Vern Associates, Inc. (VAI) specializes in making beautifully produced coffee-table format anniversary histories for educational institutions, professional organizations, and corporate clients. We just embarked on our 20th year in business, and during that time have built a reputation in this area. Trouble is, very few potential clients know about book packagers (or book producers), so they are apt to turn over a project such as an anniversary publication to their trusted public relations or graphic design department or outside firm. Unfortunately, chances are that those groups don't know much more about how to make such a book, either.
Topics: illustrated books, book design, editorial services, illustrated-book producer, illustrated book design, anniversary publication, book production, graphic design, graphic designer, communications, communicating
About 90 percent of Vern Associates's books are large, heavily illustrated tomes that require exceptionally fine-quality prepress and printing. The remainder of our projects, while also illustrated, tend to be smaller in trim size, lower in page count, and include less-demanding illustration/information graphics programs. Specifications for these projects are closer to those for standard reading books: one- or two-color printing, 65 percent or more text, hardbound with a four-color jacket or paperbound with flapped cover. Our clients for such publications usually are not publishers per se, but corporations or nonprofit organizations whose print experience is limited to advertising, collateral, or capabilities materials.
The falling domino this week involves prepress—specifically delivering accurate digital images to a printer and the color correction phase that follows.
Design is a hot-button issue. It provides the client with a welcome relief from all of the tedium and aggravation they encounter each workday, and the chance to express opinions—likes and dislikes. This may explain, in part, why, in the course of a design-concept meeting, the group can so easily go off topic or become mired in minutiae.
Last week's contribution to our series of posts that concerns ways to keep all your book production dominos in their locked-and-upright positions dealt with troubles we have encountered during the line editing stage of manuscript preparation. (See An Editorial Services Minefield for Dominos.)
As I mentioned in my last post ("Book Development: An Early—Potentially Lethal—Falling Domino"), the later the stage of the publication-production process, the fewer dominos remain to fall. What that doesn't address is the degree of setback a tumble can cause.
Last week's post, Book Production and the Toppling Dominos, introduced our series of blogs that will look at how missteps at any given phase of book production can result in damage to—if not total annihilation of—a publication project. Our goal is to offer tips on how to spot the red flags before they burst into flame.
More than three years ago, we posted a blog subtitled "The Book Producer's Dominos." In it I tried to explain why rewriting or reconfiguring text (and pictures) at the layout stage of book production is practically guaranteed to unravel the work done to that point, resulting in overruns—not just financial, but (worse) schedule.
Slightly giddy from finding an actual parking spot on 90th off Fifth on Manhattan's Upper East Side, I strode downtown past the Church of the Heavenly Rest and its very busy little outdoor café and stopped next door to read the gallery announcements in front of the National Academy Museum. I'd promised myself to visit this museum for years (decades!) and this was the day I would keep that promise.