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Photo Layout: Portfolio of Work 1. Single Subject News or Feature Package, 3 or more pages or special section 1. This includes entries that were published from October 11, through October 10, Feature writing: Student Life 1. Sports reporting 1. Sports feature writing 1. Pleasant, SC. Academic writing 1.


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Pleasant, SC; 3. Pleasant, SC; CM. Personality profile 1. Worth, TX; CM. Theme and concept 1. Cover design 1. End sheets 1. Title page 1. Table of contents 1. Sports action photo 1. Sports feature photo 1. Academic photo 1. Feature photo 1. Worth, TX; 2. Photo illustration: single image 1.

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Feature presentation 1. Student Life spread: one spread 1.

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Student Life spread: multi-page spread 1. Sports spread: one spread 1.


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Sports spread: multi-page spread 1. Academic spread: one spread 1. Academic spread: multi-page spread 1. People spread with mug photos 1. People spreads without mug photos one spread 1. Y36 People spreads without mug photos: multi-page spread 1. Organization or Greeks spread: one spread 1.

Organization or Greeks spread: multi-page spread 1. Breaking news 1. Secondary coverage 1. News writing planned news 1. News feature 1. Editorial writing 1.

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Personal opinion: On-campus issues 1. Paul Academy and Summit School, St. Paul, MN; CM. Personal opinion: Off-campus issues 1.

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General or humor commentary 1. Try These! Blogging 1. Paul, MN. First person experience 1. Sports commentary 1. Sports news 1. Charles, MO; 2. He takes apprentices, as his predecessors did for centuries. He enforces a schedule. Each morning, staff members are on the job at ; they get a short lunch and an afternoon coffee break and leave promptly at 5. A visit to the bindery might find a couple of staffers hard at work making slipcases for Stone from Delphi. San Francisco has had a tradition as a printing town, from the Gold Rush era onward, and, in the s, the brothers Edwin and Robert Grabhorn helped set the cornerstone of local tradition.

And they believed that the moist, foggy air of San Francisco helped prime paper for inking. Hoyem thought so, too. In , they relocated to the Mojave Desert so that his father, a physicist, could take a job in weapons development. Hoyem went to college at Pomona, then enlisted in the navy. When his service ended, he was accepted for graduate school at Columbia, in political science. But he put off installing himself in New York, keen to kill some time and make a bit of money in San Francisco, which was then in the heady throes of a print renaissance.

In , on something of a whim, he took a job at Auerhahn Press, an early organ of Beat poetry and the literary avant-garde. It published William S. At work arranging type, he fell in love. Learning at the knee of the local masters, he trained toward exacting standards. Partnering with Robert Grabhorn, he launched a new iteration of their celebrated endeavor. In , not long before Grabhorn died, he arranged to take over all his printing machinery.

Endowed with this historical equipment and some aesthetic ambitions of his own, Hoyem launched Arion Press in , taking the name from the Dionysiac poet who, according to myth, was rescued by dolphins. The book would be large, 15 inches by 10, and hand-set, like the Whitman, in a Goudy face. Hoyem commissioned wood engravings from the artist Barry Moser, but he was particular about what they could depict.

No main characters—including the whale—should appear in an illustration, he advised; no major action scene should be rendered. To study the Arion Press edition of Moby-Dick today is to have an almost sacred experience of the power of physical print. Its ink is black, with wide margins and initial letters in a dark, aqueous blue. The paper is a faint blue-gray, like the surface of the ocean on a cloudy day. When the reader lifts a page to turn it, the watermark of a whale shimmers through.