A colophon is an explanation of how a book was designed, typeset, and printed. Colophons were common when printers (who often were also authors, designers, and typesetters) had pride in and ownership of their work. As book production has become more corporate and alienating, colophons have disappeared. A small and diminishing number of publishers still occasionally include colophons in their books, often providing a look into the design process and the interesting (if occasionally esoteric) world of typesetting and printing.
Many of the people involved in the production of this book are typesetters and designers; some of us for capitalist bosses, but all of us for political projects. We are printing this colophon because we have pride in and ownership of the work we do, and believe that the form and process of the production of a book have political implications, in addition to the content.
Pre-Press Production: The computer this book was produced on is a Comtrade
EISA 486 66-DX2 with 16 MB of RAM, has a Conner 545MB SCSI hard drive,
a ViewSonic 20 monitor and a Diamond Viper video card. The typesetting
and page design was done using Quark Xpress 3.3. The index was produced
using Sonar's Bookends extension to Quark. The pages were output on a LaserMaster
Winprinter 600XL onto Hammermill Laser Plus paper. The pages were output
larger than normal, then camera-
reduced to increase sharpness. This inexpensive method (most printers do not charge for camera reductions when making film) dramatically increases the quality of type output on low- and medium-resolution (300-800 dpi) printers. The photos were veloxed (screened) conventionally, because scanning them digitally turned out to take too long and be too much work, and the conventional results looked better.
Printing and Binding: The book was printed and bound by Wickersham Printing in Lancaster, Pennsylvania on 50# offset paper. The cover was printed by Cosmos Communications in Long Island City, New York.
Typefaces: The headlines are set in the Font Company's FC-Nueland Inline
and FC-Nueland. The text is set in Adobe's Garamond, 10-point type on a
12-point line. The text on the cover is set in Adobe's Frutiger 55. We
chose Nueland and Nueland Inline (historically known as Neuland) because
they seem to us to have Mexican and Indigenous design elements, and because
such Indigenous periodicals as Vancouver's Oh-Toh-Kin, and groups such
as New York's Amanaka'a Amazon Network, have used them for apparently the
same reason. Garamond is a fairly popular typeface for body text, and we
think it is pretty readable.