And for the narrator's voice, well, in most stories, it's often very similar to the writer's or the character's voice. Probably because it's not so much something you learn as something you already have and develop. I've written posts on character voice before: " What You Need to Know Most About Character Voice," " Dos and Don'ts for Writing Your Viewpoint Character's Voice." But I've never really talked about the author's voice. Often we know it when we see it, but what is it? And like many writing subjects, voice can seem elusive when you are learning. It's amazing to look at an old VV cover now, and recall the convoluted process of creating them.Like many writing terms, "voice" can be a little ambiguous, mainly because it happens at three levels: the writer's voice, the narrator's voice, and the character's voice. Thrashing out the design in a meeting while sketching variations on a note pad, trying to make every stakeholder think the story for which they were advocating wasn't getting short-changed. The result was a box-fest, with no single story or image getting more than half the cover. Then scaling the pictures with a reduction wheel, and carefully drawing it to scale in pencil with specs on a blue-lined layout sheet. Then coding and sending the (unseen) type on an Atex terminal. Then mocking up the colors with prima color pencils. Then walking from 842 B'way down to Cooper Square to see if the type had emerged okay. Then maybe having to re-spec (or-gasp-reword) something for fit. Then building the mechanical, adding instructions for the stripper at the NJ production plant (super-imposing type over a photograph was a MAJOR deal).
#VILLAGE VOICE RETURNS VERY VILLAGE VOICEY CRACK#
Then being car-pooled to said NJ location, all of us delirious from lack of sleep, at the crack of dawn the next morning.Īs design director at The Voice I was blessed to work beside Jennifer Gilman and Florian Bachleda, two visual muses who were infused with talent, creativity, and grace. The village returns very village voicey crack# (They were later joined by Kate Thompson, another ex- Rocket art director.) The Voice editor, Jonathan Larsen, was an art director's dream: smart, visual, a cover provocateur who gave plenty of space to rise (and also to fail, which I did with depressing regularity). Heavily influenced by street graphics, gigposters, and especially the graphic design of Art Chantry (yet another Rocket art director), we developed a cover look that was big, bold, direct and graphic. Our production values were funky, to say the least, and we stuck to simple type and a very limited palette of colors, basically black, red, and the blue of The Voice logo.Īt the time The Voice was still sold on newsstands, and we wanted the covers to scream, to feel like the left-wing equivalent of a NYC tabloid. We had a tag team style of cover design, with Jennifer, Florian, Kate and I working on different potential cover stories simultaneously, and trading pages back and forth. One of my most memorable experiences was during the Bill Clinton era. The Monica Lewinsky scandal was big news and when the Starr Report came out, it, revealed the salacious details of the affair. The Voice decided to devote a whole feature package to the story. My editor told us he wanted "fellatio art." Hmmm. I pondered that assignment and came up with an idea. Instead of taking the obvious path, I took the high road and called David O'Keefe, one of the best 3-D caricaturists around, and asked him to illustrate our cover. My concept was this: I wanted him to create a portrait of Clinton made entire of an assemblage of women's breasts and buttocks. But when Dave declined my commission-he and his wife were big fans of Clinton-we came up with a compromise. I asked him to sketch out his ideas, but insisted that somehow or other, Clinton's portrait would have to include a quantity of flesh. A few days later, Dave turned in a masterpiece made out of clay. The bikini tan lines in Dave's piece, which he called "Clinton in the Flesh," were the icing on the cake.On Tuesday morning, Peter Barbey, owner of the Village Voice, assembled the staff of the storied but turbulent New York City alt-weekly for a meeting. The village returns very village voicey crack#.
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