(Subtitle: 46 Years of Building & Gardening)
You know, it’s Thanksgiving morning, both boys are off for the holiday with spouses’ families, and Lesley and I are working on our separate crafts. What a difference with no phones, no email, no business necessities, no one else around. Witness the fact that I’ve hardly blogged at all lately. Gonna have to get one day a week here with no distractions. A right-brain day!
The unbound pages came in from the printers a few days ago. What a thrill! The book’s getting bound (in Hong Kong) this week, shipped and will be available in early March, 2020. When we get it together, we’re going to take pre-orders.
I’m still getting used to the book. After covering hundreds of builders over the years, this is the first on my own (and Lesley’s) work.
Music de éste día: The Gilded Palace of Sin by The Flying Burrito Brothers, 1969
Here’s how I make books:
(I’ve written pretty much the same a bunch of times, so skip if it sounds familiar.)
As always, I gather printed-out photos in 9″ by 12″ file folders. When I get maybe 20-30 folders, I start doing layout.
The photos are printed 6-up on a sheet of recycled paper, along with file numbers beneath. If I haven’t done it before, I’ll write copy to go with pix, then start doing layout.
I’ll put down the headline, and adjust size of photos on our 10-year-old Brother MFC 9130CW color copy machine. If I want to upgrade the layout, I’ll do prints on our Epson Stylus Pro 4900 (boy, do I recommend this printer for photographers!) I print out 2, 3, and 4 columns versions of text, and choose which fits best.
My preferred state of consciousness for making good aesthetic analogue decisions involves coffee, mota, rock ‘n’ roll, and no distractions (the latter so very hard to achieve these days!)
I tape pix and text down, one double-page spread at a time with removable Scotch tape. I use the procedure Bob Easton used when we did Shelter in 1973: Each two-page spread is a story in itself.
I write the file number on each photo and then place all photo files and text in DropBox for Rick to pick up. Rick gets the (analog) layouts from me and does the digital files. We then go through lots of changes, improvements, color changing, proofreading, agony over the cover, but finally Rick FTPs it (sends it over the internet) to our printers in Hong Kong. We send Epson prints of the entire book so the press men can make adjustments if necessary while on press.
I used to do press checks on any color jobs, but due to coordination between Rick and Trevor Shih and Sophie Zhai of Midas Printing in Hong Kong, I haven’t had to do press checks. We’ve got the colors coordinated.