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Choosing a Typeface
Good lettering can improve the readability of the book and thus have a beneficial effect on sales. A very wide choice of typefaces is available and selection is essentially a matter of taste for professionals. Popular typefaces for book setting include for example Times, Plantin and Baskerville. An enormous range of ornate or unusual typefaces is available for use as display headings, and a comprehensive set of these (hundreds) can be found in the Letraset Catalogue sold by major stationers or art materials shops.
Seeing a specimen page
If you are not sure about the typefaces being suggested, or which to choose, ask your designer, or the typesetter, to set up a 'specimen page'. This should show the following:
size of page (dimensions/area)
typeface to be used for text
typeface to be used for headings (if different)
arrangement of running heads and folios (page numbers)
type justified or unjustified (normally justified in books)
width of line of type (measure), eg 24 ems
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point size (depth) of type and leading (amount of space between lines). The text you are reading for example is set in 10 points within a line of 12 points deep, expressed as 10/12pts
general appearance of margins top and bottom, left and right
style to be used for chapter titles
appearance of typeface variations (roman, italic and bold).
If in doubt, it is better to be conservative in your selections, and generally speaking the simpler you keep your design the better and more professional it will look.
Choosing the Right Paper
Good paper is an attraction. If you regard your book with pride do not purchase the cheapest paper on offer. The cheapest is 'bulky news' type which soon browns with age. Then come white offset papers (like the one this book is printed on), and finally expensive art (glossy) papers, mainly used for expensive illustrated books. If your book is to contain black and white photographs, you will need either a good white cartridge paper, or artpaper if funds run to it (perhaps an 8 page insert).
Computer-Aided Design and Production
If you have a computer, or can borrow or hire one, you can avoid dealing with designers and printers altogether. You can type, design and print your publication on one machine. You can then do your own simple binding by folding A4 sheets into A5 and stapling them together. This is possibly the cheapest way of producing a book. In our experience it will, in most cases, come out looking like a student thesis.
Some publishers think that books will almost entirely be replaced by electronic information by the end of the century. One potential development is the CD Rom system which could hold an entire library on one compact disc. We do not share this view, for the following reasons:
People prefer reading books to computer screens.
Books do not depend on an electricity supply.
Computers can go badly wrong power cuts, faulty software, viruses.
Computers can damage your health.
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Fig. 14.
Example of a type font.
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Fig. 15.
Extract from a typesetter's font list.
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2000 compliance left to their own devices, computers will crash at midnight on 31 December 1999. This is because they are unable to recognise the concept of the year 2000. Large publishers are at present investing massively in time and resources to deal with this problem. A complete solution has yet to be arrived at.
The human eye and brain can cope far more effectively with information in ink on paper than on a computer screen. It is statistically proven that proof reading from a paper printout is more accurate than that done on a computer screen.
We think that if a book is worth publishing, it should look like a book, as a work of craftmanship in its own right. We think that book design is not a job for the amateur. We would strongly advise engaging the services of a professional. With all the effort you are putting into your book don't spoil the ship for a ha'porth of tar.
You can keep design costs down by shopping around or by approaching your local Art College. Graphic design students may be keen to earn part-time cash helping you to design the cover, typeface, page size, paper and chapter headings. They may have creative ideas in relation to design which you have never even considered. If you think that this is being extravagant, look again at the local books section of your bookshop. The professionally-designed books stand out so well from the amateur jobs. They are proper books, not overgrown pamphlets.
A professional designer, if he is worth his salt, will be a meticulous artist who will insist on the most demanding and time-consuming attention to detail. Do not be exasperated by this instead, build time for artistic thought and reflection into your schedule.
Finding a Designer
It will pay to shop around until you find a reasonably priced designer but make sure that he is talented. Ask to see his portfolio. These are some questions you could ask the designer:
'How long have you been in business?'
'Which book publishers have you worked for?'
'Can you show me some book covers you have designed in the past?'
'Do you work with several different typesetters and printers?'
'What is the basis of your charging by the hour/day? By the job?'
'I would like to see some sketches or roughs before deciding whether to proceed. How much would you charge for that? How much for the whole job if I proceed?'
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BREAKEVEN PUBLISHING
June 199X
Head of Department
Graphic Design
Anytown College of Art
Dear Sir/ Madam
I am writing to you to ask if you could assist me with a design project.
I am the author and publisher of a book about my experiences during World War II. I understand that the production process of this book will involve a number of design matters. Would it be possible for you to advise me, in general terms, as to how I should go about this?
Alternatively, do you think that any of your students would be interested in becoming involved with the project?
I have a small amount of funding which I would use for design purposes.
I look forward to hearing from you.
Yours sincerely
Harry Bright
Fig. 16.
Asking an art college for help with design.
'Do you draw diagrams, maps and other illustrations yourself? If not, could you get them done from my rough sketches?'
Typesetting
What the Typesetter Does
The main job of the typesetter is to prepare the text of the book in a finished form which can be handled by the printer. The vast majority of book printing today is by offset lithography, and the finished form required by
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Fig. 17.
The 'origination' stage of book production. Preparing text matter and
illustrations into the 'camera ready copy' form required by the printer.
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Fig. 18.
Proof correction marks.
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an offset printer is normally termed the 'camera ready copy', or 'CRC' for short. The text (incorporating any illustrations) is literally ready for the printer's camera it is photographed, and from the photographic films are made the printing plates, and from these plates the sheets of the book are printed.
These days, typesetting is often done by specialist typesetting companies rather than by printers as was once the case. The printer will not be concerned with the contents of the book, or whether there are any mistakes in the camera ready copy he will just go ahead and 'originate' the films and plates he requires. It is therefore very important to work closely with your typesetter, to ensure that the text and illustrations are all accurate and complete, and that the camera ready c
opy is all ready to go to press.
Choosing a Typesetter
Yellow Pages has lists of typesetters. Shop around for the best prices. The designer you have hired could well advise you on a good one but check that he can handle ('interface') the disk of the manuscript if you have produced one. Many printers employ their own 'trade' typesetters or have close links with them. The cost of typesetting, that is getting the layout of the pages ready for the printer, depends on the quality of the copy and the type of book being published. Do not automatically choose the cheapest typesetter you may find many more errors in the proofs. Some type-setters offer laser-printed proofs and laser-printed camera ready copy for the printer, to keep costs down, but the quality though reasonable is not as pin-sharp as that produced by normal computerised typesetting. Some typesetters charge by the hour, others by the page, or by the number of keystrokes. Agree the basis for charging corrections before you begin.
Using Disks
You can supply the typesetter with a disk from a word processor, in which all the manuscript is electronically stored on a small cassette-like object. A manuscript then is set up for the minimum amount of work by the typesetter and because it avoids 're-keying' the job it can be the cheapest way to get it done. It is worth exploring because typesetting charges can be quite high.
Using a Proof Reader
It is worthwhile having your book proof read. No matter how many times you go through it yourself you will always miss mistakes, which could make your book look amateurish. It will not be too expensive (a
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reasonable rate per hour) and your mind will be more at ease knowing that your handiwork has been checked by a neutral observer. In fact, as you become more involved with publishing you will start to notice when you read other books, magazines and newspapers how many mistakes are regularly made.
An experienced designer should be able to advise you on obtaining a good proof reader. Designers will also be experienced in the use of computers for book design purposes and should be able to advise you on their application.
It is inevitable that you will have to do some proof reading yourself. Corrections to proofs should preferably be marked according to signs and symbols set out in a British Standard (see Figure 18). Copies of this Standard may be obtained from the British Standards Institution, 2 Park Street, London W1A 2BS. Many publishers mark typesetters' errors in red ink, and other errors or amendments in blue or black ink, to help check whether the typesetter's bill for corrections is reasonable.
How Should I Deal with Illustrations?
Charts, maps, sketches and photographs can be worked into your book from the disk of the manuscript. Check with the designer, typesetter and printer on how they want this material presented to them.
Categories of illustration
Line illustrations drawings, maps, diagrams, cartoons and the like rendered in one colour (usually black).
Halftones photographs or coloured original artwork to be reproduced in black and white. An original photograph print is a 'full tone'; for the purpose of print reproduction it is 'screened', ie turned into myriad tiny dots visible with a magnifying glass, in which form it is known as a halftone, or sometimes as 'PMT' ('part mechanical tint'). Your designer and printer will agree which percentage screens to use. You may speak of photographs, but your printer is likely to refer to them as halftones or PMTs.
One colour printing (ie black) is termed monochrome.
Illustrations ready for reproduction are generally termed 'artwork'.
Tips on handling illustrations
1. Never mark original artwork, except well away in the margin, on the back, or on an overlay.
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BREAKEVEN PUBLISHING
June 199X
Dear Sir/Madam
I am writing to you to ask whether you could let me have estimates for the production of a book provisionally entitled 'Bright Memories'. The expected details are as follows:
Quantity required:
Page extent:
Paper:
Page size:
Illustrations:
Binding:
Covers:
Delivery:
500 or 1000
184 pages approx.
Good quality while paper
About 25 × 15cms
Yet to be decided
Paperback
To be printed in two colours and laminated
To my address as above
Could you please also let me know whether you could undertake typesetting, and if so what the estimated costs would be for the above work, including proofs.
The script and illustrations are available now, and we aim to publish the book before the end of September.
Yours faithfully
Harry Bright
Fig. 19.
Approaching a printer for a production estimate.
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Fig. 20.
Sample estimate from printer (first example).
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Fig. 21.
Sample estimate from printer (second example).
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Fig. 22.
Sample estimate from printer (third example).
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2. You will save money if illustrations are a similar size, so they can be photographed by the printer all together (for 'common reduction') rather than separately.
3. They will be handled by the printer and may not be returned to you in pristine condition.
4. Ensure you have the permission of copyright owners to reproduce their work.
5. Where originals are to be reduced, the reduction is normally expressed as a percentage. For example a picture to be reproduced half size can be marked '50% reduction' and so on. Pictures to be reproduced same size can simply be marked 's/s'.
6. Forget using colour inside books it is normally extremely expensive to originate and to print, and requires more expensive paper.
Printing and Binding the Book
Choosing a Printer/Binder
Printing and binding is the most expensive part of the operation. You will need to shop around for the best price and also the best service. A good starting point is Yellow Pages, which carries a large number of local firms which can be contacted for the relevant information. The British Printing Industries Federation publishes a list of book and learned journal printers, specifying the facilities which they offer. This is available free.
Some firms can even offer quotes for turning handwritten manuscripts into book form but this could be extremely expensive and need strict cash and quality control. Your designer should be invaluable in your dealings with the printer because his reputation will be at stake, particularly in regard to the end quality, so that he should be able to give good advice on your selection. It is worth getting five or six quotes from printers. Some will offer package deals for the whole operation and you will find surprising differences in price as much as 100% and in the quality of advice and information offered to you.