#93 Work & Turn

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#93 Work & Turn
Click to view full-​size or download hi-​rez image for gallery-​quality printing and framing.
This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

Work & Turn” is a term used by print­ers to print both sides of a sheet of paper with just one plate & one press set-​up.

Find a com­plete list of print­ing terms at wcb​s4print​ing​.com. For more infor­ma­tion about this out­stand­ing full-​service print­er, see the “chaz sez” col­umn  below.

What is “work & turn”?

In the case of a two-​sided fly­er, the work & turn job’s plate & paper will be large enough to con­tain two full fly­ers. The plate is set up to print both the front & back images of the fly­er in just one pass. The print­ed work & turn sheet will look like the Amper­Art Work & Turn art, above, con­tain­ing two full fly­ers where the front side is adja­cent to the back side.*

Then then the paper is flipped end-​for-​end (after the ink is dry) so the print­ed side is down and the blank side is up, & then print­ed again with the same plate. In this way, the front of each fly­er will con­tain the oppo­site image on the back. (It’s impor­tant to flip the paper the right way, or each fly­er could con­tain two “front” sides or two “back” sides. Yes, I’ve made that mis­take.)

The sheets are then cut apart in the cen­ter to make two fin­ished items, like this — each work & turn fly­er will have a front & a back side:

front & back of a work & turn job

Although one plate could be used for a 1‑color work & turn job, sev­er­al plates would be required for full-​color print­ing such as shown in the Amper­Art Work & Turn art­work. Still, only one press set-​up is required with only one set of plates, not a sep­a­rate set for front & back. The paper is passed through, flipped, & passed through again.

*Tech­ni­cal note: The Amper­art Work & Turn image would actu­al­ly be print­ed full-​bleed (not shown in the Amper­Art Work & Turn piece), then trimmed on all four sides as well as in half. But full bleed is anoth­er dis­cus­sion. “Bleed,” “work & turn,” and oth­er print­ing jar­gon is explained in a com­pre­hen­sive glos­sary page at wcb​s4print​ing​.com. For more infor­ma­tion about this out­stand­ing print­er, keep read­ing…


chaz sez ...

Here’s a real coin­ci­dence: I searched Google for “work & turn” to find a sim­ple def­i­n­i­tion which I could mod­i­fy for my read­ers. The page I was lead to is wcb​s4print​ing​.com print­ing terms, an excel­lent list of print­ing terms pro­vid­ed by a full-​service print­er in Palm Desert—just a few towns over from me! Of the thou­sands of print­ers all over the world, I find this to be quite a coincidence…like an invi­ta­tion for a short dri­ve to take in the won­der­ful smell of ink & hear the roar of the press­es.

The full list of ser­vices & out­stand­ing tes­ti­mo­ni­als have enticed me to ask wcb​s4print​ing​.com for a quote on an upcom­ing print job. And when a client needs custom-​printed bags, badge hold­ers, book­marks, lug­gage straps & tags, mag­nets, mugs, name badges, pass­port wal­lets, pens or post-​it notes…
their spe­cial­ty divi­sion, wcb​s4L​o​go​Prod​ucts​.com, han­dles all those items.

Small world. Or as the TV soap goes, As the World Work & Turns.


Production notes for #93 Work & Turn:
Original size: 20x30 inches
Program: Adobe Illustrator
Fonts: Rockwell, Bodoni, DIN Schrift
Ampersand: DIN Schrift, modified

Relat­ed arti­cle in the Print­ing & Pub­lish­ing series:
#63 Upper & Low­er­case


For pro­fes­sion­al graph­ic design, please vis­it Des­i­mone Design.

Desimone? Damn good!

#65 Black & Blue

65-black-blue


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This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

My favorite col­ors are black & “char­lie blue.”

Black is actu­al­ly my very favorite col­or & yes, it is a col­or. (See “chaz sez” below.) “Char­lie blue,” as my friends know it, is any­thing between Cray­ola Blue Green to cerulean to turquoise to cyan (one of the four print­ing ink col­ors). Amper­Art #65, Black & Blue, fea­tures CBG as I call it, cyan, and one oth­er blue which I’ll get to lat­er. All my favorite blues are some­where in-​between CBG and cyan.

I am not fond of sky blue, navybaby blue nor roy­al blue. They are cold. (Yes, I know, my very favorite col­or—black—is def­i­nite­ly freez­ing. But we’re talk­ing blue here.)

There is a very deep blue that does tin­gle my col­or bone. That’s cobalt blue. My first mem­o­ry of that col­or is my father’s blue cuff links. Also the knob on his steer­ing wheel to help turn the tires before pow­er steer­ing (that acces­so­ry became ille­gal because when the steer­ing wheel snapped back the knob could remove a fin­ger or two). & the cool red tail lights with the blue dot in the mid­dle, which cre­at­ed a mag­i­cal col­or effect.  They’re pop­u­lar again today but I remem­ber the orig­i­nals on my dad’s 1950-​something auto­mo­bile. Prob­a­bly no oth­er rec­ol­lec­tion of cobalt blue is stronger for me than the bot­tle of Vicks VapoRub. That stuff felt ice-​cold as the col­or of the bot­tle it was pack­aged in. I’m also par­tial to cobalt blue because it is the favorite col­or of my moth­er and my broth­er Rob. So that is the oth­er blue in this Amper­Art piece.

Vicks-jar-with-lid-circle

Just look­ing at this Vicks jar opens my sinus­es! Oth­er prod­ucts in cobalt blue bot­tles were Noxze­ma, Phillips Milk of Mag­ne­sia (sounds appe­tiz­ing, does­n’t it?), Bro­mo Seltzer, Nivea and Blue Coral.

In fair­ness to navy, roy­al blue, sky blue & all those that are not my favorites, com­bine them with var­i­ous oth­er col­ors & they cre­ate out­stand­ing col­or schemes. Of course, the same could be said for poop brown.

I am releas­ing #65 Black & Blue dur­ing the play­ful days of sum­mer, because that’s when I recall we’d get the most bruised up falling off our bikes, skate­boards, or just play­ing in the back­yard. I did, any­way. I was a real klutz. Still can’t ride a skate­board.


listen up! Black is a col­or! Not the absence of col­or, nor the com­bi­na­tion of all col­ors. It is col­or. So is white. So why do peo­ple say it’s all the col­ors or no col­or? Because they don’t know the def­i­n­i­tion of col­or. “Col­or” means the descrip­tion of the hue, val­ue & tone. Pure yel­low is a col­or that has a hue some­where between orange & green on the col­or wheel, a very light val­ue (high-​key, or very bright com­pared to very dark such as navy blue), & min­i­mal tone (gray­ish­ness; mauve & sage green have medi­um tone).

The col­or black is defined by no hue (red, yel­low, blue, etc.), the dark­est val­ue, & zero tone. White is defined by no hue, the light­est val­ue, & zero tone. So you see, black & white have no hue & no tone, but they are both col­ors.

If you want to have some fun with all the oth­er col­ors, check out the Cray­ola web­site, espe­cial­ly the his­to­ry & the Cray­ola Expe­ri­ence where kids (includ­ing big kids) get to play & cre­ate among all things Cray­ola, & see how they are made. If you can’t make it to the fac­to­ry in Eas­t­on, Penn­syl­va­nia, watch this video: How Cray­olas Are Made.

I love Cray­olas. (I won’t use any oth­er brand; the col­ors aren’t as pure, they’re waxy & they just aren’t Cray­ola.) I remem­ber when the box of 64 pre­miered, with the awe­some Built-​In Sharp­en­er. I prob­a­bly have the few stubs that are left of my orig­i­nal set some­where, but today I have The Ulti­mate Cray­ola Col­lec­tion — 152 dif­fer­ent col­ors! — on my desk. I use them fre­quent­ly, & always to sign impor­tant legal doc­u­ments. For that task, of course, it’s Cray­ola Blue Green.


PRODUCTION NOTES:
Original size: 20×30 inches
Program: Illustrator
Lettering: Hand-​lettered by Chaz DeSimone
Colors: Cyan, cobalt blue, Crayola Blue Green & black
CREDITS:
Vicks ad: flickr​.com/​p​h​o​t​o​s​/​2​8​1​5​3​7​8​3​@​N​08/ “SaltyCotton” has nearly 2000 photos of vintage ads in pristine condition. An ad designer’s or collector’s eye candy overload!
Vicks jar: Joe Corr on pin​ter​est​.com/​p​i​n​/​2​7​4​9​3​0​7​5​2​2​2​5​6​7​2​7​32/ and etsy​.com/​s​h​o​p​/​o​w​l​s​o​n​g​v​i​n​t​age Beautiful collectibles and antiques.
 

#58 Up & Running

58-up-&-running500x750i


#58 Up & Running
Click to view full-​size or download hi-​rez image for gallery-​quality printing and framing. 
This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

Phish­ing mal­ware attacked Amper​Art​.com in Sep­tem­ber 2019, shut­ting the site down for sev­er­al weeks. It took quite an effort to remove all the infec­tions and restore the site to nor­mal, after which it was migrat­ed to a new host­ing com­pa­ny and for­ti­fied with all sorts or anti-​malware and virus fire­walls. Now that Amper­Art is once again Up & Run­ning, here’s a sto­ry about a spe­cial place where I used to vis­it my com­put­er genius friend after high school.


In the 1970’s one of my best friends worked as a com­put­er pro­gram­mer for the Glen­dale Uni­fied School Dis­trict. I’d fre­quent­ly drop in on him and enjoy the phe­nom­e­non of feel­ing like I was in the con­trol room of a sci-​fi flick.

The dis­tric­t’s Com­put­er Con­trol Cen­ter was a large room with an ele­vat­ed floor that was air-​conditioned under­neath to keep the mas­sive elec­tron­ics cool. I guess you could say the com­put­ers on that ele­vat­ed floor were lit­er­al­ly Up & Run­ning. There were banks of huge reel-​to-​reel machines that hummed and clicked in syn­chronic­i­ty. Besides those state-​of-​the-​art won­ders, data was stored on punch cards that sort­ed through a large machine sound­ing like cards shuf­fling at a casi­no, and on paper strips punched with lit­tle holes resem­bling a tick­er­tape.

Every­thing you see here is on a tiny chip inside your smart phone.

But the eeri­est thing about this room was the strange green glow ema­nat­ing from the com­put­er mon­i­tors. Noth­ing like what you’re view­ing right now. Every screen dis­played rows and rows of same-​size let­ters and num­bers, a sin­gle font if you can call it that, in this cath­ode tube green glow. You even had to know a com­plex com­put­er lan­guage to type any­thing (I am indebt­ed to who­ev­er invent­ed wysi­wyg). 

Amper­Art #58 Up & Run­ning is rem­i­nis­cent of those green-​glow mon­i­tors. See the faint num­bers in the poster image where it oth­er­wise appears black? That’s where the char­ac­ters have been burned into the phos­pho­rs of the cath­ode ray tube. No full-​color web­sites in those days! How­ev­er, with a lit­tle artis­tic tal­ent and a lot of patience, you could actu­al­ly draw pic­tures like this:

CAT on CRT

Here’s an inter­est­ing his­to­ry of cre­at­ing art with let­ters & num­bers, going way back to the days of type­writ­ers.


Dedicated to Joe Freezon, best friend, computer nerd. RIP
Production notes for #158 Up & Running:
Original size: 20x30 inches
Programs: Adobe Illustrator & Photoshop
Font: Green Screen (background code*), main text lettering by Chaz
Ampersand: custom design by Chaz
Credits:
Green Screen font* by James Shields (click to see all his fonts)
*an exact copy of the standard IBM PC text mode font
Note: &” replaces “and” in most or all text, including quotations, headlines & titles.
You may repost the image & article. Please credit Amper​Art​.com.
To download a full-​size high-​resolution 11x17-​inch poster suitable for printing & framing, click on the image.

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