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Bookishness: The Future of Print & Digital Books


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This is the latest version of "Bookishness", presented April 30, 2015 to Foros del Libro in Bogotá, Colombia. (The title is in Spanish; the text in English starting on Slide 2.)

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Bookishness: The Future of Print & Digital Books

  1. 1. Cómo crear libros impresos extraordinarios h d lThad McIlroy San Francisco & Vancouver Foros del Libro, Bogotá April 30, 2015
  2. 2. Bookishness The Future of the Book h d lThad McIlroy San Francisco & Vancouver Foros del Libro, Bogotá April 30, 2015
  3. 3. A bit about me...  I’m a book publisher (4 companies)  I’m an author (15 books) I m an author (15 books)  I’m a technologist (30 years)
  4. 4.
  5. 5. My New 2015 Books
  6. 6. Bookishness on my Blog
  7. 7. Outline  Thinking about“AND”  How to make a print book and an How to make a print book and an ebook complement each other  “Bookishness”is about MAGIC Bookishness is about MAGIC  A whole bunch of examples  How to be a Bookish publisher
  8. 8. Proviso  Three types of publishing: trade, professional, textbook  This session is focused on trade books for a broad readershipfor a broad readership  Professional books are presumed to be immune to beauty: wrongbe immune to beauty: wrong  Textbooks do follow a different code
  9. 9. The Future of Publishing The 9th LawThe 9 Law Black + white thinking is anathema to appreciating change. Change is not either/or. It’s and. See my“Laws of the Future of Publishing”:
  10. 10. The Book Battle is Over: Two WinnersTwo Winners  Ebooks are going to co-exist with printed books for the foreseeable future  How do you make the most of each opportunity?pp y  This session concerns making the most of the print opportunitymost of the print opportunity
  11. 11. Why Print?
  12. 12. The Print Tradition is Still Strong Fernando Botero, detail
  13. 13. Bookishness is all About Manufacturing Magic in PrintManufacturing Magic in Print Let’s Look at Some ExamplesLet s Look at Some Examples
  14. 14. Covers that Jump
  15. 15. The Yellow World Albert Espinosa, 2012
  16. 16. Tartamudo, Animal Extinto Editorial
  17. 17. Storybooksy
  18. 18. The Invention of Hugo Cabret is a 550-page book that is not a exactly a novel, not quite a picture book not really apicture book, not really a graphic novel, or a flip book or a movie, but abook or a movie, but a combination of all these things.
  19. 19. From The Invention of Hugo CabretHugo Cabret by Brian Selznick
  20. 20. Miss Peregrine’s Home
  21. 21. TypographyTypography
  22. 22. 1968
  23. 23. Trim & BindTrim & Bind
  24. 24. Trim Size
  25. 25. Trim: Deckled Edges
  26. 26. Trim: Coloring “Those of you who have seen my book, whatever you think of its contents, will probably agree that it is a beautiful object.” li h S f di—Julian Barnes: The Sense of an Ending
  27. 27. Beauty is its Own Reward
  28. 28. I Wonder by Marian BantjesI Wonder by Marian Bantjes
  29. 29. Tree of Codes
  30. 30. Jonathan Safran Foer, Tree of Codes, 2010, ,
  31. 31. Educational Titles  The Autobiography of Mark Twain  Published by the University of Published by the University of California Press  Now in its Third Volume Now in its Third Volume  Availalable online for free, but from the archi esthe archives  An enormous bestseller
  32. 32. Biblioteca Nacional de Colombia
  33. 33. What are the most beautiful books in your collection?books in your collection? How were they printed?How were they printed? H ld d d hHow would you reproduced them today?
  34. 34. Print Interactivity?
  35. 35. P d ti S ifi tiProduction Specifications: A Taxonomy of Bookishness Binding • Cover material – cloth, paper Paper • Paper – Interior – Weight • Paper covers – weight, laminate • Embossing and stamping • End sheets g • Paper – Interior – Style, i.e. rag, spotted, etc. • Paper – Interior – Color • End sheets • Binding – Side sewn, Smyth Sewn, Double Fan adhesive, Oversewn Paper Interior Color • Paper – Interior – Inks • Glossy stock for photographs Folded sheet for maps etc Oversewn• Folded sheet for maps, etc.
  36. 36. The difficulty for book publishers  Book production is a specialty • The largest publishers have full-timeg p print buyers  But you can be trainedy  The printer is your friend, not your over-priced supplierover priced supplier
  37. 37. The Economics of Print Since desktop publishing The cost of creative -75%The cost of creative 75% The cost of prepress -85% Since on-press automation The cost of print -30%
  38. 38. Summary  Don’t leave print on auto-pilot  Planning starts with the author Planning starts with the author  The physical & digital must interact with one anotherwith one another  If you can dream it, China can produce it  Supercharge print production
  39. 39. Thank youy
  40. 40. Resources  Bookmaking: Editing, Design, Production, Marshall Lee, Norton, 2004  The All New Print Production Handbook David Bann The All New Print Production Handbook, David Bann, RotoVision SA, 2006  Book Production, Adrian Bullock, Routledge, 2012g  XBITS (Book Manufacturing User Group)
  41. 41. The Case of Textbook Publishing  Well-established design rules  The student is not the customer, it is The student is not the customer, it is the teacher/professor, the school or the governmentthe government
  42. 42. Other Versions