I copy edited about a fifth of the articles in the Fall/Winter 2019–2020 issue of Studio magazine.
The material required a relatively heavier edit and some terminology research.
These were the articles I edited:
“For the Love of Colour” by Leah Gravells (pages 43–45)
I copy edited about half of the articles in the Fall/Winter 2018–19 issue of Studio magazine.
The edit involved Chicago-style citations, a reference style that I was not familiar with.
These were the articles I edited:
“Fait main / Hand Made” by Bruno Andrus (pages 72–74)
“I’m DONE Defining Craft” by Mary Callahan Baumstark (pages 50–53)
I proofread the English portion of the September 2017 issue of Active Voice (about half of the content).
This was the last print issue published by Editors Canada before the publication went online-only.
BoldFace the official blog of Editors Toronto (the Toronto chapter of Editors Canada).
A team consisting of the chapter’s members takes care of the copy editing,
and as of March 2020 I have copy edited 14 articles.
BoldFace, 2015 Print edition
Work done
Publication design
Medium
Zine
Year
2015
Publisher
Editors Toronto
Pages
8
Scope
Design, layout and final PDF
Style
Modified Chicago
Editors Toronto (the Toronto chapter of Editors Canada)
produced BoldFace: The official blog of Editors Toronto, 2015 Print Edition
for the Word on the Street Toronto Festival in the fall of 2015.
It featured selected blog posts in a zine-like format
so that people who wouldn’t normally read the blog could have a chance to get a taste of it.
The design had to follow Editors Canada’s then-new branding guidelines and Editors Toronto’s style sheet,
and I had to keep it at eight pages;
but other than these two requirements I was free to design it any way I wanted.
Cadmium January 2014
Work done
Publication design
Medium
Zine
Year
2014
Publisher
OCAD Student Union
Pages
16
Scope
Editorial management, copywriting (fiction and nonfiction), interviewing, design, layout, collation and binding
Style
No style requirements
Cadmium was the official zine published by the OCAD Student Union
(the student union of OCAD University in Toronto, Canada).
The student union would select a different editor to produce each issue.
One of the challenges I faced was that
previous episodes of the “continuing story” feature did not present a consistent universe,
so I had to analyze all the previous episodes I could find.
Once I figured out what characters were in the story and what geography could make sense
I was able to write a new episode of the story.
Hi!
My name is Ambrose and I’m a copy editor, graphic designer and visual artist based in Toronto, Canada.
As a 1.5-generation Hong Kong Canadian,
I read and write Hong Kong Chinese and also speak Cantonese natively.
I’m not afraid of LaTeX (or APA citations)!
Are you worried that your editor will ask you to convert your LaTeX paper to a Word file?
I know how TeX works and how converting LaTeX to Word and back can be fraught with problems,
so I won’t ask you to give me a Word file if your paper is written in LaTeX.
I have copy edited research papers and other academic materials,
including LaTeX papers shared on Overleaf;
most of these papers had citations in either
APA or IEEE style.
I have also edited magazine articles in Chicago and Canadian Press (CP) styles.
Specialties
I have translated Christian content from Chinese to English and vice versa,
and know the differences between Catholic and Protestant terminologies
(which are almost completely different in Chinese).
I also have experience in
graphic design,
several craft-based art practices
(mainly studio ceramics,
plus some knowledge in printmaking and bookbinding),
and IT
(programming and system administration).
Cover art for the following is used with permission:
Studio (Craft Ontario) 15, no. 2 (Fall/Winter 2020–2021)
Studio (Craft Ontario) 14, no. 2 (Fall/Winter 2019–2020)
Studio (Craft Ontario) 13, no. 2 (Fall/Winter 2018–19)
Active Voice / Voix active (Editors Canada) 37 (Sept. 2017)
Craft Ontario 2018 Stewardship Report
Colophon
Typeset in Alegreya,
a typeface superfamily designed by Juan Pablo del Peral of Huerta Tipográfica, Argentina.
Some icons typeset in
Open Iconic,
an icon set designed by P.J. Onori, Dave Johnson and Ryan Teuscher of Waybury, United States.
Webfonts delivered with Brick,
an open-source webfont service designed by Alfred Xing, Canada.
