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Friday, May 30, 2014

Introducing inkAID TransferiezTM Concentrate, an image transfer medium used to transfer images from inkAID Transfer Film to metal, wood, glass, plastic, paper, fabric, and even leather. It has excellent fl­exibility and chemical, water, and UV resistance. After dissolving in isopropyl alcohol, it produces a transparent solution which is coated onto the substrate and serves as the wet receiving layer in the image transfer process. When dry, the 
image can be protected with water based 
or solvent based top coatings.

Complete instructions are available on the TransferiezTM Concentrate product page on the inkAID website. Directions for transferring images onto several specific substrates will be posted shortly. In addition, Tutorial Videos which show image transfer processes using inkAID TransferiezTM Concentrate from start to finish will be available soon.

Image Transfers with Transferiez
TM  In this short video see the variety of substrates that you can transfer your images onto.

Get a 15% discount on your first order by using coupon code TRNFRZ.

Friday, May 16, 2014

Image Color Correction Philosophies - Which Should You Use?
One says you should trust what you see on your display. As photographers, we are generally visual people, so color correcting based on what we actually see on our display seems very intuitive and reasonable. We see a colorcast or lack of contrast in the image on the display and then we make adjustments until the colorcast is removed and contrast is corrected. This should be a good strategy, as long as you have taken some important steps: set up a good working environment that includes subdued, indirect, and consistent lighting, neutral walls, and a hood around our graphics quality display; use a middle gray background for your desktop and imaging applications; calibrate your display to a reasonable luminance (80– 120 cd/ m2) and an appropriate white point for your application; profile your monitor, so Photoshop, Lightroom, and other applications can correctly use this characterization from the operating system level of our computer to translate and display colors accurately.
The other says you should never trust what you see and that you can only trust the RGB or CMYK numbers that make up your image and correct based on this, more objective, information. By this method, there are target values for white, black, neutrals, and skin tones within an image, so overall adjustments are made to bring the values of the image to the specific aims. The main arguments on the limitations of visual color correcting should be familiar to you: our visual system and color judgment are too variable and subjective, and our displays are not of high enough gamut and quality to accurately show how the image will look on the printed page.
What’s a good compromise? Use the best of both philosophies. Trust what you see on your display, within limits, and use the numbers to examine your images and verify what you’re seeing. However, the trust in your display will be increased by doing the following things: setting up as good a viewing environment as possible; using a graphics quality display; and calibrating and profiling your display, while remembering your visual limitations and the limits of your display.

Tom P. Ashe. Color Management & Quality Output: Working with Color from Camera to Display to Print. Focal Press, 2014. 

Sunday, May 11, 2014

Coming Soon! A new Transfer Medium product from inkAID. Transfer your images from inkAID Transfer Film to metal, wood, plastic, and almost any paper. It dries clear and has excellent flexibility and resistance to UV light.

Thursday, May 8, 2014

Two Awesome Ink Jet
Workshops At Gary Wornell
Studios in Rhiihimaki, Finland 
4 Day Creative Digital Printing

June 12 - 15 and June 26 - 29, 2014

For basic, intermediate and advanced level students familiar with medium A3+ desktop and wide format inkjet printers.

These workshops open the doors to inkjet printing on a wide variety of media. They encourage the use of alternative printing methods and give the student adequate time to complete complex processes from start to finish. This is a creative course with an emphasis on creativity.

By learning the technical possibilities and limitations of inkjet printers, the student will quickly be able to create stunning prints on unusual materials.

Course outline:

The course will give the student advanced training on operating Epson Medium and Wide Format printers including settings for various media and print quality.

The course will begin with understanding color; the calibration of monitors including your own laptops, working with and creating custom profiles for a wide range of hand coated and factory coated media.

The student will learn how to adjust special settings for the printers to maximize the quality by adjusting inkjet focus, platen gap and media feed based on media thickness and ink absorption.

The course will include the preparation of inkjet pre-coatings on a variety of alternative media including very thin Japanese papers, fine art papers, synthetic materials and metal sheet.

Create your own inkjet coatings from standard art materials as well as use the ready made coatings of inkAid.

Learn how to make transfers on wood or print edge to edge on deckled edge papers and how to print an album (such as a wedding album) on both sides of double sided media.

Learn to print right from Photoshop and Lightroom, or use sophisticated software that is easy to set up and use. Ever had problems with color? The printing workflow includes the use of color profiles for standard Epson Media and any new profiles created on the course by participants.

Post coating for print protection. Learn how to apply post-coats, varnishes and archival protective sprays to maximize pigment print life and durability.

Students should bring their own files for printing and any personal choices of media up to 1.8mm thick. Keep in mind that this course is intended to produce finished work, but the main purpose is to experiment and explore a wide variety of ideas and methods for production. The limited time available will become very busy with prints in the queue and the aim of the course is to inspire and encourage experiment.

The workshop fee is 360€ + ALV(VAT) 24% price includes all materials, coatings, protective sprays etc.

Participants requiring accommodation locally are advised to visit the website of Riihimäki town for further information.

We look forward to seeing you - WELCOME!

Wednesday, May 7, 2014

Exploring Digital Printing on Alternative Surfaces 
By KathyAnne White
July 12, 13 & 14, 2014, 9 am–4 pm

San Diego Book Arts
$225 for members
$275 nonmembers

Materials fee: $30, payable to presenter 

Free lecture July 11, 7:30 pm at the Athenaeum Music & Arts Library, 1008 Wall Street, La Jolla, CA

Embrace your creativity in this three-day workshop exploring the digital print process on alternative surfaces — just about anything that will fit through a direct-pass-through printer. We’ll learn not only how to construct our own surfaces, but also how to prepare ready-made surfaces such as fabric, cheesecloth, and metal mesh for printing. Your exploration of the alternative digital printing process will help you master digital printing at a new level of expertise. During the workshop we will discuss which printers to use for a variety of projects and why. For the workshop itself we will use one of the current Epson art printers.

The artwork of KathyAnne White has been exhibited in solo and group exhibitions in museums and galleries throughout the United States and abroad. Her work is in the collections of the Museum of Arts and Design, the American Folk Art Museum, the Archives of American Art of the Smithsonian Institution, and the Phoenix Airport Museum. White is the recipient of an Artists Project Grant and a Professional Development Grant from the Arizona Commission on the Arts, and an artist residency in Yosemite National Park. KathyAnne has been featured in a variety of arts magazines, including Fiber Arts, Surface, American Style, and Folk Art, and has been named a “trendsetter” in Art Business News. She writes a column for Digital Art Creation magazine, published quarterly on the Internet. Her self-published book, Digital Printing Alternative Surfaces: The Definitive Source, is available at See her work at and