Sign & Digital Graphics

November '15

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84 • November 2015 • S I G N & D I G I T A L G R A P H I C S MASTER'S TOUCH cal aids. Even when I use vinyl masking I cut it by hand, not with a plotter. It is possible that the final rendering of some jobs could be enlarged mechanically for some reason, but only after it has been thoroughly composed by hand, otherwise some important character will be lacking from the work. With slower hand ren- derings there are checks and balances to make sure that everything goes into it that should. And then ultimately when I'm ready to paint, I can blaze through, and just follow the final flow of the work. "When working with clients there has to be a 'governor' on the process. I have to be able to access the quality level I'm after. If I just do what the client asks for without the governor then we run the risk of problems like wrong pro- portions or contrast issues among other things, and I can easily wind up stuck with something below my standards. You see the client doesn't really understand why my best work is what it is. They tend to get invested in some aspect of the status or drama of the experience as if their life depended on it. People see me working and get attached to some part of what they see and it can become a superficial sideshow compared to the essence of the work I'm trying to achieve. I do need clients to be enthu- siastic about what I do, but sometimes that can miss the point and get in the way. The 7th Son job worked out so well because there was a good mutual respect for our different capabilities and that is the ideal scenario." Dean Ross, co-host with John Studden of the Esoteric Gold Company School in Bakersfield, California. John Studden working from the back while viewing his result from the front. Larry White making progress on last year's piece with glue- chipped lettering and watch lens details. The scrupulous blending and backing work is done with japan colors and fine brushes. 12k water gilding is applied behind the entire letter.

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