This article is by Ken Jones of Circular Software. Ken is running the Understanding eBooks day on 25th April 2018.
I’ve been involved in making beautiful and interactive fixed layout ebooks since before there was a standard for such things. But trust me, this one is different… It is truly the finest example of interactive children’s story telling I have ever seen, it contains custom movies on every spread, background audio, professional narration and read aloud text highlighting, placed web code, personalisation, interactive animations and puzzles!
Heather O’Connell has more than 20 years experience in the publishing industry and worked her way up from controller to senior management positions at Penguin and Harper Collins. She now runs Bluebird Consulting and also teaches Production both in-house and via the Publishing MA at UCL.
The age of handwriting your ebook and typing it up later is long gone. While I am a lover of beautiful stationery, an ebook writing software can be much more useful.
Most people involved in writing or publishing are aware of the phrase “white space” and realise that the visual impact of a text, whether on page or screen, can have a huge effect on how the reader perceives the content. The problem is that “white space” isn’t a particularly simple concept and a little knowledge can be a dangerous thing.
Sometimes the print production software we use doesn’t make it easy. Take ‘overprinting’ for example. Understanding overprinting can be vital for some print runs to go as planned but it is often a mystery to designers and some production staff too.
Quarto Publishing are looking for an enthusiastic Production person looking to take the next step in their career to join their busy Adult books team based in their Islington office. This Production Controller role is currently a fixed term contract for 9 months, working on a wide range of 4-colour non-fiction titles.
Ken Jones was Technical Production Manager for Penguin and Dorling Kindersley for several years and has since advised publishers such as Parragon, Nosy Crow, Walker Books and Quarto on how to get the best from their print workflow.
Jamie Robinson has been at f1 colour for 24 years, rising through the ranks to Managing Director. Over that time his passion for colour and accuracy has shown no sign of abating, often providing crash courses for production staff at publishers who want to learn more about the ‘dark arts’ of colour and profiling images for print.
Of course the cover is important – you don’t need me to tell you that, but I think the internal pages of a book are just as important. In this blog I’m going to advise about the internal design of books. There are plenty of designers, far better than me, who can advise on good cover design.
For the trained eyes, there is nothing more annoying than looking at a book which is just one letter away from perfect. It is possible that you have made a capital mistake when not checking the rules of capitalization before publishing. It can be a tricky business, but nothing you cannot master by following a set of simple rules. In this article, we are writing about right capitalization and punctuation of titles (of your own books) on the cover and on the title page, with special regard to consistency.
How do you print white? In some complex cases a white ink is used on top of a foil or acetate but on the vast majority of our print jobs to get white you simply don’t print any ink.