Case Study
Book Making Through the Eyes of the Artist - Northwoods Journal
At Bigger Dot, print production is in our blood. We work with our clients day in and day out to produce results that fulfill every vision they have. As a client, however, it can be overwhelming or scary to place your ideas in someone else's hands and embark on the journey of bringing your special product to life.
To give you a peek at what the production experience is like, we spent some time with Kurt Simonson, an Artist/Educator who created Northwoods Journal. Kurt is an incredible photographer who came to Bigger Dot with a very special photography project. We asked Kurt what the process was like, what he learned and how he would encourage future artists who are looking to publish their work. This is what he said...
What is the story behind the Northwoods Journal?
Northwoods Journals was a photographic body of work that I’d been working on for about 15 years. The photo series began as a way to explore the nostalgia and memories of my childhood in Minnesota (after many years of living in California as an adult). The photo project led to the book publication which is how I’d always envisioned the final product.
What were you looking for in a Print Production Studio?
I knew that I wanted this book to be a beautiful object itself, using some of the language of book design to enhance the themes in the photos. Photobooks as their own medium have had a resurgence in the art world recently, and I knew that I wanted this to be much more than just a portfolio coffee table book that showcased the images. I wanted it to be its own art object, so each element was important for me to consider and control as an artist.
What are some of the challenges you had in the production of your book?
One of the biggest challenges was the printing of the cover. For the cover, I knew that I wanted book cloth, something that had a tangible texture to feel. It helps to establish the book in the language of art-object photobooks and gives it a more precious feeling than just a glossy hard texture would have. I also knew that I wanted the image of wood paneling on the fabric so it took some time for everyone to figure out the best way to print on it, and then to get the color just right.
Was the press check an important part in the production process of your book?
The press check was absolutely crucial to my process. Color is a critical element in my photographs, and I knew that I needed to make sure my color choices were translating properly into the CMYK offset process. I also wanted to ensure that the cover was looking exactly like I envisioned it, with just the right texture and color tone, so I knew I needed to be on-site for the press check.
I don’t think everyone needs to do this. I would absolutely have trusted the Bigger Dot team since they were invested in getting exactly what I wanted, but with this being my first photobook monograph, I just wanted to know first-hand, rather than waiting for proofs. But also, just as a photo educator and a big nerd, I wanted to see the process first-hand, and I learned so much about it from that visit.
What components of the book were you particularly looking forward to upon its completion?
It was all of the more unique elements – the cover, the folded letter, and the gate-fold spreads. I knew those would be the things that would make it more than just a typical photobook, and I was thrilled at how they all turned out exactly like I imagined!
What did you enjoy in the process of designing and producing this book?
The press check is the memory that sticks with me the most. It was genuinely thrilling for me to see the book coming to life, to know the entire process inside and out. Plus we were in Korea, and I couldn’t pass that up as an avid world traveler who had never been there!
I also appreciated the help that was given to me during the actual design process, especially in making clear certain technical setup parameters. I was extremely stubborn about wanting to design the book entirely myself because I had such a clear vision of exactly what I wanted, so I was grateful that Bigger Dot (and my publishers) understood that and gave me the space to do all of that, while still being completely available for my troubleshooting and tech needs.
What would you do differently if you were to produce another book?
I’m not sure I would do that much differently, I was really happy with the whole process, and thrilled with the final product, which I’m still very proud of years later. I suppose a lot of that is because I feel that we all communicated very clearly about expectations and limitations, so the frustrations I’ve seen from other people in those areas were not a problem for us.
What advice would you give someone who wants to produce an art book?
The whole process is a collaboration between the artist, the publisher, and the print studio, so I think my first bit of advice is to understand that relationship and nurture understanding and connection between all of you. If everyone is clearly communicating about expectations, and clearly stating what is possible within certain limitations (budget restrictions, what is technically achievable or not, etc.), then the whole process will be much more enjoyable and productive. That said, as the artist, I would make sure you know which things are non-negotiable art elements that you feel you must include while remaining open to compromises and evolutions of your ideas based on input from the printers and publishers.
Working with Kurt was an incredible experience for us at the Bigger Dot team. We love our clients, we value the vision they have for their projects, and we work daily to bring those projects into the world just as they were envisioned. If you have a project that you want to bring to life, Bigger Dot is excited to hear all about it!
