I hold in my hands a proof.
Okay, so I’m holding it in one hand between my thumb and a few fingers. And I’m not holding it right now. But I was holding it when I took this picture with my free hand.
I’ve been designing my own CD inserts and booklets for seventeen years. While I wouldn’t call myself a professional graphic designer, by now I have a pretty good handle on how to get the most out of the format. I’ve even taken care of the layout side of things for a few of the albums I’ve recorded for other people (Ron’s album is the most recent example). You only need to look at the first-issued versions of OH YOU THIS and BRAND NEW SHINY LIE to understand how unlikely it was that anyone else would ever trust me to do this for them. I have no idea how I got here.
I enjoy this stuff. I enjoyed it even before I knew what I was doing. I know a lot of people don’t bother to read album liner notes or lyric booklets anymore. I know sometimes you just want to let the music wash over you with your eyes closed in the dark, shutting out the rest of the world. But having something visual to explore can add another layer to the listening experience. A lot of my favourite music was first absorbed while reading the lyrics so my eyes could follow along with what I was hearing. I’m not sure if the music would have had the same impact on me if I’d listened to it in a different way.
This is one of the reasons the whole digital distribution thing doesn’t cut it for me. Bandcamp allows you to include collapsible lyrics for each song you upload, but it isn’t the same as holding a physical album in your hands and digging into its guts for whatever secrets it might contain. I have no idea how many listeners bother to read my lyric booklets. Maybe no one does. It doesn’t really matter. I like making them for selfish reasons.
I can’t say I’ve ever made a lyric booklet quite like this one. It’s full of art that plays off of the words. Putting it together was a real challenge. I had to find a way to fit all the words and images into a booklet that wouldn’t be too thick to get inside of a jewel case. The number of pages had to be divisible by four. My first finished draft ran thirty-two pages. With a little massaging, I was able to get it down to twenty-eight. The text couldn’t be too large, but it had to be easy enough to read. Some images needed to bleed right through to the edges of the page, with no white space around them. There needed to be musician credits after each song. I used one font for the outer layer and another for the body text in the booklet. Those two fonts needed to be able to play off of each other. I had to get creative with the spacing to make everything work.
You can make something look good on a computer screen, but you never know how it’s going to translate until you see it on a bunch of pages stapled together. I was a little worried this one would come out looking like a lumpy mess until Joe (who has become my main man at Herald Press) called on Thursday to tell me the proof was ready.
“How does it look?” I asked him. “Do you think I laid everything out okay?”
“I think it looks pretty damn good,” he said.
He was right. It’s pretty powerful to see everything put together. This is going to sound strange, but reading the booklet hammers home for me just how much time and care went into making this thing in a way listening to it doesn’t. It isn’t just a bunch of music and words. It’s something more than that.
I made some boneheaded typos. My brain has this habit of compensating for the odd missing word, and sometimes it causes me to miss what’s missing. I wish there was a switch I could flip to turn that off. It’s a convenient cerebral function when you’re reading someone else’s words. Not so much when you want to make sure your own work is solid. More than once I’ve had to pay for a booklet to be printed twice when I failed to catch a mistake until it was too late. I’m hoping to avoid that this time.
One of the nice things about having a proof is getting another chance to catch what’s amiss. I might have been able to live with giving myself credit for playing tambourine on a song that doesn’t feature any tambourine in the final mix or forgetting to credit myself with playing shaker on a song that does feature the instrument, but it would have been pretty embarrassing if I never noticed how I somehow managed to list two songs on the back insert in reverse order.
As impatient as I am, I’d rather have things put together a day or two later than planned instead of rushing the process and letting these mistakes slip through the cracks. I have to say I’m usually a lot better at catching most of these stragglers before a proof is even made. Then again, I’ve rarely dealt with anything close to this amount of text in a lyric booklet. It’s beyond tedious to go through each page over and over again at a snail’s pace, but it’ll all be worth it when I’ve got a stack of error-free booklets and inserts in front of me a week or so from now.