Tuesday, November 25, 2008
Campus Crusade Part 21
My work with the Worldwide Challenge Art Team
consisted of a number of tasks. Here are the steps
we used in order to put the magazine together.
1. The beginning of our monthly job dealt with
receiving finished manuscripts from the Editorial
Dept. Each artist would take the copies of the
articles and read them and come up with ideas
on how to illustrate them.
2. After several days the art team (often with
sketches or drawings) met with several of the
editors and we pitched our illustration ideas
in a brainstorming session. The brainstorming
session was a cut session where many concepts
were eliminated. While all ideas have merit you
learned not to fall to deeply in love with a specific
concept. Many of the articles in the magazine had
to do with abstract spiritual concepts that don't
always readily avail themselves to easy illustration
concepts. Personality or ministry event stories
were the easiest to work with.
3. Once the idea was agreed on by the editors
and designers the transforming of that idea into
illustration or photograph was the next step.
4. If it was a photo we worked with one of Campus
Crusade staff photographers to schedule a photo
shoot. Often we needed to recruit models for the
photos and we had a large pool of available staff
and family members to choice from.
5. We also did illustrations when the article called
for it. The designers, most of whom had illustration
skills, took turns on doing the illustrations depending
on whose style fit the project idea the best.
6. Once the illustrations were chosen the magazine
was divided up into sections among the designers to
do the layouts for. Each designer was given a specific
number of pages with either a right hand lead page
or a left-right spread. The News section of the magazine
was done usually by one designer which dealt mostly
with columns of type and event or people photos.
7. The layouts were first done as thumbnail sketches
with measurements from the typeset galleys. Once the
thumbnails were approved by the art director then the
designer would take photo copies of the galleys and
make a dummy mock-up of the layout showing where
the copy flows and where the photos or illustrations
were located. The layouts were all incorporated with
a single mock-up magazine or dummy which the art
director and chief editor would approval or ask
for changes.
8. During this time photo shoots were scheduled and
illustrations drawn. Once the finished mock-up was
approved the designers took the typeset copy and
begin pasting it up on pre-sized layout boards.
9. Once the paste up was done it was proof read by
several of the editors and corrections were typeset
and pasted on the boards and then these corrections
were approved by the editors.
10. Once final approval was given including any artwork
and photos the art boards were sent to a pre-press
house for the negative flats to be done. They provided
a blueline or dummy copy of the magazine for one final
proofing before it was sent to the printer.
11. Once the final blueline proofing done (with any
last corrections) it was sent to an outside printer
specializing in magazine printing. Several weeks later
we would receive copies of the magazines.
This was my daily work experience from 1976 to
1980. We had an outside type house do our typesetting.
With the advent of desktop publishing a number
of years later the need for outside typesetting and
even paste up was eliminated. For those designers
who made the transition from rubber cement paste up
on art boards to designing your layouts on the
computer screen the old days are not missed. The old
paste up methods seem almost medieval in comparison.
Digital technology has changed things radically in
the graphic design industry.
consisted of a number of tasks. Here are the steps
we used in order to put the magazine together.
1. The beginning of our monthly job dealt with
receiving finished manuscripts from the Editorial
Dept. Each artist would take the copies of the
articles and read them and come up with ideas
on how to illustrate them.
2. After several days the art team (often with
sketches or drawings) met with several of the
editors and we pitched our illustration ideas
in a brainstorming session. The brainstorming
session was a cut session where many concepts
were eliminated. While all ideas have merit you
learned not to fall to deeply in love with a specific
concept. Many of the articles in the magazine had
to do with abstract spiritual concepts that don't
always readily avail themselves to easy illustration
concepts. Personality or ministry event stories
were the easiest to work with.
3. Once the idea was agreed on by the editors
and designers the transforming of that idea into
illustration or photograph was the next step.
4. If it was a photo we worked with one of Campus
Crusade staff photographers to schedule a photo
shoot. Often we needed to recruit models for the
photos and we had a large pool of available staff
and family members to choice from.
5. We also did illustrations when the article called
for it. The designers, most of whom had illustration
skills, took turns on doing the illustrations depending
on whose style fit the project idea the best.
6. Once the illustrations were chosen the magazine
was divided up into sections among the designers to
do the layouts for. Each designer was given a specific
number of pages with either a right hand lead page
or a left-right spread. The News section of the magazine
was done usually by one designer which dealt mostly
with columns of type and event or people photos.
7. The layouts were first done as thumbnail sketches
with measurements from the typeset galleys. Once the
thumbnails were approved by the art director then the
designer would take photo copies of the galleys and
make a dummy mock-up of the layout showing where
the copy flows and where the photos or illustrations
were located. The layouts were all incorporated with
a single mock-up magazine or dummy which the art
director and chief editor would approval or ask
for changes.
8. During this time photo shoots were scheduled and
illustrations drawn. Once the finished mock-up was
approved the designers took the typeset copy and
begin pasting it up on pre-sized layout boards.
9. Once the paste up was done it was proof read by
several of the editors and corrections were typeset
and pasted on the boards and then these corrections
were approved by the editors.
10. Once final approval was given including any artwork
and photos the art boards were sent to a pre-press
house for the negative flats to be done. They provided
a blueline or dummy copy of the magazine for one final
proofing before it was sent to the printer.
11. Once the final blueline proofing done (with any
last corrections) it was sent to an outside printer
specializing in magazine printing. Several weeks later
we would receive copies of the magazines.
This was my daily work experience from 1976 to
1980. We had an outside type house do our typesetting.
With the advent of desktop publishing a number
of years later the need for outside typesetting and
even paste up was eliminated. For those designers
who made the transition from rubber cement paste up
on art boards to designing your layouts on the
computer screen the old days are not missed. The old
paste up methods seem almost medieval in comparison.
Digital technology has changed things radically in
the graphic design industry.
Monday, November 17, 2008
Campus Crusade Part 20
My work with Worldwide Challenge magazine began
with an intensive training period on magazine design.
Noreen Ketchum, the original designer on the magazine,
devised and instituted a comprehensive study program
on how to put magazines together. The following is
taken from my February 1977 prayerletter.
"Since the middle of September [1976] I have been
working with the art team that produces in cooperation
with the editors and writers the monthly magazine
of Campus Crusade, the Worldwide Challenge.
"When I first entered this new area I was placed in
an extensive training program that lasted about six
weeks. I was given books to read on magazine design,
creative processes and the usage of photography in
publications. Also I had assignments in redesigning
magazine articles (all the way from tiny thumbnail
sketches, to mock-ups-practice layouts, to the
finished of layout). Also involved in this was photo
selection and the making of illustrations. There is a
whole new language in magazine design which I am
still learning. There is "picky paste-up", "gallies",
"teasers", "subheads" and "kickers" among others.
"This time of training was a very valuable learning
experience and I am still on a less accelerated training
program. I've been in the area for over five months
now and I've learned a lot, but I still have a lot to learn.
My previous experience with transparencies however
made my transition into this new area a relatively
easy and quick one."
In some ways this was the most concentrated and
career important training I received. I was better
that any of the graphics courses I took in college.
It was on the job training where you were actually
implementing what you learned with real job projects.
with an intensive training period on magazine design.
Noreen Ketchum, the original designer on the magazine,
devised and instituted a comprehensive study program
on how to put magazines together. The following is
taken from my February 1977 prayerletter.
"Since the middle of September [1976] I have been
working with the art team that produces in cooperation
with the editors and writers the monthly magazine
of Campus Crusade, the Worldwide Challenge.
"When I first entered this new area I was placed in
an extensive training program that lasted about six
weeks. I was given books to read on magazine design,
creative processes and the usage of photography in
publications. Also I had assignments in redesigning
magazine articles (all the way from tiny thumbnail
sketches, to mock-ups-practice layouts, to the
finished of layout). Also involved in this was photo
selection and the making of illustrations. There is a
whole new language in magazine design which I am
still learning. There is "picky paste-up", "gallies",
"teasers", "subheads" and "kickers" among others.
"This time of training was a very valuable learning
experience and I am still on a less accelerated training
program. I've been in the area for over five months
now and I've learned a lot, but I still have a lot to learn.
My previous experience with transparencies however
made my transition into this new area a relatively
easy and quick one."
In some ways this was the most concentrated and
career important training I received. I was better
that any of the graphics courses I took in college.
It was on the job training where you were actually
implementing what you learned with real job projects.
Thursday, November 13, 2008
2008 Tucson Comic Con Report
The last four photos. James Babcock with his Madame X table. Don Ensign (right)
with Con Organizer Mike Oliveras. Last Don Ensign at the CCAS table. The first
photos are ones taken during the Con.
Tucson Comic Con Report
(This is a personal report of my experience manning the CCAS
table at the 2008 Tucson Comic Con, Nov 8, 2008)
I packed my material Friday night and
headed into Tucson the next morning. I arrived
at the Four Winds Sheraton hotel around 8:45 AM
and saw a familar stream of causally clad
people lugging in boxes of comics and other merchandise.
The location of the Con was in the Convention Center
building immediately behind the main hotel.
I walked into the building and saw my friend
James Babcock to my left. I had the table next to the main
entrance and James was seated at the next table
with his laptop computer out and working on
some character designs.
James helped me unload my car and we transported the
boxes of Christian comics into the convention hall.
I set up the table and also taped my freshly made large CCAS signs
to the wall behind the table. There were several Tucson
comic book stores, local comic book companies, and artists filling
the forty tables which lining the walls and
also a number of tables in the middle of the floor.
The official Con opening was at 10 AM. This was a free
admission event and with a very healthy stream
of people flowing in and out of the hall for most of the day.
This first annual Tucson Comic Con was a one day affair
and there was a general aura of excitement and enthusaism
among the exhibitors and attendees.
My CCAS table had free items (Chick tracts,
CCAS/Four Square Press color comic tracts, NASV New
Testaments, etc) on the right side and for sale comics,
graphic novels(Serenity, Z Graphic Novels, 2008 Guide to
Christian Comics) and so on occupying the center
and left parts of the table.
I received good response to the CCAS table. Here are some short
summaries of conversations.
* One conventionally dressed middle aged lady (perhaps
a church goer) came over to the table and I explained the
concept of Christian comics and showed and discussed
some of the items I had for sale. I could tell that that this
was a difficult concept and that she was having a hard time
wrapping her mind around it.
* Another 30ish or so woman came up to the table and
picked up a copy of Homeless Harry and stood in front of
the table very intently reading it completely through. She
seemed moved by it and picked up several of of the tracts.
*An African American women came up to the table and
mentioned that she worked at a homeless shelter. She
also picked up Homeless Harry (asking for three copies)
inquiring where she could get more. I also introduced her to
the other Street Comix—The Lonely Lady, Vengeance is Mine
and Paramen that she might be interested it.
She thanked me very much for being there.
This was a response I received a number of
times during the day.
* Yet another women approached the table and mentioned
that see worked in a soap kitchen and eagerly snatched
up a copy of Homeless Harry and wanted to find out where
she could get more.
* Another women showed a lot of interest in the table and
I asked her what church she was attending. She mentioned
a local Tucson congregation and was very interested in the
material we had. Later in the day she bought her husband by
and he spent time looking over our for sale items. I showed
him Proverbs and Parables which excited him (though he wished
it were in color). He ended up buying several items. He mentionred
that coming to own table and buying these items made it
worth cominbg to the convention.
*Late in the day I noticed one of the Lonely Lady tracts
torn up and placed on the Lonely Lady stack (Lonely
Lady is a short story of a hooker who meets the Savior).
I figure the message had gotten through and hit a sore spot.
* Besides seeing many tracts and New Testaments taken
it was encouraging to see a number of purchases of our
Christian comics and graphic novels.
* On a personal note Sequentially Tucson #3 made its debut
at the Con. Sequentially Tucson is a comic published by
IndieOnly Comics that showcases the talent of local
comic artists. I contributed a six page comic strip to it
featuring the Christian super hero the Golden Protector
(co-starring Ben Avery's Scout). This comic had been in the
offing for over a year and it made the convention even
more special.
The goals that I had for the convention were met. First, I wanted
to have a clear presense for Christ at this local start up venue.
Second, I wanted to introduce the idea and concept of Christian
comics to this new convention and begin an ongoing
education process which is for some a novel and even
radical idea. This was a seed planting venture with our presence
and the tract give aways. And lastly I wanted to see some
Christian comics sold. These goals were accomplished and
many prayers were most definitely answered.
At the finish of the convention James Babcock and his mother
Betty and I met at a local eatery for a debriefing of the day's
events. James likewise had a great time hawking his freshly
printed comic—Madame X Inc #1.
This was an excellent experience where I'm sure many seeds
were planted.
Campus Crusade Part 19
This week I conclude excerpts from my prayer letter
(October 1976) telling about my transition from working
in the Campus Crusade's AV Dept. and art team
of Worldwide Challenge magazine.
"However over a year ago I began to see that I was in
need of a change. I felt that I had learned about as much
as I could from transparencies and also that some new
blood would be good for the area. The Lord during the
past year has confirmed this desire a number of times.
Since coming on staff I had not up until felt the need
for a change. But now this desire was there and building.
As I mentioned in a previous newsletter during this past
year a new staff man (John Carter) entered the area and
I knew that he would be my successor to the position.
During this year I have been working with him and
training him. As of August 1 he has taken over as
Production Manager of Graphic Design. There will be
three working in the area again in the near future.
"During the past year I have been praying about and
considering several options. First was the possibility
of going into our sister AV area—Slide Show productions
as a director. THis would mean working with old friends
but little further experience in terms of doing artwork.
For a period this spring I was able to spend some time
working in the slide show area to actually see the 'nuts and bolts'
process from the inside. Another option was concerning
going into the Art Dept. (now called Creative Studios).
In April I had several meetings with the manager of Creative
Studios. At that point I gained the opportunity if going into
the Art Dept. (a long submerged desire started to resurface).
This was a very difficult decision to make. It took me two
months of prayer and evaluation before I made the decision.
I felt that my background and primary skills were in the
graphic art area and that it would be the most prudent to
continue going in that direction.
"Later in another meeting with the director of Creative Studios
he asked me to consider going on the art staff of Crusade's
magazine, the Worldwide Challenge. After considering and
praying about it for a time I accepted the offer. About the
middle of September was when I made the transfer to the
Challenge from Graphic Design. The time between when
John took over transparencies and when I left was a period
in which I served in the advisory capacity."
(October 1976) telling about my transition from working
in the Campus Crusade's AV Dept. and art team
of Worldwide Challenge magazine.
"However over a year ago I began to see that I was in
need of a change. I felt that I had learned about as much
as I could from transparencies and also that some new
blood would be good for the area. The Lord during the
past year has confirmed this desire a number of times.
Since coming on staff I had not up until felt the need
for a change. But now this desire was there and building.
As I mentioned in a previous newsletter during this past
year a new staff man (John Carter) entered the area and
I knew that he would be my successor to the position.
During this year I have been working with him and
training him. As of August 1 he has taken over as
Production Manager of Graphic Design. There will be
three working in the area again in the near future.
"During the past year I have been praying about and
considering several options. First was the possibility
of going into our sister AV area—Slide Show productions
as a director. THis would mean working with old friends
but little further experience in terms of doing artwork.
For a period this spring I was able to spend some time
working in the slide show area to actually see the 'nuts and bolts'
process from the inside. Another option was concerning
going into the Art Dept. (now called Creative Studios).
In April I had several meetings with the manager of Creative
Studios. At that point I gained the opportunity if going into
the Art Dept. (a long submerged desire started to resurface).
This was a very difficult decision to make. It took me two
months of prayer and evaluation before I made the decision.
I felt that my background and primary skills were in the
graphic art area and that it would be the most prudent to
continue going in that direction.
"Later in another meeting with the director of Creative Studios
he asked me to consider going on the art staff of Crusade's
magazine, the Worldwide Challenge. After considering and
praying about it for a time I accepted the offer. About the
middle of September was when I made the transfer to the
Challenge from Graphic Design. The time between when
John took over transparencies and when I left was a period
in which I served in the advisory capacity."
Tuesday, November 04, 2008
Green Valley McCain Rally
Here are some photos I took yesterday at a John McCain Rally
in Green Valley, Arizona. No matter what your political views
are these are some fun photos. Enjoy.
Campus Crusade Part 18
The next phase of my Campus Campus career began
in the last part of 1976. I made a move out of the Graphics
section of what was the Audiovisual Dept. to work with
Worldwide Challenge Magazine. Worldwide Challenge
was Campus Crusade's then monthly magazine that
covered the happenings of the ministry as well as containing
spiritually challenging articles. Here are excerpts from
my October 1976 prayerletter.
"Someone has rightly said that in this world if there
is one constant—that constant is change. At this time
I am in the process of a major change. I am changing
jobs for the first time in nearly three years. By the time
you read this I will have phased out of th Graphic Design
area and into my new job. That new job is working on the
art staff of the Worldwide Challenge, Campus Crusade's
monthly magazine.
"Let me give a brief summary of my time so far on
Campus Crusade staff. In 1971 I came on staff with
the original hope of going into the Art Dept. In 1971
I came on staff with the original hope of going into
the Art. Dept. Instead of that assignment I was placed
in what was then called the Audio-Visual Dept. Within
A-V I did everything from duplicating audio tapes to
film research to finally designing and producing overhead
transparencies. For over 4 1/2 years I have been the head
artist or Production Manager (the tile is now) for
Graphic Design (the art section of A-V now called
Media Productions).
"When I first came into the area (even though several
artists had preceded me) it was a primitive, underdeveloped
area of Audio-Visual. Yet this area had tremendous
potential. Over the years I have had the privelege of
witnessing "revolutionary developments" such as the
obtaining of our first Thermo-copy machine, professional
art tables and equipment, a typesetting machine,
a printing press and several other full time personnel
(that I had the honor of training and working with).
The area developed from a 'one man' show to a
sophisticated, efficiently running operation. While
I had input into this development often as not I was
just an amazed observer to the great needs and to a
number of different people whom the Lord used to
provide truly visionary solutions to those needs.
I praise the Lord for my time in transparencies.
I have contributed to it and the Lord has taught
me much over the past several years from it.
More Next Week
in the last part of 1976. I made a move out of the Graphics
section of what was the Audiovisual Dept. to work with
Worldwide Challenge Magazine. Worldwide Challenge
was Campus Crusade's then monthly magazine that
covered the happenings of the ministry as well as containing
spiritually challenging articles. Here are excerpts from
my October 1976 prayerletter.
"Someone has rightly said that in this world if there
is one constant—that constant is change. At this time
I am in the process of a major change. I am changing
jobs for the first time in nearly three years. By the time
you read this I will have phased out of th Graphic Design
area and into my new job. That new job is working on the
art staff of the Worldwide Challenge, Campus Crusade's
monthly magazine.
"Let me give a brief summary of my time so far on
Campus Crusade staff. In 1971 I came on staff with
the original hope of going into the Art Dept. In 1971
I came on staff with the original hope of going into
the Art. Dept. Instead of that assignment I was placed
in what was then called the Audio-Visual Dept. Within
A-V I did everything from duplicating audio tapes to
film research to finally designing and producing overhead
transparencies. For over 4 1/2 years I have been the head
artist or Production Manager (the tile is now) for
Graphic Design (the art section of A-V now called
Media Productions).
"When I first came into the area (even though several
artists had preceded me) it was a primitive, underdeveloped
area of Audio-Visual. Yet this area had tremendous
potential. Over the years I have had the privelege of
witnessing "revolutionary developments" such as the
obtaining of our first Thermo-copy machine, professional
art tables and equipment, a typesetting machine,
a printing press and several other full time personnel
(that I had the honor of training and working with).
The area developed from a 'one man' show to a
sophisticated, efficiently running operation. While
I had input into this development often as not I was
just an amazed observer to the great needs and to a
number of different people whom the Lord used to
provide truly visionary solutions to those needs.
I praise the Lord for my time in transparencies.
I have contributed to it and the Lord has taught
me much over the past several years from it.
More Next Week
