Learn what goes into creating professional-looking books! Join India Amos, Managing Editor of Print and Digital Production at CN Times Books, and Allan Lieberman, Special Projects Manager, Data Conversion Laboratory, Inc., on Monday, June 30th, at 1:00pm EDT to discover what you need to know about production and design. Whether you are publishing in print, digital, or both, this webinar will help you determine what choices you need to make for your book. We’ll cover: • Fonts – what works? • Paper stock, cost, and quality • eBook conversion • Print-on-Demand • Cover design • Proofing and galleys By the end of this webinar, you should have the information you need to make informed choices about how your book will look on different ebook readers and on bookshelves.

1. India Amos, Managing Editor of Print and Digital Production, CN Times Books
Allan Lieberman, Special Projects Manager, DCL
Making Beautiful Books
June 30, 2014

2. Experience the DCL Difference
DCL blends years of conversion experience with cutting-edge technology and
the infrastructure to make the process easy and efficient.
• World-Class Services
• Leading-Edge Technology
• Unparalleled Infrastructure
• US-Based Management
• Complex-Content Expertise
• 24/7 Online Project Tracking
• Automated Quality Control
• Global Capabilities

3. Valuable Content Transformed
• Document Digitization
• XML and HTML Conversion
• eBook Production
• Hosted Solutions
• Big Data Automation
• Conversion Management
• Editorial Services
• Harmonizer

4. We Serve a Very Broad Client Base . . .

5. . . . Spanning All Industries
• Aerospace
• Associations
• Defense
• Distribution
• Education
• Financial
• Government
• Libraries
• Life Sciences
• Manufacturing
• Medical
• Museums
• Periodicals
• Professional
• Publishing
• Reference
• Research
• Societies
• Software
• STM
• Technology
• Telecommunications
• Universities
• Utilities

6. About Our Presenter
@indiamos
http://ink.indiamos.com/

7. Let’s Talk About Formats
• Print
– Hardcover/Paperback
– Trim Size
– Paper Stock
– Binding Type
– Layout
– Fonts
– Design Elements

8. Let’s Talk About Formats
• Digital
– Fonts
– Layout
– Design Elements
– Responsive Design
– Different File Formats for Different E-Book
Vendors/Apps/Devices

9. You Get What You Pay For
• “Begin with the end in mind.”
• —Brian O’Leary

10. Some Types of Cases and Bindings
• Cases
• Paperback
• Hardcover
• Rounded or flat spine?
• Printed paper case wrap (aka paper over boards)
• Stamped paper or cloth case wrap
• Jacketed
• Bindings
• Perfect-bound
• Tape-bound
• Smyth-sewn
• Spiral
• Wire or Wire-O
• Comb

11. Can I Lay Out My Book in Word?
• Sure, if you don’t mind your book’s looking like it was typeset in
Word.
• Other software that has been used to lay out books (sometimes
to vile effect):
– Adobe Illustrator
– Adobe InDesign
– Adobe PageMaker
– Adobe Photoshop
– Apple Pages
– Microsoft Publisher
– QuarkXPress
– TeX
– Ventura

13. Decisions, Decisions

21. Fonts – What Works?
[sound of needle scratching across a record]
HOLD IT.
We are nowhere near ready to go there yet.

22. Text Design ≠ Picking the Font
• An appealing page = font choice + font size +
line length + H&Js + leading + page depth +
margins.
• Good book design starts in your word-
processing program—no, actually, it starts in
your seventh-grade English class.
• It takes years of deliberate study and practice to
become a skilled book designer and typesetter.
Unless you have a lot of time on your hands,
hire a professional.

23. Some Words Used to Describe Fonts
• Foundry – Adobe, Bitstream, Emigre, FontFont, Monotype
• Family – Adobe Garamond, Garamond Premier Pro
• Character Set – Minion Standard, Minion Pro, HeitiSC, HeitiTC
• Case – Lowercase, Caps, Small Caps, Unicase
• Weight – Hairline, Thin, Ultra Light, Book, Medium, Semibold,
Bold, Heavy, Black, Extra, Ultra
• Style – Roman, Italic, Oblique
• Width – Narrow, Condensed, Extended, Wide
• Serifs – Sans-Serif, Semi-Serif, Serif, Swash, Slab Serif
• Optical Size – Poster, Display, Subhead, Small Text, Caption
• Classifications –Transitional, Geometric, Humanist, Modernist
• Figure Style – Old-style, Lining, Tabular

24. Measures of Font Height

25. Point Size Is Not Everything

26. Hyphenation and Justification Settings (H&Js)
InDesign Default
Custom
(for Minion Pro Regular 10/14 × 26p)

27. Good fonts are worth paying for.
• High-quality fonts are extremely challenging and labor-intensive
to create. The humans who do this work deserve to be paid for
it.
• Well-made OpenType fonts will save you time.
• Most of the free Google Web Fonts are garbage. Sorry.
• Most of the fonts that come with your operating system or with
MS Word are inadequate for typesetting.
• Some Adobe programs come with good and useful fonts. Which
ones you get depends on which application and version you buy.
• If you use Adobe CC with Typekit fonts, your printer must accept
PDFs. You cannot package Typekit fonts for output.

28. Some Fonts I’ve Used Often
• Arno Pro
• Karmina and Karmina Sans
• FF Meta
• Minion Pro
• Myriad Pro
• FF Scala and FF Scala Sans
• Adobe Text Pro
• Warnock Pro

29. Artwork
• 300dpi at print size is fine for most images
• Scan line art at 1200dpi
• Vector images do not have a fixed size
• Image formats your printer may accept:
– Hard copy
– JPG
– PDF
– TIFF
– EPS
– AI

30. Paper Stock – Cost and Quality
• Paper choices will depend on the country you print in, the trim size, the print
run, the type of printing press, and your budget. If you’ve chosen a
nonstandard book size, ask your printer if tweaking it slightly might lower the
cost.
• If printing POD, you don't have a lot of choices; 2 colors (white, natural) and
2 finishes (coated, uncoated) is a typical set of choices. Coated paper will
probably be available only in white. Your choice of trim sizes will be limited
to what fits most efficiently on the paper.
• If using a full-service printer, ask your customer service rep to guide you.
They can tell you what paper is most common for the type of book you’re
printing, as well as what some more luxurious or cheaper options would be.
• Some paper comes in rolls (for large-run “web” printing), some in sheets (for
“sheet-fed” printing). The paper you want may not be available in both
formats.
• Paper has grain; ignore it at your peril.

31. Miscellaneous Niceties
• Headbands
• Colored or printed end sheets
• Bookmark ribbons
• French flaps
• Spot coatings
• Laminates
• Embossing
• Foil stamping
• Textured casewrap
• Deckle edges

32. Embossing and Foil Stamping

33. Soft-Touch Laminate with Spot Varnish

34. Deckle Edges
Head Bands

35. Colored or Printed
End Sheets

36. Print On Demand
• If you plan to use POD, it’s best to choose the printer before
you start designing your book, so that you can work with their
particular limitations—trim sizes, safety margins, bleeds, color
quality, binding types, cover finishes. For example, if images
or tints bleed across an spread in your book, some POD
printers may require you to leave a white gap along the gutter.
• You will have extremely limited or no choice of paper stock,
end sheets, case wrap, headbands, ink colors, textures,
laminates, and so on. Short print runs are economical only
when the printer can gang-run multiple titles. They can only
do this if the specs are uniform.
• Check your files very carefully BEFORE you upload,
especially if you’re using LightningSource.

37. Don’t Let Your Sister
Design Your Cover…
…unless she’s an experienced
graphic designer.

38. Cover Design Tips
• Hire a professional.
• Look at other books that are similar to yours, to see how they are
presented.
• Find covers you like, find out who designed them, and ask if the
designer does freelance work.
• Typography is VERY important on covers. Not all designers who are
good with images understand how to use type.
• Remember that your cover has to work in many digital contexts, at
thumbnail size.
• If you are planning a series, even if the later books are not written
yet, let your designer know so they can plan ahead for a series
design.
• Hire a professional. No, really.
• Expect cover design to cost real cash money.

39. Proofing and Galleys
• What kind of proofs do you need? Options include bluelines, full or
partial color proofs, electronic (soft) proofs, plotters, and more.
• Checklists, checklists, checklists.
• The homelier your galley is, the less likely it is that someone will try
to resell it. But they might not want to review it, either.
• Sterling Pierce is the galley printer I use. If you’re planning to do
POD anyway, however, your POD printer may end up being
cheaper.
• For color books, a printed blad + an e-galley may be sufficient.
• NetGalley, and other galley distributors.

40. Resources for Learning More
Websites
• Adobe.com – Training and support for all Adobe software.
• DesignerInsights.com – Lots of useful illustrated explanations of binding
types, typographic elements, and more.
• Lynda.com – Video Instruction in InDesign, Quark XPress, Apple’s Pages,
and much more.
• InDesignSecrets.com – Excellent nitty-gritty information. See also
ePUBSecrets.com.
• Printindustry.com - Has lots of educational resources, an e-mail newsletter
about printing, and an online form you can use to request quotes from
multiple printers at once.
• Typedia.com – A crowdsourced encyclopedia of typographic information.

41. Resources for Learning More
Books
• Anton, Kelly Kordes, and John Cruise. Adobe InDesign CC Classroom in a Book (2014
release). Berkeley: Adobe Press, forthcoming July 18, 2014. If you’re really learning from
scratch.
• Bringhurst, Robert. The Elements of Typographic Style: Version 4.0: 20th Anniversary
Edition. Vancouver, Canada: Hartley & Marks, 2013.
• Felici, James. The Complete Manual of Typography: A Guide to Setting Perfect Type. 2nd
edition. Berkeley: Adobe Press, 2012. InDesign-focused, covering both theory and practice.
• French, Nigel. InDesign Type: Professional Typography with Adobe InDesign. 3rd Edition.
Berkeley: Adobe Press, 2014.
• Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors, &
Students. 2nd ed. Princeton: Princeton Architectural Press, 2010.
• Spiekermann, Erik. Stop Stealing Sheep & Find Out How Type Works. 3rd ed. Berkeley:
Adobe Press, 2013.
• University of Chicago Press Staff. The Chicago Manual of Style, 16th Edition. Chicago:
University of Chicago Press, 2010. Also available as an online subscription at
http://www.chicagomanualofstyle.org/. Even if you don’t want to subscribe, poke around on
the website for resources such as the “Art Submission Requirements” guide and the often
salty Q&A section.

42. Resources for Learning More
People
• Do not be afraid to ask your printer’s customer service representative for help in
figuring out what kind of paper, cover material, and binding you need. When you
receive estimates, ask your rep to explain anything that is unclear.
• Print brokers can be particularly helpful, as they work with multiple printers and must
understand all of those companies’ varying capabilities. At CN Times, we’ve received
excellent service and prices from Ron Glick of NJ Printing, njprinting.org.
• The Editorial Freelancers Association maintains a directory of copyeditors,
proofreaders, and other editorial professionals at http://www.the-
efa.org/dir/search.php.
• BiblioCrunch.com is a service that connects authors and publishers with book
publishing professionals of all kinds.
• Your local InDesign User Group: indesignusergroup.com.

43. About Our Presenter
Allan Lieberman is Special Projects Manager for Data Conversion
Laboratory, Inc., and a PMI-Certified Project Management
Professional (PMP). With a deep and comprehensive technical
background in both computer software production and large scale
database design and applications, Allan specializes in eBook
conversion projects for DCL, providing technical consultation and
guidance for clients, while overseeing DCL's eBook production
processes.
Allan joined DCL in 2012, following 25 years with the Information
Systems department of Davis Polk & Wardwell, a leading global law
firm, where his most recent position was Manager of Software
Design and Systems Development. He holds a B.A. in Mathematics
from City College of New York, and an M.S. in Computer Science
from Polytechnic University of New York.

44. Agenda
• Intro to eBooks
• What are EPUB and MOBI?
• Conversions from print
• Limitations of automated conversions
• Things to keep in mind with special content
• Things to keep in mind when converting for Kindle
• Importance of viewing on actual devices

45. Intro to eBooks (fixed vs. reflowable)
• Reflowable formatting
o Suitable for most books, not just for plain text
o Does not retain formatting of source
o Advantages
o “page” changes based on size of the screen
o Compatibility across eReader devices
o Text search
o Accessibility
o Lower costs
o EPUB vs MOBI formats
o MOBI/KF8-Amazon Kindle Family
o EPUB – all others

46. Intro to eBooks (fixed vs. reflowable)
• Fixed layout mimics look of the source
o Ideal for children’s picture books
o Appropriate where print page layouts must be maintained
• Fixed layout is proprietary for each device.
o Separate conversion necessary for the Kindle and iPad
o Sony reader does not support fixed layout
o Nook supports fixed layout, but through Barnes & Noble
o Higher Conversion Costs

47. eBook Design
• Professional design
• Design issues
– Mostly for reflowable eBooks
– Texts on top of images or layered elements
– Tables with many columns/ data
– Captions for images, figures or tables are not always on the same page
– Line breaks for contents like poems/songs
– Layout of eBook not exactly as the contents design for prints

48. eBook Production
• “GOOD” Output
– No typos
– Special characters captured correctly in Unicode
– No errors on EPUB check
– Links are working
– Images are clear
– Consistency of formatting throughout the book

49. eBook Production
• Print vs eBook
• Automation Concerns
• Device limitations
• Multiple formats
• Highly stylized for print
Free (or cheap) conversions are generally worth what they
cost!

50. Things to Keep in Mind When Converting from
Print
• Smaller screen size
• Large tables may not fit
• Not all Character Sets supported by all devices
• MathML is requires EPUB3, which is not universally supported

51. Handling of Objects Mid-Paragraph
Converting exactly per source may
lead to problems …

52. Things to Keep in Mind When Designing
an eBook
• Page layout concept
• More than one column
• Index – is linking necessary?
• Objects mid-paragraph

53. What Happens in an Automated PDF
Conversion
Source Document

54. Example #1
• Chapter header found mid
paragraph
• Multiple links to the same chapter
heading
• Emphasis not retained
• Paragraph breaks do not match
source
• Lots of extraneous data

55. Example #2
• Missing random characters “ex” vs.
“exact”
• Emphasis not retained
• Footnote Linking Character
captured as plain text
• Indented formatting not retained

56. Example #3
• Extra spaces around punctuation • Missing spaces between words

57. Example #3 (cont’d)
• PDF repeating header captured as
plain text repeatedly
• Merged paragraphs
• Unnecessary hyphens

58. Importance of Viewing on the Actual Device
Kindle for PC
Actual Kindle Device

59. Things to Keep in Mind with Special Content
Math as Images – Changing Font Size Doesn’t Change Images

60. Math as Images – Changing Font Size Doesn’t
Change Images

61. Unicode Symbols Will Adjust with the Font Size
Change

62. Large Tables
• Table as Text (searchable but cut off) • Table as Image

63. Things to Keep in Mind when
Converting for Kindle

64. Some Notes on the Kindle
• Designed for reading long documents
• Designed for simplicity
• Has some features that others don’t
• But also missing some features that others have
• Therefore, need to design the conversion differently

65. Glossary Definitions
iPad screenshot Kindle screenshot

66. Use of CSS “Float” Style
iPad screenshot Kindle screenshot

67. Use of Borders
iPad screenshot Kindle screenshot

68. Color/Spanning/Large Tables
iPad screenshot Kindle screenshot

69. Kindle for PC
Actual Kindle Device
Importance of Viewing on the Actual Device

70. Kindle for PC
Actual Kindle Device
Importance of Viewing on the Actual Device
(cont’d)

71. What We Learned
• Automated conversions don’t necessarily work even for simple
materials
• Since different devices render differently, multiple outputs are
recommended
• Special content requires special attention
• It’s your book – is it worth the effort to make it come out right?

72. Q&A
Linda Cassola
Senior VP of Sales and Marketing
LCassola@dclab.com
Laura Dawson
Product Manager, Identifiers
Laura.Dawson@bowker.com