January 2015 Magazine – Book Design and Manufacturing Friday, Jan 9 2015 

Book Manufacturing Concepts
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The best font ideas will not work for your book, if you don’t send files with the appropriate font information to the printer. Click here for information on how to embed (or substitute) fonts in PDF from Adobe.
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This section is drawn from
http://www.gregathcompany.com/publish/design/font.html

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March 2006, V5#3: Design Thursday, Jan 29 2009 

 Lower cost alternative to custom printed end sheets:

  • Contrasting end sheets (maroon cover, mauve end sheets)

January 2006, V5#1: Production Thursday, Jan 29 2009 

Basic Paper Primer

Paper  weight is based on the basic size of a given paper as determined by a given mill.  For this reason, many weight notations one finds has at least 2 separate numbers.  This does not necessarily mean the weight fluctuates between the two.  Generally with printers and suppliers is not a range, but a definition from more than one source and may include more than one grade of paper (bond, text, etc.).  A 50/60# paper is ordered as 50# and as 60#.  However, when put through standardized testing, it is found that each sheet carries the same weight. All specifics supplied If in doubt, check with the business presenting the number information for formal explanation.  Gregath paper suppliers do recognize the standard variation in basis weight of + or – 5% as acceptable by industry standards.

Paper brightness affects the legibility and contrast of printing.  The brightness test measures the reluctance of paper under strict optimal conditions and related it to a white standard (Magnesium Oxide).  The test is mainly applicable to white paper grades.  Basic offset grades are usually in the 80% brightness range.  Aesthetic importance may also be given to the brighter papers.  However, if archival quality is a focus, one must be certain that it is not traded for the brightness.  White papers with 90+ brightness sometimes actually have a blue or colored cast due to additives. 

October 2003, V2#10: Production & Design Saturday, Jan 17 2009 

There are several real problems concerning reproducing pictures that authors may not be aware of. The very best reproduction processes lose some quality from the original. Some “antique” photos are sent to the printers that are barely discernible as pictures. These pictures should be taken to a professional restorer or computer graphic whiz (with a high quality photo quality printer), first. Remember that the printer can do many miracles with size, but most are not set up to restore faded photos. Any old, faded photos sent to the printer will only result in faded print and possibly disappointment.

If you are preparing a manuscript for publication, take a critical look at the pictures. Do they show the detail you want? Is there too much unwanted background? Are the faces too light? Too dark? In many cases, there are no better pictures of the subject and in some cases, no others at all. In these cases, the question is, Can they be enhanced? Quite often, the answer is yes! In most major cities, a trip to the yellow pages will find a photo restorer. When you have photos reproduced, compare them closely with the originals. Often the reproducer, to improve contrast, loses detail.

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This section is drawn from information online at http://gregathcompany.com/tips.html