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...mess. Editing copy on coarse yellow sheets of paper, the type from the old machines upstairs so uneven you had to notice the way the letters made themselves. Doing paste-up with an X-acto knife that more than once sliced my finger open, smearing blood onto the layout sheet. Swiping down the dripping offset plates so they could be loaded onto the cylinders. Scrambling to scoop the fresh-newsprint-smelling pages as they swarmed off new, and then gathering them into bunches that you grasped loosely and tapped folded-edge down, so that they slid together cleanly in thick...

Author: By The FM Ex-staff, | Title: Workin’ for the Mag | 12/6/2001 | See Source »

With the Taliban on the run, the war is turning underground, to the network of tunnels and caves where Osama bin Laden and his men are taking cover. See TIME.com for an interactive graphic detailing the layout of a typical Taliban hideout--and how the U.S. will attack...

Author: /time Magazine | Title: TIME.com This Week NOV. 19-NOV. 25 | 11/26/2001 | See Source »

...Just keep your eye on the drawings. Thanks to his years of working on the stylish superhero series "The Spirit," Eisner has an expressiveness both in his characters and layout that borders on hyperactive. Every panel has movement, often ending up with a leg or arm poking into the next panel, directing the eye across the page. If sometimes his characters can be accused of overacting, it's made up for by Eisner's grasp of subtle facial expressions. Eisner can actually show you someone going from businesslike to mildly perturbed...

Author: /time Magazine | Title: A Bad Marriage | 11/20/2001 | See Source »

...thought it was cool, different. It was fun. Its layout was really cool—you know, crap all over the place. It liked the way it was more interactive than a regular art exhibition; you’re not just walking around the room looking at paintings. It was a much more explorational experience...

Author: NO WRITER ATTRIBUTED | Title: STASH This! | 11/16/2001 | See Source »

...chronological layout of the MIT exhibition highlights the major themes in Ono’s work as they developed from her 1961 debut, beginning with her infamous instructions. These radical scripts suggested that art no longer consisted of impersonal objects meant to be studied and admired; instead, the audience now played a central role in “realizing” a work of art, which was as much “in the mind” as on the gallery wall. In their focus on process rather than product, these pieces also show the influence of the Fluxus group...

Author: By Matthew B. Sussman, CRIMSON STAFF WRITER | Title: YOKO | 10/26/2001 | See Source »

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