We have a plan for the binding of Scot Sothern's Sad City. We want it to be French Stitched, we also want to leave the creep in. (Creep is the shifting position of the page in a saddle-stitched bind. Creep moves the inside pages away from the spine.)
The first sample we received left a lot to be desired, so we found another printer/bindery to dummy up a blank sample, so we could see. Just received that sample and must report we're quite happy with its look and feel.
So now we can get going with the actual design of Sad City. (There was no point designing the book until we had the bindery problems solved.)
Everything in publishing seems to take time. Just like life, I suppose. And who was it who said, "The only reason for time is so that everything doesn't happen at once"?
Working on the nuts and bolts of HOME, by Timothy Archibald.
Figuring out size.
Page spread from a book we're working on.
HOME, by Timothy Archibald.
Stay tuned for more info . . .
We're working on the new Scot Sothern book, Sad City.
The book combines fotos with stories. The relationship between the fotos and the stories fall into two categories . . .1/ the stories are riffs on what might be happening in the fotos and 2/ the fotos are jumping off points for ruminations about Scot's past.
Do we sequence the fotos and let the stories fall where they may? Or do we sequence the stories and let the fotos fall?
Of course we're not taking either of those approaches. No, we're treating the complete thing as a body of work and sequencing both the stories and the fotos. Quite the juggling act.
Sad City will soon be available for pre-order. Sign up to the STRAYLIGHT newsletter to receive advance notice and to get first dibs on the Special Editions.
It’s 1978 and I’m renting a clapboard dump high on a Silver Lake hill looking out toward Hollywood. The guy next door, on the other side of the wall, tells me he used to be a Black Panther and he did time for murder and he steals cars for a living. I ask him if he can get me a car in the two-hundred dollar price range and he tells me he’ll keep an eye out. He lives with his sister who is a whore and totally blind. I ask her if she’s ever accidently climbs into a cop’s car but she doesn’t have much of a sense of humor. Late one quiet Friday night I’m reading and have the door open when the sister next door starts screaming. It’s not my business but it continues for a while so I go next door and knock. The Black Panther opens the door and apologizes for the noise. His sister is on the floor in the middle of the room pulling her hair and beating on her head and screaming. I ask him if she’s alright and he says she will be in a little while. I go back to my place and open a beer and a little while later she stops screaming.
Top to bottom: Page spread from the initial dummy; story; page spread from the initial dummy ; sequencing.
Been moving the OFFICIAL OTTAWA fotos around, selecting, ordering them on paper. It's interesting to see what's there and how it looks on spreads and turns.
I've been using rudimentary software and getting magazine-size publications printed by Blurb. Problem with Blurb, though, is they only perfect bind and I'm sure I want some of the OO pix to go across the gutter. Perfect binding sucks at that, you lose stuff in the gutter.
But, like I say, it's been an education working with the images. Even though there's the gutter issue, not to mention the size I'm getting from Blurb (8.5 x 11 in.) is considerably smaller than the final publication will be, being able to see the images in book form is helping me a lot.
There are a few approaches to edit/sequence; most serious fotogs will pin work prints to a board, move the actual physical fotos around, as opposed to working with their virtual counterparts. In the end I always get the good-old work-print/board thing going. But being able to hold, handle and turn pages seems like a swell first step. And these days, what with POD being so easy, it makes sense to me to rough stuff out in this way.
Of course, the hard work is still to come, the agonizing before the actual locking down and production of the "finished" product.