The Pressue of Success
"Fast turnaround is always a concern with Clancy, although I think the schedule pressure was greater on Point of Origin and The Courage to Be Rich," Peabody recalls.
Jacket mechanicals for Rainbow Six and Point of Origin—both have embossed author names and book titles—required high-resolution art supplied by freelance designers.
For The Courage to Be Rich, an FPO for the front cover and a mechanical for the type were given to Phoenix Color for separation, Peabody explains. With the jacket's production deadline creeping closer on the calendar, Phoenix's first proof alerted the publisher to a need for design improvement.
"So, the art department had to go in and see if they could do something on Phoenix's system to create the look that we were hoping for," Peabody recalls.
"I'm not exaggerating when I say we showed five proofs in five days," Wettstein exclaims.
Wettstein cites "a huge marketing and publisher involvement" throughout the cover art's approval process. In addition to having Putnam's own creative staff sign off on the design, the author also requested final aesthetic approval.
"We would bring in loose art in the morning," Wettstein explains. "We would go over it in detail, sometimes with the publisher, sometimes with the art director, and always with the production department. I would bring it back to prepress, and, overnight, we would do color corrections and bring new proofs the next morning."
Working with a digital Iris proofing device, Phoenix Color's proofing stage is one of the many components of the company's ColorNet workflow process that was devised by the book manufacturer five years ago. According to Louis LaSorsa, Phoenix Color's chairman and CEO, the quality-control measures inherent in ColorNet allow for a 99.9 percent approval for all first- round digital contract proofs. For more information on ColorNet, refer to p. 62.