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Printing Services San Francisco – Who does Same Day Printing?

Walk down a typical street in any major city, like San Francisco, and you’ll see posters hanging all over the place; in shop windows, on utility poles, buses, and benches.

Walk into a shopping centre or public building and you’ll be sure to find a variety of posters telling you what to buy or where to go.

Posters have long been an eye catching way for advertisers to get their message across. SFBayPosters.com understands that since our inception! But until recently, poster printing has also been somewhat expensive.

Prior to the development of digital printing technology, the most common method for poster printing was lithography.

Dirk Fowler: I've, personally, always really enjoyed making things withmy hands.

Dirk Fowler: I think the reason I got intodesign in the, in the beginning was I really enjoyeddrawing.

I just enjoyed that process of creating.

Dirk Fowler: If something is crafted, hand-crafted, you're less likely to throwit away.

You can see that quality, you understandthis is something that I should hang onto.

Dirk Fowler: I'm Dirk Fallor.

I'm a graphic designer, graphic designprofessor at Texas Tech University.

I'm a letter press printer and I'm aposter maker.

I think, you know, our world is filled with, at leastbombarded with so much imagery.

Digital images, I mean, you literally can't get away from them,they're everywhere.

When you go to a concert, and maybe youpick up this poster and you, you look at it and you touch the ink and, and youthink, oh wow, this is, this is different.

What, what is it about this, you knowsomething's, how did they make this, who made thisDirk Fowler: When I was in college I was in a couple of bands and aftergetting out and getting a job, you know, I had kind of, I was losing that, thatconnection with the music world.

Making posters was a way for me to kind ofstay connected with the music scene.

Dirk Fowler: I had a lot of friends thatwere in bands and, you know, I would make a poster for a show, thenthey would go open for a larger act in another city maybe, and, and they wouldsay, can you make a poster for this one? That band would, would see it, like, whomade this red poster? And before I knew what was happening Isort of became a poster artist.

Dirk Fowler: Well I think my work's reallysimple.

I'm a little intimidated when I have todesign with more than two colors.

I really like simple, two color graphics.

But I'd like to think that no matter howsimple it is, there's always some level of, it's notreally hidden.

I don't l ike to say that I hide things inmy design.

I don't think you should hide anything,but I do like the idea that someone maybe has to give it a second or third look andthen they, they find something.

I think over the years I've been able todevelop that a little bit more.

The design around the design, has becomemore important to me over the years.

And seeing those things that just happen.

So this is a, a poster I'm working on forJeff Tweedy.

I've done a lot of work for Wilco over theyears, and, this is a, he's getting ready to head out on a solotour.

Originally, you know, I was thinkingabout, obviously, ideas for the, for the poster.

I didn't want it to be specifically, youknow, anything related necessarily to, to JeffTweedy.

But something that was appropriate.

So I was sketching birds.

Really, I was in a meeting at the time.

And I started sketching these birds, almost like a little puzzle that fittogether puzzle pieces.

Really like the idea of, of a lot ofwhite, you know, dove like birds with one black bird in thecenter there.

So during the process the client suggestedfor the Austin poster why not some bats because Austin's reallyknown for these bats.

I think it's really important that youlisten to your client and when they have a good idea you should, youshould embrace that.

Then for the show in Dallas I thought itwould be cool to use the same.

It's the very next night, so it would becool to use the same color scheme.

The idea of a poster in general issupposed to be an advertisement, right? An advertisement for the show.

Fortunately for Jeff Tweety he doesn'treally need posters hanging around town to, to sell tickets to the show.

So in this case it really becomes a littlemore of a commemorative item for people that attend the show.

What I'm usually looking for is just someconnection, you know, not a, not a photograph of the band.

But something that it fits the vibe of theband something that just feels appropriate.

Dirk Fowler: I think I've always beeninterested in graphic design but without really knowing or understandingthat I actually give a lot of credit to my, to mygrandfather, who was a farmer.

He was far from a graphic designer.

But he was a problem solver.

If he had an issue with something,something that didn't work on the farm, or a piece of broken machinery, he would gosit down at the kitchen table with a pencil and paper and he would solvethe problem.

You can go out to his workshop and he would build something that he neededto, to solve the problem.

So I think that looking back I reallylearned a lot about being a graphic designer from him.

Dirk Fowler: So I start with Vector art inthis case.

And as I'm cutting, I'm making designdecisions.

So, I maybe I'll just cut the little feetoff because I decide they aren't really necessary.

I want all of these bats to look differentanyway, from each other, I dont want them all to be identical.

Dirk Fowler: So sometimes I'll just removesomething that I feel isn't necessary.

Dirk Fowler: I started by trying to carvelinoleum blocks which would be a more traditional method for letterpress.

I'm sometimes apprehensive about using theterm letterpress, some, some purists might say, well, that's notletterpress at all.

I'm using letterpress equipment but I've started making them out of differentsurfaces.

If i can get ink to stick to it and I canpress it onto paper, I'll print with it.

I'll try anything.

My wife was actually the one whosuggested, you know, what about, kind of thinking of it like alarge rubber stamp.

So I discovered gasket rubber.

It's, it's made from making like cargaskets, and it's really odd, but I tried it and I could cut it easily,gives me a really smooth printing surface.

I can make large solids and then I candiscard the material and use the same surface.

And start over for my next print.

You know, I think that I've been reallyfortunate.

I think that I got into an area of designthat has allowed me to somehow be noticed in a, in a world.

It's a, I think it's really difficult, there are a lot of graphic designers outthere.

What makes me different? I don't think that I'm different.

I live in Lubbock, Texas, and that maybeisn't the design hub the world, but, you know, I think that if you're justmaking things and you're willing to keep making things.

That's been my driving sort of force is I,I want to make something.

Everyday if I can just create and, andmake something and if you do that enough no matter where youlive, no matter what it, what it is you're doing I just feel likeif you're passionate about it and you keep doing it eventually someone'sgoing to take notice No Cmd+Z on this.

Dirk Fowler: I don't know if there wasever a point where I just decided this is it.

It was just, I'm still passionate aboutmaking music posters.

The scene has really changed that I don'tfeel like I've made the perfect poster yet.

I don't, I don't know what that is yet butI'm going to keep trying.

I like the idea of I'm still learningevery single day and I make mistakes.

And, and that's what it's all about.

That's why it's, it's still exciting,what, what I do.

Lithography is an offset printing process which involves creating an image on a plate, then using that plate to transfer the image to a rubber blanket and then to the paper.

A system of water repulsion is used to protect non-printed surfaces from absorbing ink.

Lithography provides extremely crisp and clean prints especially where photographs are used as part of the image.

But the downside is cost. On a per-piece basis, Lithograph printing is cost-prohibitive for small quantities, because set-up time for the press is built into the price. Regardless of how many prints are being made, set-up costs are the same.

Custom Printed Envelopes

The only way to bring the per-piece price down is to order in large quantities. It’s not uncommon for printers to have minimum quantity requirements in order to justify the time and expense of press set-up.

Advances in digital printing are revolutionizing poster printing as well the entire print industry.

Layouts and images are now often designed before hand by the customer and delivered to the printer on a disc. This eliminates the need for the services of the print shop’s in-house layout department, saving time and money.

With digital there are no plates to prepare, no inks to blend, and no monitoring of presses to assure consistency.

Digital printing uses large-scale inkjet printers attached to a standard desktop computer.

A minor amount of image manipulation might be required to match the image to the printer’s format, but once that’s done it only takes a mouse click and you’re off and printing.

And modern fade-resistant inks mean a final product which rivals lithography in overall quality.

Additionally, the efficiency and speed of digital printing today result in a lower cost per piece for smaller jobs.

It virtually guarantees a consistent product throughout the run and also allows further runs be produced with no additional set-up.

For individual consumers, digital printing offers them the ability to make a poster or two for their own family gatherings, holidays, and other special occasions without ever leaving home.

Images can be created on the home computer then uploaded to the site of an online print shop. One just needs to enter payment and shipping information and then wait for his posters to arrive. It couldn’t be simpler.

There’s still plenty of room for both lithography and digital in the world of poster printing.

Each has its advantages and disadvantages depending on customer needs. Yet regardless of which process is used, one thing’s for certain: the print industry continues to evolve.

Online Printing Services

Dirk Fowler: I've, personally, always really enjoyed making things withmy hands.

Dirk Fowler: I think the reason I got intodesign in the, in the beginning was I really enjoyeddrawing.

I just enjoyed that process of creating.

Dirk Fowler: If something is crafted, hand-crafted, you're less likely to throwit away.

You can see that quality, you understandthis is something that I should hang onto.

Dirk Fowler: I'm Dirk Fallor.

I'm a graphic designer, graphic designprofessor at Texas Tech University.

I'm a letter press printer and I'm aposter maker.

I think, you know, our world is filled with, at leastbombarded with so much imagery.

Digital images, I mean, you literally can't get away from them,they're everywhere.

When you go to a concert, and maybe youpick up this poster and you, you look at it and you touch the ink and, and youthink, oh wow, this is, this is different.

What, what is it about this, you knowsomething's, how did they make this, who made thisDirk Fowler: When I was in college I was in a couple of bands and aftergetting out and getting a job, you know, I had kind of, I was losing that, thatconnection with the music world.

Making posters was a way for me to kind ofstay connected with the music scene.

Dirk Fowler: I had a lot of friends thatwere in bands and, you know, I would make a poster for a show, thenthey would go open for a larger act in another city maybe, and, and they wouldsay, can you make a poster for this one? That band would, would see it, like, whomade this red poster? And before I knew what was happening Isort of became a poster artist.

Dirk Fowler: Well I think my work's reallysimple.

I'm a little intimidated when I have todesign with more than two colors.

I really like simple, two color graphics.

But I'd like to think that no matter howsimple it is, there's always some level of, it's notreally hidden.

I don't l ike to say that I hide things inmy design.

I don't think you should hide anything,but I do like the idea that someone maybe has to give it a second or third look andthen they, they find something.

I think over the years I've been able todevelop that a little bit more.

The design around the design, has becomemore important to me over the years.

And seeing those things that just happen.

So this is a, a poster I'm working on forJeff Tweedy.

I've done a lot of work for Wilco over theyears, and, this is a, he's getting ready to head out on a solotour.

Originally, you know, I was thinkingabout, obviously, ideas for the, for the poster.

I didn't want it to be specifically, youknow, anything related necessarily to, to JeffTweedy.

But something that was appropriate.

So I was sketching birds.

Really, I was in a meeting at the time.

And I started sketching these birds, almost like a little puzzle that fittogether puzzle pieces.

Really like the idea of, of a lot ofwhite, you know, dove like birds with one black bird in thecenter there.

So during the process the client suggestedfor the Austin poster why not some bats because Austin's reallyknown for these bats.

I think it's really important that youlisten to your client and when they have a good idea you should, youshould embrace that.

Then for the show in Dallas I thought itwould be cool to use the same.

It's the very next night, so it would becool to use the same color scheme.

The idea of a poster in general issupposed to be an advertisement, right? An advertisement for the show.

Fortunately for Jeff Tweety he doesn'treally need posters hanging around town to, to sell tickets to the show.

So in this case it really becomes a littlemore of a commemorative item for people that attend the show.

What I'm usually looking for is just someconnection, you know, not a, not a photograph of the band.

But something that it fits the vibe of theband something that just feels appropriate.

Dirk Fowler: I think I've always beeninterested in graphic design but without really knowing or understandingthat I actually give a lot of credit to my, to mygrandfather, who was a farmer.

He was far from a graphic designer.

But he was a problem solver.

If he had an issue with something,something that didn't work on the farm, or a piece of broken machinery, he would gosit down at the kitchen table with a pencil and paper and he would solvethe problem.

You can go out to his workshop and he would build something that he neededto, to solve the problem.

So I think that looking back I reallylearned a lot about being a graphic designer from him.

Dirk Fowler: So I start with Vector art inthis case.

And as I'm cutting, I'm making designdecisions.

So, I maybe I'll just cut the little feetoff because I decide they aren't really necessary.

I want all of these bats to look differentanyway, from each other, I dont want them all to be identical.

Dirk Fowler: So sometimes I'll just removesomething that I feel isn't necessary.

Dirk Fowler: I started by trying to carvelinoleum blocks which would be a more traditional method for letterpress.

I'm sometimes apprehensive about using theterm letterpress, some, some purists might say, well, that's notletterpress at all.

I'm using letterpress equipment but I've started making them out of differentsurfaces.

If i can get ink to stick to it and I canpress it onto paper, I'll print with it.

I'll try anything.

My wife was actually the one whosuggested, you know, what about, kind of thinking of it like alarge rubber stamp.

So I discovered gasket rubber.

It's, it's made from making like cargaskets, and it's really odd, but I tried it and I could cut it easily,gives me a really smooth printing surface.

I can make large solids and then I candiscard the material and use the same surface.

And start over for my next print.

You know, I think that I've been reallyfortunate.

I think that I got into an area of designthat has allowed me to somehow be noticed in a, in a world.

It's a, I think it's really difficult, there are a lot of graphic designers outthere.

What makes me different? I don't think that I'm different.

I live in Lubbock, Texas, and that maybeisn't the design hub the world, but, you know, I think that if you're justmaking things and you're willing to keep making things.

That's been my driving sort of force is I,I want to make something.

Everyday if I can just create and, andmake something and if you do that enough no matter where youlive, no matter what it, what it is you're doing I just feel likeif you're passionate about it and you keep doing it eventually someone'sgoing to take notice No Cmd+Z on this.

Dirk Fowler: I don't know if there wasever a point where I just decided this is it.

It was just, I'm still passionate aboutmaking music posters.

The scene has really changed that I don'tfeel like I've made the perfect poster yet.

I don't, I don't know what that is yet butI'm going to keep trying.

I like the idea of I'm still learningevery single day and I make mistakes.

And, and that's what it's all about.

That's why it's, it's still exciting,what, what I do.

Poster Printing - 4 Pros And Cons Of Choosing Digital Or Offset Printing