DOCSLIB.ORG

The Votive Scenario

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Votive Scenario 206 RES 59/60 SPRING/AUTUMN 2011 FOR POSITION ONLY Figure 1. St. Anthony, south Germany, mid-fifteenth century. Hand-colored woodcut, 38.1 x 26.4 cm. Photo: Staatliche Graphische Sammlung, Munich, Inv. Nr. 118224 D. The votive scenario CHRISTOPHER S. WOOD Three sufferers, bodies convulsed, inflamed limbs things.2 The votaries and supplicants bear or proffer brandished, beg for the attention of the enthroned healer objects: the badges pinned to the hat, small crosses, a (fig. 1). The men at lower left and right, with crutches, fowl, a mannikin, wax models of bodies or extremities. have traveled some distance: The purses at their waists The objects attest to states of mind and to successful and the hat with upturned visor adorned with metal exchanges with entities outside ordinary experience— badges, souvenirs of shrines visited, suggest as much. The divinity itself, or a holy man who manages destructive healer is remote, imperturbable. fire. At the pilgrimage site—so the picture suggests—the Flanking his throne, thrusting gifts into his field of pilgrims perform for one another. The pilgrim is an vision, are four healthy visitors, two wearing fur-lined object in the eyes of other pilgrims, no less so than hats that imply affluence, another with the armor and are the displayed wax body parts. But above all the sword of a well-born soldier. These four are completing a pilgrims perform for the powerful saint, the third- and cycle of entreaty and thanks. They or someone close to fourth-century Egyptian hermit St. Anthony Abbot or St. them was delivered or spared from the fearsome Anthony the Great. In the eleventh century St. Anthony’s affliction, the burning limbs, by virtue of prayer and a relics surfaced in southeastern France, in the Dauphiné, promise of future sacrifice, an expenditure of wealth, generating a shrine cult with wide fame. St. Anthony was time, and mental energy. Once spared or healed, the credited with the power to heal an array of diseases. votary must fulfill his or her promise. Here the votaries The aim of this paper is to understand better how crowd the throne of the thaumaturge, competing for his people’s experiences in the late middle ages were attention; they want their gifts acknowledged. But there is “paced” by objects. The wax body parts tendered by no real urgency, for their limbs are intact and the votive pilgrims testified to ruptures in the body’s experience cycle is complete. Life can resume at a normal pace. of itself. They transferred personal experience into the For the supplicants at the foot of the throne, by spaces of representation, first the shrine itself, then contrast, time has accelerated. The regular rhythms images such as this woodcut. The print is a portrait of of calendar, labor, and family have been disrupted. a saint, but its borders are permeated by the rhythms This is an “emergent occasion,” to borrow from the of individual even if unnamed lives. These rhythms are title of John Donne’s collection of prose reflections on imported by the wax offerings, which were in their own his own imminent death by disease.1 These devotees way portraits. display none of Donne’s stoicism, but rather try to strike The precise role such a woodcut might have played a deal with the saint who controls the disease. They inside the votive cycle it depicts is unclear. The image are presumably making vows, hoping to return in due printed on paper was a novelty of the fifteenth century. course to take their places at the sides of the throne, To make sense of the woodcut we might compare it to displaying gratitude. They are fearful of emergence itself, the objects pictured inside it. The badge worn by the a reshaping of time that obscures origins. Emergent pilgrim at the lower left, for example, is testimony to a phenomena evade cause-and-effect relationships, and so pilgrimage accomplished, a souvenir, or a trophy. Such sweep away the partitions that minds erect to make sense a badge might also possess protective power by virtue of of the flow of experience. its provenance, its former proximity to or even contiguity This picture, a hand-colored woodcut printed probably in Swabia in southern Germany around 1450, models a web of relations between people and 2. The woodcut is a unicum, that is, the sole surviving impression from the print run. Munich, Staatliche Graphische Sammlung, inv. no. 118241. W. L. Schreiber, Handbuch der Holz- und Metallschnitte des XV. Jahrhunderts, 8 vols. (Leipzig: Hiersemann, 1926–30) (= Schreiber), For advice and information I am grateful to Laura Fenelli, Milette no. 1215. Die Frühzeit des Holzschnitts, exhibition catalogue (Munich: Gaifman, J. D. Connor, Larry Kanter, and Jacqueline Jung; and for a Staatliche Graphische Sammlung, 1970), no. 26. Origins of European close and engaged reading of an earlier draft, Francesco Pellizzi. Printmaking: Fifteenth-Century Woodcuts and Their Public, ed. Peter 1. J. Donne, Devotions Upon Emergent Occasions (1624). Donne’s Parshall and Rainer Schoch. Exhibition catalogue, National Gallery of text was modelled on the meditations composed by King Hezekiah Art and Germanisches Nationalmuseum (New Haven: Yale University after his recovery from illness (Isaiah 38:9–20). Press, 2005), no. 93. 208 RES 59/60 SPRING/AUTUMN 2011 with the tomb of a saint.3 Lead badges representing mysterious about their workings. Mysterious was St. St. Anthony were attached to the necks of livestock to Anthony’s ability to cure illnesses. The offering was a protect them from disease.4 The woodcut may have had straightforward sign, a token of gratitude. For visitors a lot in common with such a badge, for there is evidence to the shrine, including other votaries, the displayed that prints, too, could transmit the powers stored in offering symbolized another person’s good faith in a tomb. The print could function as a contact-relic keeping the bargain struck with the saint by making channeling healing or protective power from a saint’s the trip to the shrine. The offering testified to the saint’s relics to an individual devout.5 Woodcuts not so different successful intervention and so glorified that saint; from this were carried home from pilgrimage sites as the offerings ornamented the shrine and ratified the trophies and talismans.6 authenticity of the relics. The mannikin represented the The gift or offering, such as the wax mannikin held person’s self or soul, dedicated to the saint in the hour by the man at left or the hands and feet suspended from of need. The wax hand or foot represented the afflicted the rail above, had no such powers.7 There was nothing limb, thus reporting on the disease’s symptomatology. The votive offerings also had real material value. A fowl or a quantity of molded wax was useful to the clerics 3. D. Bruna, Enseignes de pèlerinage et enseignes profanes (Paris: who managed such a shrine, for the hen could lay eggs Réunion des musées nationaux, 1996), pp. 16–18; B. Spencer, Pilgrim or be consumed, and the wax could be melted down to Souvenirs and Secular Badges (London: Stationery Office, 1998), pp. make candles.8 But above all the votive offering fulfilled 17–24. For examples of amulets, talismans, and badges associated with shrines, see the exhibition catalogue Wallfahrt kennt keine Grenzen a promise of expenditure, of wealth, time, and attention, (Munich: Bayerisches Nationalmuseum, 1984), pp. 34–51. made by the votary to the thaumaturgic saint. The proof 4. E. Clementz, “Le culte de St. Antoine en Alsace,” in Auf den of expenditure was the aspect of the offering addressed Spuren des hl. Antonius, Festschrift Adalbert Mischlewski (Memmingen: to St Anthony himself. It was important that he take Memminger Zeitung, 1994), p. 227. notice of the fulfillment of the vow. 5. Robert Maniura published a document recording the use in 1485 of a figura di charta, a “paper figure,” to heal a sick woman. The image, presumably a woodcut similar if not identical to a surviving fifteenth- few art historians dealt with this material; see, however, E. Battisti, century print reproducing the fourteenth-century fresco known as the “Fenomenologia dell’ ex voto,” in Ex voto tra storia e antropologia, Madonna delle Carceri in Prato, was put in contact with the fresco ed. E. De Simoni (Rome: De Luca, 1968), pp. 35–48. Today we have and then with the mouth and body of the woman. In 1490 Giuliano a wealth of analyses: P.-A. Sigal, “L’ex voto au moyen age dans les Guizzelmi spent sixteen soldi in Florence on paper reproductions of régions du nord-ouest de la Mediterranée (XIIe–Xve siècles),” Provence the Madonna delle Carceri, Vergini Marie di charta. “The Images and Historique 33 (1983): 13–31; A. Reinle, Das stellvertretende Bildnis: Miracles of Santa Maria delle Carceri,” in The Miraculous Image in the Plastiken und Gemälde von der Antike bis ins 19. Jahrhundert (Zurich: Late Middle Ages and Renaissance, ed. G. Wolf and E. Thuno (Rome: Artemis, 1984), pp. 10-30; D. Freedberg, The Power of Images “l’Erma” di Bretschneider, 2004), pp. 86-87. (Chicago: University of Chicago Press, 1989), pp. 136–160; H. van de 6. This is potentially a large class of objects, but it is hard to prove Velden, The Donor’s Image: Gerard Loyet and the Votive Portraits of that any particular woodcut was used as a talisman. In the Bodleian Charles the Bold (Turnhout: Brepols, 2000); M. Bacci, “Pro remedio Library there is a woodcut image of Henry VI, a thaumaturgic king, animae”: immagini sacre e pratiche devozionali in Italia centrale surrounded by votaries and offerings, adduced by Spencer, Pilgrim (secoli XIII e XIV) (Pisa: ETS, 2000), pp.
Load more

Recommended publications
  • Oral History Interview with Massimo Vignelli, 2011 June 6-7
    Oral history interview with Massimo Vignelli, 2011 June 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Massimo Vignelli on 2011 June 6-7. The interview took place at Vignelli's home and office in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Mija Riedel has reviewed the transcript and have made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Massimo Vignelli in his New York City office on June 6, 2011, for the Smithsonian Archives of American Art. This is card number one. Good morning. Let's start with some of the early biographical information. We'll take care of that and move along. MASSIMO VIGNELLI: Okay. MIJA RIEDEL: You were born in Milan, in Italy, in 1931? MASSIMO VIGNELLI: Nineteen thirty-one, a long time ago. MIJA RIEDEL: Okay. What was the date? MASSIMO VIGNELLI: Actually, 80 years ago, January 10th. I'm a Capricorn. MIJA RIEDEL: January 10th.
    [Show full text]
  • „Ihr Müsst Allen Bildern Den Abschied Geben
    OF CHURCHES, HERETICS, AND OTHER GUIDES OF THE BLIND –'THE FALL OF THE BLIND LEADING THE BLIND' BY PIETER BRUEGEL THE ELDER AND THE ESTHETICS OF SUBVERSION – Jürgen Müller Heresy in Pictures Pictures are a medium of biblical exegesis. By illustrating biblical contents, they provide a specific interpretation of a particular passage, clarifying and disambiguating images even where the Scripture is vague or obscure. First of all, this is due to the nature of the texts in the Old and New Testaments, since it is indeed rare that the descriptions of events and persons are vivid enough for a painter to derive precise instructions regarding artistic composition from them. Pictures, however, are subject to the necessity of putting something in concrete form; therefore, they require legitimization and are part of orthodoxy, whatever it may be.1 Since the time of the Reformation at the very latest, pictures have been used as a means of religious canonization to give expression to orthodoxy, but also to denounce the respective opposing side, of course. But whatever their function in religious practice may have been, as a rule they represented instruments of disambiguation. Luther, in particular, valued pictures as a pedagogical tool and took a critical stance against the iconoclasts.2 For him, their essential purpose was to teach, simply and clearly.3 In the following remarks, I would like to explore the reverse case and present pictures as agents of subversion. For the interpreter this poses a task that does not involve certainty, but ambiguity or equivocality. For in this context, semantic ambivalence is not in any way an expression of a modern concept of art in the sense of Umberto Eco's Open Work; rather, it is due to the fact that a heterodox meaning is being hidden in the pictures.
    [Show full text]
  • Preparing Images for Delivery
    TECHNICAL PAPER Preparing Images for Delivery TABLE OF CONTENTS So, you’ve done a great job for your client. You’ve created a nice image that you both 2 How to prepare RGB files for CMYK agree meets the requirements of the layout. Now what do you do? You deliver it (so you 4 Soft proofing and gamut warning can bill it!). But, in this digital age, how you prepare an image for delivery can make or 13 Final image sizing break the final reproduction. Guess who will get the blame if the image’s reproduction is less than satisfactory? Do you even need to guess? 15 Image sharpening 19 Converting to CMYK What should photographers do to ensure that their images reproduce well in print? 21 What about providing RGB files? Take some precautions and learn the lingo so you can communicate, because a lack of crystal-clear communication is at the root of most every problem on press. 24 The proof 26 Marking your territory It should be no surprise that knowing what the client needs is a requirement of pro- 27 File formats for delivery fessional photographers. But does that mean a photographer in the digital age must become a prepress expert? Kind of—if only to know exactly what to supply your clients. 32 Check list for file delivery 32 Additional resources There are two perfectly legitimate approaches to the problem of supplying digital files for reproduction. One approach is to supply RGB files, and the other is to take responsibility for supplying CMYK files. Either approach is valid, each with positives and negatives.
    [Show full text]
  • FTA First Guide
    Design Guide An SPI Project DESIGN FLEXOGRAPHIC TECHNICAL ASSOCIATION FIRST 4.0 SUPPLEMENTAL FLEXOGRAPHIC PRINTING DESIGN GUIDE 1.0 Design Introduction 1 5.0 File Formats and Usage 30 1.1 Overview 2 5.1 Specified Formats 30 1.2 Responsibility 2 5.2 Portable Document Format (PDF) 30 1.3 Assumptions 3 5.3 Clip Art 31 5.4 Creating and Identifying FPO Continuous Tone Images 31 2.0 Getting Started 4 5.5 Special Effects 31 2.1 Recognizing Attributes of the Flexographic Process 4 5.6 Image Substitution – Automatic Image Replacement 32 2.2 Materials and Information Needed to Begin 5 5.7 File Transfer Recommendations 32 2.2.1 Template Layout / Die-Cut Specifications 55.8 Program Applications 32 2.3 File Naming Conventions 6 6.0 Preflight of Final Design Prior to Release 33 6 2.4 Types of Proofs 8 6.1 Documenting the Design 33 2.5 Process Control Test Elements 9 6.2 Release to Prepress 34 3.0 Type and Design Elements 9 3.1 Typography: Know the Print Process Capabilities 9 3.1.1 Registration Tolerance 12 3.1.2 Process Color Type 13 3.1.3 Process Reverse/Knockout 13 3.1.4 Line Reverse/Knockout 13 3.1.5 Drop Shadow 13 3.1.6 Spaces and Tabs 14 3.1.7 Text Wrap 14 3.1.8 Fonts 14 3.2 Custom and Special Colors 16 3.3 Bar Code Design Considerations 17 3.3.1 Bar Code Specifications 18 3.3.2 Designer Responsibilities 18 3.3.3 USPS Intelligent Mail Bar Code 22 3.4 Screen Ruling 22 3.5 Tints 23 3.6 Ink Colors 24 4.0 Document Structure 25 4.1 Naming Conventions 26 4.2 Document Size 26 4.3 Working in Layers 26 4.4 Auto-Traced / Revectorized Art 26 4.5 Blends, Vignettes, Gradations 27 4.6 Imported Images – Follow the Links 28 4.7 Electronic Whiteout 29 4.8 Image Capture Quality – Scanning Considerations 29 4.9 Scaling & Resizing 30 4.10 Color Space 30 FLEXOGRAPHIC IMAGE REPRODUCTION SPECIFICATIONS & TOLERANCES 1 DESIGN 1.0 DESIGN INTRODUCTION 1.1 Overview FIRST 4.0 is created to facilitate communication among all participants involved in the design, preparation and printing of flexographic materials.
    [Show full text]
  • Guide to Publishing at the US Department of Education
    DOCUMENT RESUME ED 457 533 CS 510 669 AUTHOR Ohnemus, Edward; Zimmermann, Jacquelyn TITLE Guide to Publishing at the U.S. Department of Education. November 2001 Edition. INSTITUTION Department of Education, Washington, DC. Office of the Secretary.; Office of Public Affairs (ED), Washington, DC. PUB DATE 2001-11-00 NOTE 56p. AVAILABLE FROM ED Pubs, P.O. Box 1398, Jessup, MD 20794-1398. Tel: 877-433-7827 (Toll Free); Web site: http://www.ed.gov/pubs/edpubs.html. PUB TYPE Guides - Non-Classroom (055) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Editing; *Federal Government; Guidelines; Layout (Publications); Printing; Speeches; *Writing for Publication ABSTRACT This guide is intended for use by United States Department of Education employees and contractors working on manuscripts to be published by all principal offices except for the Office of Educational Research and Improvement, which includes the National Center for Education Statistics. It helps authors publish according to the duties and responsibilities of the United States Department of Education, whose mission is to ensure equal access to education and to promote educational excellence throughout the nation. Sections of the guide are: Your First Steps toward Publishing; Who Should Use This Guide; How This Guide Will Help You; Why You Must Publish through Government Channels; Getting Your Manuscript Edited and Printed; Getting Your Manuscript Designed; Steps in a Typical Printing Job at ED; Parts of a Publication; Sample Verso (Boilerplate) Page; Verso Page Explanation; The Writing Guides to Use; Limits on Content; Publishing Translations of ED Publications; Publishing Newsletters; Stationery and Business Cards; Giving and Publishing Official Speeches; How Your Publication Will Reach the Audience for Whom It Was Intended; and Forms Needed To Get Your Manuscript Edited and Printed.
    [Show full text]
  • The Fall of the Blind Leading the Blind by Pieter Bruegel the Elder and the Esthetics of Subversion*
    OF CHURCHES, HERETICS, AND OTHER GUIDES OF THE BLIND: THE FALL OF THE BLIND LEADING THE BLIND BY PIETER BRUEGEL THE ELDER AND THE ESTHETICS OF SUBVERSION* Jürgen Müller Heresy in Pictures Pictures are a medium of biblical exegesis. By illustrating biblical sub­ jects, they provide a specific interpretation of selected passages, clarifying and disambiguating by means of images, even where Scripture is vague or obscure. This is due first of all to the nature of the texts in the Old and New Testaments: one rarely encounters descriptions of persons and events vivid enough to function as precise templates for pictorial compo­ sitions. Pictures, on the other hand, are subject to the necessity of putting something in concrete form; as such, they require legitimization and are potentially instruments of codification.1 During the Reformation pictures were used to canonize religious view­ points and to give expression to various orthodoxies, but also to denounce the heterodoxy of the opposing side. But whatever their function in reli­ gious practice may have been, as a rule they operated as vehicles of dis­ ambiguation. Luther, in particular, valued pictures as a pedagogical tool and took a critical stance against the iconoclasts.2 For him, their essential purpose was to teach, simply and clearly.3 * Translated from German to English by Rosemarie Greenman and edited by Walter Melion. 1 Cf. Scribner R.W., “Reformatorische Bildpropaganda”, Historische Bildkunde 12 (1991) 83–106. 2 Cf. Berns J.J., “Die Macht der äußeren und der inneren Bilder. Momente des innerpro­ testantischen Bilderstreits während der Reformation”, in Battafarano I.M.
    [Show full text]
  • A Sketch of the History of Music-Printing, from the Fifteenth to The
    A Sketch of the History of Music-Printing, from the Fifteenth to the Nineteenth Century ( Continued) Author(s): Friedrich Chrysander Source: The Musical Times and Singing Class Circular, Vol. 18, No. 413 (Jul. 1, 1877), pp. 324-326 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3355495 Accessed: 17-01-2016 05:24 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 130.240.43.43 on Sun, 17 Jan 2016 05:24:14 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL 324 TIMES.--JuLY I, 1877. is only the shallow water that foams and rages. Judging him by this standard of his own, we must Farther out the "blue profound" merely rises in unfortunatelycancel a considerable part of his book. obedience to force and then sinks again to rest upon Poor Schmid! Too much learning often dulls the the spot from which it rose. So with the effect of spirit, if there is not on the other side a little his- fashion on a nation's music.
    [Show full text]
  • HANS BALDUNG GRIEN En Alsace HANS BALDUNG GRIEN En Alsace a - Armoiries De La Famille Baldung (Vers 1530) LANGUE ET CULTURE RÉGIONALES CAHIER N°8
    LANGUE ET CULTURE RÉGIONALES CAHIER N°8 HANS BALDUNG GRIEN en Alsace HANS BALDUNG GRIEN en Alsace a - Armoiries de la famille Baldung (vers 1530) LANGUE ET CULTURE RÉGIONALES CAHIER N°8 HANS BALDUNG GRIEN en Alsace pour le 500e anniversaire de sa naissance par Théodore Rieger réédition numérique en ligne, 2014 Cet ouvrage, édité par CANOPÉ académie de Strasbourg, à la demande de la Mission Académique aux Enseignements Régionaux et Internationaux de l’académie de Strasbourg, a bénéficié du concours financier des Conseils Généraux du Bas-Rhin et du Haut-Rhin et du Conseil Régional d’Alsace. Directeur de publication : Yves SCHNEIDER Coordination éditoriale : Jacques SPEYSER Infographies, mise en pages et adaptation numérique : Agnès GOESEL © CANOPÉ ACADÉMIE DE STRASBOURG ISSN : 0763-8604 ISBN (2014) : 978-2-86636-438-0 (ISBN : 2-86636-031-3, 1987) Dépôt légal : juillet 2014 LISTE DES illustrations Planches en couleurs A. Portrait de jeune homme à la fourrure ............................................................30 B. Saint Georges et saint Mathias ........................................................................31 C. Portrait du chanoine Ambroise Volmar Keller ..................................................32 D. La Vierge à la treille ........................................................................................33 E. L'Incrédulité de saint Thomas ..........................................................................34 F. Hercule étouffant Antée ..................................................................................35
    [Show full text]
  • FFTA FIRST 5.0 Design Guide (Pdf)
    Complimentary Design Guide 5.0 Flexographic Image Reproduction Specifications & Tolerances Complimentary Design Guide An FTA Strategic Planning Initiative Project The Flexographic Technical Association has made this FIRST 5.0 supplement of the design guide available to you, and your design partners, as an enhancement to your creative process. To purchase the book in it’s entirety visit: www.flexography.org/first Copyright, © 1997, ©1999, ©2003, ©2009, ©2013, ©2014 by the Flexographic Technical Association, Inc. All rights reserved, including the right to reproduce this book or portions thereof in any form. Library of Congress Control Number: 2014953462 Edition 5.0 Published by the Flexographic Technical Association, Inc. Printed in the United States of America Inquires should be addressed to: FTA 3920 Veterans Memorial Hwy Ste 9 Bohemia NY 11716-1074 www.flexography.org International Standard Book Number ISBN-13: 978-0-9894374-4-8 Content Notes: 1. This reference guide is designed and formatted to facilitate ease of use. As such, pertinent information (including text, charts, and graphics) are repeated in the Communication and Implementation, Design, Prepress and Print sections. 2. Registered trademark products are identified for information purposes only. All products mentioned in this book are trademarks of their respective owner. The author and publisher assume no responsibility for the efficacy or performance. While every attempt has been made to ensure the details described in this book are accurate, the author and publisher assume no responsibility for any errors that may exist, or for any loss of data which may occur as a result of such errors. .1 ii Flexographic Image Reproduction Specifications & Tolerances 5.0 INTRODUCTION The Mission of FIRST FIRST seeks to understand customers’ graphic requirements for reproduction and translate those aesthetic requirements into specifications for each phase of the flexographic printing process including: customers, designers, prepress providers, raw material & equipment suppliers, and printers.
    [Show full text]
  • Guidelines for Preparing and Submitting Electronic Design and Pre-Press Files Professional Graphics (Part 1) 427-033 Electronic Design 9/11/97 2:03 PM Page 1
    427-033 Electronic Design 9/12/97 6:52 AM Page c1 U.S. Government Printing Office Publication 300.6 August 1997 Guidelines for Preparing and Submitting Electronic Design and Pre-Press Files Professional Graphics (Part 1) 427-033 Electronic Design 9/11/97 2:03 PM Page 1 To Our Customers, The United States Government Printing Office (GPO) is dedicated to providing our customers the best possible printed job at the lowest possible price, while meeting each customer’s deadline. To do this effec- tively, GPO must be able to provide usable Electronic Design and Pre-Press (EDPP) files to the printing contractor. Commonly referred to as Desktop Publishing, EDPP covers electronic publishing from design to press. The following guidelines will assist you in preparing effective EDPP files for items created using professional publish- ing software packages. Due to the many advantages of digital design, we encourage all of our customers to consider submitting jobs as digital copy on electronic media. Your assistance in following these guidelines is appreciated. MICHAEL F. DIMARIO Public Printer PG–1 427-033 Electronic Design 9/11/97 2:03 PM Page 2 Special Notes The EDPP guidelines are a two-part set dedi- cated to providing customers with valuable information about creating publications on a desktop computer. The section that you are currently reading is Part 1—Professional Graphics. If you are a customer who is currently using an Office Graphics (OG) application such as Word- Perfect, Microsoft Word, Microsoft Powerpoint, Microsoft Excel, Freelance Graphics, Microsoft Publisher or Harvard Graphics, please refer to Part 2—Office Graphics.
    [Show full text]
  • Administrator's Guide
    Oracle® Hyperion Financial Data Quality Management, Enterprise Edition Administrator's Guide Release 11.1.2.4.220 E73556-08 February 2019 Oracle Hyperion Financial Data Quality Management, Enterprise Edition Administrator's Guide, Release 11.1.2.4.220 E73556-08 Copyright © 2009, 2019, Oracle and/or its affiliates. All rights reserved. Primary Author: EPM Information Development Team This software and related documentation are provided under a license agreement containing restrictions on use and disclosure and are protected by intellectual property laws. Except as expressly permitted in your license agreement or allowed by law, you may not use, copy, reproduce, translate, broadcast, modify, license, transmit, distribute, exhibit, perform, publish, or display any part, in any form, or by any means. Reverse engineering, disassembly, or decompilation of this software, unless required by law for interoperability, is prohibited. The information contained herein is subject to change without notice and is not warranted to be error-free. If you find any errors, please report them to us in writing. If this is software or related documentation that is delivered to the U.S. Government or anyone licensing it on behalf of the U.S. Government, then the following notice is applicable: U.S. GOVERNMENT END USERS: Oracle programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, delivered to U.S. Government end users are "commercial computer software" pursuant to the applicable Federal Acquisition Regulation and agency- specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the programs, including any operating system, integrated software, any programs installed on the hardware, and/or documentation, shall be subject to license terms and license restrictions applicable to the programs.
    [Show full text]
  • QP Prepress Form
    PREPRESS SERVICES: OUTPUT SPECIFICATIONS General Information — Requisition No. Customer: Telephone: Contact person: Fax: General job description: Previous Req’n No. Date: Total number of pages: Final trim size X inches Colours: Ⅺ B/W Ⅺ CMYK Time: Ⅺ Ready for output Ⅺ Prepress services required Spot colours: Coordinator: Output Information — to be filled in by client IMPORTANT: Hard copy supplied Ⅺ Laser proof Ⅺ Colour proof Ⅺ Did you send a copy of your file(s), not the original? Document name Number of pages Actual size Ⅺ Did you send only final versions of files to be output and delete all old files? Ⅺ Did you use ‘‘Collect for Output’’ or ‘‘Save-as, copy all files’’ command to load transport disk? Fonts used Ⅺ Did you label and name all of your disks? Ⅺ Adobe/Lino Ⅺ AGFA Ⅺ TrueType Ⅺ Image Club Ⅺ Other Ⅺ Did you include a ‘‘Print Window’’ directory of disk contents? Please list all font families Ⅺ Did you send a laser proof of all files at 100% to be output with file name clearly written on it? Ⅺ Did you clearly mark each layout element with desired printing colour? Images used Ⅺ Mac Ⅺ PC Ⅺ Did you clearly mark any graduated screens with their beginning and ending screen values? Ⅺ Client-supplied high-resolution Ⅺ Client-supplied FPO Ⅺ Did you allow .125Љ bleed in all layout elements that touch a page Ⅺ APR (Automatic Picture Replacement in SyQuest) edge? Ⅺ OPI (Open Prepress Interface) Ⅺ Did you include all fonts used in documents and graphics (screen File format used Ⅺ TIFF Ⅺ EPS Ⅺ DCS Ⅺ PhotoCD fonts/printer fonts)? Ⅺ Other Ⅺ Did you include all graphic files (tiff, eps) and fonts used to create them? Ⅺ Archive scans requested Ⅺ Did you mark all graphics ‘‘LIVE’’ or ‘‘FPO’’ (For Position Only) with the graphics file name clearly indicated on your laser proof? Ⅺ Did you clearly indicate on your laser proof whether or not keylines print? Trapping Ⅺ Provided by client࠽0.
    [Show full text]