JAB25 Spring 2009


The cover of JAB25 was designed by Jan Voss and printed on the Heidelberg GTO at the Center for Book & Paper Arts by Brad Freeman, Clif Meador, and Marnie Galloway (graduate student and Offset Fellow). Jan had people coat their hands in brown acrylic paint and handle 14 tranparencies cut to imitate the shape of JAB. The traces the paint left on those sheets became the printing plates for the cover. Jan's printing instructions (change the ink color during the run; use split fountains; run too much ink; starve the ink; starve the water; run too much water) ensured spontaneous, unique prints with no two covers of JAB25 being exactly alike.

Colophon Info

JAB25 uses Tarzana for titles and Mrs. Eaves for body text. The issue was designed collaboratively by Elisabeth Long (lead) and Brad Freeman with help from Tony White and Clif Meador. The text block was offset printed in black and Pantone 267 with several sheets printed in four-color CMYK.

One of the central design features of JAB 25 is a purple timeline running along the bottom of each page representing the activity of artist/printers who operated high speed rotary offset presses to produce their own artist's books. This timeline, based on information gathered by Tony White and then designed by Elisabeth Long, graphically grows and shrinks throughout the issue, reflecting the expansion and contraction of activity in the field.



Order your copy of JAB25 by contacting jabandbrad@gmail.com.

JAB25 is a special topic issue, guest edited by Tony White, which concentrates on high-speed rotary offset printing and the various ways artists have used offset in the creation of their work.

The issue also presents the two winners of the JAB-sponsored critic's award at the Pyramid Atlantic Book Fair.

From the guest editor:
In selecting authors/essays for this issue, I intentionally selected individuals whom I felt represented the breadth of this genre. An artist/printer little recognized in the existing literature was Cynthia Marsh. Shortly after receiving her MFA she moved to Los Angeles and began teaching offset printing at the Woman's Building in Los Angeles. When I invited Marsh to write about a book artist, she suggested writing an essay on the work of Clifton Meador, an active book artist and artist/printer, printing over 40 of his own titles since 1980.

With the 20th anniversary of the Borowsky Center in 2008, an interview of Lori Spencer and Patricia Smith seemed timely and appropriate. Amanda D'Amico, a graduate of the University of the Arts graciously offered to interview Spencer and Smith about the Borowsky Center.

In 1980 Phil Zimmermann published his influential MFA thesis: Options for Color Separation: an Artist's Handbook. The timeliness of his publication can be seen in the timeline in this issue. Numerous artist/printers discovered this book in the early 80s and used it as a guidebook or manual when learning how to operate an offset press for the production of their own works. An afterword is included to firmly place Zimmermann's book in the historical context of offset printing.

JAB25 Table of Contents

  • Editor's Statement
    Brad Freeman
  • Guest Editor's Introduction
    Tony White
  • About the Cover Art
    Jan Voss
  • The Borowsky Center
    Amanda D'Amico
  • I heart DIY CMYK (an homage)
    Pattie Belle Hastings
    Afterword Clifton Meador
  • Surrender
    Cynthia Marsh
  • Book Reviews
    Eugene Feldman & Aloísio Magalhães: Doorway to Portuguese by Clifton Meador
    Play Nice: Sally Alatalo's Offset DoDa by Brandon Graham JAB25page14-15
    Sample page spread
  • Pyramid Atlantic Critic's Award
    Elisabeth Long