Oh, do go look at Tom Christensen’s wickedly detailed walkthrough, Manuscript to Art Book in Four weeks: The Making of Masters of Bamboo. Cool, cool, cool!
(Thanks, Tom!)
Oh, do go look at Tom Christensen’s wickedly detailed walkthrough, Manuscript to Art Book in Four weeks: The Making of Masters of Bamboo. Cool, cool, cool!
(Thanks, Tom!)
Thank you for the link!
I’m amazed that you had the stomach to do such a painstaking postmortem, when in your place at this point I would have been all like, “I never want to see or think about this book again.” (Not that I could ever be in your place, because I’d have no idea how to produce something like this in six months, nevermind one.)
Ha. Well, I do sort of feel that way, but I was on press and had some time to kill. I knew if I didn’t do it now I’d never do it. And I do love the baskets.
By the way, I forgot to mention that what I received was unedited text. So while the design was going on I was also overseeing the editorial aspect. I should probably add some mention of that.
But of course.
And then . . . the press check. I’ve never been on one. What do you do? I was just reading an interview last week with a woman who just flies around the world doing press checks. She talks about the strength of printers’ coffee . . . I’ll try to find it.
Ah, here it is.
Well, I’ve never had a station catch fire. Mostly press checking is just boring — depending on how big your print run is, you might have a couple of hours of waiting, followed by 20 minutes of color correction, repeat over a few days. Adjusting color is fun (to me), but the presses are quite noisy,and the more I do it the more the fumes (inks and solvents) bother me — to be honest, I don’t know how much longer I can keep doing it for that reason.