slowniczek_pojec_uzywanych_w_poligrafii
- 4+0 lub 4/0 - pełnokolorowy (farbami procesowymi) zadruk jednostronny,
- 4+4 lub 4/4 - pełnokolorowy (farbami procesowymi) zadruk obustronny,
- 1+0 lub 1/0 - jednokolorowy zadruk jednostronny,
- 1+1 lub 1/1 - jednokolorowy zadruk obustronny (każda strona może być zadrukowana innym kolorem),
- 4+1 lub 4/1 - awers pełnokolorwy (farbami procesowymi), rewers jednokolorowy
A Guide to Preparing Files for Print
With this guide, we are going to examine ways to prepare files for print, covering applications in the Adobe Creative Suite. The examples used are for InDesign, but can apply to Photoshop and Illustrator. This is a basic guide aimed to help people just starting out in the print design business or are looking to learn more about preparing files better to send to press.
Alessio Leonardi
Alessio Leonardi is an italian Type and Graphic Designer who lives since 1990 in Berlin, Germany. He worked at MetaDesign with Erik Spiekermann and then was (till 2005) one of the two owners of the Design Studio Leonardi.Wollein in Berlin. Today he and his wife Imme Leonardi run the Studio Lion&Bee.
HARMONY KORINE / Much of Korine’s work is based around the dark humor and absurdism involved in dysfunctional childhoods, mental disorders, and poverty.[27] This is often incorporated into surrealist, non-linear forms and presented experimentally (see the mix of Polaroids, Super 8 and 35mm film that makes up Gummo). Blackface, tap-dance, and minstrelsy are common elements to Korine’s work.[28] “I’m a huge fan of vaudeville – like Fanny Brice, Eddie Cantor, and Al Jolson… There’s this random tragedy associated with the decline of the vaudeville entertainer, which is a theme in Gummo that I completely stole from vaudeville.”[29] Like vaudeville, the narrative of Korine’s work is abstract and works by association. Korine compares this concept to a book of private photos. On their own each photo would be seemingly random and devoid of context, but because they are compiled in one volume and presented in succession, a narrative exists. “That’s how Gummo was written.”[29]Improvisation is also an important filmmaking technique for Korine, as a way to maintain his movies as “living thing[s].”[5] Korine does not try to write messages or meanings into his scripts, as he finds it belittling to the audience. With his films, Korine strives to retain a “margin of the undefined.”[12]
NO WAVE!
http://en.wikipedia.org/wiki/No_Wave »»»»»»»»»»»»»»»»»
was a short-lived but influential underground music, film, performance art, video, and contemporary art scene that had its beginnings during the mid-1970s in New York City.[1] The term No Wave is in part satirical word play rejecting the commercial elements of the then-popular New Wave genre. The term originates from a 1981 show, “New York/New Wave”, curated by artist Diego Cortez.[3]
