The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
One of the best promotional tools an artist can have to enhance their portfolio is an exhibition catalog. Catalogs serve many purposes, such as documenting an exhibition, surveying an artist’s body of work, and preserving an artistic legacy, to name a few. Scholars use catalogs as primary sources for research on their artist subjects and rely on them as part of the provenance record to legitimize artistic attribution. The purpose of this article is to demystify the self-publishing process and provide insight into the collaborative spirit of a catalog’s featured artist, Farraday Newsome, and art historian/graphic designer, Tiffany Fairall.
Engaging Self-Publishing Assistance
Farraday Newsome (FN): After five years of work, my solo exhibition “Farraday Newsome: Memento Vitae, My Body is Your Nest” at the Mesa Contemporary Arts (MCA) Museum at Mesa Arts Center was approaching. The show would be seen and over in a matter of months, so I asked the museum about an exhibition catalog. It wasn’t in the budget. I decided to try self-publishing and engaged the services of Tiffany A. Fairall, former Chief Curator of the MCA Museum, to help me produce it.
Tiffany A. Fairall (TF): Farraday was the last artist I added to the curatorial schedule prior to my departure from the museum. When she approached me about creating a catalog, I was delighted and accepted the assignment. This catalog became the inaugural project for my new business as an independent, contemporary fine-art advisor and appraiser.
To begin the project, I needed to understand my client’s overall vision, purpose, and aesthetic preferences for the catalog. I recommended that we each bring our favorite exhibition catalogs to our first meeting, so we would have visuals to reference during our discussion.
Outlining and Developing Content
FN: We brought some of our favorite exhibition catalogs to our first meeting and talked about book shapes, sizes, fonts, thematic colors, and photos. Tiffany advised that I hire a photographer to capture installation shots to be incorporated into the catalog.
TF: From this meeting, we began outlining what content to include and how it should be organized. Fortunately, Farraday had already professionally photographed most of her work. I was particularly struck by her process shots and suggested incorporating those throughout the catalog along with details. We decided to group her work into types (i.e., sculptures, plates, vessels, etc) to help break up the visual monotony of standardized object photographs. This created section breaks and an opportunity to highlight her studio process. One of the resource catalogs also included a checklist with small thumbnails, which inspired us to include a similar section for easy reference.
FN: At our next meeting, we roughed out a Table of Contents. Preceding the Table of Contents would be a copyright page. Tiffany began designing the book, and I began gathering information for the copyright page. All artists have legal copyright to their creations. However, if a dispute arises, it helps if a copyright is registered with the US Copyright Office.
I also wanted an ISBN number (International Standard Book Number). It uniquely identifies the title, edition, and publisher. It’s required in order to get a Library of Congress number. Bowker Publishing Services is the only official source of ISBNs in the US. ISBN questions include “company name.” I decided to get a Trade Name Certification through my Secretary of State’s website, choosing Wild Senna Publications as my publishing company name.
Next came getting a Library of Congress number. I got a PCN (Preassigned Control Number) through the Library of Congress website. After creating a PCN Publisher Account in their PrePub Book Link, I applied for a Library of Congress Control Number to use on the copyright page.
The copyright page also has publisher, designer, authors, photographer, printing, and editor credits, and an “All rights reserved” statement.
TF: For a project like this, my page layout program of choice is Adobe InDesign. I began with the cover and a few sample page spreads, then asked Farraday for her feedback. From there, I refined the fonts, colors, and photos to establish a cohesive overall “look” that carried through the entire catalog.
FN: I was thrilled when Tiffany and Glen R. Brown, professor of twentieth-century and contemporary art history, theory, and criticism at Kansas State University, agreed to write essays for the catalog.
Professor Brown’s essay has several art-historical references. One, The MacMillan Aryballos, is in The British Museum’s collection. I completed The British Museum Images online usage request and received a high-resolution image. For the other images in Professor Brown’s essay, I used The Metropolitan Museum Open Access Initiative, which provides unrestricted access to over 400,000 high-resolution images from the Met’s collection. The online process was smooth and free.
TF: For my essay, I chose to explore Farraday’s symbolic language and influences, notably her formative years as a biologist and her father’s legacy as a successful Metlox dinnerware designer. I was also inspired by her visual depictions of early cell division and nature’s rhythmic cycles. I found myself drawn to the themes of renewal and rebirth, which were particularly poignant as I was in a professional transition. Seeking a historical quote to encapsulate Farraday’s visual expression, I discovered a beautiful poem entitled “Spring” by the nineteenth-century poet Christina Rossetti that seemed to perfectly articulate the spirit of Farraday’s work and became a fitting conclusion to my essay.
FN: At the heart of the catalog are the Color Plates. Tiffany designed a white border around each plate so captions could go at the bottom of the page.
TF: The project’s design phase was completed in four months. Farraday’s diligence and proactive approach greatly streamlined the process. She provided me with content, and I designed the various sections, sending them back to her for edits. Although Farraday proofed her own copy, it was still essential to have another set of eyes review the work before moving forward with publication.
Finding a Printer
FN: Freelance editor, Jill Bernstein, looked over the final manuscript. It was then time to find a printer. One recommendation was AZ Litho in Tucson, Arizona. I called the company president, Laura Davis, and was impressed by her knowledge. We also contacted Amazon’s self-publishing book division, Kindle Direct Publishing (KDP) liking that they offer print-on-demand sales. Tiffany reached out.
TF: When it comes to publishing, the adage holds true: “You get what you pay for.” While Amazon has made self-publishing more accessible, the quality simply cannot match that of a professional lithographer. On top of that, everything is standardized, including book sizes. Farraday wanted high-quality results, and when our custom dimensions prevented us from receiving a color proof from Amazon, it became clear that we needed to explore other options.
FN: We then visited Laura Davis at AZ Litho and were warmly welcomed. She had examples of books, paper types, and finishes. We appreciated having materials to see and feel. Laura was very helpful and a great listener. Tiffany and I left feeling excited to have found our printer!
TF: An important detail I overlooked during the design process, but corrected after seeing a color proof before printing, was the need for CMYK-formatted images. While I received high-resolution images, they were RGB formatted. Proper color reproduction, especially for lithographic printing, requires that all files be converted to CMYK. Without this conversion, colors risk appearing dull, inaccurate, or significantly different from what was intended. Something to remember is that RGB is optimized for screens, while CMYK is the standard for print.
Printing and Final Advice
FN: The printing day was set. Watching the state-of-the-art lithographic presses in action was fascinating, and the freshly printed pages looked great. Having seen glued bindings dry out and pages come loose, I wanted a sewn binding. Only two book binders in this country offer this service. Laura knew one was in Phoenix. The catalogs were bound several weeks later. When I opened the first box of finished books, I was over the moon with how good they looked!
TF: For me, this project was a labor of love. It allowed me to draw on both my curatorial expertise and skills as a graphic designer. Having been familiar with Farraday and her work, I also understood the museum-quality aesthetic she wanted to achieve. If I were to give one piece of advice to an artist who wants to tackle a project like this, be realistic about how much time and money this kind of undertaking is going to be, and don’t expect a museum or gallery to spearhead it for you.
FN: In addition to mailing complimentary catalogs to museums with my work in their collections, I’ve been selling them to studio visitors, people contacting me by email and social media, and in the stores of museums with my work. I’ve also sent them to museums asking that my work be considered for acquisition. The results have all been very gratifying.
the author Farraday Newsome (Mesa, Arizona) is a ceramic artist known for her elaborately glazed terra-cotta pottery and sculptures: www.farradaynewsome.com. Tiffany A. Fairall (Phoenix, Arizona) is the owner of Fairall Art Advising and Appraisals: www.fairallart.com.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Engaging Self-Publishing Assistance
Farraday Newsome (FN): After five years of work, my solo exhibition “Farraday Newsome: Memento Vitae, My Body is Your Nest” at the Mesa Contemporary Arts (MCA) Museum at Mesa Arts Center was approaching. The show would be seen and over in a matter of months, so I asked the museum about an exhibition catalog. It wasn’t in the budget. I decided to try self-publishing and engaged the services of Tiffany A. Fairall, former Chief Curator of the MCA Museum, to help me produce it.
Tiffany A. Fairall (TF): Farraday was the last artist I added to the curatorial schedule prior to my departure from the museum. When she approached me about creating a catalog, I was delighted and accepted the assignment. This catalog became the inaugural project for my new business as an independent, contemporary fine-art advisor and appraiser.
To begin the project, I needed to understand my client’s overall vision, purpose, and aesthetic preferences for the catalog. I recommended that we each bring our favorite exhibition catalogs to our first meeting, so we would have visuals to reference during our discussion.
Outlining and Developing Content
FN: We brought some of our favorite exhibition catalogs to our first meeting and talked about book shapes, sizes, fonts, thematic colors, and photos. Tiffany advised that I hire a photographer to capture installation shots to be incorporated into the catalog.
TF: From this meeting, we began outlining what content to include and how it should be organized. Fortunately, Farraday had already professionally photographed most of her work. I was particularly struck by her process shots and suggested incorporating those throughout the catalog along with details. We decided to group her work into types (i.e., sculptures, plates, vessels, etc) to help break up the visual monotony of standardized object photographs. This created section breaks and an opportunity to highlight her studio process. One of the resource catalogs also included a checklist with small thumbnails, which inspired us to include a similar section for easy reference.
FN: At our next meeting, we roughed out a Table of Contents. Preceding the Table of Contents would be a copyright page. Tiffany began designing the book, and I began gathering information for the copyright page. All artists have legal copyright to their creations. However, if a dispute arises, it helps if a copyright is registered with the US Copyright Office.
I also wanted an ISBN number (International Standard Book Number). It uniquely identifies the title, edition, and publisher. It’s required in order to get a Library of Congress number. Bowker Publishing Services is the only official source of ISBNs in the US. ISBN questions include “company name.” I decided to get a Trade Name Certification through my Secretary of State’s website, choosing Wild Senna Publications as my publishing company name.
Next came getting a Library of Congress number. I got a PCN (Preassigned Control Number) through the Library of Congress website. After creating a PCN Publisher Account in their PrePub Book Link, I applied for a Library of Congress Control Number to use on the copyright page.
The copyright page also has publisher, designer, authors, photographer, printing, and editor credits, and an “All rights reserved” statement.
TF: For a project like this, my page layout program of choice is Adobe InDesign. I began with the cover and a few sample page spreads, then asked Farraday for her feedback. From there, I refined the fonts, colors, and photos to establish a cohesive overall “look” that carried through the entire catalog.
FN: I was thrilled when Tiffany and Glen R. Brown, professor of twentieth-century and contemporary art history, theory, and criticism at Kansas State University, agreed to write essays for the catalog.
Professor Brown’s essay has several art-historical references. One, The MacMillan Aryballos, is in The British Museum’s collection. I completed The British Museum Images online usage request and received a high-resolution image. For the other images in Professor Brown’s essay, I used The Metropolitan Museum Open Access Initiative, which provides unrestricted access to over 400,000 high-resolution images from the Met’s collection. The online process was smooth and free.
TF: For my essay, I chose to explore Farraday’s symbolic language and influences, notably her formative years as a biologist and her father’s legacy as a successful Metlox dinnerware designer. I was also inspired by her visual depictions of early cell division and nature’s rhythmic cycles. I found myself drawn to the themes of renewal and rebirth, which were particularly poignant as I was in a professional transition. Seeking a historical quote to encapsulate Farraday’s visual expression, I discovered a beautiful poem entitled “Spring” by the nineteenth-century poet Christina Rossetti that seemed to perfectly articulate the spirit of Farraday’s work and became a fitting conclusion to my essay.
FN: At the heart of the catalog are the Color Plates. Tiffany designed a white border around each plate so captions could go at the bottom of the page.
TF: The project’s design phase was completed in four months. Farraday’s diligence and proactive approach greatly streamlined the process. She provided me with content, and I designed the various sections, sending them back to her for edits. Although Farraday proofed her own copy, it was still essential to have another set of eyes review the work before moving forward with publication.
Finding a Printer
FN: Freelance editor, Jill Bernstein, looked over the final manuscript. It was then time to find a printer. One recommendation was AZ Litho in Tucson, Arizona. I called the company president, Laura Davis, and was impressed by her knowledge. We also contacted Amazon’s self-publishing book division, Kindle Direct Publishing (KDP) liking that they offer print-on-demand sales. Tiffany reached out.
TF: When it comes to publishing, the adage holds true: “You get what you pay for.” While Amazon has made self-publishing more accessible, the quality simply cannot match that of a professional lithographer. On top of that, everything is standardized, including book sizes. Farraday wanted high-quality results, and when our custom dimensions prevented us from receiving a color proof from Amazon, it became clear that we needed to explore other options.
FN: We then visited Laura Davis at AZ Litho and were warmly welcomed. She had examples of books, paper types, and finishes. We appreciated having materials to see and feel. Laura was very helpful and a great listener. Tiffany and I left feeling excited to have found our printer!
TF: An important detail I overlooked during the design process, but corrected after seeing a color proof before printing, was the need for CMYK-formatted images. While I received high-resolution images, they were RGB formatted. Proper color reproduction, especially for lithographic printing, requires that all files be converted to CMYK. Without this conversion, colors risk appearing dull, inaccurate, or significantly different from what was intended. Something to remember is that RGB is optimized for screens, while CMYK is the standard for print.
Printing and Final Advice
FN: The printing day was set. Watching the state-of-the-art lithographic presses in action was fascinating, and the freshly printed pages looked great. Having seen glued bindings dry out and pages come loose, I wanted a sewn binding. Only two book binders in this country offer this service. Laura knew one was in Phoenix. The catalogs were bound several weeks later. When I opened the first box of finished books, I was over the moon with how good they looked!
TF: For me, this project was a labor of love. It allowed me to draw on both my curatorial expertise and skills as a graphic designer. Having been familiar with Farraday and her work, I also understood the museum-quality aesthetic she wanted to achieve. If I were to give one piece of advice to an artist who wants to tackle a project like this, be realistic about how much time and money this kind of undertaking is going to be, and don’t expect a museum or gallery to spearhead it for you.
FN: In addition to mailing complimentary catalogs to museums with my work in their collections, I’ve been selling them to studio visitors, people contacting me by email and social media, and in the stores of museums with my work. I’ve also sent them to museums asking that my work be considered for acquisition. The results have all been very gratifying.
the author Farraday Newsome (Mesa, Arizona) is a ceramic artist known for her elaborately glazed terra-cotta pottery and sculptures: www.farradaynewsome.com. Tiffany A. Fairall (Phoenix, Arizona) is the owner of Fairall Art Advising and Appraisals: www.fairallart.com.
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