On the press with Wired Issue #1 .... by Louis Rosetti

4. I think you radically underestimate John and Barb's design work. As they often said, their job was to imagine what the future looked like, and do it on a medium out of the past. They brought amazing design smarts to the process of putting out the magazine, as well as incredible production chops, which were reflected in Wired from the first issue. That opening multi-page spread illuminating the McLuhan quote which launched the issue, that incredible graphic indulgence which continued for the entire time I was editor, and which is conspicuously absent from the current, was true modern graphic art -- in the case of the first one, a collaboration between John and Erik Adigard (Erik's work would appear regularly in the mag, and, for a while, he worked at HotWired/Wired Digital helping Barb create it's graphic sensibility). John and Barb were the ones who landed us our printer, a company back East in Connecticut John had worked with on slick annual reports. They had just taken delivery of a brand spanking new Heidelberg six color (CMYK plus two spot colors -- ah, that's how it was done!) press as big as a couple of box cars. We were the first clients on the press. The first issue was on press over Xmas 1992, and John, Barb, Eugene, and I were on press check. The pressmen were grizzled 30-year pros. They set up the press, they put on the VW size rolls of our special matte paper, they poured in the gallons and gallons of our eye-burning fluorescent ink, they started the press, they adjusted the print flow, they ripped off the first pages and put it under the calibrated lights to check color, they looked at it through a loop to check the dot gain, they did this half a dozen time, then they pronounced it perfect -- calibration was absolutely nominal. I can still remember how John took one look and said: put more ink on the page. The pressmen were aghast. It was perfect as is, just the way it was supposed to be. John insisted. They ultimately relented. He looked at the new sample. He told them he wanted still more ink. They protested again. They finally relented again. John looked at the new sheet. This time he told them: I want you to turn the ink up until it smears, and then dial back to where it's only just not smearing; and that's how I want the entire job done. The pressmen were appalled, outraged, embarrassed. But ultimately, they did what John told them. That's why the magazine looked and felt the way it did, because it literally carried more and brighter inks than a normal magazine -- they leaped off the matte paper. Later, as the magazine started to get recognition, the Wired job became the one the pressmen all wanted to work on. Under John's direction.