 Art has always been a powerful tool for self-expression and social commentary. It can bring people together, challenge the status quo, and inspire change. And when it comes to black art, the impact is even greater. Black artists have been at the forefront of many art movements, and their work has shaped the cultural landscape in significant ways. The Black Biennial Book, produced for the Rhode Island School of Design, Gelman Gallery, and RISD Museum, is a testament to the power and beauty of black art. Created by Rey Londres, Melanie Ferdinand-King, Zoe Pulley, Jada Akoto, and Nailah Golden, this book is a celebration of black creativity in all its forms. 
 One of the strengths of the Black Biennial Book is its diversity. The artists featured represent a wide range of backgrounds, perspectives, and experiences. Some are established artists with decades of experience, while others are up-and-coming talents who are just starting to make their mark. But all share a commitment to using their art to tell their stories and challenge the world around them. In addition to the artist profiles, the Black Biennial Book includes several essays that contextualize the work and provide insights into the broader themes and issues addressed by the artists. These essays are written by experts in the field and add depth and nuance to the book's overall message.  The Black Biennial Book is more than just a beautiful art book. It is a statement of solidarity and support for black artists, and a celebration of their contributions to the art world. By bringing together such a diverse and talented group of artists, the book challenges the notion of what black art can be and expands our understanding of the role it plays in our culture.  In conclusion, the Black Biennial Book is a must-have for anyone who appreciates black art and wants to learn more about the amazing artists who are shaping our world. With its stunning design, powerful message, and diverse array of talent, it is sure to be a treasured addition to any art lover's collection.
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Joining Acme Printing was where Jackie honed her skills. She held numerous positions during her tenure: Purchasing, Scheduling, Planning & Production Management. Handling the Prudential Annual Report (printed WEB) was a project with many sleepless nights and working many weekends – “as I recall,” stated Jackie, “the trucks of paper, just kept coming, day after day after day.” While interviewing Jackie for this article, she mentioned over and over how grateful she was, mentioning specifically the Canzano and Farraher families from ACME, for all the opportunities she was given.
Coming to Kirkwood from Universal Wilde, was such a joyful reconnection of her ACME Printing & UW colleagues. Jackie mentions that she probably has handled 10,000+ tickets over the 4 decades she has spent in the printing business. When asked about her favorite project, she recounts the Tiffany Holiday Catalog in 2014. She coordinated all parts of the job's planning, ticket writing, scheduling, bindery and mailing. “It was truly a project of a lifetime. I am happy to end my career, working for Kirkwood, the best-of-the-best.” -stated Jackie. A large part of Jackie’s daily workload has been supporting New York customers and Craig Wenrich’s vast portfolio of accounts. When we asked Craig about Jackie he said “What can be said about Jackie other than - she stepped into a business that was male-dominated, and not only survived but rose to the top. She is an inspiration to all on how to be on top of your game. She is always a professional who never lost her cool or her perspective. She will be missed more than any of us realize. I wish her all the best in her retirement.” Jackie says she will miss the customers and her colleagues, but she is comfortable knowing that others will step up to the challenge of learning everything about Kirkwood’s print capabilities and make the company even stronger in the future. When asked what she thinks the printing business will look like in 50 years, she thinks digital printing will be the norm and offset high color work will become boutique, like letterpress printing is today. In her retirement she will be viewing life from a different perspective, she hopes to be able to give back to her community and spend lots of time with her husband Frank. She is very thankful for all the talented people she has worked with and all the career support she has been given by all the companies that she has represented. We wish her all the best in the next chapter of the Jackie Foley story. Pack a Punch With Four-Color Envelopes
An envelope is like a person’s appearance. Although it’s true that what’s on the inside is what matters most, no one will ever know if they can’t get past what’s on the outside. Like the jacket of a book, a four-color envelope can entice a reader to have a peek inside to find out more. Imagine you just had a fabulous invitation or direct mail piece printed.. The words were written by a talented professional and approved by top brass. Perhaps a focus group weighed in to ensure the message conveyed the right tone for the intended audience. The Plain White Envelope With Black Ink Now imagine that beautiful pitch hidden inside a plain white envelope addressed in regular black ink and arriving in the mail among others that look just like it. Worse, it will compete for attention among envelopes printed in four colors, alongside oversized brochures and glossy postcards. What do you think will happen to your perfect pitch, the one that cost thousands to craft and weeks or even months to get approved? That’s right. It will rarely see the light of day. Few people if any will open that unexpected plain white envelope with black ink from the person or company they don’t know. An anonymous plain envelope practically screams “boring ad for a boring service” and that envelope’s destination is most likely the recycling bin. The Anatomy of an Envelope Most people don’t view an envelope as anything more than a container for mailing, with room for an address. But it’s so much more. There is a lot of available real estate on the average number 10 envelope, a lot of space for messaging. Most addressing equipment, along with the United States Postal Service, require 4-¾ inches by 2-¼ inches space for the address and the barcode. The rule of thumb for the return address is “above and to the left” of your mailing address and the permit “above and to the right” of your mailing address. Everything left is a blank canvas to fill. Filling Your Canvas Now that you can visualize a four-color envelope as more than just the obvious, what should you put on it aside from the requirements? Well, for starters, ask yourself a few questions:
Changing the Message and the Variables Sometimes your call to action might need to change according to the audience even though the inside contents are the same. With Variable Data Addressing, it’s easy to change anything you want on your four-color envelopes, from the messaging and addresses to the postal information. The Four-Color Envelope Difference Kirkwood has been making companies look good in print since 1973. Reach out to discover what a difference four color envelope printing can make to your ROI. |
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