The local bookstore also permits shoppers to browse, hold, touch, scrutinize, admire, and appreciate bound books. It's an experience as enjoyable to the average bookworm as it is to the book publishing professional.
What grabs a reader's attention first? The cover, of course. Readers judge, perhaps unconscientiously, a book's beauty and quality on the basis of what they see first.
It starts with the actual material. The choice in modern cover materials is wonderfully broad. Materials that emulate suede, leather, denim, or even stainless steel are easily accessible, and cost effective.
Effects that can't be purchased outright can be created through innovative techniques available at many leading printers. Indeed, there are actually printers today who specialize in nothing else but producing award-winning covers (call me; I'll be happy to refer you to one
On the creative side, the latest technologies present many opportunities to embellish and differentiate your design from all the others. But be forewarned: there are clear technical rules designers should observe.
Failure to heed these rules will cause your designs to take longer and cost more to produce and, worse, might fail to deliver your intended design effect. Let's touch on some of the best practices:
• DO involve your printer as early in the design stage as possible. Get the outside experts involved in your project; they are the ones with the experience. Designing-on-the-fly can become expensive, even perilous. A knowledgeable printer will set expectations and provide accurate estimates for cost and turnaround.
• DO ask your printer if the spot UV will work with a matte lamination, or if embossing a particular area will be appropriate. When you are using a unique paper or multiple decorating techniques, be prepared to ante up for the press proof. WYSIWYG is not exclusive to the digital workflow. What you see on a press proof is "exactly" what will be wrapped around your book.