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dreaming up new flavors. So •f you see an tee cream '" your dreams that you don't see in our hsllng. tell us about 11. We'n do our best to SWing 11

20

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DIANA GRAHAM/GRAPHIC a:SIGN/515 EAST 86 STREET /M;W YO<I<. NY 10028/TEL 212 249-2171

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90

112

On the two pages preceding, veritably a rajah 's ransom of Neiman-Marcus jewels. Any one would be a magnificent

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Graceful design in a platinum and diamond twin ring 21 ,000.00.

Incomparable splendor for a wrist,

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Virtually matchless opal set in 18-kt yellow gold , with diamonds 38,000.00.

Timeless elegance in a superb marquise diamond ring

set in platinum 35,000.00.

Faceted emerald ring

mounted with diamonds set in 18-kt yellow gold and platinum 110,000.00.

Faceted sapphire of 26.62 carats 115,000.00.

Gem star ruby of great beauty. 7.15 carats 49,500.00.

Necklace, diamonds, emeralds and multi-colored sapphires set in 18-kt yellow gold and platinum 27,500.00.

Pin of diamonds and sapphires circling a glorious pink topaz set in 18-k1 yellow gold and platinum 32,000.00.

Hummingbird pin , diamonds, pink sapphires and a nectar

drop of ruby set in 18-kt yel low gold and platinum 7000.00.

Bracelet of multi -colored sapphires linked by diamonds set in platinum 18,000.00.

A page of polished gold from the Neiman- Marcus collec-

tion of superbly simple designs.

Larg e, 18-kt yellow gold ring 425.00.

Round 14- kt yellow gold button earclips 275.00.

Tubular 18- kt yellow gold bangle necklace 675.00.

14- kt yellow gold bracelet watch, bold yet feminine. 17jewel

Sw iss

movement

625.00.

Ring, wh ich could be a wedding band of everlasting beauty, 18-kt yellow gold 650.00.

Long loop 18- kt yellow gold earclips 525.00.

Bangle bracelet 18-kt yellow gold, beautiful architecture 1050.00.

120

Book 34 The Printillg SaJ§Jllilo·sJ.:ierlllil

Champion Paper.;

I

a ke sure your directions are accurate.

One of the most common reasons for a job to fail is lack of communication. From conception to delivery, a long chain of individuals are involved. Unless instructions are explicit, there is an excellent chance that anything that could go wrong, will go wrong.

All too frequently, a printing salesman proudly presents the first copy of a completed job to his customer only to be greeted with a comment like this, "There just isn't enough punch in the halftones:' Most often, the salesman responds, "If only you had told me that you wanted to have the halftones to have more punch, I would have had them shot that way:' The "if only" problem is all too prevalent in the graphic arts, but it can be prevented.

Lithography is an interpretive process. Using the customer's original art and instructions, the lithographic camerman attempts to translate the desired effect onto film. The photo lithographer can do virtually everything that a photographer can do working in his own dark· room. With direction, he·can deliver the job the way that the customer wants it. Without instructions, the customer forces the lithographer to use his own judgment.

2~itclean.

othing drives production people wilder than jobs that come in disorganized and sloppy.

Some of the more common problems include: mechanicals with poor instructions: overlays missing from shooting art ; photographs with creases; indentations on photographs caused by writing on overlays; and specs on artwork to name only a few of the more obvious offenders.

Here are a few guidelines to follow in the preparation of artwork: keep instructions simple and in the margins; put paper overlays over the shooting art for protection; never write on overlays when they are positioned over the artwork; and keep the shooting art as clean as possible.

Here's why. Lithographic film distinguishes betw<".en jet black and pure white. Anything else on the artwork will cause distortions on the film. Dirt, bits of rubber cement, fingerprints, lines that vary in intensity, off shades of white, words or phrases of type pasted onto the typographic reproduction proofs-aU will cause problems. Shooting art must be presented that shows uniform blacks and pure whites.

At the beginning of every project, the customer should sit down with his printing salesman and review each separate piece of art. After a thorough analysis of all the variables from paper to impact, the best treatment can be selected for the particular subject. Perhaps the job calls for pin dots, putting the smallest possible dots in the lightest areas of the photograph. It might mean using a dropout, making the lightest area of the photograph pure white.

A 10% tint might be required, putting a 10%dot pattern in the lightest area of the photograph.

There are hundreds of other possibilities, but the critical point to remember is "ask and you shall receive."

23

I

130

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u e your directions are accurate.

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2

SELF-PROMOTION

James Lienhart, art director/designer Maureen Moore/James Lienhart, writers Jean Moss, photographer Thomas Q . Wh ite , lettering Murrie-White & Associates , design firm / client

2 Steve Jacobs , art director Jennie Chien/Steve Jacobs, designers Maxwell Arnold , writer William Arbogast, photographer Jack Tom , illustrator Steven Jacobs Design , design firm Simpson Lee Paper Company , client

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