production. In recent years however there has been a move to adopt the technology as full-scale manufacturing solution. The advent of low-cost, desktop 3D printers such as the RepRap and Fab@Home has meant a wider user base are now able to have access to desktop manufacturing platforms enabling them to produce highly customised products for personal use and sale. This uptake in usage has been coupled with a demand for printing technology and materials able to print functional elements such as electronic sensors. Here we present formulation of a simple conductive thermoplastic composite we term ‘carbomorph’ and demonstrate how it can be used in an unmodified low-cost 3D printer to print electronic sensors able to sense mechanical flexing and capacitance changes. We show how this capability can be used to produce custom sensing devices and user interface devices along with printed objects with embedded sensing capability. This advance in low-cost 3D printing with offer a new paradigm in the 3D printing field with printed sensors and electronics embedded inside 3D printed objects in a single build process without requiring complex or expensive materials incorporating additives such as carbon nanotubes