They’ve been doing a lot of nifty slide shows at the Guardian. Here are four recent ones:
- British Library launches online newspaper archive
As you may have guessed, I love this kind of stuff. Unfortunately, the archive website’s not working—at least, for me. I click on links and get nothing but error messages. I’ve written to Gale’s tech support, but I’d be interested to know if the site’s working for other people, especially those in the UK.
Continue reading “from the Guardian”
The charming and talented Vanessa Davis has a new comic about past jobs, good and bad, over at Tablet, which is Nextbook’s reconceived, redesigned, and mostly restaffed* online magazine: Vocation, All I Ever wanted!
Vanessa’s also, after a long period of dormancy, reorganized and relaunched her own website, Spaniel Rage. With a blog and everything! Yay!
- Yes, yes, I’m going to clean out my office today, finally, I promise.
(Cross-posted at Clusterflock.)
Update, 7/16: There’s a great interview with Vanessa over at Largehearted Boy: Antiheroines: Vanessa Davis
Oh, I think I need to make a field trip to the 11215 post office . . .
Dear Postmaster Potter:
I am writing to ask if you would please consider redecorating my local post office. Maybe you have heard of it: 11215. It’s the Park Slope Station in Brooklyn, New York, and I believe that a great many novelists spend time there, waiting to mail their manuscripts and galleys and quarterly estimated tax payments and whatnot, so perhaps it is the source of a great many written complaints. Or perhaps not. Anyway, may I elaborate on the nature of the problem?
The nature of the problem is choice of font.
—Rudolph Delson, “An Open Letter to John E. Potter, Postmaster General” (PDF, 127 KB), February 12, 2007
Oh, but that is not the only problem, as it turns out. And these issues have been observed not only at the 11215 post office, as I’m sure many can attest. I particularly recommend the 10009 (Tompkins Square) location for psychotic signage (not to mention patrons).
I think I also need to get a copy of Mr. Delson’s novel, Maynard and Jennica.
(Via Manhattan Users Guide)
Via e-mail, Lars R. asks, “Would you consider doing a write-up on your blog on the production of indices and how indexing relates to the design process as a whole?”
Some topics I’m interested in include
– The usefulness of InDesign’s indexing feature (as opposed to third party programmes if they exist, or simply manually typing in numbers)
– The practicalities of the designer being involved with the nitty gritty versus any sort of indexing specialist working independently)
– At which stage in the production process indexing begins and ends
– Differences between independent/inhouse publishers and large commercial affairs
– Does the designer generally have any input to level of detail, extent etc, or is it exclusively a case of matter having priority over form? How does the index influence castoff?
Continue reading “Indexigning”
Jonathan McNicol clearly does not have enough to do. To stay out of trouble, he’s started typesetting a free Greybean edition of James Joyce’s Ulysses, pages of which he expects to be posting daily until some time in October.
This kind of fits in with something Margaret, Shelby, and I were talking about doing last year. Maybe we should get off our butts and do that . . .
My former colleague Lawrence Levi, of Looker and The Breadline, reports that “the new Star Trek movie‘s final credit . . . is for FONT CONSULTANT. Yup. He’s Richard Massey, . . . who was part of the initial design team of Cabinet magazine.” Lawrence then directs our attention to “an outraged design blogger, the only person who seems to have noticed this quirky credit”: Blogging via Typewriter.
I know nothing whatsoever about the man, but it’s funny if it’s true.
My erstwhile coworkers have been toiling their little hearts out for months, rethinking and rebuilding Nextbook’s online magazine, the former Nextbook.org. The shiny new publication, which launched today, is called Tablet, and it was designed by Prem Krishnamurthy and Rob Giampietro. Tablet‘s Liel Leibovitz has posted a little slideshow in which the designers talk about what they did: Our New Look.
The new site has a WordPress backend (the old one ran on some weird Perl CMS), which the firm Hard Candy Shell set up and filled with all the previous magazine’s content.
Go visit, and tell them what you think of the new digs. If you don’t know what the old site looked like, you can find some screenshots in my Flickr collection.
(I made no contribution to the redesign myself, having [mostly] resigned from my post in January so that I could concentrate on school. The fabulous Abigail Miller, assistant art director, held the fort on her own all spring, while Alana Newhouse, editor in chief, dealt with the designers and developers directly. Nextbook’s new art director, as of about three weeks ago, is the mighty Len Small.)
The oddest thing about the newly announced winner of Bookseller magazine’s annual Diagram Prize for Oddest Book Title of the Year is not its title, The 2009–2014 World Outlook for 60-Milligram Containers of Fromage Frais, but rather that its author, Professor Philip M Parker of the French business school Insead, has produced more than 200,000 books,
thanks to his invention – and patenting – of a machine which writes books, creating them from internet and database searches in order to eliminate or substantially reduce “the costs associated with human labour, such as authors, editors, graphic artists, data analysts, translators, distributors and marketing personnel”.
I think the graphic artist–eliminating part of the machine may need a bit of work, since if the competition had been based on covers rather than titles, I feel certain that Fromage Frais, for all its charm, would have lost out to either Techniques for Corrosion Monitoring or Curbside Consultation of the Colon, which were merely shortlisted.
More: “Oddest Book Title prize goes to treatise on fromage frais” by Alison Flood, Guardian, March 27, 2009
I like getting to play Dear Abby! Though lately my responses read less like sage advice and more like columns by The Non-Expert—only not funny. Yesterday Sarah wrote with some questions:
Since 2002, I have been editor for our local historical society’s 20-page quarterly. When I first started, I did it in an old version of WordPerfect and (you’ll laugh) actually cut and pasted together the booklet and took it to our local printer.
Then I got slightly more high tech and started producing PDFs from the WordPerfect files.
The next thing was a switch to the Atlantis program, which produces .rtf files, from which I made PDFs to send to our local printer.
So, I still have all the old .wpd and .rtf files.
The historical society is now interested in taking the old issues, indexing them, and publishing the old issues in books (putting several together per volume) or perhaps just putting the old issues online.
However, there is not much of a budget for new software. The new software would need to do indexing and be able to handle endnotes and read the old files.
I am looking at Serif Page Plus and SoftMaker’s TextMaker. Have you heard anything pro or con or about these programs?
As a side issue — I am also looking into producing Large Print versions of documents. It seems that there are all sorts of standards that different organizations have for producing large print books. Do you have any advice for what standard to use, and how to handle graphics for large print books (obviously the graphics need to be bigger, but I don’t know how much).
Continue reading “Big Is Beautiful”
do you have any tips for recovering “damaged” files?
when i try to open a layout i was just working on, it prompts me to fix the file from recovered data, then notifies me that the file may be damaged; it starts to recover, but then the program quits altogether.
[. . .] if there’s no easy solution, this means a ton of work lost … are you familiar with this quandary? any suggestions?
Anyone? Anyone? I haven’t experienced this in a long time, so my response was vague:
. . . the first thing to try would probably be moving your preferences folder to the desktop and forcing InDesign to rebuild it. That’ll get the program to launch properly, at least, and then maybe you can recover the file from there. Details:
InDesign Secrets: Rebuilding InDesign Preferences.
The second option would be trying to get someone at Adobe to look at it, by posting a query on the forums. Sometimes they respond pretty quickly.
Finally, if the time you’d lose redoing everything would be worth $99,
you could send the document to Markzware for their voodoo file rescue
service: Markzware blog: Fix your Bad Adobe InDesign Files!
Other suggestions? If the file could be opened, I’d say export to .inx; that cures a lot of ills. When you can’t open it, though, I dunno.
I should also mention here that perhaps one reason this hasn’t happened to me in a long time is that I regularly create new save-as versions while I work—foo(1).indd → foo(2). indd → foo(2b).indd (a variant I’m not sure about) → etc. Doing a “save as” compresses the file, and I feel in my heart that it removes a lot of potentially corrupting gunk and thereby keeps my files more stable. Having snapshots of all those previous stages also makes it easier to roll back parts of a file, selectively.
An aside: Does anybody out there use Version Cue? I’ve never bothered. Does it help with this kind of stuff at all?