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joshua unick

st. louis

stay- at- home publisher


Copyright ©, 2012, by At-Home-Publishing. All rights reserved. Printed in the usa First Edition No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in magazine or newspaper or radio broadcast.

CAUTION! Professionals and amateurs are hereby warned that “Transparency” being fully protected under the Copyright Laws of the United States of America, the British Empire, including the Dominion of Canada, and all other counties of the Copyright Laws is subject to royalty. All rights, including professional, amateur, motion picture, recitation, lecturing, public reading, radio broadcasting, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is laid on the question of readings, permission for which must be secured from the author’s agent, Joshua Daniel, 111 Park Avenue, New York City.

I dedicate this book to Benjamin. I’ll always remember all your support this semester; you cut so many cardboard letters.

table of

cc o on n tt ee n n tt ss Introduction Liemburg Great Art Techniques Neat Studio

10 14 16 19 22

Don’t Lose Heart cranky pressman designer • Mike Burton

INTRODUCTION INTRODUCTION Transparency in design happens when you print one transparent ink on top of another. You can recreate this effect using Adobe software with the transparency and effects box, it originated from screen printing.


Don’t Lose Heart cranky pressman designer • Mike Burton


Untitled studio on fire designer • Kelly English, Kindra Murphy


Campfire on Your Desktop swink designer • Shanan Galligan, Drew Garza, Yogie Jacala



Home Field designer • Harmen Liemburg

My fascination with transparencies started when I was at lecture by Harmen Liemburg. Liemburg is a graphic designer, screen printer, educator and design journalist based in Amsterdam. At the end of his lecture he laid a collection of his posters down on a table for students to examine. While its easy to find images online and in books, seeing the posters in person changes the whole appeal. When you can look up close and touch the pieces it leaves you awestricken. The colors were bold and beautiful. The layout in some were clean while in others complex, and Liemburgs illustration’s were all fantastic. Every time I saw a new one, I continued to look for the color bleed, and overprint. I’m fascinated by the fact that the separate colors were their own pieces and smashing them together brought a whole new life to the design. Since then, I’ve always wanted to experiment with transparencies in my work. I stay with solid color blocks most of the time because it’s always what I’ve done. This obsession book gives me an opportunity to explore and try a new technique style and incorporate it into my work.


Crispy Cloud designer • Harmen Liemburg


Cardline studio on fire designer • Rinzen,

Mike Perry

Using transparent inks is like purposely adding imperfection, but instead of cringing at it, it creates something that is beautifully different. It adds depth to the actual print and not just the composition. It takes our basic knowledge of creating secondary colors and builds on it, makes us look at it from a different light.


Cold War Kids designer • Andrio Albero


Brad and Amanda’s Wedding designer • Matt Pamer

Depression cranky pressman designer • Mike Burton


TECHNIQUES TECHNIQUES There are 3 artwork techniques commonly used for this type of printing: Trap, Knockout and Overprint. The Trap technique is when the bottom color “ bleeds” under the top color, ensuring no gaps are left over from inaccurate printing of the second color (when the so-called “registration” between the colors is “off ”). The Knockout technique is rarely used, as it relies on printing a color precisely in a gap left from the bottom color. The third technique, Overprint, is the easiest to achieve as the top color prints on top of the bottom color; often this produces a new color, as the top ink color is not always opaque. Another use of overprint is to create a rich black (often regarded as a color that is “ blacker than black”) by printing black over another dark color. Homage to the Stamp designer • Gavin Potenza


Fame - Eco Freako Campaign soulseven designer • Jessica Keintz, Sam Soulek

transparency Depression cranky pressman designer • Mike Burton

Campfire on Your Desktop swink designer • Shanan Galligan, Drew Garza, Yogie Jacala


FIRECRACKER FIRECRACKER PRESS PRESS The Firecracker Press opened their shop in February of 2002 as St. Louis, Missouri’s only graphic design studio and letterpress print shop. They combine antique printing technology with new thinking to design and produce objects that people enjoy seeing and feeling. They use computer design software to conceive ideas but still carve woodblocks and print by hand to produce event posters, business cards, party invitations, advertising and more.

We’ve Moved firecracker press



Grade A, Queen B, Vitamin C firecracker press

Information and images were resourced from : Impressive; Printmaking Letterpress & Graphic Design// Gestalten Genius Moves; 100 Icons of Graphic Design// Steven Heller & Morko Ilic Harmen Liemburg// Firecracker Press// This book was created by Joshua Unick under the supervision of Jennifer McKnight as an assignment in Advanced Problems in Graphic Design 1 in the fall semester of the year 2012 at University of Missouri-St. Louis.

Pages were composed in InDesign 5.0 using image files prepared in Adobe Photoshop and illustrations created in Adobe Illustrator. The type used in this book is; Adobe Caslon and Frutiger lt std, printed on Rives white laser weight paper.

Transparent Obsessions  

A book on my love for transparencies used in print.

Transparent Obsessions  

A book on my love for transparencies used in print.