George, Elaine, Britt, and other Photoshop users,
Ok, I'm doing some painting and illustrating using Photoshop and I have
some questions.
I'm trying my hand at my first halftone drawing using Photoshop. I did the
outline drawing of the beetle using a camera lucida, then scanned it in and
traced it in Illustrator. Then I opened it up in Photoshop and started
painting. I'm in greyscale mode, is that correct for carbon dust like
technique? ALso, I'm using the airbrush stroke and I'm finding the dodge,
burn, and sponge really useful. Any suggestions?I think the learning curve
might be steep for this stuff, but its coming along well. Also is there
anyway that you can lighten the whole thing without lightening pixel by
pixel?Also...how do you do linear objects like hairs since it is pixelated?
ANy suggestions would be greatly appreciated!Thanks on advance!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Wed Nov 1 06:47:02 1995
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From: [log in to unmask] (John Nyquist)
Subject: Re: Photoshop beetle
To: [log in to unmask]
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>George, Elaine, Britt, and other Photoshop users,
>
>Ok, I'm doing some painting and illustrating using Photoshop and I have
>some questions.
>
>I'm trying my hand at my first halftone drawing using Photoshop. I did the
>outline drawing of the beetle using a camera lucida, then scanned it in and
>traced it in Illustrator. Then I opened it up in Photoshop and started
>painting. I'm in greyscale mode, is that correct for carbon dust like
>technique? ALso, I'm using the airbrush stroke and I'm finding the dodge,
>burn, and sponge really useful. Any suggestions?I think the learning curve
>might be steep for this stuff, but its coming along well. Also is there
>anyway that you can lighten the whole thing without lightening pixel by
>pixel?Also...how do you do linear objects like hairs since it is pixelated?
>ANy suggestions would be greatly appreciated!Thanks on advance!Polly
>
>Pauline Denham
>Museum Artist
>University of Nebraska State Museum
>[log in to unmask]
Pauline,
The one piece of advice I can give is to make a "save copy as" and open it
in Illustrator to then add any linear stuff or type.
John Nyquist
From [log in to unmask] Wed Nov 1 07:38:07 1995
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Date: Wed, 01 Nov 95 12:38:07 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: ELaine!!
To: [log in to unmask]
In-Reply-To: Message of Fri, 27 Oct 1995 16:18:51 -0500 from
<[log in to unmask]>
Sorry, but I deleted George's message. George, if you are out there,
can you repeat your comments about scanners for the sciart-l crowd?
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
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From: [log in to unmask] (Pauline Denham)
Subject: George's post!
Just remembered I can access the archives of this list and I'll repost
George Venable's message soon! Thanks anyway Elaine, sorry for the
trouble!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Wed Nov 1 08:14:30 1995
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From: Elaine Hodges <[log in to unmask]>
Subject: Re: Photoshop beetle
To: [log in to unmask]
In-Reply-To: Message of Wed, 1 Nov 1995 11:02:56 -0600 from
<[log in to unmask]>
I am glad to see information about how to use specific tools, like
PhotoShop or carbon dust pencils. I must confess that I am flattered
to be included in the august computer illustration crowd, but I do
not use PhotoShop yet. Am familiar with the basics of computer
illustration but still use pencils and pens - actually, having sprained
my drawing hand last week, I am not drawing anything for a while.
Elaine
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
From [log in to unmask] Wed Nov 1 11:30:19 1995
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To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: Photoshop beetle
>> Also is there
>>anyway that you can lighten the whole thing without lightening pixel by
>>pixel?Also...how do you do linear objects like hairs since it is pixelated?
>>ANy suggestions would be greatly appreciated!Thanks on advance!Polly
Hi Polly,
If you want to lighten up the piece, go to Image/Adjust/Levels. The short
answer is:
You will be given a control window where you will find a proxy of the image
with a slider bar below. On the slider bar is three controll points. To
lighten or darken an image without throwing away data (ie. without
increasing contrast), adjust only the center arrow. Click the "preview" box
to see the results on your image.
There is a more sophisticated approach using Image/Adjust/Curves, but it is
a more complicated explaination (and I am having a *week from hell*). I'll
get back to you with a more detailed answer next week, 'till then, this
should keep you happy.
Cheers,
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
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From: [log in to unmask] (Pauline Denham)
Subject: beetle
Well, I'm really happy with what I have so far on the beetle, I've learned
a lot doing this electronic carbon dust. BUT, I'm having a problem with
screen to print. WHAT I have on the screen is fine, but when I print it is
very dark-too dark. I'm in greyscale mode. I've tried changing to
bitmode-which actually looks REALLY cool(makes it look like stippling) but
is also really dark. Is this always a problem and I should just work
lighter in general, or is it a setting problem or something like
that??Thanks for the help!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Wed Nov 1 09:07:47 1995
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From: [log in to unmask] (Pauline Denham)
Subject: FRANK!
Hey Thanks Frank...worked like a charm!Do you know why that would work and
levels/variations/light-dark didn't?This is like learning how to paint
(with a mouse) al over again!I'm having a blast!Everyone should experiment
with this-its FUN!!Thanks again!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Wed Nov 1 13:31:28 1995
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re: beetle
Be carful Polly! If your screen is not set properly (use the Gamma utility that
comes with Photoshop) or your printer just prints dark, you may end up making it
look good on that laserprinter, and like junk on anything else. Thats' th whole
Idea behind using color profile software and calibration hardware. I personally
don't know enough to give good advice at this point. Frank may be right about
sliding the middle arrow of the Levels box around, but generally any change in
the gamma of a picture will chop gray levels out. I'll have to test his idea.
Britt
_______________________________________________________________________________
Well, I'm really happy with what I have so far on the beetle, I've learned
a lot doing this electronic carbon dust. BUT, I'm having a problem with
screen to print. WHAT I have on the screen is fine, but when I print it is
very dark-too dark. I'm in greyscale mode. I've tried changing to
bitmode-which actually looks REALLY cool(makes it look like stippling) but
is also really dark. Is this always a problem and I should just work
lighter in general, or is it a setting problem or something like
that??Thanks for the help!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
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From: [log in to unmask] (Pauline Denham)
To: Multiple recipients of list <[log in to unmask]>
Subject: beetle
From [log in to unmask] Wed Nov 1 10:47:29 1995
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From: [log in to unmask] (Pauline Denham)
Subject: WHAT?
OK Britt,
I'm clueless on this one! WHat is color profile software-and why would I
need it to print greyscale stuff?Oooh what is calibration hardware too?I'M
sure I should know this, but PLEASE tell me! I have a slight problem with
color prints, they are just slightly off from monitor colors, but until
now, it didn't really bother me. Any suggestions? I have to send it out on
campus to another building. But, I'm getting ready to start doing heavy
amounts of color print scanning and manipulation-Sphinx moths, so any
suggestions would be great!Didn't you and Doug have a discussion about that
last month?Thanks Britt, or anyone else!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Wed Nov 1 14:51:51 1995
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re: WHAT?
Admittedly Color is not a big consern with Greyscale, but greyscale is a
component of color, and can be as wacky as color can.
The simplest way to solve a color(or grayscal matching problem is to adjust your
monitor to look like the prints comming of your output device. This is OK if
you only print to one printer, but what to do if your ultimate print device is
a 4-color SWOP ink press on slick paper? Got one handy to test prints on?
This is were device profiles come in. Instead of changing your screen to match
the print, the idea is to change the data to match your screen when you go to
print. This is OK for printing locally to a device on you network or hooked
directly to your machine. Quark express offers this method (see print setup
box). The idea is to make the test print on your local printer look like the
final print off the 4-color press, and ultimatly if possible, make both look
like what is on your screen. Gives me the willies just thinking about it!
This is a tall order, and up until now solutions have been expensive. Cheaper
ones are becoming available, with the introduction of Apples Colorsync 2.0 as
the underlying communications and standards matching technology.
As I said I don't know enough about specific products to be recommending
solutions. I have found that if you use the Gamma utility and set it right, the
screen is resonably accurate to the 4-color printed piece when working with
color. Its the cheap answer.
Calibration hardware is usful for creating color scanner/monitor/printer
profiles if you can't buy them.
Have you checked to see if your B&W printer has any software utility controles
for adjusting density?
Britt
_______________________________________________________________________________
Subject: WHAT?
From: <[log in to unmask]> at Internet
Date: 11/1/95 5:44 PM
OK Britt,
I'm clueless on this one! WHat is color profile software-and why would I
need it to print greyscale stuff?Oooh what is calibration hardware too?I'M
sure I should know this, but PLEASE tell me! I have a slight problem with
color prints, they are just slightly off from monitor colors, but until
now, it didn't really bother me. Any suggestions? I have to send it out on
campus to another building. But, I'm getting ready to start doing heavy
amounts of color print scanning and manipulation-Sphinx moths, so any
suggestions would be great!Didn't you and Doug have a discussion about that
last month?Thanks Britt, or anyone else!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
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Version: 5.5 -- Copyright (c) 1991/92, Anastasios Kotsikonas
From: [log in to unmask] (Pauline Denham)
To: Multiple recipients of list <[log in to unmask]>
Subject: WHAT?
From [log in to unmask] Thu Nov 2 02:44:09 1995
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From: [log in to unmask] (Pauline Denham)
Subject: stuff
This URL gives you a comprehensive summary of intellectual property rights and
imaging.
http://www.vra.oberlin.edu/copyright.html
Topics include:
CCUMC Fair Use Guidelines for Educational Multimedia, Sept.21, 1995 DRAFT
IITF White Paper Sept.5, 1995
VRA Ad Hoc Committee: IPR Reports Macie Hall, Chair, Feb. 2, 1995, April 5, 1995
VRA Ad Hoc Committee: IPR Reports Macie Hall, Chair, Dec. 2, 1994, Jan. 4, 1995
ALA Public Hearings Statement Carol C. Henderson, Exec. Director, ALA,
Nov.4, 1994
VRA Ad Hoc Committee: IPR Reports Macie Hall, Chair, Oct. 21, 26, 1994
VRA Public Hearings Statement Sandra C.Walker, VRA President, September 22, 1994
VRA Fair Use Statement Sandra C. Walker, VRA President, September 21, 1994
Image Archives & Fair Use Virginia M.G.Hall, Christine Steiner, Christine Sundt
IFLA Copyright & Intellectual Property Rights Documents
I'm working on the monitor stuff!THANKS SOOOOO much for the advice
Britt!I'll let you know how it works!At this point I thought of just doing
everything much lighter, but you are right, if I take it somewhere else it
will be off!Hadn't thought of that!Thanks Britt!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Thu Nov 2 06:53:01 1995
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Date: Thu, 2 Nov 1995 11:53:01 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: FRANK!
>Hey Thanks Frank...worked like a charm!Do you know why that would work and
>levels/variations/light-dark didn't?<<
Hi Polly,
Yes. You would work with the Image/Adjust/Curves tool. But this is
infinitely more complex (and more so powerful) as you are working with an
infinite number of user defined points on a spline curve instead of three
points on a linear scale. Experiment to see what I mean.
BTW Britt's advise to calibrate your system is right. What printer are you
outputting to that is giving dark results? I found that laser printers
often give darker results than what is actually on the file.
In the meantime,if you have a specific printer that you will working on
mostly, you can send them a set of test files that is bracketed about 4
"stops" in each direction (also save the files to your harddisk). Be sure
to tell them to note on each print which version it is. Take the best
printed version and then call it up on on your computer. Make manual
adjustments to your monitor to match the image on the screen to the print.
This should put you in the ballpark for future uses. I plan on
re-calibrating my setup against the proofs that Julie Rinke will be sending
me from Allen Press, as everything we do of value passes through them.
Untill you have worked this out, be sure to save all exposure/color
variations that you are making to a sepaerate file (use the *save as* and
rename). This way you are not making any "destructive" changes to the
original file until you are sure what you have.
Regards,
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Thu Nov 2 05:24:22 1995
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From: [log in to unmask] (Pauline Denham)
Subject: Re: FRANK!
Frank and Britt,
I'm using a Radius PredisionColor monitor, and a Laserwriter Select 600
dpi printer. In the Photoshop manual it says that you can use either the
Radius calibration OR the Gamma calibration thru Photoshop, but not both.
Any clues how I can tell if I am already using the Radius calibration and
whether one is better than the other?I can se the difference on the color
screen after its been changed a bit, but not on the greytone stuff. I farm
out the color prints across campus. Should I calibrate with their printer?
AND do i have to do this EVERYTIME?This is like reading a different
language. Thanks for all your help!!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Mon Nov 2 05:36:50 1995
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Date: 2 Nov 1995 11:36:50 CST
From: Simpson <[log in to unmask]>
Reply-To: <[log in to unmask]>
To: [log in to unmask]
Subject: Polly's dust drawing
Hello everyone:
I have really been enjoying the discussion of Polly's dust drawing. I asked her
why she was doing it on the computer...why I should be doing it on the computer
and here is her reply:
<<Clara,
oh well, I wondered IF i could do it on a computer. Just for fun and
learning, but also I have a 600 dpi printer and our production stuff is
going computer downstairs so I thought I would see how one looked done on
the computer!! In photoshop, when I use bitmode, the output looks like
stippling, in greyscale mode the output looks like carbon dust. It looks
really cool, I actually don't have a need RIGHT now for electronic carbon
(not from my laser printer) is just a
cost-of-doing-business--it's not in the budget. Besides, can you really get an
idea of what you are doing from printing it on your laser printer?? I guess you
just told me you can.
(Footnote: I finally understand the difference between <R> and <r>)
Cheers!
-Clara
__________________________________________________________________
CLARA R. SIMPSON FIELD MUSEUM of NATURAL HISTORY
Illustrator Chicago, Illinois USA 60605
Department of Zoology Phone: (312) 922-9410 x620
available Wednesdays and Thursdays Fax: (312) 663-5397
email: [log in to unmask]
From [log in to unmask] Thu Nov 2 05:49:10 1995
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From: [log in to unmask] (Pauline Denham)
Subject: another calibration question!
Ok, I'm getting ready to start this big project on Sphinx moths. AND I was
wondering about the calibration stuff for that. I'm going to be scanning
some photos of moths in using Ophoto, then import into Photoshop. Correct
Color is going to be very important on this project. SO what I see on the
screen is NOT the right color that will be printed, right?So, do I
calibrate the screen with the printer at printing services so that when I
DO adjust the color and exposure in Photoshop when they print it , it will
be correct! DO I do that by the Gamma calibration or do I wing it by the
proofs? Does this mean I RECALIBRATE the monitor for MY printer for the
black and white stuff? I'm on the right track?ANy suggestions BEFORE I
start this project?Looks like I'm going to be talking to the printing
services a bit more on this one!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Thu Nov 2 12:52:17 1995
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Date: Thu, 2 Nov 1995 17:52:17 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: another calibration question!
>>So, do I
>calibrate the screen with the printer at printing services so that when I
>DO adjust the color and exposure in Photoshop when they print it , it will
>be correct! DO I do that by the Gamma calibration or do I wing it by the
>proofs? Does this mean I RECALIBRATE the monitor for MY printer for the
>black and white stuff? <<<<<
Hi Polly,
One more thing to ponder.
If you are working on a project that must *print* accurate color, you need
to work in CYMK mode rather than RGB mode. This is a direct analogue to the
printing process and will not allow you to create colors on the screen that
cannot be reproduced on paper. It is important that you either scan using
this mode, or change to it before doing any extensive editing.
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re: another calibration question!
Polly,
Remember to adjust your monitor's contrast and brightness (and possibly color
balance controls on some models), then TAPE THEM DOWN SO THEY CAN'T BE MOVED!
Read the Photoshop manual on how to set up the Gamma utility. Use it.
Ophoto may have some very useful color calibrating abilities for calibrating
your scanner for the final product you intend to use the scanner for (4-color
press work).
If you can get a printed color bar, like they use in photo labs, scan that in
and run some test on that, using the eyedropper in Photoshop to measure the
color and gray scale (hopefully the color chart defines the colors you are
scanning in some useful way).
Flatbed scanners are inferior for picking up highlight and shadow detail when
compared to Drum scanners that printers employ. If you are scanning drawings,
you may have a fair chance with the flatbed, since most artwork never really
hits the density levels that a photo may have. This is however, all the more
reason to do a test color separation.
________
Scan your original
Open in Photoshop
Set you CMYK color conversion preferences (you will need to get that info from
the printer for best results, let me know if you are lost on this)
Convert to CMYK mode
Add some flat color swatches (C, M, Y, K, R, G, B, and a grey scale to use as a
comparison for testing. This generally looks yucky, but it is the printed color
that counts.
If this is a big important color project, I would recommend you prepare a plate
of sample photos and place them in your final layout program, as Frank
recommended, with several photoshop adjustments to different versions of a
single picture (one with a wide range of color). Then send the file to a
printer and ask for a set of separations and a proof print (I like Matchprints,
but there are other brands of color proofing) If you know who the printer will
be, I would highly recommend they do it. You can do a small one (8x10) to hold
down costs.
Remember to record all the adjustments you did to each version of the file. you
will have to preform them on all your scans to make them print in a simialar
manner to your test file.
When the print comes back pick the best one (the file names should be printed by
the pictures so you can find the right one again.) Open the chosen file in
photoshop and preform any further adgustments to your Gamma utility to make the
screen match the Matchprint picture of choice. Guard your adjestment cheat
sheet with your life (some of the ajustments may be savable from with in
Photoshop and re-used later.
More than you wanted to Know, right?
[log in to unmask]
_______________________________________
Ok, I'm getting ready to start this big project on Sphinx moths. AND I was
wondering about the calibration stuff for that. ....
Pauline Denham
Museum Artist
University of Nebraska State Museum
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From: [log in to unmask] (Pauline Denham)
To: Multiple recipients of list <[log in to unmask]>
Subject: another calibration question!
From [log in to unmask] Thu Nov 2 13:22:03 1995
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re[2]: color calibration
Polly,
I would not want to have to recaliberate each time I planned to use a different
printer. If you will be using this on campus printer as the way to generate
original hard copy art for the offset printer, calibrate to that.
Other wise calibrate to the final output device at the offset printer (a 4-color
separation proof).
If you are printing directly to the on-campus printer for proofing purposes
only, you need a color correcting utility that uses a color profile of their
color printer to modify your picture data as it leaves your machine! This way
the print will approximate the results you would get if you were going to the 4-
color offset printer.
If someone else is processing your file to the on-campus printing device, they
should have that software.
Your Radius tools INIT should be in the control panels/ under the apple. Look
there to turn the color correcting on /off. I am not familiar with how it fixes
calibration. If you are comfortable with their approach, us it. Otherwise turn
it off and use Gamma.
In the Laserwriter utility that came with your laser printer, there is a print
density control, try lightening it up a bit. and print some test gray scales out
of several different drawing and paint programs, compare them to some standard
scale.
[log in to unmask]
_______________________________________________________________________________
Frank and Britt,
I'm using a Radius PredisionColor monitor, and a Laserwriter Select 600
dpi printer. In the Photoshop manual it says that you can use either the
Radius calibration OR the Gamma calibration thru Photoshop, but not both.
Any clues how I can tell if I am already using the Radius calibration and
whether one is better than the other?I can se the difference on the color
screen after its been changed a bit, but not on the greytone stuff. I farm
out the color prints across campus. Should I calibrate with their printer?
AND do i have to do this EVERYTIME?This is like reading a different
language. Thanks for all your help!!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
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From: [log in to unmask] (Pauline Denham)
To: Multiple recipients of list <[log in to unmask]>
Subject: Re: FRANK!
From [log in to unmask] Thu Nov 2 12:36:20 1995
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Date: Thu, 02 Nov 95 17:36:20 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: WHAT?
To: [log in to unmask]
In-Reply-To: Message of Thu, 2 Nov 1995 08:14:34 -0600 from
<[log in to unmask]>
Hey, Julie Rinke of Allen Press,
Perhaps you can help with these color/gray scale questions.
Julie did a wonderful job today in the Smithsonian Mus. of Nat. History's
Forum on new printing technologies, and she is on this sciart-list.
Thank you, Julie.
This topic of adjusting colors on a monitor to match printout or vice
versa either came up in today's forum or I read about it recently. If I
find the reference, I will pass it on.
Elaine
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
From [log in to unmask] Thu Nov 2 12:51:07 1995
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Date: Thu, 02 Nov 95 17:51:07 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: Polly's dust drawing
To: [log in to unmask]
In-Reply-To: Message of Thu, 2 Nov 1995 11:33:21 -0600 from
<[log in to unmask]>
At the forum on printing technology today at NMNH, George Venable
indicated that standard drawing techniques were dinosaurs and would
no longer be used in the future because printers dictated how we draw,
and printers would all want digital formats. All the printers on the
panel disagreed (we had reps from Allen Press, Reproduction, Inc., and
Smithsonian Press). They said printers always would be able to
use hand produced art, and in some cases prefer it. Julie referred
to customers who unsuccessfully tried repeatedly to submit illustrations
in some digital manner and were told to just send in the original board
art. Allen Press regularly strips in negatives of half tones with
pages otherwise produced electronically when they feel this provides the
best reproduction. They and Reproduction, Inc. (current Smithsonian
printer) operate both electronic and conventional printing systems side
by side.
At the 1996 mtg I plan to run a similar forum again, 1 hour only,
unfortunately. Today's was 2 hrs and could have gone on all day. I
couldn't get one scientist out of the room so we could go to lunch,
after 3 hrs. Would you like it to emphasize digital production,
meaning how to prepare for it? We did have today some advice for
conventional preparation, which was quite good but old news for most
of the artists - tho I think we all gleaned some info.
Elaine
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
From [log in to unmask] Thu Nov 2 13:00:27 1995
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Date: Thu, 02 Nov 95 18:00:27 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: another calibration question!
To: [log in to unmask]
In-Reply-To: Message of Thu, 2 Nov 1995 11:41:37 -0600 from
<[log in to unmask]>
When my husband proofs the color prints (of photos, usually) for his
series of books on moths, he stands by Lanman Progressive's color press
with moths in hand, and compares the color of the moth with what comes
off the press. Now that's accurate color adjustment! They adjust the
ink as he stands there.
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
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Date: Thu, 02 Nov 95 18:03:04 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: another calibration question!
To: [log in to unmask]
In-Reply-To: Message of Thu, 2 Nov 1995 16:41:39 -0600 from <[log in to unmask]>
This point about CMYK mode made by Frank was stressed by the panel
at today's forum also.
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
From [log in to unmask] Fri Nov 3 03:32:21 1995
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From: [log in to unmask] (Pauline Denham)
Subject: Calibrating
Thanks everyone!!
*I tried the density setting on the printer, but then it doesn't print true
black.
*I tried to locate the INIT Radius tools...can't find them ANYWHERE, read
the whole manual again and read the radiuswear software guide-no mention of
it anywhere.
* I found out on my system software, I have Colorsync and am using it. Ok
I'm a dork....I didn't know about it. :)
* Read about the Gamma settings in Photoshop, but am feeling like a total idiot!
I think this make take a bit more time than I had imagined. THANKS for the
help everyone!!!
*Elaine, did anyone take notes on that stuff during the forum?Anyone want
to post them?:)
*Another forum on this at GNSI would be GREAT!
Anymore info that you have, FEEL FREE to send my way!---Polly :)
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Fri Nov 3 07:39:11 1995
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Date: Fri, 03 Nov 1995 12:39:11 -0500
From: [log in to unmask] (Jaynie Martz)
Subject: Re: Calibrating
To: [log in to unmask]
Message-Id: <[log in to unmask]>
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>Thanks everyone!!
>
>*I tried the density setting on the printer, but then it doesn't print true
>black.
>
>*I tried to locate the INIT Radius tools...can't find them ANYWHERE, read
>the whole manual again and read the radiuswear software guide-no mention of
>it anywhere.
>
>* I found out on my system software, I have Colorsync and am using it. Ok
>I'm a dork....I didn't know about it. :)
>
>* Read about the Gamma settings in Photoshop, but am feeling like a total
>idiot!
>I think this make take a bit more time than I had imagined. THANKS for the
>help everyone!!!
not to worry Polly....there is no way to 'speed-learn' PS...its very
complex and technical....Say kind things to yourself and take it slow...
No matter how ferocious the time constraints and the learning
curve, I have found there is no point in going faster than I can absorb
...that ends up being a waste of time. :^) Lists are the best source
of instantaneous help I have found... real people problem-solving in
real time at real jobs/tasks.
Cheers....Jaynie
Jaynie Martz
[log in to unmask]
Continuous Electron Beam Accelerator Facility, Newport News, VA
http://www.cebaf.gov
From [log in to unmask] Fri Nov 3 08:58:48 1995
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Date: Fri, 3 Nov 1995 13:58:48 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: another calibration question!
>>>>> TAPE THEM DOWN SO THEY CAN'T BE MOVED!<<<<<<<<<<
I always found that taping the computer operators down is much more
effective <BG>.
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Fri Nov 3 09:03:50 1995
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Date: Fri, 3 Nov 1995 14:03:50 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: another calibration question!
Elaine,
>>>>>They adjust the ink as he stands there.<<<<<<
Perhaps he could just adjust the moths (?).<g>
Cheers,
Frank <who hasn't gotten much sleep of late>
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Fri Nov 3 09:09:21 1995
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Date: Fri, 3 Nov 1995 14:09:21 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: Polly's dust drawing
>>>>Would you like it to emphasize digital production,<<<<
Elaine,
I think yes. Although the traditional methods are certainly the foundation
for all that we are now digitaly achieving, there is plenty documentation
(although as much mis-understanding) on these fundamentals. If we only have
an hour, I think that *preping for the digital print* would be of more
value.
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Fri Nov 3 09:43:01 1995
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From: [log in to unmask] (Pauline Denham)
Subject: Re: Calibrating
Jaynie and ELaine,
Thanks for the kind words!!!I'm glad I'm not the ONLY person who is having
fits with this. Gosh, I didn't even know it was a problem. Guess I really
opened a can of worms!BUT, I'm sure learning a WHOLE LOT!!
Taping the computer down?Taping the monitor settings down!?Gosh, more like
tape me down to my chair so I don't go thru the roof!Heeee ;)
I think if nothing else we should all be aware that calibration might be a
problem. I didn't even think about it before. "Preparing for digital
production" is something that isn't as intutive as the painting/drawing on
the computer. I mean, once you get the jist of the software, its fun!!But,
this calibration/technical stuff makes me want to run and hide or take a
long weekend!!A session on this stuff would be GREAT, particularly for
people that are just starting to use this technology, so they can be
prepared!Get the hardware and software up front!
Thanks for all the help!I'm going to meet with the guys from Printing
services here and talk to them about it and do some test run prints!!!GREAT
idea!I'll let you know if I learn something new and exciting that you guys
can use!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Mon Nov 6 06:44:43 1995
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Date: Mon, 6 Nov 1995 11:44:43 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: Calibrating
>I think if nothing else we should all be aware that calibration might be a
>problem. I didn't even think about it before. "Preparing for digital
>production" is something that isn't as intutive as the painting/drawing on
>the computer.
Hi Polly,
Things may well be going to get a little easier in the upcoming months. I
just read that the Mac folks have released a updated software that will
attempt to standardize all this callibration stuff. I understand that the
issues of compatibility that were raised with the first version have been
addressed. I'll look into this further (I was running ragged when I first
saw the article), including locations from which it can be downloaded for
free.
Cheers,
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Mon Nov 6 04:58:01 1995
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To: [log in to unmask]
From: [log in to unmask] (Pauline Denham)
Subject: Pantone Color survival bundle?
I found a bundle that might be useful, but I don't know anything about it!
PrePress Direct has an offer for $259.00 which includes:
*Pantone Color drive software
*Pantone Designer's guide
*Pantone Process Guide
*Pantone Solid to Process Guide
Anyone used these?Anyone have an opinion?Thanks, Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Mon Nov 6 01:17:02 1995
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Date: Mon, 06 Nov 1995 09:17:02 -0800
From: [log in to unmask]
To: [log in to unmask]
Subject: Should I buy a Macintosh?
This is my first mailing to a ListServ so I hope it goes
well. I just subscribed to SciArt-L a week
or so ago and have found the calibration discussion
very interesting. I am currently looking for
a Mac system for graphics. For the last nine or ten
years I've used a DOS PC for graphics. The
computer I currently use is quite powerful and
capable of doing most anything I need, however
the programs and drivers, etc., frequently cause
conflicts that bring everything to a halt. I will no
longer be getting support from our computer group to
resolve these problems and although I've
learned more about my autoexec.bat and config.sys
files than I ever thought possible I am feeling
overwhelmed trying to keep this thing running
smoothly. I would like some hints on what to look
for, or look out for, in a Macintosh System. I'm
considering a 7500/100 PowerMac. Also is
Illustrator better than Freehand? Any reason to have
both? I greatly appreciate hearing any of
your ideas. You can reply to the list if you think this is
of interest to anyone or reply to my E-mail
address: [log in to unmask]
Thanks so much.
Linda Heath Clark
Biological Scientific Illustrator
Cal/EPA Department of Pesticide Regulation
Sacramento, CA
From [log in to unmask] Mon Nov 6 11:23:57 1995
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To: [log in to unmask]
From: [log in to unmask] (Pauline Denham)
Subject: Student copyright law?
And NOW for something completely different-Ok, I have another question!
Copyright!
An undergraduate student works on a project for class credit-drawing
specimens. This student does NOT get paid for this. Who owns the copyright?
Does the Professor of the class or the student. The specimens are owned by
the University.The drawings or copies of the drawings are to be used as a
part of collection data. Does the student have ANY rights to this
artwork?No money has exchanged hands!!There is NO contract of any sort!
Thanks in advance!Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Wed Nov 8 02:25:29 1995
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Date: Wed, 8 Nov 1995 08:25:29 -0600
To: [log in to unmask]
From: [log in to unmask] (H. Adam Steinberg)
Subject: Re: Student copyright law?
>An undergraduate student works on a project for class credit-drawing
>specimens. This student does NOT get paid for this. Who owns the copyright?
>Does the Professor of the class or the student. The specimens are owned by
>the University.The drawings or copies of the drawings are to be used as a
>part of collection data. Does the student have ANY rights to this
>artwork?No money has exchanged hands!!There is NO contract of any sort!
I did a large number of these projects when I was an undergraduate, I
always did the work for credits, just like the above student. Drawings for
credit instead of drawings for money, both sides benefited greatly.
If you wanted to use their work, to publish, you would be wise to include
them in the process. They are going to be delighted and enthusiastic,
wanting to help you even more, just for the experience (or more credits).
If you exclude them you risk the possibility of all kinds of negative
problems and hardships, all for a few lousy bucks the student probably
won't even think about if you were to include them in the project...
2 cents,
Adam
_______________________________________________________________________
H. Adam Steinberg Media Lab Artist University of Wisconsin
------------------------------------------------------------------
[log in to unmask] 608/262-0622 420 Henry Mall Madison, WI 53706
_________________________________________________________________________
;^), isn't the internet just like a dream? ya' gotta' love it! (^:
_______________________________________________________________________
From [log in to unmask] Tue Nov 7 03:20:58 1995
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Date: Tue, 7 Nov 95 09:20:58 CST
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To: [log in to unmask]
From: [log in to unmask] (Pauline Denham)
Subject: clarification-copyright
Well Adam,
I totally agree, unfortunately the student came to me for advice about the
situation and they are half way through this project. I have nothing to do
with the project, I was just asked advice on copyright law and protection
of the artwork.The student doesn't get paid anything and the artwork is
done on a volunteer basis for this class. The student would at least like
to use this artwork as a part of portfolio, but has to ASK to even
photocopy them. The student wants them to be used, but is now afraid that
she won't be given credit for the drawings when they are published...IF
they are ever published.
I did a bunch of work like this as an undergrad and grad student.
Fortunately I was working with some really nice people and I never worried
about stuff like that. I enjoyed doing it!!But now, I think we as
Scientific Illustrators need to be aware of the legal aspect of our
profession, AND teach people coming up through the ranks what to be aware
of and what their responsibilities as an artist are. I would hate for
someone to make a mistake because they didn't know their rights!!!
I suggested reading the GRaphic Artist Guide to Pricing and Ethical
Guidelines (excellent copyright law introduction-very intensive discussion)
and GNSI Handbook. I don't think THIS situation is addressed in either
book.
What do you do to protect yourself and your artwork if you are already in
the situation!?The question still remains unanswered- WHO owns the
copyrights to the artwork?Thanks Adam and I'll pass the email along to the
student, Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Tue Nov 7 02:16:05 1995
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Date: Tue, 07 Nov 95 08:16:05 CST
From: [log in to unmask]
Subject: Re: Student copyright law?
To: [log in to unmask]
In-Reply-To: <v01530513acc3f4f95821@[129.93.14.33]>
Message-Id: <951107.082551.CST.AGCM029@UNLVM>
The student owns the copyright. I assume they are not employed by the
university nor have they signed a work-for-hire agreement. As far as I
understand copyright, the creator always owns the copyright to a creation
provided the creation was not done as part of permanent paid employment or
the creator hasn't signed those awful work-for-hire contracts. You can
search the WWW for copyright and you will find all kinds of information
pertaining to this topic. Happy hunting.
Lana Koepke Johnson
Illustrator - ICCS UNL, Lincoln, NE, USA
(402) 472-3025
INTERNET [log in to unmask]
From [log in to unmask] Tue Nov 7 03:54:06 1995
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To: <[log in to unmask]>
From: [log in to unmask] (Doug Yanega)
Subject: Re: Student copyright law?
>The student owns the copyright. I assume they are not employed by the
>university nor have they signed a work-for-hire agreement. As far as I
>understand copyright, the creator always owns the copyright to a creation
>provided the creation was not done as part of permanent paid employment or
>the creator hasn't signed those awful work-for-hire contracts. You can
>search the WWW for copyright and you will find all kinds of information
>pertaining to this topic. Happy hunting.
>
>Lana Koepke Johnson
This was my understanding, as well, when I researched the topic of
copyrights for electronic media - the creator of any work has copyright
until they formally waive or grant permission, as the above contracts would
do. It turns out, for instance, that every time you forward a piece of
e-mail from someone without their explicit permission, you are in violation
of their copyright privileges (and such cases have already been litigated
in the US). 99.99% of the time this doesn't cause a problem, but it's still
something to be aware of.
Doug Yanega Illinois Natural History Survey, 607 E. Peabody Dr.
Champaign, IL 61820 USA phone (217) 244-6817, fax (217) 333-4949
affiliate, Univ. of Illinois Urbana-Champaign, Dept. of Entomology
"There are some enterprises in which a careful disorderliness
is the true method" - Herman Melville, Moby Dick, Chap. 82
From [log in to unmask] Tue Nov 7 06:31:47 1995
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From: [log in to unmask] (John Nyquist)
Subject: copyright
To: [log in to unmask]
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For any of you who are interested (I hope that will be everyone), the AMI
has just published an excellent, easy to understand, up to date booklet on
copyright. I believe it is $8.00. AMI's phone number is 404-350-7900 or
they can be reached via e-mail at:
[log in to unmask]
John Nyquist
From [log in to unmask] Sun Nov 8 03:05:01 1995
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Date: 8 Nov 1995 09:05:01 CST
From: Simpson <[log in to unmask]>
Reply-To: <[log in to unmask]>
To: [log in to unmask]
Subject: Re: Polly's dust drawing
Hi Elaine and everyone:
Elaine, I agree with Frank about digital printing..
Frank: maybe we should try to tape our <clientelle> down...
CLARA R.SIMPSON: [log in to unmask]
From [log in to unmask] Thu Nov 9 05:46:44 1995
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To: <[log in to unmask]>
From: [log in to unmask] (Silvia Troyo)
Dear Elaine, I hope you are doing fine. I have been reading all this
discussions about calibration, the advantages of computer illustrations
and more and I find them very interesting. It is very consoling (does this
word exist in English?) to see that everybody has the same problems and
questions. I want to ask if you ever received the drawings I sent you. We
are eagerly expecting your opinion!!
Greetings, Silvia.
Silvia Troyo
Ilustradora cientifica - Diseno grafico
INBio
tel 244-06-90
fax 244-28-16
email [log in to unmask]
From [log in to unmask] Fri Nov 10 12:47:34 1995
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Date: Fri, 10 Nov 1995 17:47:34 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: Polly's dust drawing
>Frank: maybe we should try to tape our <clientelle> down...<
Hi Clara,
Agreed! Duct tape works best. Handcuffs are better.<g>
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Mon Nov 13 05:20:30 1995
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Date: Mon, 13 Nov 95 10:20:30 EST
From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re: Pantone Color survival bundle?
We have all these in the office, though I havn't had a chance to use the Color
driver software. The Books are very useful.
There is a $1100 color calibrator that looks real interesting, it will use the
Pantone software.
I just returned from a meeting were a local pre-press house showed me how to
correct Photoshop files for 4-color offset press work just by using the info.
numbers palette and the curves dialog box. It looks like it might work best if
you can scan a standard color bar with your art. You don't need to worry about
your monitor if you follow the numbers. More later...
I hope I can get them to do a workshop at next summers meeting.
I may be off the air a few days; depends on how long the goverment is shut down.
[log in to unmask]
_______________________________________________________________________________
Subject: Pantone Color survival bundle?
From: <[log in to unmask]> at Internet
Date: 11/6/95 11:52 AM
I found a bundle that might be useful, but I don't know anything about it!
PrePress Direct has an offer for $259.00 which includes:
*Pantone Color drive software
*Pantone Designer's guide
*Pantone Process Guide
*Pantone Solid to Process Guide
Anyone used these?Anyone have an opinion?Thanks, Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
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Version: 5.5 -- Copyright (c) 1991/92, Anastasios Kotsikonas
From: [log in to unmask] (Pauline Denham)
To: Multiple recipients of list <[log in to unmask]>
Subject: Pantone Color survival bundle?
From [log in to unmask] Mon Nov 13 05:30:00 1995
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Date: Mon, 13 Nov 95 10:30:00 EST
From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re[2]: Calibrating
That is ColorSync 2.0. It installs with QuickDraw GX (screen and print
rendering technology from Apple). The New Laserwriter 8.3 is cool! If you have
QuickDraw GX installed, it offers color calibration abilities (But stay away
from those QuickDraw GX fonts). Even if you don't install QuickDraw GX (I
havn't), there are some PrintMonitor extentions for LW 8.3 that let you set up
drg-and-drop printer icons right on your desktop! I don't know if ColorSync 2.0
can work with out QuickDraw GX. More Later...
Britt_Griswold@ccmail,gsfc.nasa.gov
_______________________________________________________________________________
Subject: Re: Calibrating
From: <[log in to unmask]> at Internet
Date: 11/6/95 10:36 AM
>I think if nothing else we should all be aware that calibration might be a
>problem. I didn't even think about it before. "Preparing for digital
>production" is something that isn't as intutive as the painting/drawing on
>the computer.
Hi Polly,
Things may well be going to get a little easier in the upcoming months. I
just read that the Mac folks have released a updated software that will
attempt to standardize all this callibration stuff.
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
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Version: 5.5 -- Copyright (c) 1991/92, Anastasios Kotsikonas
From: [log in to unmask] (Frank Ippolito)
To: Multiple recipients of list <[log in to unmask]>
Subject: Re: Calibrating
From [log in to unmask] Tue Nov 14 09:29:49 1995
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Date: Tue, 14 Nov 1995 14:29:49 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Amazing Mary Parrish
Hi Mary,
Just wanted to thank you again for giving so much of you time and energy to
helping to make the fall workshop a success. Aside from tracking down those
great Vemeer tickets, your willingness to babysit the group as per the new
(suprise!) guidelines made the difference between a great class and no
class at all.I am sure that this years summer meetings will come together
due in no small part to your efforts. Thanks.
BTW I wound up spending my Monday in the Homer exibit. I did revisit the
Vemeer line and saw that it was as crowded as ever. There is no need for
tickets for Homer during the weekdays. Homer is a great show as well, and
worth seeing. Very inclusive. Scattered throughout the many halls are quite
a number of wonderful paintings. Some great gouache works as well! Sorry we
didn't get a chance to link up but the next thing I knew it was 5:00 and
everything was closing. If you want assistance with that install, drop me a
line. Mabey I can give you a *voice* call.
Thanks again,
Frank
PS I am wondering if you are actually even at work. I hope all this stuff
blows over out at the House, but I haven't heard yet.
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Tue Nov 14 09:29:56 1995
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Date: Tue, 14 Nov 1995 14:29:56 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re[2]: Calibrating
>That is ColorSync 2.0. <<
Hi Britt,
Indeed it is. I saw the mention in passing and haven't been able to track
down where since.I have to check if my current OS came with 2.0 or not. If
not, I am told there are place out there in the ether to download it
freely.
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Tue Nov 14 11:22:43 1995
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Date: Tue, 14 Nov 1995 16:22:43 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Digital Fly
Elaine,
You may remember a beautifully rendered 3D image of a fly that I used as a
slide in my talk on Scientific Illustration:Past, Present, and Future
Shock. I obtained that image from a magazine_ad for a 3D product but was
unaware of the original application. This month's Computer Graphics World
(CGW) [November issue- has a cover story on Solids modeling] includes a
detailed step_by_step article on developing this 3D model by its creator,
E. David Dunston ([log in to unmask]) on page #66. I would be very
interested in hearing your reaction to the process described. It is clear
that the final goal here was not scientific accuracy, however the end
result is a *very* impressive image. I am wondering just how the added
burden of scientific accuracy would impact the process. If you get a
chance, check it out and let me know your reaction.
Regards,
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Wed Nov 15 08:53:25 1995
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Date: Wed, 15 Nov 1995 16:53:25 -0800 (PST)
From: Maureen M Carey <[log in to unmask]>
Subject: Internship - photo CD
To: [log in to unmask]
Message-Id: <[log in to unmask]>
Mime-Version: 1.0
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Hi everyone,
I'm hoping to put together a photo CD of alumni work for my Science
Illustration internship. I've started gathering information about photo
CD's but I'm having trouble finding out specific information about how I'd
include text and index the images and if it's possible to protect the
images electronically. Any help would be appreciated.
Thanks in advance. Maureen Carey
From [log in to unmask] Mon Nov 16 10:09:30 1995
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Date: 16 Nov 1995 16:09:30 CST
From: Simpson <[log in to unmask]>
Reply-To: <[log in to unmask]>
To: [log in to unmask]
Subject: addressbooks
Hello everyone:
Who has experience with electronic addressbooks that can talk to your Mac?? I
have a little stand-alone one and I think the battery is dead and maybe it has
forgotten everything...I want something I can backup onto the Mac and preferably
enter data on the Mac and then transfer it to the little one. How about getting
a Hypercard stack onto one? ..Or should I just go back to paper?
-Clara
__________________________________________________________________
CLARA R.SIMPSON FIELD MUSEUM
Illustrator Chicago, Illinois USA 60605
Department of Zoology Phone: (312) 922-9410 x620
available Wednesdays and Thursdays Fax: (312) 663-5397
email: [log in to unmask]
From [log in to unmask] Fri Nov 17 04:28:24 1995
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re: addressbooks
Paper, Its the next big trend ;>)
Britt
_______________________________________________________________________________
Hello everyone:
Who has experience with electronic addressbooks that can talk to your Mac?? I
have a little stand-alone one and I think the battery is dead and maybe it has
forgotten everything...I want something I can backup onto the Mac and preferably
enter data on the Mac and then transfer it to the little one. How about getting
a Hypercard stack onto one? ..Or should I just go back to paper?
-Clara
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From: Simpson <[log in to unmask]>
To: Multiple recipients of list <[log in to unmask]>
Subject: addressbooks
From [log in to unmask] Fri Nov 17 11:26:34 1995
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Date: Fri, 17 Nov 1995 16:26:34 -0500
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From: [log in to unmask] (Frank Ippolito)
Subject: Re: addressbooks
>>maybe it has forgotten everything...<<
This happens to me all the time. It'll probably get worse when I get an
addressbook. <G>
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Fri Nov 17 11:28:09 1995
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Date: Fri, 17 Nov 1995 16:28:09 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: addressbooks
>>Paper, Its the next big trend ;>)<<
Yes. Just hope it doesn't come in the pink variety. How are things faring
down there?
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Mon Nov 20 07:43:39 1995
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Date: Mon, 20 Nov 95 12:43:39 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: Amazing Mary Parrish
To: [log in to unmask]
In-Reply-To: Message of Tue, 14 Nov 1995 12:51:18 -0600 from <[log in to unmask]>
Glad to hear your workshop was successful, Frank, as I knew it would be.
You were lucky it was that weekend and not this past one.
And, I agree: Mary Parrish is a most competent young lady. Our mtg
next year will be very successful in large part due to her organizational
abilities.
Are you turning red, Mary?
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
From [log in to unmask] Mon Nov 20 07:49:30 1995
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Date: Mon, 20 Nov 95 12:49:30 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: Digital Fly
To: [log in to unmask]
In-Reply-To: Message of Tue, 14 Nov 1995 14:33:50 -0600 from <[log in to unmask]>
Frank and others, maybe all of us can check out this article. I will
try to find it. It would be useful as a reference for the new chapters
in the revision of the Guild Handbook.
Elaine
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
From [log in to unmask] Mon Nov 20 11:29:52 1995
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Date: Mon, 20 Nov 1995 16:29:52 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: Amazing Mary Parrish
>You were lucky it was that weekend and not this past one.
Amen. Actually I thought I might get zapped on the way home. I stayed in DC
till Monday evening and took the late train that was schedules to pull into
NY just after midnight. About two hours out of Penn Station, it occured to
me that perhaps Amtrack would grind to a halt somewhere in the swamps of
New Jersey. . . . .
> Are you turning red, Mary?
LOL. I think I can *hear* Mary blushing. Sorry girl, but somebody had to
do it <BG>.
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Mon Nov 20 07:02:28 1995
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: <[log in to unmask]>
Subject: Re[2]: addressbooks
I was in all week during the government shutdown, the Contractors had funding
for the week. But if they had not agreed to reopen, as they did, I would have
been with out a pay check starting today.
Britt_Griswold.ccmail.gsfc.nasa.gov
_______________________________________________________________________________
Subject: Re: addressbooks
From: <[log in to unmask]> at Internet
Date: 11/17/95 3:44 PM
>>Paper, Its the next big trend ;>)<<
Yes. Just hope it doesn't come in the pink variety. How are things faring
down there?
Frank Ippolito [log in to unmask]
American Museum of Natural History
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From: [log in to unmask] (Frank Ippolito)
To: Multiple recipients of list <[log in to unmask]>
Subject: Re: addressbooks
From [log in to unmask] Mon Nov 20 10:56:30 1995
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To: [log in to unmask]
From: [log in to unmask] (Pauline Denham)
Subject: BRITT!!
Well Britt,
Sorry to say, but seems like you were "NON ESSENTIAL" ;o Just Kidding!!
Glad to have you up and running again!!!You missed a few posts (sent back
to me undeliverable)-I'll send them to you ASAP!!
Ta ta for now,
Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
From [log in to unmask] Tue Nov 21 04:22:08 1995
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To: [log in to unmask]
From: [log in to unmask]
Organization: College of Vet. Med
Date: Tue, 21 Nov 1995 9:22:08 EST
Subject: Presentation for 96Conference
Priority: normal
X-Mailer: Pegasus Mail/Mac v2.0.5
Message-Id: <[log in to unmask]>
Dear GNSI on-line-members,
I have missed the Call for presentation deadline.
Is there an inch of opportunity for me to submitt a presentation proposal?
I would be interested in displaying the numerous computer animations that
I create for educational purposes in the world of Veterinary Medicine.
Please let me know if I can send in the appropriate info for consideration.
Allison Lucas Wright, MS, CMI
Medical Illustrator
Educational Resources
College of Veterinary Medicine
University of Georgia
Athens, GA
706/542-5710
[log in to unmask]
From [log in to unmask] Tue Nov 21 08:22:23 1995
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Date: Tue, 21 Nov 1995 13:22:23 -0500
To: <[log in to unmask]>
From: [log in to unmask] (Frank Ippolito)
Subject: Re: Digital Fly
>Frank and others, maybe all of us can check out this article. I will
>try to find it. It would be useful as a reference for the new chapters
>in the revision of the Guild Handbook.
Elaine,
Yes. I'll be in touch with the author via E-mail. Let me know what you
think of the process he described.
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Tue Nov 21 08:54:46 1995
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Date: Tue, 21 Nov 1995 13:54:46 -0500
To: [log in to unmask]
From: [log in to unmask] (Frank Ippolito)
Subject: PC & Mac
Cc: [log in to unmask]
>Frank, Thankyou for replying to my Macintosh query.
>It is very interesting to me that you use a PC and a
>Mac. This is probably what I will end up doing. Do you
>have many problems moving files back and forth
>between the two platforms?
Much fewer than you'd expect. I did a bit of trail and error in the
begining, and found a few approaches that work. I have a program called
Mac-Into-Dos for Windows. It allows me to import floppies for the Mac side
of things. I can translate files as they are onloaded into my PC. Also I
can format floppies as a Mac, and translate/save PC files so that I can
import them into the Mac. The newer Mac_into_Dos_Plusalso allows the use of
larger removable media such as Syquest disks in the same way. In addition,
I have DeBableizer Lite on the Mac. It is a graphic file translation
program that works quite well. It allows inporting from PC, Amiga , and
other platforms.Between everything, I have ne problems moving files around.
>I'm currently using a 486 w/32 meg of RAM and 2 gig
>hard drive. I have finally come to the conclusion that
>alot of my problems are due to my video card and
>driver.which apparently is conflicting with some of my
>graphic programs causing a variety of general
>protection faults. I think when I can replace the video
>card and cut back to just the very basic programs I
>really need I might have more luck keeping this thing
>up and running.
This is no suprise. When you wrote to say you have had problems with GPFs,
the first thing I thought of was video drivers. Many companies have newer
versions of their drivers online, that are optomized for use with newer
programs.Check to see if you have the most recent ones. Some companies just
can't seem to get it right. I use the Graphics User Groups found on
CompuServe to feild discusions on this issues with folks that are using the
programs I plan on working with. Quite simply, some video cards are to be
avioded (BTW which one do you work with?) What speed 486 are you working
with?
>The main graphics program I use is Corel Draw
>4.03b. I also have Micrographx Designer4.0 although
>I use it only rarely to make changes to old
>Micrographx files. I also use PhotoStyler 2.0 and
>Micrographx Picture Publisher 5.0. When I learn it
>well enough I'll just use Picture Publisher for photo
>and bitmap editing. There's a fair number of other
>programs on the machine but those are the one's I
>use.
The only experience I have with any of those was a short stint with Corel.
I didn't like it as much as Illustrator, and I had some problems in the
system that may have been the result of the Corel install (corrupted
files). I uninstalled it and haven't looked back. How do you like Picture
Publisher? I have used Photoshop for all my raster image editing.
>Right now switching to a Mac sounds real good to
>me. I like the idea of not having to deal with the inner
>workings of the operating system. I liked this PC ok
>when I was getting computer support, but now that I'm
>on my own as far as keeping it running, I need
>something simpler. Mostly I do graphs, simple
>graphics, covers, slides, and maps for CA State
>government publications. They are willing to buy me
>a Macintosh here just so I won't require any computer
>support. I'll probably end up keeping both systems on
>my desk and depending on which one is operational
>on any given day that will be the one I use.
>What programs have you found to be useful on your
>PC and on the Macintosh? I'd be really interested in
>any software infomation too.
If you keep your PC running, one program that you should look into is
trueSpace for 3D graphics and animation. The interface is very intuitaive
and I have found it to be a real boon for developing complex 3D images
quickly. I have Strata Studio Pro on the Mac and the interface is much more
complex. I haven't gotten below the surface on it because of the interface.
Too bad because it seems VERY powerful. As I mentioned, I work with both
Adobe products for vector and bitmapped images. I have these programs for
both PC and Mac and see no difference between practical apllications on
either. Good luck on your upgrades. Let us know how it all turns out.
I'll be forwarding this message to the listserv so that others can get in
on the conversation.
Regards,
Frank
Frank Ippolito [log in to unmask]
American Museum of Natural History
From [log in to unmask] Tue Nov 21 08:56:04 1995
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Date: Tue, 21 Nov 95 13:56:04 EST
From: Elaine Hodges <[log in to unmask]>
Subject: Re: Presentation for 96Conference
To: "Allison, especially" <[log in to unmask]>
In-Reply-To: Message of Tue, 21 Nov 1995 08:23:05 -0600 from
<[log in to unmask]>
Allison & others:
Does no good to ask the listserv about 1996 mtg rules. Taina Litwak
is in charge of program and is not on e-mail. Call her at 301-977-5203,
fax: 301-896-0669. I am sure it is too late to get into exhibit, but
that person is Marilyn Schotte, 202-357-4993. She also is not on this
listserv as far as I know.
Good luck!
Elaine
Elaine R.S. Hodges, Scientific Illustrator
MRC 169, National Museum of Natural History
Smithsonian Institution
Washington, D.C. 20560
Phone: 202-357-2128, Fax: 202-786-2894
[log in to unmask]
From [log in to unmask] Wed Nov 22 04:11:37 1995
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Date: Wed, 22 Nov 95 09:11:37 EST
From: Molly <[log in to unmask]>
Subject: Presentation for 96Conference
In-Reply-To: note of 11/21/95 10:20
To: Messages <[log in to unmask]>
Allison, I printed your messege and gave it to Taina yesterday.
Also, I just checked with Marilyn, submissions for the exhibit are
no longer being accepted. Deadline has past.
From [log in to unmask] Wed Nov 22 04:36:01 1995
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From: [log in to unmask] (Pauline Denham)
Subject: GOBBLE!
All SciArt-L subscribers,
Happy Turkey Day---eat lots of food,gobble, gobble!!!!!
I'll be back on line on Monday!!
Ta ta for now! Polly
Pauline Denham
Museum Artist
University of Nebraska State Museum
[log in to unmask]
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: [log in to unmask], [log in to unmask],
[log in to unmask]
Subject: RE: illustrator wish list
Interesting info on Illustrator 6.0 (spring 96)
Britt_Griswold
_______________________________________________________________________________
Subject: RE: illustrator wish list
From: [log in to unmask] at Internet
Date: 11/20/95 8:25 PM
At 4:29 AM 11/18/95, pascal wrote:
>
>I've heard about a lot of the new stuff (esp. TIFF-support), but here are
>the ones i still haven't heard about. would you mind giving a yea or nay on
>each of these? well, even if not, here:
>
>-RGB color space
You will be able to import or drag & drop RGB images files. You will also
be able to rasterize art within Illustrator and it can become RGB if you
choose.
>-commands palette (i heard quickeys might get killed off by cesoftware :( )
There is a commands palette. You can scale, rotate, resize and reposition
with it.
>-photoshop-style palettes
Nope. Not yet. Be patient for this one, you'll get it eventually.
>-gradients along path? (i know about patterns, very cool)
Not gradients per se. But you could use path patterns to do this.
>-one-key access to tools (a la photoshop e.g. b=brush, q=quick mask, etc.)
Not in 6.0.
>-eraser support (wacom)
I don't know, I'll have to ask about this.
>-html export filter (i don't care for this, actually; just want to see if
>y'all are putting one in, since every other product on the planet is doing
>it!)
I don't think so.
>-pagemaker-style control palette (with proxy?) (i actually prefer PM's to
>quark's!)
Yep. It has a proxy. See comments about control palette above.
>-some cool new version of venus
Ah, yes. The ever changing venus. You bet!
>-lasso selection tool
Well, yes but we call it the knife tool. The knife tool works in two ways.
One cuts through shapes. The other acts like a lasso selection tool and
copies and cuts what you've surrounded with the knife.
>-keeping geneva in palettes? (i prefer this to photoshop's bulky chicago)
New font. I think its called Espy or something like that. Sorry, I'm a
little braindead today. Its Monday.
>-image previews saved as icon or thumbnail, a la photoshop (thumbnails
>particularly)
Yes. You have these now.
Here's what else you're gonna get:
the use of Photoshop plug in filters in Illustrator. This means any plug in
that's not built in to Photoshop can be used. KPT, Xaos, Gallery Effects,
any Photoshop plug in can be used.
You can import the following formats:
TIFF, EPS, PDF, PICT, Photoshop 2.5 or greater, all formats supported by
Photoshop-compatible format filters
You can drag and drop between Photoshop 3.04 (or greater) and Illustrator
6. Also, between Illustrator 6 files.
1-bit TIFFs can be painted and transparent.
Path Pattern filter which can create borders instantly. It can also do some
other very cool effects. Think of it like type on a path only with objects
that can be stretched and distorted.
Plug-in tools include: Star, Polygon, Spiral, Knife and Twirl. These tools
are way better than their old filter counterparts and have some very fun
keyboard shortcuts.
Ink Pen filter: Creates textures like you won't believe. If you've ever
used Xaos Paint Alchemy, then you'll understand how powerful the Ink Pen
filter will be. You can go crazy making monster files with this.
Separations within Illustrator. You've got a preview and everything! It'll
even do the RGB to CMYK conversion on images if you like.
Lots of bug fixes especially in the type department!
An Align palette (non-modal) so you can quickly align or distribute objects.
The Rasterize filter allows you to rasterize any Illustrator artwork at
whatever resolution you want. It'll create a mask for you too.
There are lots of other little tweaks too. Creating patterns is easier now.
Switching focus from floating palettes to artwork is done with the Return
key.
I think you'll like it a lot!
-Luanne
Luanne Seymour Cohen
Creative Director, Adobe Systems Inc.
[log in to unmask]
voice: 415-962-2701
fax: 415-962-0850
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Subject: RE: illustrator wish list
From [log in to unmask] Mon Nov 27 10:42:13 1995
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From: Kristine Kirkeby <[log in to unmask]>
To: [log in to unmask]
Subject: Guild of Natural Science Illustrators Help Wanted
Message-Id: <[log in to unmask]>
Date: Mon, 27 Nov 95 16:42:13 -0600
Greetings! I am using this format to alert people that the GNSI is in need of
help. We are rearranging people into jobs they <want> to do, rather than <have>
had to do. The Guild publishes the Journal of Natural Science Illustration. It
is, as most of you know, a valuable and high quality publication. We
traditionally put out one journal per year. Britt Griswold has been our Editor
for years. He would like to move into the production end of that publication.
As a result, I have asked Trudy Nicholson to be editor and she has agreed IF we
can find a co-editor to help her.
This is a volunteer position for GNSI members only. This co-editor job would
involve ferreting out articles/authors we may want to place in the journal. You
would guide the articles/authors through writing (if needed), editing the text,
coordinating art work, and getting the article to the point it can be turned
over to Britt for print production.
If you are interested please contact me as soon as possible. Transitions of
this sort take a while so we would like to begin around the first of the new
year. Hope to hear from some good soul who loves the Guild!! Don't we all?!!
Kris Kirkeby, President of the Guild of Natural Science Illustrators
From [log in to unmask] Wed Nov 29 10:35:29 1995
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Date: Wed, 29 Nov 95 15:35:29 EST
From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: [log in to unmask], [log in to unmask],
[log in to unmask], [log in to unmask],
[log in to unmask], [log in to unmask]
Subject: Color Calibration
For people interested in color consistency on the Desktop.
Posted from the fourcolor Listserv and passed on to you by Britt Griswold
_______________________________________________________________________________
Subject: (No subject)
From: [log in to unmask] at Internet
Date: 11/28/95 9:49 PM
By Paul Bombaci OE, A Division of Canon Canada
Color Management ? Is it the solution and the answer to many of the
discussions being made on this list ?
It is my responsibility to keep informed on color solutions from the
desktop. Using industry standard software and hardware to obtain high
quality results on a final output device (color printer/copier or press).
Optimally, to obtain WYSIWYG color if this is possible.
I would like to share recent developments in this area with the members of
this list.
Congratulations Mac users, you will be the first users to work with this
bleeding edge technology called color management. On the PC side, you'll
have to be using Windows 95 if you are looking for a color managed solution
(plus you will probably have to wait for 6 months after the release of the
software on the Mac until the software and links to Windows 95 are
complete). For practical purposes, this information will be based on using
the Macintosh platform.
Requirements
There are 3 items required before "color management" can occur.
1) Color Management tools that work with the Apple Operating System and
Colorsync 2.0 or later. (Spectrophotometers, software, densitometers)
2) Standard file formats that describe the color characteristics ("profile")
of your color device.
3) Support for the above standards in application software (Quark,
Pagemaker, Illustrator, Photoshop)
The Tools
Through the use of tools such as a spectrophotometer and software, each
color device in the design process will be measured for its color gamut
(range of colors a device can scan, display or print). The file created (see
next section) is called a "profile". In the color design process, this
profile will be utilized when color is being converted from one device to
another through the color management engine (the piece of software, that
resides in the Mac in the operating system, and that will convert colors
from the scanner to the monitor and then to the printer). The leading color
management engines are from Kodak (probably the standard), EFI, and Agfa
(because they are all supposed to perform the same function, it shouldn't
matter whose engine you use). These color management engines are based
primarily on taking non specific color data (RGB/SPOT/CMY) and converting it
to some flavour of CIE (all the colors you can see) then converting it to
CMYK for the output capabilities on YOUR device. The conversion from RGB to
CIE to CMYK will occur at the computer prior to going to the output device
(Photoshop users will be able to pre-separate data to CMYK). Throughout the
design process, because of the device profile, the user will be aware of
colors that are out of gamut (see section on proposed workflows) for their
specific output device.
The technology to create custom profiles for each device has recently become
available and is actually affordable (about $1200US). It is still bleeding
edge......any volunteers ?
The Standard Files
Until recently, every software manufacturer was implementing their own
version of Color Management engines and profiles. A consortiuum known as
the ICC (International Color Consortiuum) has agreed upon how the standard
"profile" files will be created and stored. This standard allows a single
profile for a device to be utilized on any platform (Mac/PC/Unix). What will
happen in the near future in addition to sending your files, fonts, images
and artwork to the printer/service bureau for output, you will also be
sending YOUR device profiles describing the colors YOU worked with (you
would use the profile that would describe the final output device).
Conversely, Printers will have prepared profiles to give to their customers
describing the range and capabilities of their presses.
The Software (the missing link)
The next major revisions of software (Quark 4.0, Illustrator 6, Photoshop 4
etc...) should implement these recent color management standards. Within
each of the softwares you should be able to apply your "profiles" to each of
the items (image, drawing, business graphic) in your document. This is
currently the only missing link of the "Color Managed" solution.
The 3 main types of color (or the idea behind the color management engine)
The 3 main types of color are
1) Photographic
2) Colorimetric (Spot/Pantone....measurable color)'
3) Presentation
Each of these types of color are managed in a different way in the color
management engine. For example;
Presentation graphics with thier bright flourescent colors are usually too
saturated to be printed on a CMYK device with accurate results. In this
scenario, the color management engine will convert (substitute) the screen
selected color with an approximation of the saturated color. As a user, you
will have very little control over the color that the color management
engine substitutes. This substituted color will vary widely depending on the
CMYK printer you are printing too (Bubblejet printers can usually give
brighter colors than a press or color photocopier).
Colorimetric colors (Pantone, Trumatch, Spot) require a specific
transformation. If the color management engine can match the spot color
specifically on your intended CMYK device, it will. If it can not be truly
represented on your CMYK device, it will offer a gamut alarm (a warning that
a certain color can not be printed). A question that usually arises at this
point is how close is close ? Welcome to the delta e factor. Without going
into great detail, delta e is a number determined when measuring too
supposedly identical colors. Delta e represents the measurable difference
between the 2 colors. Delta 5 or less is usually considered an acceptable
match (although individual users will determine what is acceptable to them).
Photographic colors are handled so that hue (color) is preserved. All colors
in the image are converted so that they "fit" into the gamut range of the
intended CMYK device without any major color shifts. This type of color
conversion will maintain the integrity of the image ensuring grass greens,
blue skies, apple reds and true skin tones.
Proposed Workflows
The Output Workflow
One of the most widely proposed workflow methods involves selecting and
using the color profile for your final output device. When designing and
working with color, color can be limited (via the color management engine)
to only those colors available on your final output device (
voila.....WYSIWIG color). This will probably be the preferred method for the
novice or business color user.
The Professional Workflow
Professional color users will work using gamut alarms generated by the color
management software. Professionals requiring access to spot/specialty colors
will know how accurately (delta e) a color output device can represent a
specific color.
I have been to several seminars and "surfed the Net" to keep up on this
information. None of the manufacturers or presenters has ever been able to
give a full blown demo of the process; only bits and pieces. I believe that
everyone is waiting for the software.
Will this technology replace skilled technical people working in color on
daily basis ? Who knows ?, The technology/software is still being designed
and implemented.
I do believe that, initially, for the casual user requiring less than 1000
prints of an original document, that this technology will play an extremely
important role.
I am sincerely hoping that members will offer thier feedback through the
fourcolor list. I am interested in learning of any new developments.
Good Luck & Good Color !
Paul Bombaci
OE, A Division of Canon Canada
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Subject: (No subject)
From [log in to unmask] Wed Nov 29 10:41:31 1995
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: [log in to unmask]
Subject: 2 university teaching positions
Found these on the Illustrator Listserv
Britt Griswold
_______________________________________________________________________________
Subject: 2 university teaching positions
From: [log in to unmask] at Internet
Date: 11/29/95 8:12 AM
Below are two teaching positions starting in Sept. 96 at University of
Massachusetts, Dartmouth.
Please post and forward these to appropriate people.
Thanks in advance,
Harvey Goldman
Full-time Visiting Lecturer, ILLUSTRATION
Starting September 1996
University of Massachusetts Dartmouth
Salary and Benefits competitive
Minimum Requirements include MFA degree, traditional skills appropriate to
the profession, a demonstrable understanding of current directions in
illustration, a body of competent work, and a commitment to preparing
undergraduates for productive employment in the field.
Preferred candidates will have a portfolio of printed illustrations,
knowledge of business and self promotion skills relevant to the field,
ability to teach digital illustration, teaching experience, and proficiency
in the area of written and oral expression.
UMass Dartmouth is located within the southeastern Massachusetts coastal
community of Dartmouth. The main campus is approximately 6 miles from the
Atlantic Ocean, 30 minutes from Cape Cod, 50 minutes from Boston and 30
minutes from Providence RI.
A complete application will consist of a professional resume, slides of
professional and student work, statement of teaching and illustration
philosophies, 3 letters of reference, and a stamped, self-addressed
envelope for return of slides.
Candidates are encouraged to include other relevant material, such as class
syllabi and project rationales.
Position is contingent upon state funding.
Send application to:
Harvey Goldman
Chair, Illustration Search Committee
Department of Design
UMass Dartmouth
N. Dartmouth, MA
02747
Application Deadline: March 30, 1996
UMass Dartmouth is an EEO/AA Employer
Full-time Visiting Lecturer, Design
Starting September 1996
University of Massachusetts Dartmouth
Salary and Benefits competitive
Minimum Requirements include MFA degree, a body of accomplished
professional work, demonstratable understanding of current directions in
design and proficiency in both electronic type and image generation. A
commitment to preparing undergraduates for productive employment in the
field is required.
Preferred candidates will have a strong overview of contemporary issues in
visual literacy, theory, methodology, and practice of design. Teaching
experience and proficiency in the areas of written, oral and electronic
communication is desired.
UMass Dartmouth is located within the southeastern Massachusetts coastal
community of Dartmouth. The main campus is approximately 6 miles from the
Atlantic Ocean, 30 minutes from Cape Cod, 50 minutes from Boston and 30
minutes from Providence RI.
A complete application will consist of a professional resume, slides of
professional and student work, statement of teaching and design
philosophies, 3 letters of reference, and a stamped, self-addressed
envelope for return of slides.
Candidates are encouraged to include other relevant material, such as class
syllabi and project rationales.
Position is contingent upon state funding.
Send application to:
Harvey Goldman
Chair, Design Search Committee
Department of Design
UMass Dartmouth
N. Dartmouth, MA
02747
Application Deadline: March 30, 1996
UMass Dartmouth is an EEO/AA Employer
Harvey Goldman
Chair, Department of Design
Photographic/ Electronic Imaging Option
University of Massachusetts, Dartmouth
N. Dartmouth, MA. 02747
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Date: Wed, 29 Nov 1995 08:02:44 -0500
From: [log in to unmask] (Harvey Goldman)
Subject: 2 university teaching positions
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From [log in to unmask] Thu Nov 30 04:32:24 1995
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From: [log in to unmask]
Message-Id: <[log in to unmask]>
To: [log in to unmask], [log in to unmask],
[log in to unmask], [log in to unmask]
Subject: Color management
Here is a reply to a previous posting on desktop color managment, from a
solution provider.
Britt Griswold
__________________________
Paul Bombaci writes an excellent article in which he asks:
As you pointed out, it's not the solution until several pieces fall into
place. I happen to work for one of the pieces. I'm the software project
manager for Colortron from Light Source, a low-cost spectrophotometer that
allows you to nail down the calibration and measurement aspects of the
puzzle. My interest in this group is to gather information that can help me
improve our products for use by the printing community, and help answer any
questions about color communication, color management, calibration, and
measurement.
>Congratulations Mac users, you will be the first users to work with this
>bleeding edge technology called color management.
It is indeed bleeding edge. Light Source recently started shipping
Colortron II, an improved hardware unit featuring bettery accuracy over the
first version, released last year. Colortron II allows you to perform color
measurements in a variety of color spaces including densitometry. It can
also calibrate your monitor (producing an ICC/ColorSync 2.0 profile for use
in other programs, as well as Photoshop monitor setup files).
We are working with a number of vendors of printer profile generation
tools. The idea is the user prints color patches and measures them with the
Colortron. The software generates an ICC profile for the printer. The
vendors I know about are:
ColorBlind from Color Solutions
ColorSynergy from Candela, marketed by Color Partnership
Profile/80 from RIT corp, featuring "only" 80 patches
PrintOpen from Linotype
There are many more companies that have signed up for our Developer program
and I don't mean to slight them. I have no doubt there will be numerous
evaluations of these products as they come into the market.
>The next major revisions of software should implement these recent color
>management standards.
PageMaker 6 implements color management using Kodak KPCMS, but we are still
waiting for a number of other products to rev. The industry is moving to
Apple's ColorSync 2.0 as a standard interface to color management software.
Kodak and Agfa and others will convert their proprietary engines to be
ColorSync 2.0 compatible. This will let users choose from a variety of
systems.
>Professional color users will work using gamut alarms generated by the color
>management software. Professionals requiring access to spot/specialty colors
>will know how accurately (delta e) a color output device can represent a
>specific color.
Regarding spot colors, Colortron offers a workflow to carry colors
throughout the design to print cycle. From Colortron, a set of measured
colors is saved to an EPSF file. This contains the normal EPSF comments to
describe the color, but also the Colortron-specific spectral information
for higher accuracy. If the file is placed into Quark, or PageMaker, or
Illustrator, or any other EPSF compatible page layout program, then saved
as EPSF, the original spectral information is still carried in the file. If
the printer has Colortron, they can extract the original color information
out of the file and use it to measure critical colors in the print job with
respect to the designer's intent, and assign a tolerance in delta-e.
>I have been to several seminars and "surfed the Net" to keep up on this
>information. None of the manufacturers or presenters has ever been able to
>give a full blown demo of the process; only bits and pieces. I believe that
>everyone is waiting for the software.
As one of the aforementioned pieces, we are keenly aware of this and
definitely working on the problem.
Even when the software comes out, there will be a period of chaos as
everybody tries it out. Scanners and monitors must all be calibrated, and
the question of who does the separation has to get resolved. By this I mean
that it is possible for a scanner operator to produce CMYK, but in a true
color managed environment this is not desirable.
>Will this technology replace skilled technical people working in color on
>daily basis ?
Definitely not. It will, however, save time and therefore money. Everyone
will have a better idea what is actually going on. The idea of sending
proofs back and forth, and performing onsite print checks, may some day be
unnecessary. We think of color management as a common language. If everyone
learns it and speaks it, color becomes less mysterious.
--Eric Herrmann
Light Source
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Subject: Color management
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