LaVergne

Eugene G. Schwartz is editor at large for ForeWord Reviews, an industry observer and an occasional columnist for Book Business magazine. In an earlier career, he was in the printing business and held production management positions at Random House, Prentice-Hall/Goodyear and CRM Books/Psychology Today. A former PMA (IBPA) board member, he has headed his own publishing consultancy, Consortium House. He is also Co-Founder of Worthy Shorts Inc., a development stage online private press and publication service for professionals as well as an online back office publication service for publishers and associations. He is on the Publishing Business Conference and Expo Advisory Board.

Book-production management is, in many respects, an act of faith. For some, faith in the universality of Murphy’s Law—if something can go wrong, it will. Or, faith that virtue is its own reward—if you do everything right, things will always come out right. Old hands come to realize that “trust but verify” is probably the most prudent maxim to apply in managing workflow. Without systems in place and proven procedures, we’d have to reinvent the wheel every time. But without an occasional revisit to the last batch of XBIT transactions or Job Definition Format (JDF) specifications sent through, that error in the PMS color

While digital toner and inkjet based color has been available for years, Lightning Source’s announcement at Book Expo America of its four-color one-off production line exponentially expands the base for untapped publishing business opportunities for mid-range, independent and high-end publishers. It also shines the light on the transformation of manufacturing business models in the past 10 years, providing a price-list-based, sophisticated manufacturing service that simplifies the supply chain process without sacrificing quality controls. Buying color in Asia or Europe in sufficient quantities to bring the unit cost down and allowing for the weeks of turnaround time need no longer be a barrier to the

The paper selection process for books printed digitally differs radically from that of books destined for offset. What designers and production managers should know. Choosing the right paper for a book printed digitally can make or break such on-demand publishing projects. Digital paper has unique reflective, color, sensory, and operational characteristics compared to paper destined for, offset or other printing technologies. For example, digital paper has increased moisture, is smoother, and more dimensionally stable. The more precisely the edges are cut, the more efficiently the paper moves through the press. Digital papers are smoother than offset papers for good toner

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