"Six [colors] makes a huge difference," the publisher's senior director for design says. "It has opened up the color range, and delivered a lot more punch."
The publisher finds the six-color process especially effective in boosting oranges, greens, and purples. But ink color ranges aren't the only thing that's been expanded for cover effects. Cover materials are undergoing revolutionary changes as well.
A MATERIAL EDGE
That according to executives at ICG/Holliston. A dominant provider of cloth covers, ICG/Holliston has been aggressively expanding the color palette of choices available to publishers, says Joann Scherf, vice-president of marketing for ICG/Holliston, in Kingsport, Tenn.
"The covers for [Scholastic's] Harry Potter titles used some of our more bright and vivid colors, green and purple, but we have a multitude of colors, and we keep expanding our selection," she says.
But color is just the tip of the iceberg when it comes to the power of cloth to attract buyer's attention, she says. "We have a multitude of different looks and textures, and we continually offer more choices," Scherf says. "People think of cloth as having a cloth texture, but we can do [simulated] cowhide or goat, for example, and we're doing a metallic crinkle, too."
Pre-binder Bound to Stay Bound Books Inc. is using a range of ICG/Holliston's materials to sharpen the company's competitive edge. The company reprints highly durable versions of 18,000 works, selling them directly to libraries and educational buyers.
The market is fiercely competitive. Bold covers can make the difference. "Historically we used dark buckrams or pastels," says Bob Crane, printing supervisor at Bound to Stay Bound Books, in Jacksonville, IL. "We found buckram wears best, but it wasn't very attractive by itself."
To spiff things up, Crane is largely converting to all-white buckram. He's reproducing the publisher's original jacket art on the white background, making it stand out.