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Production Narrative

by C.Meador

Offset printing negatives output on an Afga Selectset (at 3600dpi to make a 175 LPI printing dot) at the Center for Electronic Arts at Alfred University in March of 2004. Printed at the Center for Editions, Purchase College during May and June of 2004 on a Heidelberg KORD, which had been the press at Visual Studies Workshop for many years. Curating of press sheets and packing for shipping took through July (some vacationing slowed down the process) and it was finally at BindTech (trade bindery in Nashville, TN) in August of 2004.

Critical Analysis

by C. Meador

Design Features

typographic: The typeface was designed specifically for this book, inspired by typefaces designed by W. A. Dwiggins.

The Nameless Dead


Clifton Kirkpatrick Meador

type: initiating

Typeface designer

born: United States

birth: 1957-09-26

Brian Valzania

type: other

publisher Owner of PABA Gallery, this was his first publication project.

born: United States

location: New Haven, CT

publication: 2004-10-00

Publication Information

edition type: editioned

publisher: PABA Publications

place: New Haven, CT

conception: 2000-08-15
production: 2004-03-10:2004-08-00
publication: 2004-10-00

edition size: 900 regular edition, 50 special edition


depth: .625 inches closed

horizontal: 6.312 inches closed

vertical: 10.375 inches closed

Production Information

production means:
offset (local)

binding: case binding (AAT)

bookBlock: paper 100 pound Mohawk Vellum Text cool white

ink (local)


format: codex (AAT)

cover: Four-color offset on 100 pound Mohawk Options text weight, gloss film laminated and wrapped onto .080 book board

color: yes The first 20 pages are printed in three color, the subsequent 40 pages are printed in four color, the next 32 pages are printed in hexachrome (six-color process) and the final sixteen are printed in five color.


pagination: unpaginated

numbered?: numbered

signed?: unsigned


The Nameless Dead was imageset at the Institute for Electronic Arts, School of Art & Design at Alfred University and printed at The Center for Editions, Purchase College. This book was partially supported by grants from the SUNY New Paltz Research Foundation. Special thanks to Jessie Shefrin for making the film for this book possible and to Mark Klingensmith, Don Weinhart, and Joo-Mee Paik for their excellent technical help at Alfred. This book might never have been printed without Philip Zimmermann’s encouragement. I am especially grateful to Brian Valzania, of PABA_Publishing. The pictures for this book were taken in Khiva and Bukhara, Uzbekistan, in 2000 on a trip with Yegor & Natasha Chegrinets, and my son James, all great traveling companions in post-Soviet space. I have taken considerable liberty with the arrangement and relationship of various buildings in Khiva and Bukhara. I wrote and designed the imaginary guidebook, Khiva Arkeologiya I Istoriya, which draws heavily on Peter Hopkirk’s The Great Game. The typefaces were designed specifically for this book and consist of a sans serif captioning face, a serifed text face, an italic, small caps, and a cyrllic. This work was printed in a wide variety of ink colors on the Heidelberg from Visual Studies Workshop Press, which now resides at Purchase College. This book is published in a regular edition of 900 copies and a special edition of 50 copies.