Professional Documents
Culture Documents
Layout
For The
New
Publisher
By David Bergsland
Written and published in May, 2011
© David Bergsland • All Rights Reserved
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Some of the things are obvious
In this book we are concerned about publishing so
several of the options are predetermined. Let’s go through
these choices quickly:
5 x 8 inches √ √
5.06 x 7.81 inches √ √
5.25 x 8 inches √ √
5.5 x 8.5 inches √ √ √
6 x 9 inches (trade) √ √ √ √
6.14 x 9.21 inches (royal) √ √ √ √
6.69 x 9.61 inches √ √
7 x 10 inches √ √ √
7.44 x 9.69 inches (Crown) √ √ √
7.5 x 9.25 inches √ √
8 x 10 inches √ √
8.5 x 8.5 inches √ √ √
8.5 x 11 inches (letter) √ √ √ √
There are several sizes that cannot be distributed up
to Lulu’s 12x12 premium casewrap. CreateSpace also
provides for custom sizes with no distribution. 5
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Remember, it only costs a proof
to release another version (if that)
Some of Lulu’s sizes work really well with comb bind-
ing and saddle-stitching. These cannot be distributed through
Amazon (although Lulu makes them available through its
marketplace on Amazon), but they can work really well to
add workbook varieties to the mix, for example. They might
not have the larger distribution, but might be real handy to
offer low price releases by your ministry directly.
Bleeds
A bleed is needed when you produce a design where you
really need the ink to go exactly to the edge of the paper.
To produce a bleed, you make everything that reaches to the
edge of the page extend one-eighth inch beyond the edge and
then trim the piece back to finished size after printing. That’s
one-eighth inch, nine points, or a little less than four tenths
of a millimeter (.375 mm to be precise).
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THE NEW PUBLISHER: http://radiqx.com
The power cutters used in the industry are the reason
a bleed is necessary. These huge guillotine cutters slide their
knives through stacks of paper several inches thick. They
can cut 1,000 to 3,000 sheets at a time. Those huge cuts
force the paper to slide around a bit. The result of these
limitations is that cuts are only accurate to plus or minus a
sixteenth of an inch or so.
Margins
This seems to be too obvious, but many ruin their job
here. The most common amateur mistake is to make margins
too small. You can assume that you need to leave .5” margins,
minimum. Neither Lulu nor CreateSpace will accept a book
where copy comes within .375” of an edge.
In addition, margins are often a large part of style.
If you are trying for the elegant look of an old book, for
example, you will need huge margins. There are many for-
mulas, but here’s one you can try: 100% inside, 125% top,
150% outside, and 200% bottom (for example, 1.25” top; 1.5”
outside; 2” bottom; and 1” inside). “Look at all that empty
paper. I can’t afford to waste that space!” You might want to
keep some old books to remind yourself. Very high-priced
products, or very cultured clients like the opera, commonly
use one-inch to two inch-margins or more.
Conversely, if you need to convey maximizing your
money — fundraising materials and the like — you need very
small margins, gutters, and a lot of rules and boxes. You need
to fill every open white space, making the page look like
everything is crammed in to save money. Even if it is not
strictly true, readers will think it is. The point to remember
is: the smaller the margins, the cheaper the look.
Minimal professional standards: basically you want the mar-
gins to be large enough to engender trust. Most readers have
a subconscious reaction to cheapness—making is synony-
mous with unreliable and many other negatives. You need
to be careful to make your work look professional.
For the new publisher: I would assume a three-quarter inch
(.75”) margin as my minimum. The gutter margin (toward
the spine of the book) should be at least an inch. The on-
demand printers tend to cut slightly undersize and even
half-inch margins can look very cheap and too tight for your
work in the final delivered product. 7
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Columns
Be very careful with your column choices. Your focus
must be easy, comfortable readability. Generally, the more
asymmetrical and the more open you can lay out the piece,
the better. Of course, you can go crazy and make things
totally illegible. Modern style tends to be chaotic, splashy,
and overly complex. But your innate taste and discretion
should keep these tendencies in check. The problem, of
course, is that taste and discretion have become rare. I know
you are working hard to learn taste and reduce that trend
— thank you.
The basic concept is to focus on the reader. You are
writing to serve your reader. If you are not doing this, you
need to have a little talk with the Lord about why you are
writing in the first place.
Books are a very conservative piece of design. The type
needs to be invisible. Your goal is to present the content
are irresistible to read and easy to understand. That is the
essence of good typography.
Be very careful of using cheap clip art
and the supplied templates: Art and
layouts from sources like Office are
instantly recognizable, and subconsciously cause
most readers to reject your work as bad quality,
bureaucratic, official, or any number of similar
horrible epithets. There are now several Web-
sites with excellent stock photos to download
for free or for a couple dollars each: morguefile,
fotolia, bigstock, and many more. All of us use
stock art. The important thing is to locate high
quality images, with unlimited use.
Column width: The first assumption is that you have column
widths in good, readable range. The formula we use for
column width is very simple and gives you a good starting
point for readability.
Here’s a practical rule of thumb that’s less complex than most:
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For similar content, on ebook production, you will find this helpful