Process overview

Generally speaking, this process should be followed for each issue:

1. The Artwork Collective should have a preliminary meeting no later than the first EC meeting to discuss availability and roles. Art Editors should be familiar with the issue theme and general Call for Proposals

2. Develop an issue-specific "artwork vision," which includes a statement of goals, specific topics or art mediums to focus on, and a refined process for soliciting/selecting artwork per issue

   • It is important for the artwork vision to be consistent with the goals of the EC. The Artwork Collective should consider co-developing the artwork vision with the EC or providing opportunities for feedback from the EC

   • It can be beneficial to discuss the artwork vision once the EC has a reasonable understanding of accepted articles since the thematic scope of the issue may evolve based on accepted submissions

   • It can be useful for the artwork vision to specify a targeted number of art features (with estimated page counts) and illustrations in each paid category (commissioned illustrations and copyrighted artwork selected as illustration)

3. [Optional] Conduct a "Call for Artwork" to receive submissions for art features and/or illustrations. Responsibilities include:

   • Writing the "Call for Artwork"

   • Establishing an appropriate timeline

   • Ensuring consistency with the artwork budget

   • Deciding on a process for selecting from submissions

   • Coordinating the circulation of open calls

4. [Optional] Directly soliciting artwork. The Artwork Collective may decide to solicit artwork to complement the submissions that were received via an open call or instead of conducting an open call.

   • Art Editors should consider reviewing the "Commissions" tab of the Artist Roster, which is a spreadsheet of artist and illustrators that have either expressed interest in supporting SftP or that have been identified as relevant by members of SftP

5. [Optional] Other ideas for soliciting/selecting artwork can also be considered! E.g., collaborating with an arts group or curator that is separate from SftP

6. Decide on an preliminary list of artwork to be included in the magazine, which includes art features, cover art, and "paid" illustrations

   • In some cases, the Artwork Collective may want to create a shortlist and longlist

   • More detail is great, but it's ok for the preliminary list to include placeholders

   • For deciding article illustrations, it is important to communicate expectations with the editors and authors of each article. Sometimes they will already have a specific idea in mind.

7. Outreach and coordination with art contributors

   • Ensure that admin steps are followed (e.g., contracts are signed)

   • Other coordination with artists, as needed (see "Article illustrations" and "Art features" sections)

8. Confirm illustrations for all remaining articles

   • Coordinate with each article's lead editor

   • Some articles will have illustrations submitted by the author (e.g., photos) or will be accompanied by stock or archival imagery, instead of paid illustration work

   • Ensure that spreadsheets are kept up-to-date

9. Spot illustrations

   • Usually done by Art Editors :)

10. Coordinate with the Design team, as needed

Note that the art editorial process is a living process that has evolved over time. The Artwork Collective should feel comfortable adapting the process to their preferred way of working, as well as the specifics of the issue.

Walk-through example from Volume 26 no. 2

The diagram below shows the workflow that the Artwork Collective (abbreviated as "Art EC" in the diagram) created for Volume 26 no. 2 "Ways of Knowing." What's helpful about the workflow is that it shows details about timing and touch-points with the Editorial Collective.

Overview of workflow from Volume 26 no. 2 "Ways of Knowing"

Although this type of workflow can be helpful, it is important to have an open mindset about how the process might shift. For example, we did not end up sending an email to the Artist Roster soliciting illustrations because we figured out that it wouldn't be necessary. Also, we had a preference for using artwork from Indigenous illustrators due to the theme being Indigenous knowledge and science.

Some key factors are not captured by the workflow diagram. For example, one or two of the illustrators that we ended up commissioning came out of LM's activist network in Los Angeles. Also, Mariah Rose-Marie, an Indigenous illustrator who did the cover of our Racial Capitalism issue, kindly offered to share the opportunity with their network. Several illustrators followed up with us expressing their interest in potentially contributing to the issue, and out of that group, we selected one or two based on who we thought would be a good fit with the articles. Jenna, one of the Artwork Collective members, also donated a beautiful custom illustration for one of the articles.

Cover artwork

For cover artwork, we knew that we wanted to use an existing artwork because the budget was already mostly used up by commissioned article illustrations. The Artwork Collective identified a few candidate artists based on research and narrowed it down to a preferred concept based on internal discussion, as well as discussion with the EC. Once this was determine, we reached out the artist, Brus Rubio, to request the use of one of his paintings.

Spot illustrations

Andres created and donated a set of linocut prints as spot illustrations for the issue.

Wishlist for this Gitbook: fully sync-up "Process overview," "Article illustrations," and "Art features" for consistency and to avoid redundancy (tk)