Word: newsprint
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Crimson editors over the decades have made some memorable attempts to capture exam period in newsprint. The following op-ed, “Beating the System,” won the Dana Reed Prize for undergraduate writing in 1951. The Crimson proudly ran it every reading period until 1962, when it irked one maligned and anonymous grader enough to reply...
Leaning over test copies pouring out of the presses last week, Crimson President Amit R. Paley ’04 and press operator Brian M. Byrne sported hands stained with ink and newsprint as Byrne tweaked contrast levels and discussed the logistics of color publication...
...lovely place, with a gorgeous curving front staircase, eight intricately detailed fireplaces, and plenty of doors and nooks and crannies. As with any new house, there’s the fun in discovering the hidden secrets. The bathroom wall had a torn yellowed piece of antique newsprint pasted above the towels, with a poem entitled, “A Guest Towel Speaks.” “Please use me, Guest: / Don’t hesitate / Don’t turn your back / Or vacillate / I’m here to use / I’m made for drying...
...Eisner: It's a very conscious thing. The transition can best be characterized by the fact that "The Spirit" represented a youthful interest in demonstrating my artistic skills. Plus, the medium I was working in, newsprint, required a strong, solid line that enclosed color. Also my reader at that time was a younger reader. Now I'm aiming at an adult. An adult has sufficient life experience that they can supply the background where I have a blank area. Another element in the change is that I feel the story has far more importance now than when I was working...
...materials, achieving exceptional nuances of texture, translucence and sheen. In addition to oil and watercolor, he worked with chalk, charcoal, pastels, colored pencils, wax color, tempera, varnishes, gypsum, poster paints and colored paste. He used them, in varying combinations and often in several layers, on coarse paper, parchment, newsprint, cotton, linen, gauze, burlap, cardboard, plaster and plywood. Ever the master colorist, he conjured up an eerie, otherworldly radiance, as in Masks at Twilight, by combining black, milky blue and muddy reddish-brown. The spellbinding A Gate shimmers with silvery moonlight, created with white and gray tempera washes on black-painted...