In 1982, Altemus, the co-creator of the graphic novel Argent Starr, designed and art-directed the official souvenir magazine of the movie, Blade Runner.
Altemus art directed a magazine for CBS as his day job, and taught a college course on magazine design and production, so this magazine was a freelance gig. After it was finished, he held onto some materials from the Blade Runner project to illustrate how a magazine is produced from start to finish, (that is, as of 1982). All the materials shared here come from that package, squirreled away in a flat file, for thirty-five years.
THE BLADE RUNNER MAGAZINE TROVE
The envelope and contents from the 1982 Blade Runner magazine’s production.
The two opening spreads from the official licensed magazine, produced by independent publisher Ira Friedman, and designed by Altemus.
Corrected publishing schedule, detailing how the magazine was to be produced, concurrent with the last 9 months of the film’s production and post-production, with release of the final magazine just days prior to the movie’s premiere.
After the magazine was outlined and materials collected, the first layout and visual flow of the magazine was plotted using thumbnails.
THUMBNAILS TO FINAL
Here is an example of how the concept thumbnails relate to the finished printed pages.
This is a page from the script that would be included in the magazine. In 1982, every page of manuscript would have to be marked up by hand, with code to inform the typesetters of the styles to be used. After markup it would be sent out to a type shop, and only three days later, the first “type “galleys” would arrive. A couple more passes of corrections or alterations and the final galleys would be cut up with an X-Acto knife and glued down to mechanical boards.
The mechanical for the front cover, with set type, position stats, color markup on overlays, and color swatches. Today this process has almost entirely gone away, since it’s all done on computers.
BRADBURY BUILDING SCOUTING SHOTS & MECHANICAL
Six black & white location scouting snapshots of the Victorian Bradbury Building, that Altemus collaged together to produce an overall view. Also shown here, the pasteup or mechanical used for pages 52-53 of the magazine (shown below).
These are the “progressive” proofs for the color separation of one spread in the magazine, as well an image of a police Spinner taking off. Each of the printing inks used (Yellow, Magenta, Cyan and Black) are proofed individually and in various combinations, so color can be more accurately corrected for printing. At left are the proofs for full color and the yellow magenta combination. More on color proofing
A full size chromalin, matchprint color proof, of a spread featuring a memorable street scene and a shot of of Deckard and Gaff at the noodle bar, used to check final color separations. Another matchprint of Deckard and Rachael kissing, along with random images from the project. A final proof of the replicant Roy with Sebastian in Tyrell’s private elevator.