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In the Works
By the time this newsletter arrives in your inbox the summer issue of SP will be on press, but last week was the last flurry of changes, corrections, and decisions before we build the files that go the printer.
After a couple of days of proofreading (favorite proofreading term: stet, literally “let it stand,” or “oops, didn’t mean to make that change”), editor Mary Barringer was at Eismont Design in southern New Hampshire to go over “the corrections” and decide about the color in this issue.
Jeani Eismont entering corrections to the issue
Editor MB checking captions....again
Jeani Eismont (above, top), art director Rosti’s wife and partner, enters the corrections made on the layout sheets into the computer, then reprints them to make sure everything has actually been changed. If this sounds like eye-crossing, fiddly work (and it is), the color decisions are truly headache-inducing. The printing process divides our 96 pages into six “signatures” representing the sheets on which 16 pages are printed. Owing to our bare-bones budget and the cost of color printing, we cannot print every page, or even every signature, in color.
The “breakout sheet”(pictured above) shows how we figure out the sequence of articles and images within the sequence of where the color lands. Some articles and images need color more than others, so there are always tradeoffs and reorderings, and we always have a few places we’d like to have used color but couldn’t.
Art Director Rosti Eismont pondering color distribution
This final week of production represents the moment when the rubber meets the road: when the initial concept (certain authors and perspectives, a certain balance) is transformed into the actual, paper-and-ink issue. In the process some ideas must be jettisoned, but the compensation is the satisfyingly tangible object that can be read wherever and however each of us chooses, and the surprising juxtapositions and connections that make the issue more than the sum of its parts.
Mary Barringer with Art Director Rosti Eismont and Jeani Eismont going over the layout
Look for the summer issue in the mail in July!
It includes articles by Howard Risatti, Liz Sparks, Hollis Engley, Sanam Emami, and Jim Melchert among others. Join now to receive your new issue hot off the press!
Much of the color in SP comes to you courtesy of the Color Brigade, a group whose contributions specifically support the visual quality of the journal. Anyone interested in joining the Brigade should contact Mary Barringer email@example.com for details.
Thanks to Ruth McKinney Burket, our summer intern, for help with the corrections and for the photographs above.
From This Issue's Editorial
We artists have a complicated but inescapable relationship with boundaries. For at least 150 years it has been a cliché of the romantic imagination that they are the enemy of creativity. But by working in clay we have already embraced one boundary, defying the modernist dictate that art be based in ideas rather than in materials. If we make functional pots, we have adopted another.
Erasing and rearranging boundaries is a specialty of digital technologies, and therefore of the world we now inhabit. Earlier technological revolutions also altered longstanding boundaries: the printing press ushered in the first information age, and the continental railroads swept away the intense localness of time by creating the need for a national system of time zones. Technological change is a basic feature of modernity, but the digital revolution has altered our lives in ways we are just beginning to grasp.
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The Studio Potter
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Manchester, New Hampshire 03105-0352
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