When is a picture worth more than a thousand words?
Posted by Rick Sader on February 12, 2010 at 2:33 pmWhen it’s worth twelve votes….. in the courtroom, that is. To a trial lawyer, getting your point across to the jury is absolutely critical. And most people understand and remember info better when it is presented to them visually. I think we’ve all experienced this in our lives. Can you remember when you tried to explain something verbally to someone? And maybe it just wasn’t sinking in? And then you drew them a picture or showed them a diagram. Sometimes the response you get back is “Oh, Nooooowwwww I see!”
Not convinced? Here’s an example. I’ll describe a traffic accident scene to you and see if you can picture it in your mind. Or maybe even try to sketch it out. Here we go:
“There was a three-car pileup on an icy road. A small, black car skidded on the ice and was then rear-ended by a red car. That car was then rear-ended by a white van which left long skid marks on the road before coming to a rest. There were no injuries but the left lane was partially blocked for about an hour.”
OK…. how’d you do? Pretty easy to get an image in your mind, right? But was the image you conjured up exactly like the real accident scene? At what angles were your cars positioned? What portion of each car got hit? As you can imagine, conveying the actual events to a jury in court (and having them remember all that in the deliberation room) can mean the difference between a conviction and an acquittal.
Here’s an illustration of the scene created by a graphic designer from a sketch and photos provided by the officer responding to the scene. This illustration leaves very little open to interpretation and is much easier for the jury to remember & discuss.
Courtroom graphics can be a valuable resource in the courtroom. Got the picture?
It’s time to get “rough” with your graphics.
Posted by Rick Sader on September 2, 2009 at 5:28 pmThat’s right, you heard me… yeah, you. It’s time to get rough with your graphics. Large-format graphics applied to rough surfaces, that is.
Some new materials from 3M allow digitally-printed graphics to be applied to cinder block walls, concrete walls, stone work, even brick walls; places ordinary adhesive-backed vinyl would no doubt fail. 3M has developed their rough surface wall wrap materials that are “sticky” enough to adhere to these irregular surfaces and “soft” enough so that when applied, they conform to all the little nooks & crannies. The end result is that the graphics look like they were painted onto these surfaces. The trick is in the installation process. A heat gun and a soft, heat-resistant roller are used to “push” the graphics into the surface features. These materials are being used now in sports stadiums, schools, public buildings, fountains, monuments, restaurants….. anyplace where a rough, hum-drum surface needs some sprucing up.
I recently installed a 6′ x 5′ school mascot logo in the gym of The Toppenish High School, a beautiful new high school in WA state. The vector graphics were printed on 3M’s 8524 media and then laminated with 8624 clear, glossy laminate. These were then contour cut around the perimeter of the logo to give the look we wanted. The following photos show the finished graphic installed on a painted cement wall and the happy school administrators.
Fine art reproduction is easy… if you know how.
Posted by Rick Sader on April 13, 2009 at 8:14 pmHmm, let’s see. So you just scan someone’s painting and then print it out… is that about it? Well, not quite. There are a number of ‘tricks’ to getting great results efficiently. Let’s go through the process from the beginning.
Fine art reproduction requires a number of steps to be done properly. The first step is the scan. High resolution flatbed scanning is one way to digitize original artwork. The first ‘trick’ is to use high enough resolution so that you’re feeding enough information to Photoshop in the retouching stage and ultimately to the printer in the printing stage. Typically, scans at 300 – 360ppi (pixels per inch) at the full dimensions should suffice. Higher resolution will be required if the artist would like prints larger than the original. The second ‘trick’ is to use the RGB color mode. If you use any other color mode, then the printer will make a conversion that may introduce color shifts. The third ‘trick’, if you’re really meticulous, is to use 16bit color instead of 8bit. This will give very fine gradations in color that may be required for some peices. The downside is that this results in 2x larger digital file sizes.
The fourth ‘trick’ is to include a grayscale taget within the margin of the scan. This is a small 12-step grayscale piece that allows you to adjust the white point, black point, and neutral gray once you move the image into Photoshop. This step is critical.
Once in Photoshop, the “levels” command makes the white, black,and grayscale adjustments a breeze. As with any fine tuning done to the image, make sure to use adjustment layers. This allows you to tweak the adjustment, change its blending mode and opacity, or delete it without altering the original file…. very handy. These adjustment layers may include things like saturation, hue, levels, curves, etc. If you’re looking at your image on a calibrated monitor (you are calibrating your monitor, aren’t you?) then these adjustments will help you to tweak the digital file so that ultimately the print looks like what you see on your monitor.
ICC profiles for your printer, ink, media, & print resolution are also required to get great results. You may be able to download generic profiles but the best option for high-quality fine art reproduction is to create your own. There are a number of hardware/software systems available. A final step in the retouching process is usually adding a small amount of sharpening. Don’t overdo it.
Now it’s time to print a proof. Usually a small print on the intended media will suffice. This will allow you to check the tone, color accuracy, color saturation, etc. At this point, it’s important to compare your proof to the original under proper lighting. A sneaky, sinister thing called metamerism is lurking in the darkness, waiting to trip you up. Metamerism refers to the fact that a color may look different under different types of lighting. The original and the proof may ‘match’ under the (ugh) flourescent lights in your office but they may be way off under natural sunlight or in the gallery. If you don’t have a 5000K light booth, then just take your prints outside in the natural daylight. At this point, you may need to adjust the saturation, tone, etc. to get a better match.
I recently completed a very successful fine art reproduction job for a local watercolor painter, Dr. William Robinson. Bill is a very talented, self-taught portrait artist. His most recent work was a very cute portrait of his granddaugher, Miranda. All of the steps outlined above were followed in order to translate his original watercolor painting into a digital file that could be printed quickly and accurately onto Epson Somerset Velvet Fine Art Paper using an Epson 9600 inkjet printer. This printer uses the Epson 7-color UltraChrome inkset which will resist fading for many decades. Various sizes were printed according to the client’s wishes. See Bill’s website for more examples of his beautiful work.
Wall murals for the 21st century.
Posted by Rick Sader on March 25, 2009 at 7:32 am
Murals have been painted on walls for centuries. Various artists have used their various styles and considerable talents to paint wall murals ranging from realistic, to fantasy, to Tromp L’Oeil (fool the eye), to abstract. They can produce fabulous results for your home or office or other place of business. Me? I couldn’t paint my way out of a wet paper bag. I can’t even draw a tic-tac-toe grid straight. But as a highly-caffeinated, 
former HP engineer who now owns a digital print shop, I know how to produce great-looking wall murals pretty quickly, with a wide variety of styles, and on a huge range of really cool media using large-format digital printing.
It all starts in the design phase. What look do you want for your Italian restaurant, or hair design salon, or wine bar, or corporate office, or home? A huge range of ready-to-go stock photography exists or a digital photographer can be commissioned to get exactly the image you need. Or the graphics you want can be designed digitally. Some of the most talented 
artists around now work digitally, producing all of the styles mentioned above using not paint & brushes but Photoshop & Illustrator. Their brush is a mouse and their paints are pixels. The artwork you want can be created, customized, and modified quickly to get exactly what you want.
A huge range of media exists for producing the mural with large-format digital printing. Vinyl media embossed with various textures are available that look like canvas, leather, suede, a rough plaster finish, smooth,
sandblasted, paper maché, …you name it. These over-lapping prints are then installed like ordinary wallpaper with ordinary wallpaper adhesive to produce any size mural you’d like. Other interesting media include fabrics with a low-tack adhesive on the back. This allows the graphics to be easily repositioned, removed, and re-used without leaving adhesive residue on the walls.
In mid March ’09, I had a successful collaboration with a traditional wall mural painter to produce an 8’x25’ wall mural for a new restaurant in Woodinville, WA. How? Ann Fiser painted a beautiful, colorful, & fun mural at ½-scale (still pretty big) and then had it professionally 
photographed by Alex Rubin. The (very large) digital file was then transmitted to me for scaling up and large-format digital printing onto a matte-finish media specifically made for wall murals. The seven, large, over-lapping strips were then hung with typical wallpaper paste by Steve Orban, a professional wallpaper hanger. The owners at Teddy’s Bigger Burgers in Woodinville, WA love the end result. For more info, see the lead article in this month’s Lexjet’s “Expand” newsletter (volume 4, number 4). Lexjet is a supplier of large-format equipment, media, ink, & other supplies.