THE WHOLE EARTH CATALOG
Access to Publishing
◼️The operational word on the cover of the CATALOG is access. Ultimately that means giving the reader access from where he is to where he wants to be. Which takes work, work takes tools, tools need finding, and that's where we come in.
◼️◼️A good catalog is a quick-scan array of tools, where you can find what you want easily, with detailed information where you're interested. Our attempt to fulfill these requirements led to use-based section headings (Shelter, Land Use, Communications, etc.), an alphabetic index, and page-theme layout. On each page we try to have one graphic which “keys the page”, tells with a glance what's there.
◼️◼️◼️The hardest thing we had to learn was providing simple dear demarcation between items – an unadorned line. We publish considerable detailed information – fine print. Sorting among that is aided by a consistent code of typefaces (reviews are always “univers italic”, access is always “teeny”. Divine Right is always “bold teeny”, and so forth). The IBM Selectric Composer makes this an easy matter.
◼️◼️◼️◼️Still we're not as consistent as we should be. In descending order of importance, our layout guidelines are:
◼️◼️◼️◼️◼️
• accuracy
• clarity
• quantity of information
• appearance
Stewart Brand (1971)
◼️◼️◼️◼️◼️◼️Glamorous white space has no value in a catalog except as occasional eye rest. I figure the reader can close his eyes when he's tired. I keep coming back to the reader/user because that's who the editor represents. I've had to feel that my obligations to Portola Institute, to staff, friends, relatives, and to myself are all secondary. So are obligations to authors, suppliers, publishers, other editors. Usually there's no conflict, but when there is the editor has to see that the reader wins.
◼️◼️◼️◼️◼️◼️◼️The editor's main mechanical task is determining efficient use of production time and page space. It's like spreading hard butter on soft bread, best if you cut the task into workable hunks and distribute them evenly. I use McBee cards, one for each item, for rough editing. I know from looking at previous CATALOGS and the new material approximately how many pages should be in the, say, Nomadics Section – 61 pp. So I take the stack of McBee cards punch-coded for that section and break them down into categories – mountain stuff, car stuff, outdoor suppliers, survival books, etc. Then those subpiles are put in some sensible sequence. Then on a big table the cards are separated further into 61 little page-stacks, by pairs (the reader sees 2 pages at a time, not one). The contents of those piles are written on my desk dummy. The cards are stacked in page sequence, and I've got a section rough edited.
THE WHOLE EARTH CATALOG
Stewart Brand
Access to Publishing
The operational word on the cover of the CATALOG is access. Ultimately that means giving the reader access from where he is to where he wants to be. Which takes work, work takes tools, tools need finding, and that's where we come in.
A good catalog is a quick-scan array of tools, where you can find what you want easily, with detailed information where you're interested. Our attempt to fulfill these requirements led to use-based section headings (Shelter, Land Use, Communications, etc.), an alphabetic index, and page-theme layout. On each page we try to have one graphic which “keys the page”, tells with a glance what's there.
The hardest thing we had to learn was providing simple dear demarcation between items – an unadorned line. We publish considerable detailed information – fine print. Sorting among that is aided by a consistent code of typefaces (reviews are always “univers italic”, access is always “teeny”. Divine Right is always “bold teeny”, and so forth). The IBM Selectric Composer makes this an easy matter.
Still we're not as consistent as we should be. In descending order of importance, our layout guidelines are:
Glamorous white space has no value in a catalog except as occasional eye rest. I figure the reader can close his eyes when he's tired. I keep coming back to the reader/user because that's who the editor represents. I've had to feel that my obligations to Portola Institute, to staff, friends, relatives, and to myself are all secondary. So are obligations to authors, suppliers, publishers, other editors. Usually there's no conflict, but when there is the editor has to see that the reader wins.
The editor's main mechanical task is determining efficient use of production time and page space. It's like spreading hard butter on soft bread, best if you cut the task into workable hunks and distribute them evenly. I use McBee cards, one for each item, for rough editing. I know from looking at previous CATALOGS and the new material approximately how many pages should be in the, say, Nomadics Section – 61 pp. So I take the stack of McBee cards punch-coded for that section and break them down into categories – mountain stuff, car stuff, outdoor suppliers, survival books, etc. Then those subpiles are put in some sensible sequence. Then on a big table the cards are separated further into 61 little page-stacks, by pairs (the reader sees 2 pages at a time, not one). The contents of those piles are written on my desk dummy. The cards are stacked in page sequence, and I've got a section rough edited.