FiberMark

The old adage, “Don’t judge a book by its cover,” may be sage advice, but the publishing community knows better—that it is an intriguing cover that catches the potential reader’s eye. Indeed, a title’s cover is its most valuable marketing tool—an integral part of the publisher’s and author’s brand. So it makes sense that great thought typically goes into a book’s cover design and production. So was the experience for Walter T. Shaw, a first-time author whose nonfiction book, “A License to Steal,” is being published this year by Omega Publishing Group and manufactured by HCI’s print services division in Deerfield Beach, Fla. The

Choosing a cover-material supplier or deciding to switch to a new provider can seem like a game that we don’t know how to play. Knowing what materials are available and which would work best for the look and feel you are trying to achieve for your next book project can be tricky ... and even risky. A bad decision can break a book—after all, aren’t books judged by their covers? Fortunately, representatives at most cover-material companies are available to walk you through the process helping you discover what qualities and features are most important for your needs. “So many questions have to be

Competition in the book market is often fierce, and many book designers opt for foil, metallic, UV coating, or new or unusual substrates to set their titles apart and attract consumers. The challenges in committing to such innovative techniques are often difficulty, cost and production deadlines—using alternative materials can be more expensive, more complex to produce and more time-consuming. What it often comes down to is: Will the potential added time and expense translate into additional sales for this specific title? Some considerations publishers have to weigh before adding extras are the prestige of the author or project, the quality of the project