Volume 21–2.pdf

sections of the papyrus, a few images would need
just over a third of the page in width, while others
had to be designed as gatefold spreads to present the
ornately bordered art. Additionally, the broad variations
of the length of text in the original papyrus
determined layout considerations. Essentially combined
here are one book of pictures, placed on top of
another book of words, which was why an unusual
trim size was needed.
Three principal scholars at the British Museum,
Metropolitan Museum and New York University
were consulted to oversee the accuracy of this book's
text. In addition, my design and layout of the papyrus
underwent numerous revisions and improvements.
This included a full-size tracing of Budge's
78-foot facsimile, with spreads worked out until
I could accept it as the best job possible of transferring
the scroll to book form. After over two years
of daily work, I completed the final design and
production, and Chronicle Books of San Francisco
was contracted by book packager Bill Corsa to publish
the book this Fall.
The book features the translation of the late
Dr. Raymond O. Faulkner, completed in 1972, and
acknowledged by scholars as the finest in English
to date. Faulkner's translation has been augmented
and updated by Dr. Ogden Goelet of New York
University, who has also written an introduction
and extensive commentary. Following the-color
papyrus section, the other sections of The Book of
the Dead (approximately ioo chapters not chosen
by Ani and Tutu for inclusion in their personal
scroll) are presented. Also provided is a section
called "The Map Key to the Papyrus" which graphically
displays the layout of the hieroglyphic text
relative to the numbering system of the translation.
Thanks to modern electronic technology and the
efforts of a team of experts, it has been possible to
reclaim one of antiquity's most beautiful treasures
assembled in an accessible book.
THE EGYPTIAN BOOK OF THE DEAD
THE BOOK OF GOING FORTH BY DAY
Production notes about how this new, full-color edition
was re-created using modern electronic publishing technology.
HE DESIGN, TYPOGRAPHY AND COLOR PREPRESS
T of The Egyptian Book of the Dead were done by Studio 31,
New York. The book was produced on a dual platform of traditional
typography and state-of-the-art computer graphics.
The typesetting was accomplished with a Linotron 202, driven
by Bestinfo Pagewright composition software, running on
a PC-based computer through a Marcus Interface Box. ITC
Galliard® was selected for the text font, which makes extensive
use of italics, true small caps and oldstyle numbers. Manual
pasteup and FPO color laser prints of the matchprints were
used to produce camera-ready mechanicals.
The 1890 facsimile volume was photographed by Rick
Young Photography, New York on 8 x io" Fuji film, and
scanned and separated on a Crosfield Scantex drum scanner;
the color scans, separation, and film were by Pergament
Graphic Systems. The high resolution images were electronically
edited on a Macintosh Quadra 84oAv using Adobe
Photoshop. The "Map Key to the Papyrus" was assembled in
Photoshop with QuarkXPress. Final film output was done
on an Agfa Selectset s000 film recorder. Printing and binding
were done by Mandarin Offset Printers, Hong Kong. The
facsimile volume was rebound by Amistad Enterprises.
HEADLINE/SUBHEADS/BYLINE/INITIAL CAPS/TEXT/CAPTIONS: ITC GALLIARD ROMAN, ITALIC
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THE OPENING PRAISES AND RECITATIONS
forgoing in and out of the Gods' Domain. This sequence of images begins
with Ani and Tutu playing senet, a game similar to chess, and
proceeds for four plates. It is an introduction to features of the Egyptian
after* and themes developed through the rest of the papyrus.
JIM WAS S E RMAN is the owner of Studio 31 in NewYork,
agraphic design and book production studio.