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handeaux · 2 years ago

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In Memoriam: Western Hills Press 1924-2022 Part One – Double Nepotism

The Western Hills Press didn’t quite mark a century, shut down by its third (or fourth?) owner after languishing for a decade. The old rag deserved better, but don’t we all?

The Press was founded by Will L. Finch, who certainly knew his way around a composing table. Finch came up as a reporter for the old Cincinnati Commercial Gazette when it was edited by the legendary Murat Halstead. He was later city editor of the successor Cincinnati Commercial Tribune. Finch married a Dent farm girl and moved to the West Side where his civic enthusiasm led him to plant a newspaper when he was 56 years old. The first issue rolled off the presses on 17 November 1924.

Finch died of pneumonia in 1933, just after being elected to the Ohio General Assembly. The previous year, as he launched his political campaign, Finch handed the reins to his young protégé, Al Huneke, who ran the paper for the next 40 years or so. Huneke eventually built a small chain of weekly papers running from Delhi to Sharonville.

Your proprietor entered this saga in 1968, aged 16. My family had just moved from Dent to Cheviot. Our new home was in easy walking distance to the Press at 3708 Davis Avenue. My uncle was the foreman of the printing operation, so I was literally hired through nepotism. As it turns out, my uncle got a job in the print shop because his uncle had a job in the business office, so my career was launched as a case of double nepotism.

Although hired because I was related to the boss, the job I landed was anything but cushy. Officially, I was a jogger. I grabbed newspapers as they came off the press, stacked them into bundles of 150 or 200, wrapped them with twine and loaded them onto wooden pallets. To the printers, I was the shitboy. I had to clean the press between runs, mop the pit in which the press sat, filled with a noxious slurry of water and ink, and I had to haul all the scrap paper out to a baling machine in the parking lot.

My shift was 3:00 p.m. to 11:30 p.m. Pay was minimum wage. While the press was running, it was too loud to talk and the work was essentially mindless, so I got a lot of time to think. I’d compose my school papers in my head and write them out when I got home.

A big, four-unit web press is an expensive monstrosity and cannot be amortized only by printing the 15,000 weekly copies of the Western Hills Press. We printed the sister paper, the Price Hill Press, but also took in job work like the American Israelite, the UC student-run News Record, and lots of K-Mart shopping inserts. We printed the underground Independent Eye for a couple of months until a copy landed on Al Huneke’s desk. We even printed Larry Flynt’s Hustler, back when it was only a PG-rated, two-color tabloid filled with columns written, apparently, by the barflies at Flynt’s saloons.

When I started, the paper was set in “hot type” – linotype cast from molten lead. The linotype machines were upstairs next to the job shop where an ancient letterpress and a couple of offset machines churned out the jobs too small for the big web press in the basement. The life of the community passed through that job shop: church bulletins, business cards, wedding invitations, birth announcements, posters for festivals and dances, award certificates and obituary cards.

The print crew was entertaining and educational. I worked with another shitboy, a toothless 55-year-old from the hills of Kentucky. He was nicknamed Doc, in reference to his intelligence. It was the age of Polack jokes and one day the second pressman asked if anyone had heard about the Polack who was stuck on an escalator for four hours when the power went out. Several hours later, Doc said, “I’ve been thinking about that boy on the escalator. If the power went out, all he’d have to do is jump over the side!”

Our delivery truck was pitted with what the crew called “whiskey divots.” The truck driver blamed the dings on telephone poles that weren’t there yesterday. The crew began sending him off with warnings to avoid the “pixie telephone poles.”

The second pressman didn’t want to be a printer. He wanted to be a fireman. He kept a scanner in the print shop and listened to fire and ambulance dispatchers during breaks. He used to take naps lying under the press while it was running. If anyone from management wandered through, they’d assume he was doing maintenance. The head pressman told us, “He’s going to jump up from a nightmare one day and that press will rip his head off.”

While the second pressman never lost his head (and did become a fireman) many of the crew lost fingers or gained stitches from the abundant hazards of the print shop. In those pre-OSHA days, no one wore ear protection and all the printers went more-or-less deaf from the thundering press. Baling wire was little more than a 400-foot roll of scalpels. Who knew what pigments went into the ink? Any job requiring red ink found the entire crew looking like clowns with bright red noses. Some crimson pigment caused our noses to itch, so we rubbed them with ink-stained hands.

The head pressman collected 1957 Chevies. Once the presses got rolling, he turned things over to the second pressman and scoured the want ads looking for garages to rent. Someone said he owned 40 of the prize autos. Someone else said it was more like 50.

These men had an extensive vocabulary that has yet to appear in any dictionary. Every shift plumbed further depths of vulgarity, obscenity, indecency and scatology. Your basic expletives were as common as conjunctions, and every conversation somehow involved activities that were physically impossible, medically inadvisable and morally reprehensible. The press crew was incapable of uttering the simplest instruction without larding it with malediction. Asked what he was planning for the weekend, the truck driver routinely replied, “I’m gonna fish, gonna fight, gonna [f-bomb], gonna drink some beer.” One of the pressmen regaled new hires with an extended riff involving cunnilingus and flatulence that would probably still get him arrested if he tried to tell it on stage.

I worked as a printer for six years, two years of high school and all the way through college. By the time I graduated, I had worked my way up to a pretty good salary and I was running the plate room on second shift. The plate room was considerably cleaner and somewhat quieter than working on the press itself. Soon after graduation, I was called upstairs and informed that my career plans had changed.

(To be continued.)

#western hills press #al huneke #will finch #press community newspapers

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lascltrades · 2 years ago

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Canon printer mg2520 alarm light stays on

#CANON PRINTER MG2520 ALARM LIGHT STAYS ON DRIVER#

I really hope this helps some of you or anyone in the future, bc I needed to print something urgently and was in a time crunch and this unexpectedly happened. The paper magically went all the way through, printing the alignment! The prompts have you then scan that paper and then it lets you know your printer is now ready to use! Let's GOOOOOO!!! haha I followed the prompts on the screen, stuck one sheet of paper in the printer, and hit execute/green start button. Lift out both ink cartridges and close the cover. Lift up the Canon MP 470 printer cover and wait for the cartridges to move to the left. After this was complete, I was prompted to Execute a paper head alignment. This tells the Canon printer to print out a test page.I reconnected my printer, plugged in the usb to my pc, and turned it back on.

#CANON PRINTER MG2520 ALARM LIGHT STAYS ON DRIVER#

I redownloaded/installed the Full driver set up and the XPS set up (for windows, for me personally). ***POSSIBLE SOLUTION: I think I fixed this issue with my MG2520!! ( : *** Also tried gently shaking it upside down and using cardstock/index card to try to clear anything from the paper tray, without luck.)) Restart your computer just to make sure everything is gone. Uninstall every driver you've tried to install, any of the secondary programs, etc. Go to Printers in settings and Remove the printer. ((As others already mentioned, I tried to turn it off, unplug, disconnect usb, and replug everything, turning it on, but no luck. Disconnect the printer from your computer and turn it off. It would feed the paper Maybe an inch and then just stop, saying paper jam or usb error message. I also ALL of a sudden had this paper jam issue just now. After a storm went through last night I can not get the printer to work. I think I figured out the solution (down below), it worked for me! Also, my computer seems to be communicating with the printer as it begins printing, but just doesn't pull the paper through far enough to print on. This is confusing to me because my printer has been working fine with this USB device for months now, and only started to have this message after I got the false paper jam message. To confuse things more, after all this, I ran a diagnostic on my machine and got this message: USB Composite Device can't work properly with USB 3.0. I replied to their message with what happened and was told to take the paper out of my machine, but there is no paper! I'm not sure why my paper won't feed. I did this several times and it did not fix my problem. I contacted Canon Support, which told me to clean the rollers by holding the Stop button until the alarm lights showed 7 flashes. It started to print, began pulling the paper through and then the paper just sat there, while the printer made printing sounds. So, I powercycled the machine and then attempted to print. I checked the printer and there was nothing in it. My PIXMA MG2520 stopped printing, flashed 3 lights and gave me an error 1300 message.

#Canon printer mg2520 alarm light stays on

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spaciousreasoning · 4 years ago

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Eclectic Communications

The PBS series “Nova” just aired a couple of programs about the story of the alphabet and how the development of writing played a vital role in shaping world history, from the invention of paper to the printed book. It was especially interesting to me as I have written almost since I learned to form letters and because of my involvement in journalism.

The second episode pretty much ended with Gutenberg’s invention of the mechanical movable type printing press. The actual idea of movable type had come from China, where it developed as early as 1040. The small number of alphabetic characters in European characters was the primary factor in the rapid spread of the technology after Gutenberg.

My first exposure to more modern means of production came in my father’s study while he was pastor of three churches in Chester County, South Carolina. Every week he would stick a stencil in his typewriter and compose the Sunday bulletin. Then he would load the stencil on a mimeograph, fill it up with ink, and run off enough bulletins for the congregations. To my six-year-old self, it was fascinating.

That was as close to the printing process as I got until Spring 1980, when I worked on the “Tombstone Epitaph” as a master’s student in journalism at the University of Arizona. Students put out a bi-weekly local edition of the historic paper from 1975 to 2018. A retrospective issue is being planned, according to the J department’s website.

As deadline for each issue approached, student stories were printed out on paper tape. Coils of tape were gathered in a bucket and carried from the department to the Student Union, where the student newspaper had a phototypesetting machine. The tapes were fed through the machine, with type size, leading and column width determined by switches on the typesetter’s face.

Then all the galleys were carried back to the department, waxed and trimmed, and pasted into the pages. We used layouts and headline styles that more or less matched what the historical paper looked like. During that semester we published a 100th anniversary edition, with a nod to John Clum’s founding of the original newspaper in the “Town Too Tough to Die.”

However archaic – even by the standards of the time – was the technology at the student publications, the experience stood me in very good stead when it came time to interview for my first real newspaper job in Nogales the following fall. There, thanks to an enterprising young businessman, the staff was outfitted with a state-of-the-art text editing and management system.

Once we ran everything through the typesetting machine, though, it was back to manual paste-up and layout, complete with razor blades and bandaged fingers. After pages were pasted up, they were turned into big negatives which were used to burn the metal plates subsequently placed on the press, where offset printing did its magic.

Similar production techniques were in use at the community papers where I worked in Virginia in 1985. The text system was more old school. We used manual typewriters and blue pencils and turned over copy to the staff who poked a line at a time into the phototypesetter. Once galleys came forth from the machine, it was paste-up by hand all over again.

The public relations office at the Tucson hospitals were still operating with 8-inch floppy disks when I first arrived at the end of 1985, but they were soon replaced with early personal computers and laser printers. Those also made their way into my home, and by the time I began producing “BudZine” in 1993 desktop publishing had arrived and paste-up was a thing of the past.

Printing technology has advanced a long way since Gutenberg. Printing itself may soon be obsolete, but the tools we’ve been using lately will certainly continue to improve. As always, I’m trying to keep up with an evolving world, looking forward to learning the new stuff and, somewhat sadly, abandoning how it used to be.

The title of this post, “Eclectic Communications,” was the name used by friends Jay and Bill for the political consulting firm they founded and ran for a few years. A letter on company stationery helped me secure my Arizona residency for tuition purposes at the University. The phrase was also used as part of the tagline for “BudZine.”

#technology #communication

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simikaurblog · 6 years ago

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Visual scrapbook - mediums, techniques, styles

Practical skills and mediums: screen printing, risograph, painting, drawing, letterpress. The risograph and letterpress is something that I am not familiar with so if I was use this in my work I need to attend a workshop. I feel that the texture and appearance will work well with my message and audience.

Practical skills and techniques: line drawing, motion video, animation, colour, hand rendered and digital techniques, scanning, softwares like Indesign and After effects. Experimental and practicality skills - typefaces, lettering, kerning, type, space, size etc.

Practical skills and styles: glitch, distortion, rule breaking, contemporary art, digital art, abstract, patterns, collage, South American, Mexican, mix media, image and text

Subjects: mental health, stigma, young people, opinions, design and concepts, visual communication, book binding, zine, awareness, social issue, speaking up, video

Improve and develop: I want to improve my skills in Indesign and feel much more confident when I use the software. I want to develop in using new techniques and just exploring this through my brief.

Hendrik Werkman - is an experimental Dutch artist, typographer and printer. The artist set up a clandestine printing house during the Nazi occupation and this period of time influenced the work he created. The techniques used are seen by contemporary letterpress printers today. For example, masking type, printing pictures, printing the back of wood types etc.

The whole design turns into a image. Werkman uses ink as if it was paint. I really like how this creates texture within the design, especially when the ink goes lighter. It is playful, bold, experimental and can be used to voice out the voices of mental health. I added this example because I like the movement in the design; it navigates you around the page creating tension and excitement.

Linking this back to my work I can use typography to create tension and communicate how mental health can feel when there is a build of feelings.

Ruben Montero - is an Spanish graphic designer who has created these glitchy posters. The technique the designer used was to scanning them and the digitally manipulating it. I really like how these distorted photocopies suggest a story to me or a idea. The monochrome colour scheme means that there is no distraction and the viewer can focus on the type. By stretching, moving, blurring and adding ripple across the pages it is fascinating and a style that never gets boring.

Linking this back to my work I want to revisit the technique of scanning type and just to see what I can create.

Craig Ward - I have looked at the work of Craig Ward in the mini tasks that was given to me. I used his inspiration of NYC bacteria typography to create type that was distorted. Here is an another example of this work ‘error’.

Other - this is another piece of worked I found on Behance. This was created using hand rendered techniques.

Nevan Doyle - is an designer who creates a lot of digital art. Doyle pays attention to detail and efficiency and create pieces of work that are bold, powerful and different. I really like this approach from the designer who is constantly challenging himself by pushing skill further. This is similar to my design approach as I am always experimenting and coming up with something that I do not expect.

Ran Park - is an designer who has a wide perspective that allows her to balance concept with aesthetics. I believe this is very important to balance as work needs meaning and a purpose otherwise it can be useless to us. The designers relies on her life experience and observations of the world to create fresh, original work.

In this piece of work, the designer explores the chaos of Konglish.

Konglish is Korean and English words that derived from the English language, but the meaning or pronunciation has been altered.

The artist is lost In konglish and has experience this around her.

This zine shows the words that are pronounced the same alongside the Korean and English letterforms. I like how the layouts are chaotic and abstract, however the publication is aimed at foreign people. I feel that the artist needs to create another publication aimed for non foreigners.

Cristiana Couceiro - is an illustrator and graphic designer. The designer focuses her work on making collages using newspaper, tiles, vintage photos and pieces of paper in a simplistic way and retro way. The style of this motivates me to add shape, line and images together as another way of communication.

Neal C Gallagher - is an art director and designer. I like how this designer brings together elements of design by exploring printed matter, prints, drawings, paintings, and images. I decided to put this into the scrapbook because I feel that I need some visual references that are express the issues and messages.

Éliot B.Lafrenière - this can be achieved digitally, paint, screen printing and inks.

Other - I like the black and white cut ups because it creates contrast and will attract my target audience.

Isabel Reitemeyer - is well known for the collages she makes. I like how there isn’t a lot going on. I feel that if I found images that relate to my topic I can then make it my own by adding shapes, movement and colour. The artist states: ‘’Less is (almost) always more’’. The reason why Reitemeyer keeps her work simple is because using less material tells you something or create a mood.

Leslie David - is a French designer, illustrator and art director. Her work focuses on visual thinking and design in the fields - fashion, beauty, art, music and culture. I added Leslie David to my scrapbook because this reminds me of the work I have created and used in the magazine. Looking at this for inspiration I want to add depth and mix materials together to make my digital art visually stronger.

MY WORK

Other - inspiration of bright colours. This effect could be created by using paint, inks and using a screen print, brushes or squeegee.

Zine ideas Risograph machine can be used to create some graphical outcomes.

Tractorbeam - is a studio that creates designs that powerful. Their mottos is to get brands to connect, inspire, and drive real results.

Phoebe Lovatt - the working woman’s handbook that offers advice by addressing the importance of maintaining physical and mental health.

This book is very handy to look at to see what is currently on the market. It seems to be targeted at women and who are in there 20-30s.

I like the idea behind it, but wish there was more visual references. This is how I am going to make my zine different.

Swirl project put together by Andy Walton ( mental health nurse), website, book and logo designed by Studio Moross and illustrations created by Nate Kitch - I think the masthead for this project is smart. Swirl is a good word to describe mental health. The imagery reflects what the project is all about and offers some simple tips to stop overthinking.

Aims - Creating a ‘’offline project’’ that is explored through a booklet. It’s aims is to practise positive ways of managing worry. It is a guide that is accessible, straightforward, but gives people comfort and power. This is similar to my project as I wanted to create a relaxed situation where my user can look through the book in their own time. My idea differs from this as my aim is to stop the stigma of mental health and to get people to understand how many young people.

Other - what if I can use actual texture to create movement?

Outcomes - the parameters of my project tell me that I won’t really have time to print and put my outcome together to present. If there was more time for my project, I would create several mini booklets, leaflets that share information about mental health; like a kit.

I started to look at what other materials I could print onto - plastic, tracing paper, different types of textured paper etc.

I found a website where you can order sheets of materials.

Here is the free samples I received:

https://www.studiomoross.com/projects/dj-tour-visuals-2016/ - visual video that I really like. I think that this looks cool and I love to learn more about this technique and apply it to graphic design.

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2or3things · 7 years ago

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Printing press at Bloemstraat, Amsterdam (circa 1966). Page from ‘Het Witte Gevaar’ (Meulenhoff, 1967). The caption reads “Work-shy Provos, Rob Stolk (in the foreground) and Fred Fontijn (in the background), operating the Provo press”.

On printing Provo

‘Je Bevrijden van de Drukpers’ (‘To Liberate Yourself from the Printing Press’) was a Dutch article published in 1991 in the magazine ‘Jeugd en Samenleving’ (‘Youth and Society’). Written by the archivist, activist and artist Tjebbe van Tijen, the article featured interviews with a selection of people that were, each in their own way, involved in the printing of independent youth magazines. One of the persons being interviewed was Rob Stolk. What follows is a translation of the full interview.

Provo 1965–1967

I never attended a school for printing, so I wasn’t fully aware of all the possibilities available for publishing pamphlets. And if you aren’t aware of that, there’s only one thing you’re focused on, and that’s the costs. When you have an idealistic background, and you want to publish printed matter (an anti-war pamphlet, for example), it basically means that you won’t recover your money.

My first produced pamphlet was related to the activities we undertook as pacifist-socialist youngsters. We used a stencil duplicator (mimeograph machine) owned by a comrade of the PSP [Pacifist Socialist Party] at his place on the Westzijde in Zaandam. That thing was ancient, you had to operate it manually. If we wanted to add something fancy, like an illustration, we had to order a ‘photo stencil’, as we didn’t own a stencil-making machine ourselves. A stencil like that costed us seven and a half guilders, a considerable sum in those days. We picked up those stencils in Amsterdam, at the Spuistraat.

When we mimeographed the first issue of Provo, we were offered the use of the machine of mister De Groot, a subscriber to ‘Recht voor Allen’ [a Dutch anarcho-socialist magazine, originally founded in 1879], who had one of those machines standing in his attic. We were printing there until the early hours. That guy really enjoyed that he could support us that way. He had always hoped that a new generation would keep his ideals alive.

The first issue of Provo was mimeographed in an edition of 500, of which approximately 100 copies were actually distributed. The rest was confiscated by the police because of a text on how to manufacture bombs, a 19th century nonsense article that came illustrated with a glued-in firecracker. This immediately meant that there was enormous demand for the second issue. We printed 2000 of those; a gigantic task. Part of that edition was eventually printed at Roneo in the Spuistraat. Imagine those guys dressed in tidy suits and grey dust-coats, printing our magazine surrounded by office machines.

At a certain point, we started relocating our stencil machine. We had so much trouble with pamphlets being confiscated, because of insults to the queen and pranks like that – we just had to keep on moving the machine.

One time, we were printing an issue of Provo in a tiny room in the Staatsliedenbuurt, in the house of a lady who had no idea what the magazine was about, but she assumed it was alright since her son was involved. I was constantly dragging suitcases and piles of paper around; nobody knew the location of the machine but me.

Very quickly, it became clear to us that the distribution of Provo was dependent only on our ability to produce it. The demand was huge. The public had no idea what these Provos were about, and much to everybody’s surprise, these kids also published a magazine! That was a huge difference compared to the previous image of ‘pleiners’, ‘dijkers’ and ‘nozems’ [Dutch youth cultures, comparable to mods, rockers and teddy boys], thugs no one really understood. In that sense, the Provos were perceived quite differently: at least, they published a magazine!

We then bought an offset press, and installed it in a tiny basement. That was in the Bloemstraat, at Henk Raaf’s place, who ran a small travel agency from there. This was around 1966. After the 10th of March [the riots during the wedding procession of Princess Beatrix and Claus von Amsberg], we were all arrested. The police had a rough idea where the press was located; they had the feeling that if they would manage to the confiscate the press, the trouble would be over – that’s the way they thought back then. It never occurred to them that the press would be located in a neat building, in the basement of a travel agency. They were searching for long-haired people who were walking in and out of houses carrying printed matter, but of course, carrying printed matter in and out of a traveling agency was considered to be very normal. So they never found that press.

The print run of later editions of Provo reached 10,000. These copies were paid for only partially. If a new issue of Provo rolled off the press, youngsters came by to take stacks of magazines with them. Loe/Lou van Nimwegen [responsible for the administrative part of the printing] gave them 25 copies each. They sold those copies for 70 cent or so, and had to pay us part of that. Some of these guys you never saw back, while others just kept on selling. Some of them sold a couple of hundred copies on a single day; they immediately had enough money on them for the whole month. Maybe that was the problem; there was not enough stimulus to keep things going. We also tried to distribute the magazine through Van Gelder. Maybe that was exactly the strength of the magazine: the fact that the supply never met the demand, so that it always stayed something of a curiosity. If you managed to get a copy, it was special. It was never professionally organized, in terms of distribution.

Swiftly setting a text is a difficult task. You always had to search for the right typewriter, with the best letter. You wanted to act quickly, so you didn’t want to rely on suppliers of professional typography. This meant that aesthetically, things could get problematic. But of course, this was exactly what made the design so specifically subcultural. It went against the commercial design of mainstream printed culture – a mainstream culture that was boring and annoying. True, within the Provo movement there were also designers who, within other contexts, designed beautiful things; costly productions that were in a different league compared to the printed matter of Provo. But then again, we never had the pretension to measure ourselves against that. Subversive printed matter simply wasn’t meant to be beautiful.

I have always operated from the absolute minimum of money and assets. The people who were participating in these publications didn’t have a dime to spare. The plan was to produce it as cheap as possible, and to distribute it as wide as possible.

It was around that time that, at magazines such as Hitweek, a new form of design came into existence – one that was very different from the design that was common at advertising agencies. Also, with the rise of offset printing, it was no longer the typesetter who performed the job according to the instructions of the client; instead, the whole discipline of design became separated from the printing. The offset plate became the medium that could be filled with images and typography completely independent of the printer’s typesetting case.

I once cooperated with Chris Hahn on a booklet that included photos by Koen Wessing, documenting the riots during Beatrix’ wedding. It was printed quite weakly, but that was because we had a tiny offset press that was impossible to apply any ink on. Although we screened (‘rasterized’) the images quite decently, especially considering the time, the machine just couldn’t pull it off. We printed it on A4 sheets – it was still a pretty neat publication for those days. But again, the costs and the proceeds didn’t match up. It just wasn’t organized well enough to sustain. That’s typical though for political projects: the distribution is geared mainly to get the publication to as many people as possible, not to get any money back.

Hitweek [a then ‘hip’ Dutch music magazine] was a commercial enterprise, where they took into consideration the costs, the office hours, the phone bills. If we would have produced Provo in such a way it would have had a larger reach, especially if we would have included music coverage. But there were a lot of people who weren’t into that. Roel van Duijn wasn’t exactly a fan of the Beatles. In the end, a magazine is a conspiracy of people who all have a say about it. And if these people don’t agree on a subject, the tendency is to keep that subject out of the magazine. Cooperation consists of that what you do together. It also depended on who was momentarily responsible for the content. This responsibility was handed over from person to person. In the beginning it was mainly Roel’s job, but if he dominated too much editorially, it was pulled from his hands. Which meant that he refused to take part in the following issue, resulting in a totally different editorial tone.

I always wanted to employ my own printing press, because I always longed to publish things, for example magazines like Bethaniënnieuws or Nieuwsmarkt [magazines affiliated with Aktiegroep Nieuwmarkt]. In my view, these initiatives could only be conceivable if you had your own printing press. If you have to work with budgets like these, with print runs like these, on initiatives like these, and it lasts for only one or two issues – it’s impossible to deal with. In the end, we could only continue our activities by trying to make money with printing; by taking on assignments. Added to that, we owned some money from selling the Provo archive. So we had some resources to continue printing. But it still remained a struggle to keep on going. Just look at the difficulties that Bluf [an ’80s squatting magazine] had, trying to sustain in a non-profit way.

On the rise of screen-printed posters, especially those designed in the ’60s by Ontbijt op Bed [a Provo-related group from Maastricht]:

These posters were of a beauty... Spectacular, wonderful, really incredible. So, just like Kees Graaf [printer of Ontbijt op Bed], I started screen-printing, but without the know-how and resources that he had.

The problem remained though: how to make a living…

On the rise of psychedelic posters, which also happened around that time:

That was something we had nothing to do with; this whole sphere of ‘alternative culture’... In our eyes, those posters were still commercial commodities. We did everything we could to avoid that scene. Which is why I also worked as a plasterer, doing construction work with Ronnie and Otto, because I’d rather do that than to print commercially. To me, printing was something sacred; it was my weapon, a way to manifest oneself, and to cause confusion.

More and more, I realized I didn’t want to stand in the foreground of the activities I participated in. That would have been very counterproductive as well: to give the impression that it was “always the same guys”. In that sense, Provo also became very counterproductive.

Everything that came after Provo had an easier time manifesting itself, because of the vacuum that Provo left behind. Provo stopped, but the ideas was still there, the newspapers took notice, there was a voice that wasn’t there before. People outside the official circuit were suddenly being heard. You only had to start a committee or group, and you were in the news. If people were agitated about certain issues, it was in the newspapers. Before Provo, that was unthinkable.

Apart from those printing companies who weren’t members of the Koninklijk Verbond van Drukkerijen [trade organization for printers] and artists printing independently, Provo was one of the first post-war presses that wasn’t being exploited as a commercial printing company. Many others followed that example.

After the liquidation of Provo, we handed over the press for 6000 guilders or so, which we used to pay off our debts at the paper suppliers. The press was passed on to ASVA [a left-wing student organization], who set up SSP, the Stichting Studentenpers [the Students’ Press]. The SSP still exists, but I don’t know if they are still affiliated with ASVA.

This whole counterculture of independent printers has more a political background than a cultural background, at least in The Netherlands. It was quite simple in those days to get hold of a cheap, reasonably functioning press. The bar to start a printing company wasn’t set so high: if you had a couple of thousand guilders, you had a pretty decent Rotaprint press. The clients weren’t so demanding, so all it took was a minimum of means.

If a client asks you to deliver a certain product, you have to deal with a totally different set of requirements than when you only have to meet your own requirements. If it’s your own initiative to publish something, then what matters most is the content, not the quality of printing. There was an urgency then to get the information out as quickly as possible, to as many readers as possible. In fact, I still believe that a simple text can be more important than the most intricate design. It is certainly possible to express something original, without it being printed perfectly. You should be able to look beyond the design.

It seems very clear to me that a country without a free press is a country that sucks, because it is a country that conceals things. A society in which people have the possibility to organize themselves freely, to express themselves freely, is always a better society. I am fully convinced that the free press is one of the most important forces behind the progress of human society.

Rob Stolk (as interviewed by Tjebbe van Tijen), Amsterdam 1991

Translated by Experimental Jetset, on the occasion of the EJ-curated exhibition ’Two or Three Things I Know About Provo’, as took place in 2011 at artists’ space W139 (Amsterdam).

The original (Dutch) version of this interview can be found on the website of the International Instititute of Social History (IISG), as well as on Tjebbe van Tijen’s own website (Imaginary Museum Projects).

Another excellent interview with Rob Stolk, again focusing on his authorship as a printer, can be found in the Spring issue of ‘OpNieuw’ (Volume 19, 2001). Written by Tineke Nijenhuis, this article focuses more on Rob’s role within various magazines that were published after Provo, during the Aktiegroep Nieuwmarkt period.

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elizbethwolf · 4 years ago

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Cheap Copies Near Me With 24 Hours Printing

Find Cheap Copies Near Me or At home?

Getting cheap color copies near me is not so hard as this printing product is among the most popular printed products available in the market. therefore, finding a local printer that will produce your color copy printing job for cheap price, is not a hard task. Before you start the search for color copy printing providers, there are a few little tips for you to know. In this article, we will talk about color copies printers. Quality, recommended paper stock among other details to help you out understand what it is all about.

Cheap Copies Near Me – Sample on 8.5×11-color-copies

Searching Online for A Provider Near Me?

To run a search for color copy printer provider near you, just visit Google and type in “color copies” followed by your city or town name. This will bring you many options for printers providers around your city. If you have the location function turned on. Then, you will be able to see where you are on the map and the businesses near your location are going to be easier to identify.

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Google search for cheap color copies near me

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Different Type Of Printers for Copies

Quote at docucopies.com

Not all printing companies use the same methods or machinery. There are many different ways to produce color copies for cheap price. Also, keep in mind that for black and white copies are a totally different process than color ones. There are home and industrial printing machinery that will only print on Grey-scale color by using black ink or toner. Black and white copies are not as good for attention-grabbing, but they could be used for regular document printing where a lot of text is involved.

In House Solutions

When printing a little number of copies anywhere from 1 to 100. There is an additional choice, maybe not as cheap as going to a local printer near me. But this will solve my issues in case of a short printing run. Buying an inkjet printer for home use. These little printers could be very economical if the color coverage over the page is light. The image below will give you an idea on how to calculate the ink coverage for an 8.5″ x 11″ flyer.

Ink Coverage for Cheap Color Copies Printing

Its very clear how every part of the design within the flyer, increases the ink coverage needed for printing. This will give you a very good idea on when to use a home printer for color copies solutions. We would suggest that anything below 60% would be good enough for a in-house printing project. Remember that at your local printer, they will charge a per-copy fee, no matter the ink coverage.

For online home cheap printers visit amazon: https://www.amazon.com/Office-Copiers/b?ie=UTF8&node=172576

24 Hours Color Copies Providers Near You

When in a rush, you just don’t care how expensive the prints are. For those customers in a really tight rush with no budget limits, we would definitely recommend those international chain printers like Kinkos and Staples. These are nation-wide industries with in-house capabilities for color copies printing, sometimes with 24 hours open schedules. Specially Kinkos prides of having many 24 hours printing facilities around University complexes and city center points.

Providing a great flexibility for marketers and anybody needing fast printing. Stores open with 1 or 2 employees with basic knowledge on how to use, print, copy, scan, bind, with the equipment available there. Lamination is also available 24/7 at these stores for your convenience.

So we could say, they provide an all-in-one solution for your cheap color copy printing project. Just not as affordable as other online and local solutions near you and me, but it is worth to have them into consideration.

Save Money with High Volume Offset Printing

If you needed color copies but printed in bulk. We would recommend you to give it a second thought as you can save a lot of money when ordering in regular Offset printing instead of copy printing. Any quantity over 1,000 copies would be considered a “long-run”. The price of a color copy flyer will no decrease even if you order 1,000,000 copies. With the offset printing technique, therefore, the more units you order, the cheaper it gets per unit.

Try to find out on printers near you that are capable of producing Offset printed flyers and get a few quotes. Also ask about the flyer printing turnaround time, as it may take a little longer for Offset methods. The offset printing method is a little bit more complicated, along with that, a big setup process is required for the offset machinery. Not as simple as the color copy machines, after that, this is the reason why we recommend you to ask about it.

Resources for Research:

Google Search

55printing.com

Tonergiant.co.uk

Chimi Printing

The post Cheap Copies Near Me With 24 Hours Printing appeared first on Cheap 55 Printing.

Published First on https://cheap55printing.com/ Cheap Copies Near Me With 24 Hours Printing posted first on https://cheap55printing.com/

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sheliabarley · 4 years ago

Text

Cheap Copies Near Me With 24 Hours Printing

Find Cheap Copies Near Me or At home?

Cheap Copies Near Me – Sample on 8.5×11-color-copies

Searching Online for A Provider Near Me?

Google search for cheap color copies near me

Online Fast Printing Providers for 24 Hours Cheap Copies Printing

Among the top online printer providers that also offer services for color copies with 24 hours printing capabilities. We will find the following:

For Additional Options, Keep Reading:

youtube

More Choices on Cheap Copies Near Me:

Different Type Of Printers for Copies

Quote at docucopies.com

In House Solutions

Ink Coverage for Cheap Color Copies Printing

For online home cheap printers visit amazon: https://www.amazon.com/Office-Copiers/b?ie=UTF8&node=172576

24 Hours Color Copies Providers Near You

Save Money with High Volume Offset Printing

Resources for Research:

Google Search

55printing.com

Tonergiant.co.uk

Chimi Printing

The post Cheap Copies Near Me With 24 Hours Printing appeared first on Cheap 55 Printing.

Source: https://cheap55printing.com/ Cheap Copies Near Me With 24 Hours Printing published first on https://cheap55printing.com/

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yazdesigns · 4 years ago

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Evaluation

The pandemic affected my mental health, as in addition to the general anxiety everyone was feeling, I also could not relax. I could not attend any social gatherings or do the normal activities I usually do outside of my university work. Printing became a major issue as I did not own one. I did not have access to the basic stationary at university that I normally would, like fine line pens and paints. My budget constraints also limited how much I could purchase on my own.

My motivation to work was affected, as it is easier to work in a creative environment like university, where you can discuss ideas with colleagues and university staff. I could not use the print room facilities, dark room and photography studios to advance my experiments. Given the opportunity, I would have experimented with type blocks, dark room techniques and professionally photographed my work. I had to use mockups to showcase my work as I could not print the final outcomes. I also was not able to receive support from I.T. Technicians to create AR posters like I had originally planned. I overcame these issues by showing the concepts as a digital submission, using miscellaneous mediums and tools I had around the house to create my prints, borrowing a relative’s old printer and ordering ink online. I had to plan what materials I would order so that they would arrive in as few deliveries as possible and I took into account that everything would take longer to arrive due to the pandemic.

Throughout this module I learned about and experimented with many design methods and processes. I will now be evaluating the materials and techniques that helped me develop my ideas. The relevant research and theory that underpinned my approach was reading books and articles about the Fluxus art movement and the artists that took part in it.

These artists include John Cage, Joseph Beuys and Nam Jun Paik. I also looked at designers outside of this movement, such as Wolfgang Weingart and contemporary designers like Tom Tebby and Patrick Thomas. These artists have many things in common and all had a major impact on the development of my project. The artists I chose to research used mixed media in their own unique ways. Patrick Thomas, Tom Tebby and Wolfgang Weingart overlay different mediums and shapes onto each other, while still maintaining a visual harmony. They have a loose workstyle but also follow a grid layout in some areas of their composition. John Cage, Nam Jun Paik and Joseph Beuys all allowed artistic choices to be decided by chance. This is something that I applied throughout my work and allowed me to work outside of my comfort zone to take my processes as far as I could.

My best ideas came from trying new processes, developing ideas as far as I could and discussing them in my one to one tutorials with my tutor. Throughout my period of experimentation, I constantly reflected back to the brief and my original goal. This goal was to visualize sound. I experimented with mostly sound software like Spectroscopes, Sonic visualizer, PhonoPaper and Adobe After Effects Trapcode plugin. I also learned how to use unfamiliar software like Adobe Aero and Cinema 4D.

Cutting and pasting became a major part of this project, as I took inspiration from the artists I researched. It encouraged me to find new ways to recreate compositions, experiment with new techniques and take on the element of chance. The particular inspirations for cutting, pasting and overlaying were Tom Tebby and Patrick Thomas.

My most successful experiments were changing my analogue creations to digital forms and then giving it life with the use of video editing. Video editing allowed me to push ideas and processes further, and bring back the true nature of analogue (as this is usually lost if left in digital form). The use of video gave my analogue shapes movement. The mediums and techniques that helped me develop my experiments were Indian ink, acetate, tracing paper, AR, 3D manipulation, motion graphics, animation and installation. The software I used for my experiments were Adobe Photoshop, Adobe Illustrator, Adobe After Effects, Adobe Aero and Cinema 4D.

After transforming my data sculpture to AR, I was then inspired to make the shapes move with sound. This turned out to be an unsuccessful experiment using Cinema 4D. Due to the pandemic I was unable to use any of the Macs that ran Cinema 4D comfortably. My computer at home was not powerful enough to run the software. This led me to find another alternative which was Adobe After Effects. This was much easier to run on my computer and allowed me to freely experiment with my still forms. I was able to create particles and move them using a plugin called Trapcode. By creating a new form of typography, I was able to successfully answer the brief by conveying the meaning of the song through my type. However, I did feel like it lacked a campaign aspect. In the future, I would pursue the concept of dissecting sections of typography (of the positive lyrics of the song) onto billboards, posters and newspapers around different cities. Once put together the final lyrics would be revealed. Another way I would improve, is ensuring all the letters were of the same size, since some of the letters like V and W were larger than the rest. This happened because the process of constructing each letter from breaking down my data sculpture and Indian ink patterns was complicated and time consuming.

Secret 7”

‘Come Over” is a song by The Internet. The song is about difficulties faced in a relationship. The artwork was inspired by the seven deadly sins and the art style of the celebrated movie Spirited Away. The programs I used to illustrate were Procreate and Photoshop. The textures and uneven patterns were influenced by the art style linocut. The artist that heavily inspired the style was Junji Ito. Junji Ito creates art for horror Mangas. Surrealism and gore strongly contribute to his illustrations as he likes to portray madness and inhumanity. His use of black and white also inspired the colour scheme I used for the main characters of my design. I decided on a red background to compliment the black and white characters and make the white of the heart stand out. I also used red as a marketing strategy to make it stand out more on display. When brainstorming I went with the concept of paranoia in a relationship and the idea of drugs and alcohol bringing out your inner voices and desires. There was a great connection to be made with Spirited Away, as I modelled my main figures on the character ‘No Face’, since in the movie this character represented emotions. I complimented this idea with the concept of the seven deadly sins as often it is when people allow their selfish desires or ‘sins’ to overpower them that problems in relationships occur. I reflected the seven deadly sins by creating seven figures, giving each a separate identity (to reflect each sin) by changing their faces and varying the lino print patterns (replicated digitally). Having the figures surrounding the heart illustrates clearly that they are the conflicting emotions of a person. In the future I would use actual lino print as it would give me a better texture than simply trying to replicate it digitally. Due to the pandemic, I was not able to do this as I did not have the equipment. I also would have portrayed the seven deadly sins more clearly by changing the overall shape of the figure’s bodies rather than just their faces.

Man vs Machine Isolation brief

The goal of this brief was to present isolation using unique visuals. My installation focuses on the melancholy thoughts one experiences during isolation and the feeling of suffocation. I was heavily inspired by video artist Nam Jun Paik. His abstract forms are displayed in a glitch format. One of the main features of his work is portraying a narrative through TV montages. He uses a lot of line patterns and shapes and creates harmony between them. These shapes are often shown rhythmically flashing in the video montages. Paik also uses humanoid characters and political figures in his work. I took inspiration from these elements of Paik’s work and applied it to my own installation. Like Paik I portrayed my message through a video montage and also used lines, shapes and vibrating particles. I tried to replicate a hospital heart rate machine to symbolize unbalanced mental health during isolation. Some of the shapes I used would rhythmically flash on the screen and the video would glitch in the style of Paik. Patrick Thomas was another artist that influenced this project. He would project videos onto old buildings to see how the video would be distorted when played on an uneven surface. I also projected the video onto a textured wall and myself. This also links with Paik’s work as instead of featuring a political or humanoid figure I chose to incorporate myself in the installation. This was because the installation reflected my own feelings about isolation. To further emphasise this, the video montage itself contained a window which showed a video recording of me. I incorporated the new skills that I taught myself during isolation, into the installation. For example, music production, creating original typography and 3D animation and sound art. I created the music in Fl Studio, animated in Adobe After Effects and filmed using a Canon DSLR camera. Since the concept of the installation was the feeling of suffocation caused by isolation, I had initially planned to wrap my face in cling film to physically reflect this, as well as allow the wrinkled texture to distort the projected video. However, this was not effective as you could not see it clearly against the background I had in my home. The next idea was creating an animation of a character falling but I felt it did not communicate the idea of suffocation clearly. In the end I decided on something simple, which was to wear a face mask. This clearly shows the coronavirus situation and there is enough texture to distort the patterns in the video. In the future I would like to record an installation in a professional studio. I would have liked to work with other creatives to design a performance, similar to the interdisciplinary nature of the Fluxus art movement. This performance would be a type of dance to communicate suffocation in an abstract way.

BCU print club/Type builder

BCU Print club is a workshop where students and staff get together once a month to create print. There is a new theme each session. Going to these print clubs allowed me to experiment, gain ideas and collaborate with other students. These workshops greatly benefited the development of my work and helped me meet my briefs, like the D&AD and typography manual workbook briefs. The idea of cutting and pasting an element and giving it a new form and narrative, was inspired by these workshops. I applied this when dissecting my wavelength typography and cutting the typography into data sculpture pieces. Due to the pandemic, the BCU workshop was continued remotely, online. It focused on the theme of ‘Together’ and not feeling alone during these tough times. I was able to test and apply new techniques and patterns made using Indian ink.

Type builder was the last workshop at the print club, and it was done in collaboration with the Northern School of Art. The goal was to create a message of hope using the shapes they provided. This could be based on a genre of music or film. I decided to submit an analogue submission where I applied skills from my typography manual workbook. I chose the lyrics from Demon days by the Gorillaz. In the future I would submit more work with a variety of designs and processes, showing clear influence from my research during this final year module as well as my entire university experience. I will also continue to participate in any online workshops BCU hosts after I graduate. This will allow me to keep in contact with the directors and allow me to share new findings I have discovered outside of university.

Open Collab

Open Collab is a remote, real time workshop between creatives worldwide, run by Patrick Thomas. This was the first session and focused on creating art that strongly links to hope and unity, in response to the pandemic. I was able to test my Indian ink experiments and combine them with my data forms. This gave me an insight into the new forms I could create. I created Indian ink patterns with the use of household tools such as old brushes, bamboo sticks, string and pallet knives. I scanned them and manipulated them with Photoshop. If given the chance to do this project again I would have incorporated other mediums such as acrylic and masking tape, and created textures by scratching into the materials. This would create a more interesting visual narrative.

Collaborative project with Isaac Lines

This is a collaborative project I have done with another visual communication student. The aim of the project was to reflect isolation through a series of posters. I was inspired by the cyberpunk world. The theme I chose was cyborg figures, combined with the concept of media consumption. This is because although technology has allowed us to stay inside safely (working from home, ordering online etc.), it has also become an addiction. It is common knowledge that overloading on media makes mental health issues worse. Often when you see families in isolation, everyone is looking at their devices. The passive media consumption for hours on end stops you from thinking deeply, interacting with someone in person and being present in the moment. Instead you are in an entertainment induced stupor just like a robot. Although illustration is not my greatest strength, I enjoyed challenging myself despite it being a tedious process. I made this task enjoyable for myself by incorporating my experimental type and merging the worlds of analogue and illustration together. I chose to go for a red and black theme as this colour scheme symbolized danger but still complimented the white and black colours. This also helped highlight the details of the illustration. I created these illustrations using Procreate and created the background using Photoshop. In the future I would consider digital painting to give my illustrations more life. I would also experiment with unfamiliar techniques such as animating these figures.

Experimental typography manual workbook

This is a personal brief. Continuing on from my D&AD Google project, I wanted to carry on exploring and creating new forms of typography. I wanted to challenge my creative thinking by generating various combinations of patterns. Sentences and shapes were printed out onto tracing paper. I would set myself a new sentence, focusing on the Fluxus movement. I experimented with different languages, patterns, textures and colours. This was to express the international and interdisciplinary nature of Fluxus art. I made over 100 prints which I have presented in my sketchbook. In the future I would have used other mediums to create distorted typography using film, a dark room, cyanotype and type blocks. The pandemic prevented me from experimenting with these processes.

MA RCA application/ Stuttgart

Throughout third year I was always considering my next step after graduation. Print is something I have always been passionate about. Creating textures and combing them with digital elements, gave design a whole new meaning for me. As I delved deeper into the world of print, I found myself wanting to constantly educate myself about new processes and techniques. I came to the decision that I wanted to do a MA program. I applied for the Royal College of Arts, Experimental MA Programme. The requirements I had to meet for the application was submitting 5 projects (including no more than 10 pages about the processes), a motivational section to say why I wanted to do an MA, a verbal video presentation of myself and my creative journey, and a reference done by Luke Tonge who is the director of Birmingham Design Festival. I had problems receiving a notification regarding the outcome of my application, most likely due to the pandemic. I sent various emails and I still received no reply. I addressed this situation to my tutor. She suggested that I continue to wait but to also think of an alternative. I was recommended to look at doing an MA in Stuttgart, Germany at the State Academy of Fine Arts. This course was taught by Patrick Thomas. I was introduced to a previous BCU Visual communication student who is doing this course in Germany. I asked him various questions regarding the course format, living conditions, scholarships and networking. I received promising feedback and I already know from past experience that I can easily adapt to studying in another country (I have already completed an Erasmus exchange scheme during my second year in Belgium). Having Patrick Thomas teach the course would also greatly benefit me, as I would want to gain knowledge from someone who does print for a living and hosts exhibitions globally.

Overall Project Evaluation

My design strategy started off with a general idea I had for the concept. I then undertook research to make the concept come to life and start experimenting. After the initial experimentation, I undertook further research to inform the next set of experiments and this research included online tutorials, 1 to 1 session with tutors and peers, email interviews, and reputable sources such as books and articles. I decided not to include any surveys. This is because after looking at the qualitative data models I realised it would be more appropriate for this data to come from me and the artists I researched, rather than surveying for example my university colleagues. These projects were about expressing my own ideas, not representing a group like in previous projects (e.g my contextual studies feminist project). The research into artists that I undertook was sufficient qualitative data in my opinion, and this kind of data was what helped me develop my idea. The research helped me understand patterns and textures, helped provide an understanding of the context of different design strategies and movements like Fluxus art, as well as analysing the work of selected artists. It allowed me to develop my experiments as I went along and be inspired by different aspects of the artist I chose to research. I made sure to use trustworthy and credible books and articles for this research and included texts that were transcripts of interviews with the artists, for example John Cage and Wolfgang Weingart. I knew of a local artists Tom Tebby and reached out to him via email for an interview request. After looking at the quantitative date model, I realised gathering numerical facts and statistics was not necessary as qualitative data was more relevant for this project, for the reasons explained earlier. Quantitative data would not help develop the project or add anything significant. I dealt with ethical issues in my projects. For the D&AD- Google & HMCT brief, the ethical issue was giving hope through difficult times (especially the current pandemic). Another key ethical issue was equality and international collaboration, and this was explored through the research I undertook for the Fluxus art movement (which informed many of my projects, as explained earlier). This art movement was unique in the way it emphasised an international and interdisciplinary approach. The fact that all races were represented showed their common language of equality. This was particularly special considering the movement originated in the 1960s, in a time where equal rights was not given the status that it has today. Examples of where I portrayed equality in my briefs were in my typography manual workbook where I used a non- English language (strongly linking to the Fluxus movement), and in the Man vs Machine Isolation brief which raised awareness for mental health. I also illustrated the dangers of media consumption during isolation in the collaborative project with Isaac Lines. Before I started the module, I had spent time in Belgium for my Erasmus exchange (uni 2nd year) and China for my CRCC Asia internship (in the summer before 3rd year). These experiences were instrumental in my personal and professional development, and directly impacted the projects completed in this module. This is because working in a professional environment enabled me to independently complete projects, without the help of tutors but still taking on feedback from colleagues. Working with different nationalities helped me understand the value of looking at the work of non-English speaking artists and researching international art movements like Fluxus. I created a 3D installation in Belgium for my final year project which helped me construct the video and installation for the Man vs Machine Isolation brief. I created logos and motion graphics in China which helped me to come up with different design iterations. This helped me to develop different patterns and experiments in my D&AD Google & HMCT brief and typography manual workbook brief. Overall, although it was difficult creating work during this pandemic, I have proven to myself that I can overcome unforeseeable obstacles and learn new skills. For example, using scrap materials and mediums found at home to create print, pushing experiments forward digitally by manipulating them in various formats, using Adobe After Effects, creating AR sculptures, animating sound with shapes, making music, creating a home installation and combining my typography processes with illustration. My favorite part of this project was seeing how I developed my professional brief (D&AD) into a personal project (typography manual workbook). I was able to further experiment with different mediums, techniques and textures in order to create a body of work. This includes over 100 design iterations. My time at university has taught me that although I am capable of logo designing, branding and editorial work, it is Print that is something I am invested in and wish to pursue in the future. This will be accomplished by doing an MA programme at RCA or Stuttgart, Germany, or somewhere similar.

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gregoryarmer177-blog · 7 years ago

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Tata Motors Introduce 'Crafted From Great' Organization Project With Lionel Messi.

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qccustomteesblog · 7 years ago

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Why would anyone want to start a t shirt business?

Back story

There I was in between jobs at a young tender age of 30. I was married with two small children and had no idea what was next in line for me. I was very involved with my church and we hosted a small group every week. It was in this small group that one of our new friends would have a conversation with me that would completely turn my life in a different direction than I had ever even thought it could go.

He began to tell me about this t-shirt shop that he had just purchased. I could see a twinkle in his eye as he began to tell me about it. I was of course, skeptical as he began to tell me all the plans he had to make this a huge opportunity, but I kept that skepticism to myself as I encouraged my friend and his new endeavor. Not going to lie…deep inside, I was a little jealous…I mean, I had a business degree from a Div. I University, I had recently left a small cleaning business that I started and ran for about a year and a half in the Chicago suburbs, and of course, I was smarter than him (in my own mind). So why does he get this “opportunity” and I don’t? Truth is…had it not been for my wife becoming pregnant with our first child when she did, I might still be operating the cleaning business. I was literally planning a big marketing push at the time we found out we were pregnant. This news would prompt us to move back home to the Quad-Cities to be closer to family. I had to leave that “dream” where it was and look for employment in my hometown. It wasn’t all bad. I had a steady paycheck, normal business hours, my own office. I was living the American Dream!

It was not long before I realized that working for someone else was no longer something that appealed to me. I bounced around a bit from management gig to management gig, each lasting about a year or so before this “conversation” with my small group friend would start to plant that seed that opened the door to my future.

Within this conversation of me being jealous, skeptical, and encouraging…I began to ask questions. The more I asked, the more I started to wonder if I could help him. I was currently unemployed, and was looking for my next corporate opportunity. He had asked me if I might be interested in swinging by the shop to take a look at things and give him my opinion. With my experience and my degree, it seemed like a reasonable request, so I went ahead and visited the shop later that week.

Diamond in the Rough

I walked in and I don’t know what I really expected to see, but the mess that I could see was not what I was expecting at all. There was so much ink and dust and filth everywhere. There was a big broken down auto press in the middle of the shop and a small manual press off to the side. Over in the corner was my friend’s desk with about 6 printers on it and film everywhere. In another area (a car stall to be exact) was an embroidery machine that had a tarp over it. This was a t shirt print shop in an auto repair building…again, not at all what I was expecting. The bathroom was even worse!

But, I picked up a broom anyway and began to clean up a little. I knew that we needed to start somewhere and that is where it all began.

My friend and I (and his girlfriend) would go on to have many conversations about the business as a whole. I was able to lend an opinion from a realistic business perspective rather than a clouded, excited, optimistic perspective. Funny thing started to happen though…my friends optimism became very contagious. I started to believe right along with him. I started to think that this thing could really work. The actual lightbulb went off when I asked about the book of business leftover from the previous owner. I began to call some of these old customers and story after story I would hear how the previous owner really screwed them over and how they still don’t have their shirts, or they still have not heard back after the sent their deposit in over a month ago, or how they came to talk to him and he would duck out the back door to avoid them…I would hear story after story after story. Because I was willing to listen and work with them to get things figured out and make up for what they had been through, that first day out of the 10 calls I made, 7 made appointments to come in and discuss ordering shirts. It was then that I started to see the one piece of information that still keeps me going today – everyone needs t shirts! This is a business that will always be a necessity. It just needs to be run right. That is where things started to get fun.

The Game

My friend was the artist, his girlfriend would “run” the production, and I was the business guy who managed the accounts payable and receivables, sales, and customer service. By this time they had agreed to let me come in as a three way partner. Big mistake on my part, but seemed like the right idea at the time. We would go from averaging about $5,000 in sales per month to about $20,000 per month. While that seems like an amazing jump…I now see that this would coincide with winter months moving into Spring months. Not saying that I was not thrilled with the uptick in sales…but looking back, it was more to do with the industry business cycle than it was us moving the needle.

We definitely had our struggles. The girlfriend’s experience in production was basically, “I have seen it done before”, so she would have a lot of pressure on her to get things done with little or no knowledge (we have all been there!). I had no idea what was really going on with production, I was just selling away and putting out fire after fire. We managed to keep our heads above water for quite a good run. We were becoming a known name in the community and while we still really had no idea what we were doing, we managed to keep people happy and that seemed to go a long way!

Our main issue was money. We were trying to divide the little money were making into thirds. I actually had another job (third shift), so I was not 100% dependent on the income from the screen print business. My friend and his girlfriend however did not have any other source of income and had 6 kids between the two of them. Needless to say, stress levels were high in their household. This stress would ultimately be the reason I would start to go my separate way and face the reality of giving up on another dream.

Beginning of the End

One afternoon before I left for the day, I put $200 cash on my desk to be deposited the next day. This was not out of the ordinary at all. I had a lock on my office and I had no reason to think anyone would steal money from the business we are all trying desperately to build…guess I was wrong. I came in the next morning to find the money missing. After reviewing the security video, both had come into my office on more than one occasion for various reasons, so there was only one conclusion I could draw - $200 was stolen and I know that I did not do it. I began to get a feeling that I may need to start rethinking my future with this partnership.

It was pretty common for me to experiment with different budget scenarios to try and pay the bills and plan for growth. I would often leave a budget alone while I would leave for the night to rest and then pick it up fresh the next morning. Well, about a week after the money came up missing, I received a phone call after I left the budget up and it looked as if I was planning to pay myself and not the other two partners in the next couple of months. Truth be told…it WAS going to be tough to pay each other with the state we were in at the time, but I would never pay myself and not the other partners. Especially when they have no other income. The kicker is that I had actually not paid myself for about a month up to that point to try and keep us moving forward. So to get a call like that was a HUGE slap in the face and was the sign I needed to show me that I needed to make a move and I needed to make it that night. I went in that evening after everyone left and packed up my items. I sent an email thanking them for the opportunity to work with them but trust is no longer something that exists in the our relationship. I assured them that I never had any bad intentions and wished them luck. I even took my personal credit card debt of over $10,000 with me and never looked back. All of this was the decision I made after some serious prayer time and some careful consideration. I had no idea what I was going to do, but I could feel God telling me that it was time to move on. God is good.

Everything happens for a reason

I had a lot of mixed feelings as I tried to work through what I was dealing with. I really enjoyed what we were building, but I knew the relationship was getting toxic and it was only a matter of time until things imploded. So, I felt like the decision was the right one, but I did not like the uncertainty I was experiencing again after I felt so secure in what felt so right. I ended up going back to school and getting my teaching degree. But my love for the screen print business never faded one bit. The very next day after I left, I went for a long walk to collect my thoughts and pray some more. I remember after about 3 miles or so, I heard a voice call out to me from a porch down the street I was on. It was a customer of ours who wanted to talk to me about shirts. While I was hesitant, this gentleman was still a friend, so I walked over and began talking. I did not let him know that I was no long affiliated with the company I was before. I just let him talk and I took notes as if I was still doing shirts. As we were having this conversation, it dawned on me – people were still going to be calling me for shirts. There is no reason I cannot keep offering the same service I was doing before, but I just needed a printer to help me out. Again…I started to see a light at the end of this new tunnel. I thought back to some of our number one competitors and reached out to them and within a couple of weeks I had started to begin a new business – my own business. I started filling out paperwork, creating a business plan, reaching out to friends, families, and old customers. And before I knew it…I was teaching full time, and providing sales/customer service to my customers in the morning and night…and having a local printer print my shirts. It felt good to be back in the industry. Best part is I knew that I was not going to s tart in debt. I was not going to use someone else’s deposit to order someone else’s shirts. I was not going to make the same mistakes that were made in my prior position. Who knew what I learned from that uncomfortable experience would be the cornerstone of me starting my new business off on the right foot. God knew.

Continuing on…

I would go on to teach and run my business as a middle man for about a year. I actually ended up contacting my friend again (God nudged me to reach out to him). When I contacted him, he had told me the business went bankrupt and he was pretty down on his luck. I asked if he wanted to come and help me out to get back on his feet. We worked together for about 6 months before he was selling behind my back and would end up taking off with about $1,000 in collected invoices. While nothing ever came of that, I supposed I learned my lesson in dealing with him any longer.

The business would keep growing, I got a deal on some equipment that I could not refuse and the rest is history…I decided to leave teaching and pursue the business full time…I miss the kids, but man do I love what I am blessed to do for a living!

While there are many more stories of ups and downs that I could pile into this particular post…you will have to wait and read about those stories in my next blog (coming in February) - Funny how the business changes year after year

Please feel free to ask any questions or leave any comments. My hope is that I am able to touch on some areas that my readers have been in at one point or another and maybe have a discussion about the mistakes I made in hopes that I can save someone else the trouble. Or for anyone with similar stories…feel free to share. Thanks for reading and hopefully you enjoyed!

Michael

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elizbethwolf · 5 years ago

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sheliabarley · 5 years ago

Text

Cheap Copies Near Me With 24 Hours Printing

Find Cheap Copies Near Me or At home?

Cheap Copies Near Me – Sample on 8.5×11-color-copies

Searching Online for A Provider Near Me?

Google search for cheap color copies near me

Online Fast Printing Providers for 24 Hours Cheap Copies Printing

Among the top online printer providers that also offer services for color copies with 24 hours printing capabilities. We will find the following:

For Additional Options, Keep Reading:

youtube

More Choices on Cheap Copies Near Me:

Different Type Of Printers for Copies

Quote at docucopies.com

In House Solutions

Ink Coverage for Cheap Color Copies Printing

For online home cheap printers visit amazon: https://www.amazon.com/Office-Copiers/b?ie=UTF8&node=172576

24 Hours Color Copies Providers Near You

Save Money with High Volume Offset Printing

Resources for Research:

Google Search

55printing.com

Tonergiant.co.uk

Chimi Printing

The post Cheap Copies Near Me With 24 Hours Printing appeared first on Cheap 55 Printing.

Source: https://cheap55printing.com/ Cheap Copies Near Me With 24 Hours Printing published first on https://cheap55printing.com/

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elizbethwolf · 5 years ago

Text

Cheap Copies Near Me With 24 Hours Printing

Find Cheap Copies Near Me or At home?

Cheap Copies Near Me – Sample on 8.5×11-color-copies

Searching Online for A Provider Near Me?

Google search for cheap color copies near me

Online Fast Printing Providers for 24 Hours Cheap Copies Printing

Among the top online printer providers that also offer services for color copies with 24 hours printing capabilities. We will find the following:

For Additional Options, Keep Reading:

youtube

More Choices on Cheap Copies Near Me:

Different Type Of Printers for Copies

Quote at docucopies.com

In House Solutions

Ink Coverage for Cheap Color Copies Printing

For online home cheap printers visit amazon: https://www.amazon.com/Office-Copiers/b?ie=UTF8&node=172576

24 Hours Color Copies Providers Near You

Save Money with High Volume Offset Printing

Resources for Research:

Google Search

55printing.com

Tonergiant.co.uk

Chimi Printing

The post Cheap Copies Near Me With 24 Hours Printing appeared first on Cheap 55 Printing.

Published First on https://cheap55printing.com/ Cheap Copies Near Me With 24 Hours Printing posted first on https://cheap55printing.com/

0 notes

sheliabarley · 5 years ago

Text

Cheap Copies Near Me With 24 Hours Printing

Find Cheap Copies Near Me or At home?

Cheap Copies Near Me – Sample on 8.5×11-color-copies

Searching Online for A Provider Near Me?

Google search for cheap color copies near me

Online Fast Printing Providers for 24 Hours Cheap Copies Printing

Among the top online printer providers that also offer services for color copies with 24 hours printing capabilities. We will find the following:

For Additional Options, Keep Reading:

youtube

More Choices on Cheap Copies Near Me:

Different Type Of Printers for Copies

Quote at docucopies.com

In House Solutions

Ink Coverage for Cheap Color Copies Printing

For online home cheap printers visit amazon: https://www.amazon.com/Office-Copiers/b?ie=UTF8&node=172576

24 Hours Color Copies Providers Near You

Save Money with High Volume Offset Printing

Resources for Research:

Google Search

55printing.com

Tonergiant.co.uk

Chimi Printing

The post Cheap Copies Near Me With 24 Hours Printing appeared first on Cheap 55 Printing.

Source: https://cheap55printing.com/ Cheap Copies Near Me With 24 Hours Printing published first on https://cheap55printing.com/

0 notes