"The cover actually consists of two [UniLustre] sheets," she points out. During the design process, she had to keep in mind that the primary metallized sheet would serve as the cover itself and that a smaller sheet—featuring a hologram—would be fused to the top of the primary sheet. Ink would be printed over part the primary sheet to cover some of the substrate and allow title logo placement.
"It was difficult for me to visualize at first," Watilo Blake acknowledges. "The [metallized] areas of the cover just appeared blank
"Fortunately, we had just upgraded to Photoshop 5.0, which allowed me to save the cover as a DCS 2.0 file, which, in turn, allowed me to view the [substrate] as a fifth color," she adds. (A DCS file includes an individual file for each separation, as well as a composite view.)
Still, GCI wasn't comfortable signing off on a screen view—or on output from a digital proofer. So the magazine went to press to review each iteration of the cover before making a final design choice. "There was no way to do an internal test," Watilo Blake affirms.
Hammerbeck received press sheets of each design from the printer, Banta Corp., Long Prairie, MN, and sent them to Watilo Blake and to Jeffries. (To complicate matters further, GCI's staff is scattered around the country. "I'm in Cleveland, the editors are in New York, digital prepress is in Duluth, MN, and scanning is in Eugene, OR," Watilo Blake notes.)
So, what worked and what
didn't? The final version includes a white background created by printing opaque white ink over some of the cover (with the metallized substrate showing through as text), allowing the hologram to really pop.
"Originally, we planned to fade the color on all four sides [of the holographic UniLustre sheet], but the ink was not laying down at 100 percent opacity—we weren't getting a pure white—so we went with a hard edge," Watilo Blake remembers. "We also tried printing yellow over the [paper] for a gold effect, but we didn't go with that."