View allAll Photos Tagged proofreading
Kosher Tefillin&Tallit
Set includes tefillin, acrylic tallit size 50, siddur (prayerbook) and kippa for the bar mitzvah.
The tefillin boxes are of thin leather, superior regular quality. They are long- lasting, reinforced with thick leather (not guaranteed if mishandled).
Tefillin portions kosher, inspected and proofread, both manual and computerized.
Includes a computer printout and photocopy of the portions for subsequent inspection and as a memento.
Choice top leather straps- 14 cm. (5- 1/ 2 inch) width.
Upgrade available for related products in a variety of qualities and styles to suit your taste, such as tallit, tefillin bag. www.soferstam.co.il/product.aspx?prodid=57&lang=en
Alice B. Toklas 1877–1967
Pavel Tchelitchew (1898–1957)
Gouache on paper, c. 1926–28
Born San Francisco, California
Within hours of arriving in Paris in 1907, Alice B. Toklas met Gertrude Stein and embarked on a lifelong romance. Despite her outward reticence, Toklas was the powerhouse behind Stein’s success. She served as her partner’s editor, proofreader, typist, muse, and gatekeeper. She also provided the food, flowers, and decor that impressed guests and boosted Stein’s prestige.
Toklas’s creative energy and unobtrusiveness are evident in this portrait by the expatriate Russian artist Pavel Tchelitchew. With downcast eyes and no visible mouth, she silently focuses on her needlework.
Toklas became famous worldwide after Stein published "The Autobiography of Alice B. Toklas" (1933). The book was a humorous account of their life together. Later, Toklas achieved her own literary success with "The Alice B. Toklas Cook Book" (1954). The memoir, which included stories about life and food in France, became a cult favorite, especially for its infamous recipe for “Haschich Fudge.”
April 26, 2024 - February 23, 2025
www.smithsonianmag.com/smithsonian-institution/these-amer...
npg.si.edu/podcasts/brilliant-exiles
During the early twentieth century, Paris was the destination of choice for talented and independent American women who were determined to move beyond the limitations that restricted them at home. As foreigners in a cosmopolitan city, they escaped the societal expectations and constraints of both the United States and France. Many used their newfound liberty as an opportunity for self-reinvention and discovery.
In Paris, American women explored a variety of options for making their mark on contemporary culture. They carried out transformative work in wide-ranging fields including art, literature, dance, publishing, music, and fashion. An impressive number not only participated in important modernist initiatives but led them.
By crossing the Atlantic to pursue their personal and professional aspirations, these “brilliant exiles” took a leap into the future. They experienced liberties, opportunities, and tolerances that were yet to be achieved in the United States. How much has changed since then? Have the freedoms and possibilities they sought become realities?
npg.si.edu/exhibition/brilliant-exiles
"IN 1900, PARIS DAZZLED. The Exposition universelle was held from April to November that year, and 50 million visitors flocked to see Modernism celebrated in such wondrous exhibits as an escalator of moving steps and “talking pictures.” A “Palace of Electricity” bloomed in a pavilion decorated with thousands of lightbulbs, colored lamps, and multicolored electric flames. The exposition was cheered as “a fairytale spectacle.”
American dancer Loïe Fuller had her own pavilion. She was a star of the Folies Bergère, and brought her innovative performance to the exposition: She used yards of swirling silk and attached bamboo sticks to her sleeves to transform herself into such wonders of nature as a silken butterfly or a bursting flower. Isadora Duncan, then just starting out, came to the exposition expressly to see Fuller, and launched her own career by performing in Fuller’s troupe.
The 1900 Exposition universelle secured Paris as a center for Modernism, and a new exhibition describes how that city became a beacon for American women seeking to break from constrained traditions in the United States in the early twentieth century. Brilliant Exiles at the National Portrait Gallery spotlights fifty-seven of these expatriate women who were involved in art, writing, dance, fashion, music, and theater. As curator Robyn Asleson writes in the catalogue, Paris was a “particularly attractive destination for women who were impatient to move beyond the societal expectations and constraints that limited them in the United States”—restrictions on gender, sexuality, and race. They believed that Paris would help them forge new identities as Modern Women............"
www.thebulwark.com/p/brilliant-exiles-national-portrait-g...
"The artistic American women who moved to Paris in the first four decades of the 20th century traveled there to change their lives. In the process, they changed much more than that. Their story is sumptuously illustrated by the National Portrait Gallery’s sweeping exhibition “Brilliant Exiles: American Women in Paris, 1900-1939.”
One well-known saga of Americans in Paris in those years is exactly what curator Robyn Asleson intends to counterbalance. In her catalogue essay, she writes that “focusing on the accomplishments and experiences of women brings into view a very different picture from that conveyed by the male-centered Lost Generation legend.”
Some of the subjects of this exhibition, it’s true, are known for their links to famous men. Bookseller Sylvia Beach published James Joyce’s “Ulysses” when no one else would, and author Gertrude Stein is represented in the show by a notable portrait painted by Pablo Picasso.
Yet Beach and Stein helped construct a world largely independent from men. As lesbians, along with more than a few of their fellow American expatriates, they were able to live women-centered lives in Paris that would have been improbable, if not impossible, in the United States. This freedom was facilitated by a privilege many of them shared: inherited wealth......."
www.washingtonpost.com/dc-md-va/2024/06/19/brilliant-exil...
"Perhaps no place and time has captured the American imagination more than Paris in the first decades of the 20th century. Certainly for one group of remarkable women who moved across the Atlantic before World War II, Paris offered a life-changing allure. Robyn Asleson’s “Brilliant Exiles: American Women in Paris 1900-1939” highlights the lives and work of 57 of these women, including artists, writers, publishers, entertainers, designers, collectors and salonistes. The book is being published to coincide with an exhibit running at the Smithsonian’s National Portrait Gallery through February 2025......"
www.wsj.com/arts-culture/books/brilliant-exiles-review-a-...
www.c-span.org/video/?536085-1/brilliant-exiles-exhibit-a...
...
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Alice B. Toklas 1877–1967
Pavel Tchelitchew (1898–1957)
Gouache on paper, c. 1926–28
Born San Francisco, California
Within hours of arriving in Paris in 1907, Alice B. Toklas met Gertrude Stein and embarked on a lifelong romance. Despite her outward reticence, Toklas was the powerhouse behind Stein’s success. She served as her partner’s editor, proofreader, typist, muse, and gatekeeper. She also provided the food, flowers, and decor that impressed guests and boosted Stein’s prestige.
Toklas’s creative energy and unobtrusiveness are evident in this portrait by the expatriate Russian artist Pavel Tchelitchew. With downcast eyes and no visible mouth, she silently focuses on her needlework.
Toklas became famous worldwide after Stein published "The Autobiography of Alice B. Toklas" (1933). The book was a humorous account of their life together. Later, Toklas achieved her own literary success with "The Alice B. Toklas Cook Book" (1954). The memoir, which included stories about life and food in France, became a cult favorite, especially for its infamous recipe for “Haschich Fudge.”
April 26, 2024 - February 23, 2025
www.smithsonianmag.com/smithsonian-institution/these-amer...
npg.si.edu/podcasts/brilliant-exiles
During the early twentieth century, Paris was the destination of choice for talented and independent American women who were determined to move beyond the limitations that restricted them at home. As foreigners in a cosmopolitan city, they escaped the societal expectations and constraints of both the United States and France. Many used their newfound liberty as an opportunity for self-reinvention and discovery.
In Paris, American women explored a variety of options for making their mark on contemporary culture. They carried out transformative work in wide-ranging fields including art, literature, dance, publishing, music, and fashion. An impressive number not only participated in important modernist initiatives but led them.
By crossing the Atlantic to pursue their personal and professional aspirations, these “brilliant exiles” took a leap into the future. They experienced liberties, opportunities, and tolerances that were yet to be achieved in the United States. How much has changed since then? Have the freedoms and possibilities they sought become realities?
npg.si.edu/exhibition/brilliant-exiles
"IN 1900, PARIS DAZZLED. The Exposition universelle was held from April to November that year, and 50 million visitors flocked to see Modernism celebrated in such wondrous exhibits as an escalator of moving steps and “talking pictures.” A “Palace of Electricity” bloomed in a pavilion decorated with thousands of lightbulbs, colored lamps, and multicolored electric flames. The exposition was cheered as “a fairytale spectacle.”
American dancer Loïe Fuller had her own pavilion. She was a star of the Folies Bergère, and brought her innovative performance to the exposition: She used yards of swirling silk and attached bamboo sticks to her sleeves to transform herself into such wonders of nature as a silken butterfly or a bursting flower. Isadora Duncan, then just starting out, came to the exposition expressly to see Fuller, and launched her own career by performing in Fuller’s troupe.
The 1900 Exposition universelle secured Paris as a center for Modernism, and a new exhibition describes how that city became a beacon for American women seeking to break from constrained traditions in the United States in the early twentieth century. Brilliant Exiles at the National Portrait Gallery spotlights fifty-seven of these expatriate women who were involved in art, writing, dance, fashion, music, and theater. As curator Robyn Asleson writes in the catalogue, Paris was a “particularly attractive destination for women who were impatient to move beyond the societal expectations and constraints that limited them in the United States”—restrictions on gender, sexuality, and race. They believed that Paris would help them forge new identities as Modern Women............"
www.thebulwark.com/p/brilliant-exiles-national-portrait-g...
"The artistic American women who moved to Paris in the first four decades of the 20th century traveled there to change their lives. In the process, they changed much more than that. Their story is sumptuously illustrated by the National Portrait Gallery’s sweeping exhibition “Brilliant Exiles: American Women in Paris, 1900-1939.”
One well-known saga of Americans in Paris in those years is exactly what curator Robyn Asleson intends to counterbalance. In her catalogue essay, she writes that “focusing on the accomplishments and experiences of women brings into view a very different picture from that conveyed by the male-centered Lost Generation legend.”
Some of the subjects of this exhibition, it’s true, are known for their links to famous men. Bookseller Sylvia Beach published James Joyce’s “Ulysses” when no one else would, and author Gertrude Stein is represented in the show by a notable portrait painted by Pablo Picasso.
Yet Beach and Stein helped construct a world largely independent from men. As lesbians, along with more than a few of their fellow American expatriates, they were able to live women-centered lives in Paris that would have been improbable, if not impossible, in the United States. This freedom was facilitated by a privilege many of them shared: inherited wealth......."
www.washingtonpost.com/dc-md-va/2024/06/19/brilliant-exil...
"Perhaps no place and time has captured the American imagination more than Paris in the first decades of the 20th century. Certainly for one group of remarkable women who moved across the Atlantic before World War II, Paris offered a life-changing allure. Robyn Asleson’s “Brilliant Exiles: American Women in Paris 1900-1939” highlights the lives and work of 57 of these women, including artists, writers, publishers, entertainers, designers, collectors and salonistes. The book is being published to coincide with an exhibit running at the Smithsonian’s National Portrait Gallery through February 2025......"
www.wsj.com/arts-culture/books/brilliant-exiles-review-a-...
www.c-span.org/video/?536085-1/brilliant-exiles-exhibit-a...
...
Collection of Texts and Other Artefacts
Tender Digitality introduces an aesthetically oriented concept that intricately intertwines binary systems in a complex manner, setting them in motion. The concept, which is developed at the Zurich University of the Arts, responds to the human desire for sensuality, interpersonal connection, intuition, and well-being in digital environments. It explores ways to (re)transmit these experiences into the analog world of a book, developing its own distinct vocabularies.
Readers are guided through the various perspectives of this kaleidoscope, encouraging them to delve into different play-forms of “tender digitality” and develop their own approach. Assuming the role of researchers, they discover phenomena of extraordinary beauty or bizarreness within the spectrum spanning analogue and digital, social, and technological domains. Through exploration, learning, and the cultivation of “tender digitality,” readers can envision their own version of a community where individuals and artificial intelligences, avatars and cyborgs, humans and computers navigate digital landscapes with agency, intuition, and sensitivity.
With contributions by Charlotte Axelsson, Oliver Bendel, Dana Blume, Marisa Burn, Alexander Damianisch, Léa Ermuth, Hannah Eßler, Barbara Getto, Leoni Hof, Marcial Koch, Mela Kocher, Friederike Lampert, Gunter Lösel, Francis Müller, Marie-France Rafael, Oliver Ruf, Sascha Schneider, and Grit Wolany.
Tender Digitality
Publisher: Slanted Publishers
Editor: Charlotte Axelsson
Authors: Charlotte Axelsson, Oliver Bendel, Dana Blume, Marisa Burn, Alexander Damianisch, Léa Ermuth, Hannah Eßler, Barbara Getto, Leoni Hof, Marcial Koch, Mela Kocher, Friederike Lampert, Gunter Lösel, Francis Müller, Marie-France Rafael, Oliver Ruf, Sascha Schneider, Grit Wolany
Design: Slanted Publishers
Publishing Direction: Lars Harmsen, Julia Kahl
Production Management: Julia Kahl
Proofreading and translation: Miha Tavčar, scriptophil
Release: February 2024
Format: 12 × 19 cm
Volume: 112 pages
Language: English
Printer: NINO Druck, Germany
Workmanship: Hardcover, thread-stitching, full-color, metallic iridescent cover material
Paper: Majestic Chameleon light blue, 120 gsm (Cover) / Juwel Offset, 120 gsm (Inside)
How AI is changing the Landscape of Typography
Creativity and innovation are no longer exclusively the province of humans, but the result of collaboration, a game of interpretation in the dialog between humans and machines. This is the world in which we live today, where artificial intelligence is rapidly evolving and new scenarios are opened.
AI technology is transforming the realms of art, design, communication, and marketing. However, when it comes to typography, in this age of co-creation, it has not yet taken center stage in this evolutionary process, but it is ripe for experimentation.
Gianpaolo Tucci's research led him to recognize aesthetic imperfections as a source of uniqueness in each individual representation. The world is entering a new era of typographical artifacts, where typography moves beyond the strict confines of function to embrace new values of expression.
This is not a book on typography, but the expression of a point of view, a practical guide, and an investigation on how the integration and ethical use of artificial intelligence will play a fundamental role in modeling this future. This book witnesses the birth of a co-creation era, urging a rethinking to craft a more human-centric future where AI magnifies human creativity, rather than replacing it. Take a breath, and as if we were unaware laboratory animals, Tucci invites to jump into this journey made of confused, blurred, anatomical, radical, colorful, and sometimes overturned visions.
AI and typography—a dialogue between humans & nature!
Aesthetics Imperfections
How AI is changing the Landscape of Typography
Author: Gianpaolo Tucci
Publisher: Slanted Publishers
Release: December 2023
Volume: 288 pages
Format: 20 × 28 cm
Creative Direction: Lars Harmsen, Gianpaolo Tucci
Art Direction: Juliane Nöst
Design: Gianpaolo Tucci, Juliane Nöst, Lars Harmsen
Publishing Direction: Lars Harmsen, Julia Kahl
Production Management: Julia Kahl
Proofreading: Katherine Margaret Flach
Printing: Offset, Stober Medien
Paper: ina®star 2s, 300 g/sm (Cover), Gardapat Kiara, 100 g/sm, Condat Perigord, 135 g/sm (Inside)
Workmanship: Softcover with foil-lamination, thread stitching, full-color
Sometimes the POD just presents itself to me. The reply was mine. By the end of the day someone had rubbed out the writing on the desk.
How AI is changing the Landscape of Typography
Creativity and innovation are no longer exclusively the province of humans, but the result of collaboration, a game of interpretation in the dialog between humans and machines. This is the world in which we live today, where artificial intelligence is rapidly evolving and new scenarios are opened.
AI technology is transforming the realms of art, design, communication, and marketing. However, when it comes to typography, in this age of co-creation, it has not yet taken center stage in this evolutionary process, but it is ripe for experimentation.
Gianpaolo Tucci's research led him to recognize aesthetic imperfections as a source of uniqueness in each individual representation. The world is entering a new era of typographical artifacts, where typography moves beyond the strict confines of function to embrace new values of expression.
This is not a book on typography, but the expression of a point of view, a practical guide, and an investigation on how the integration and ethical use of artificial intelligence will play a fundamental role in modeling this future. This book witnesses the birth of a co-creation era, urging a rethinking to craft a more human-centric future where AI magnifies human creativity, rather than replacing it. Take a breath, and as if we were unaware laboratory animals, Tucci invites to jump into this journey made of confused, blurred, anatomical, radical, colorful, and sometimes overturned visions.
AI and typography—a dialogue between humans & nature!
Aesthetics Imperfections
How AI is changing the Landscape of Typography
Author: Gianpaolo Tucci
Publisher: Slanted Publishers
Release: December 2023
Volume: 288 pages
Format: 20 × 28 cm
Creative Direction: Lars Harmsen, Gianpaolo Tucci
Art Direction: Juliane Nöst
Design: Gianpaolo Tucci, Juliane Nöst, Lars Harmsen
Publishing Direction: Lars Harmsen, Julia Kahl
Production Management: Julia Kahl
Proofreading: Katherine Margaret Flach
Printing: Offset, Stober Medien
Paper: ina®star 2s, 300 g/sm (Cover), Gardapat Kiara, 100 g/sm, Condat Perigord, 135 g/sm (Inside)
Workmanship: Softcover with foil-lamination, thread stitching, full-color
Seen on a card holder product inside a JPY 100 shop. The text reads "Passcard. Love & Peace! Beat Wishes for you!" Don't they have proofreaders in China?
StudyHelp provides coursework help for guidance only. Paper written by our expert is only
used for reference purpose. These papers are not to be submitted as it is.
Kosher Tefillin&Tallit
Set includes tefillin, acrylic tallit size 50, siddur (prayerbook) and kippa for the bar mitzvah.
The tefillin boxes are of thin leather, superior regular quality. They are long- lasting, reinforced with thick leather (not guaranteed if mishandled).
Tefillin portions kosher, inspected and proofread, both manual and computerized.
Includes a computer printout and photocopy of the portions for subsequent inspection and as a memento.
Choice top leather straps- 14 cm. (5- 1/ 2 inch) width.
Upgrade available for related products in a variety of qualities and styles to suit your taste, such as tallit, tefillin bag. www.soferstam.co.il/product.aspx?prodid=57&lang=en
A professional essay editing service can help you with writing essays, which can be a very intimidating process – especially for college entrance essays and applications.
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via Today I could avoid myself no longer and finished (a.k.a. gave up on) proofreading the formatted version of my seventh book, What Is Social Media Today: Keywords, Hashtags and You, Oh My! Writers suck at proofreading. That’s my story and I’m sticking to it! Having had plenty of unproductive hours to come up with further excuses, […]
source catherinecarrigan.com/why-writers-suck-at-proofreading-ex... catherinecarrigan.blogspot.com/2017/01/why-writers-suck-a...
Even on volatile media such as web pages, you need a second eye to catch errors.
This is 2011. Do you really think that the garden maintenance was in 2001?
It affects your cartographic skills.
This map was in some little brochure Puma put out re: biking. This was in the section of helpful bike route maps for various cities. I thought it was a nice little bike tour until I actually read the points of intererst.
Somehow, all of these places were transposed to Hyde Park which, I suppose, would be nice, if not even forgivable - maybe they located these on a larger map of Chicago, but the layer controls were screwy and they ended up on the Hyde Park cutout (which begs the question of why you had all those layers in one document, but hey).
But that's not right - these things aren't to any scale and not in any relation that I could figure. Somehow, Belmont ended up north of Hot Doug's, and Handlebar (on North Ave.) ended up north of that. Garrett's ended up south of Promontory Point (given that it's the only thing in the right spot) and...ugh.
Proofreading, people. That's all I ask.
Puma, the shoe of idiots.
It’s necessary to review your work before submitting to the journal. Now, you can either request your department head or a colleague to review your manuscript or take help of the professional medical editing and proofreading services.
www.cognibrain.com/how-to-get-the-best-out-of-your-medica...
Aussie German Translation offers translation services for translating documents from English to German and German to English languages. They provide many types of document translation like birth certificate, visa document, degree certificate etc. Their team provides professional human translation service 24/7, native speaker translators, fast turnaround times, proofreading etc. For more information, you can visit our website aussiegermantranslation.com.au or email us at office3@aussiegermantranslation.com.au
At Genius Academics you can buy custom essays and purchase samples of dissertation writing at extremely competitive prices. We also offer proofreading and editing services to ensure that your work is always perfectly presented. For more information www.geniusacademics.co.uk
I spent some proper quality time proofreading my brother's wine technician thesis during last weekend. Really hope he's successful.
171/365
A book full of various artists' pictures of various Vance aliens and creatures. As the title demonstratess, its not particularly well proofread! And the captions vary in font size. One or two don't even say what it's meant to represent although thay can be guessed at reasonably easily.
Fun to see so many together in one book.
Marcin Białas "Above the pavements"
Book info:
- 300 copies, signed and numbered (dedication on request)
- hard back cover, cloth spine
- number of pages: 128
- size: 300×215 mm
- number of images (graphic, photos, projects): 93
- language of texts: polish and english
- autors of texts: Maciej Linttner , Grzegorz Hańderek, Marta Anna Raczek-Karcz
- type of papier: Cyclus Print 130g (eco)
- concept and edition: Marcin Białas, Katarzyna Wolny
- graphic design: Katarzyna Wolny, Marcin Białas
- typesetting: Katarzyna Wolny
- photography: Marcin Białas
- english translation: Katarzyna Drewniak
- proofreading: Izabela Blacha
- ISBN 978-83-937997-0-1
Details about prices and shipping - check out: www.facebook.com/notes/marcin-bialas-graphic-arts/above-t...
If you'd like to order or have any other question please use this email address: abovethepavements@gmail.com
This is a thank-you gift from @acepor for some PhD proofreading. Trust me, y'all should read his thesis.
Art filters?
Hell yeah art filters.
It's the *dark side*.
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How AI is changing the Landscape of Typography
Creativity and innovation are no longer exclusively the province of humans, but the result of collaboration, a game of interpretation in the dialog between humans and machines. This is the world in which we live today, where artificial intelligence is rapidly evolving and new scenarios are opened.
AI technology is transforming the realms of art, design, communication, and marketing. However, when it comes to typography, in this age of co-creation, it has not yet taken center stage in this evolutionary process, but it is ripe for experimentation.
Gianpaolo Tucci's research led him to recognize aesthetic imperfections as a source of uniqueness in each individual representation. The world is entering a new era of typographical artifacts, where typography moves beyond the strict confines of function to embrace new values of expression.
This is not a book on typography, but the expression of a point of view, a practical guide, and an investigation on how the integration and ethical use of artificial intelligence will play a fundamental role in modeling this future. This book witnesses the birth of a co-creation era, urging a rethinking to craft a more human-centric future where AI magnifies human creativity, rather than replacing it. Take a breath, and as if we were unaware laboratory animals, Tucci invites to jump into this journey made of confused, blurred, anatomical, radical, colorful, and sometimes overturned visions.
AI and typography—a dialogue between humans & nature!
Aesthetics Imperfections
How AI is changing the Landscape of Typography
Author: Gianpaolo Tucci
Publisher: Slanted Publishers
Release: December 2023
Volume: 288 pages
Format: 20 × 28 cm
Creative Direction: Lars Harmsen, Gianpaolo Tucci
Art Direction: Juliane Nöst
Design: Gianpaolo Tucci, Juliane Nöst, Lars Harmsen
Publishing Direction: Lars Harmsen, Julia Kahl
Production Management: Julia Kahl
Proofreading: Katherine Margaret Flach
Printing: Offset, Stober Medien
Paper: ina®star 2s, 300 g/sm (Cover), Gardapat Kiara, 100 g/sm, Condat Perigord, 135 g/sm (Inside)
Workmanship: Softcover with foil-lamination, thread stitching, full-color
The Yearbook of Type presents an independent selection of new digital typefaces created all over the world—from larger publishers to smaller, independent typographers and foundries.
The comprehensive compendium presents a well curated overview that gives an impression of the typeface and its appearance on paper. The emotional and well constructed informative presentation of the typefaces serves designers and agencies as a source of inspiration and help select the right typeface. As a catalog and reference work it is also of interest to all those who are interested in the contemporary world of typesetting and the latest in typeface design.
A small online microsite (www.yearbookoftype.com) leads to the type’s or foundry’s website, to simplify the connection between print and web and to help the user to select or try a typeface.
– New edition with all recent typefaces
– Detailed presentation of all selected fonts
– Ample background information
– Index with classification
– Index of all designers and type foundries
– Explanation of all OpenType features
– Essays and articles by Boris Kochan, Ferdinand P. Ulrich, Viktor Nübel, Laurence Penney, David Jonathan Ross, Rainer Erich Scheichelbauer, Stefan Hattenbach
Yearbook of Type III
Publisher: Slanted Publishers, www.slanted.de
Creative Direction: Lars Harmsen
Art Direction: Julia Kahl
Graphic Design and Managing Editor: Clara Weinreich
Graphic Design Assistant: Nicole Lichtner
Proofreading and Translation: Isabella Krüger, Lies Wolf
Volume: 440 pages
Format: 16.8 × 24 cm
Language: English
Specials: Hardcover, Half linen bound, hot foil stamping, spot colors
Printing: Stober GmbH, www.stober.de
Book Binding: Josef Spinner Großbuchbinderei, www.josef-spinner.de
Cover Linen: Assuan 5008 rosa, Bechem, www.bechemgroup.de
Cover Cardboard: Bowston Black laminate, 4 mm, James Cropper, www.jamescropper.com
Paper Inside: FLY weiß 05, 115 gsm, Papier Union, www.papierunion.de
Endpaper: Primatcolor creme, 120 gsm, Papier Union, www.papierunion.de