"Of all the aspects of making a book, design is perhaps the most mysterious. Authors and readers surely realize that covers are designed objects that, like it or not, books are commonly judged by. But a book's interior is also the product of a designer's careful attention to such matters as where th
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e page numbers go or how wide the margins are. Even publishing professionals-editors, agents, marketing staff-often have only the vaguest idea of how designers use type, color, space, and other elements to turn manuscripts into visually distinctive and compelling books. This is the first book that explains what designers do for the benefit of all the "word people" involved in making (and enjoying) books. By demystifying how she and her fellow design professionals approach their tasks, Debbie Berne seeks to make authors and publishing colleagues informed partners in design decisions and to ensure the process is collaborative from start to finish. She considers self-published as well as traditionally published authors in her advice. And along the way, she offers delightful reflections on how each part of a book functions and how they ideally come together as a package for the ultimate benefit of the reader." (Publisher description)
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"Buchhersteller sind gleich mehrfach gefordert: Neben ihrer gestalterischen Kompetenz müssen sie ein Faible für technische Prozesse haben und die Fähigkeit besitzen, komplexe Prozesse auch kaufmännisch zu beherrschen. Denn die Kosten für die technische Leistung liegen im Geschäft mit Büchern
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in der Regel höher als der Preis, den ein Verlag für den geistigen Input bezahlt. Dieses Werk wird diesen verschiedenen Aspekten gerecht, wobei neun originelle Kapitelanfänge die Entstehung des Buches selbst reflektieren. Das ›Buch über die Buchproduktion‹ ist auf drei Papierarten vierfarbig gedruckt, weist ca. 180 Abbildungen inkl. zahlreicher Originalgrafiken auf und thematisiert prägnant und fundiert alle wichtigen Aspekte der Buchherstellung – von der Kalkulation über die Auswahl der Schrift und das Anlegen des Layouts bis hin zu Fragen der Bindung und Veredelung." (Verlagsbeschreibung)
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"Jorge de Buen desarrolla en estas reflexiones una inteligente crítica a algunos de los usos habituales en la composición de textos y el diseño de libros, a la vez que revaloriza conceptos y procesos de la tipografía tradicional para destacar su importancia y utilidad en la edición actual, desm
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ontando otras prácticas cuestionables que se mantienen «porque siempre se ha hecho así». Porque, para que un libro llegue al lector con su apariencia de contundente sencillez, editores, diseñadores y correctores vuelcan en su trabajo amplios conocimientos y siglos de tradición. Pero, ¿todas estas tradiciones tienen una justificación lógica? ¿responden los programas informáticos que utilizamos hoy día a las necesidades de un buen diseño editorial? Conciso, contundente y no exento de humor, el autor analiza en este libro aspectos claves en la tipografía y ofrece soluciones lógicas a problemas comunes: la medida del tipo, la división de palbaras, la distribución de blancos, las formas de las citas, el uso de cifras [...]; así como critica algunos aspectos del software manifestamente mejorables." (Contratapa)
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"Este libro pretende explicarse a sí mismo, mostrar al lector cómo es y transcurre una parte de su propio proceso de gestación y alumbramiento, y explicarle con detalle cómo se diseña y ejecuta gráficamente hasta ver la luz en la imprenta y llegar a sus manos. Pero no ha sido concebido para cu
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alquier lector, sino pensando en todos aquellos interesados en ahondar en el diseño gráfico, el mundo del libro y la edición, desde quienes se dedican a dar forma al texto como diseñadores profesionales o amateurs, hasta los que escriben y quieren autoeditar sus trabajos. Se dirige, pues, a creadores de libros de lecturas de todo tipo, entendiendo por libro de lectura el libro de lectura pausada o de texto seguido." (Página 13)
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"Este Manual de edición busca guiar a todos los interesados a lo largo del proceso que conduce a la publicación de un libro tanto impreso como digital, desde el momento de su concepción hasta su venta. Manuel Gil y Martín Gómez analizan las similitudes y diferencias entre las cadenas de valor a
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nalógica y digital, exploran las posibilidades para la distribución de las obras que ofrecen los nuevos canales, así como también las estrategias de promoción y mercadeo que tienen en las redes sociales, entendidas como redes de recomendación, un activo fundamental. Se da cuenta, en suma, de los conocimientos que la industria editorial exige hoy al editor; conocimientos relacionados con el manejo de diferentes lenguajes de programación, la edición de contenidos para múltiples dispositivos, la gestión de comunidades en línea y el seguimiento y monitoreo de la información que arrojan las interacciones con los lectores en Internet." (Descripción de la casa editorial)
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"Adopting a cradle-to-grave approach, the book explores green raw materials and green design, and how eco-friendly practices can be integrated into prepress, printing, distribution, and even "beyond the door," in relation to returns. The Green Design and Print Production Handbook looks at the global
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context and frameworks for action, the unique challenges facing the industry--be it book, magazine, or newspaper publishing, or print for packaging and promotion--and how it can respond. This book is for anyone who works with print, from publishers, printers, distributors, and retailers to writers, editors, designers, and sales reps. Explaining how sustainable processes can be achieved without damaging the bottom line, it also introduces eco-friendly working practices that will benefit your business." (Publisher description)
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"The first part deals with the increasingly important role of production as project managers, a role which has not been adequately written about in any of the recent literature on publishing. The second part deals with the processes and raw materials used in developing and manufacturing print on pap
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er products. Case studies are used to illustrate why and how some processes or raw materials may or may not be appropriate for a particular job." (Publisher description)
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"Drei Auflagen lang etablierte sich Lesetypographie als unverzichtbarer Leitfaden für Dozenten, Studierende und Praktikern. Die Anregungen, Regeln, Lektionen der Lesetypo basieren auf der Analyse von Spitzenleistungen der Buchgestaltung aus Jahrhunderten und haben zeitlose Gültigkeit. Aber natürl
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ich sind in den letzten Jahren neue hervorragende Beispiele entstanden - nicht zuletzt dank der Breitenwirkung der Lesetypographie. Und so finden Sie in der [neuen] Lesetypo aktuelle Beispiele, dreidimensional farbig fotografiert, Ergänzungen und Erweiterungen." (Verlagsbeschreibung)
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"A lavishly illustrated and instructive volume on book design by one of the giants in the field. In a career spanning more than forty years, Derek Birdsall has achieved renown as a leading book designer in Britain. This practical and inspirational book distils a lifetime’s professional experience.
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It presents and discusses nearly fifty books he has designed, showing 360 spreads and covers, all in full color and to scale. The designs range from Penguin paperback covers in the 1960s to a recent complete redesign of The Church of England’s book of Common Worship. Among Birdsall’s projects are award-winning art catalogues, catalogues raisonné on such major artists as Mark Rothko and Georgia O’Keeffe, and books on wine, chess, astronomy, architecture, and fine paper. Birdsall discusses and illustrates the process of book design, from brief to deadline (which he calls the designer’s muse). He includes specimen settings of his favorite text faces as well as an innovative metric grid system for designing books. In addition, he lists books he himself has found useful or inspiring." (Publisher description)
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"Ce livre explique pas à pas la démarche et les outils (typographie, graphisme, etc.) permettant d’inventer la mise en page, la plus adaptée au public et au contenu de chaque livre, en tenant compte de la lisibilité, de l’esthétique et de l’économie de chaque projet." (Description de la
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maison d'édition)
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"The manual will be useful for a variety of people: professional graphic designers, editors and desktop publishers; business people and public servants; volunteers in community groups; printers and imagesetters; students of graphic design and desktop publishing. Not every section in the manual will
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be useful for everyone. Nor is the manual aimed at teaching everyone how to print, imageset, use particular software or completely prepare a document to prepress level or to upload it to the Internet. What this book does discuss is how to make design decisions that best use these processes and to recognise their possibilities and limitations. The part called ‘Projects’ describes many of the projects an organisation may be considering. It provides methods of approaching each project and, in many cases, some ways to streamline the development or production time. There are helpful hints on saving money, too. The part called ‘Production’ starts with design issues such as layout, typography and colour, which affect almost all design projects, and moves on to prepress and printing, and describes types of paper and finishing processes [...]" (Why is this book useful?)
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"The first part [...] deals with [...] topics as copyright protection, desktop advances, the role of the editor, multinational publishers, scholarly publishing, best-sellers, and more. Major essays explore the nature and impact of the new technologies, changing patterns of readership, scientific pub
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lishing, developments in textbooks, encouraging literacy, economics, and other important issues. The second part of the Encyclopedia focuses on international aspects of publishing. It surveys the industry in the United States, Britain, France, Germany, and Japan, and examines how developments in the evolving economies of Eastern Europe, the European Community, Southeast Asia, and other parts of the world have an impact on publishing worldwide. The Encyclopedia also offers insights into Africa's drastic book shortage and how the publishing community might reach this market." (Publisher description)
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