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Details regarding the books mentioned in this document
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- Techniques for reproduction
- halftoning vs line art
- Halftoning is the simulation of a wide range of color tints by printing dot patterns using a limited number of ink colors.
- In traditional halftoning, the spacing of the dots remains constant, while their size varies (larger dots create darker shades). This is called an amplitude modulation (AM) halftone.
- A key characteristic of AM halftones is the dot spacing, called ruling or frequency, and measured in LPI (lines per inch). High LPI values yield more detailed images, but require more expensive print jobs (better paper, etc.)
- In stochastic halftoning--made possible by computer processing--the size of the dots remains constant, while their spacing varies (dots clustered closer together create darker shades). This is called a frequency modulation (FM) halftone.
- AM halftones are still more widely used, and generally easier to print with satisfactory results. FM halftones are more demanding, but they can display finer details.
- Line art is a generic term for those images in which the ink prints 'solid'--without the superimposition of a dot pattern. Body type should be handled as line art to avoid illegible results.
- process-color jobs
- Used to simulate a full color spectrum using four standardized inks: cyan, magenta, yellow, and black. The majority of modern picture books are printed in this manner.
- The "Process color manual" is a very large collection of color samples created through process-color mixes.
- spot color jobs
- These are print jobs in which custom-mixed inks are used.
- An exclusively spot-color approach can be used to save on printing costs, since typically fewer than four colors are used. This was common for picture books produced up to a few decades ago. "It's Halloween" is a three-color job using yellow, orange, and black inks.
- To further drive down costs, pre-separated artwork (as in "Rain rain rivers") requires that the illustrators create separate drawings for each ink color used in the print job. A fair amount of experience is required to achieve good results, since the artists do not see their work in full color until it comes off the press.
- Double-dot (printing the same image twice, using two inks of different darkness) is a special spot-color technique, used to increase the tonal range, as in "Jambo means hello".
- Spot colors may be added to a process-color job to achieve special effects--such as fluorescent or metallic spot colors used to highlight parts of the image.
- The traditional book production workflow
- Some useful reference on traditional printing (as well as its recent developments) include: "Pocket pal: a graphic arts production handbook" and "Getting it printed".
- Galley proofs
- Text-only, used for final typographic checks.
- To allow space for type in the layout of your pages, request rough galleys from the Art Director.
- An example of galley proofs is shown on page 24 of "Building the book 'Cathedral'"
- Mechanicals (camera-ready artwork)
- This is the final product of the illustrator's and designer's work.
- Note that with the most popular printing technologies (such as offset litho), text too becomes part of the artwork by this stage.
- If the text is not hand-lettered or otherwise generated by the artist, it will be provided by the typesetter as final galleys to be pasted into the mechanical.
- Film
- A large-format process camera is used to photograph the artwork on film with the same size as the final printed piece.
- Stripping is the process of assembling film for all the pages to be printed on one sheet. The film assembly of imposed pages is called a flat.
- Blueprint proofs from film
- Monochrome, used to check positioning: layout, imposition.
- An example of blueprint proof is shown on the jacket of "Building the book 'Cathedral'"
- Color proofs from film
- Used to check halftone and (within their accuracy limits) color fidelity
- If halftones were executed incorrectly, the patterns of dots for the different inks will interact to create an artifact called moire
- Dye transfer
- Overlays
- Plate
- This is the actual printing surface to be mounted on the press. In most cases, it is created photographically by contact printing the film flat.
- Press proof
- A final test image, pulled from the same plate used for the actual press run. Often used to obtain client approval.
- Press run
- "Delmar's Dictionary of Digital Printing and Publishing" provides background information on printing technology, helping you to understand the jargon of the digital age.
- 'Great production by design', while directed primarily at production managers, deals with issues which--as the title implies--are best dealt with at the design stage. It is therefore a great resource for illustrators as well--since it clearly delineates the boundaries of what is possible in print, and what problems to anticipate.
- Color checking on the press.
- In-line conflicts occur when one image has ink requirements different from those of another image next to it. Some compromise must be reached so that both images print with acceptable quality.
- Mis-registration
- The various ink impressions required to create a full-color image should align exactly. In practice, the alignment will be slightly off--the amount of this mis-registration is dependent on many characteristics of each print job.
- While extreme mis-registration, resulting in fuzzy images and color fringes, is unacceptable, smaller inaccuracies are standard, and must be taken into consideration at the design stage.
- When substantial mis-registration is anticipated (as in the case of high-speed printing on low-quality paper), the illustrator may be asked to create a holding line. For this technique, a black outline drawing is created and photographed separately from the color fills. The outline is overprinted on the other colors, covering up inaccuracies. This practice is especially common for comic strips.
- Finishing
- Embossing
- Can be used to add a three-dimensional feel to an image, as in the picture of the frame on the dust jacket of "Pish posh, said Hieronymus Bosch"
- It is also a popular enhancement for book covers, used often in combination with foil (see the hardcover edition of "The strange appearance of Howard Cranebill, Jr."), or by itself, without a printed image (blind embossing, see the hardcover edition of "Tuesday").
- Varnishing
- Can add luster and depth to the image, and provides some protection from wear.
- When applied selectively to parts of the page, it is called a spot varnish job--the varnish is printed onto the sheet as if it were an additional ink. See the inside pages of "Pish posh, said Hieronymus Bosch".
- Die-cutting
- Used to reshape the page, carve holes, separate elements. It is a key technique in the making of various 'interactive' picture books (pop-ups, pull-the-tab, etc.)
- Folding
- Gutter crossover problems can arise from inaccurate folding. Keep in mind that folding is a relatively imprecise operation, with tolerances around one eighth of an inch.
- Binding
- Saddle-stitching vs. side-stitching
- Case bound, perfect bound, library bindings
- Different amounts of gutter will be pinched in (for library bindings, almost half an inch may be lost)
- Book will lie more or less flat, further influencing the amount of gutter material hidden from view.
- Dust jacket
- This is meant to protect the hardbound volume, and provides room (on the inside flaps) for descriptive/promotional copy: typically, a synopsis and/or review of the book on the front flap, and author/illustrator bio and/or bibliography on the back flap.
- The visuals on the dust jacket typically mirror the book covers. In some instances the jacket is used to showcase different artwork, as in "The wicked prince".
- Slipcase
- Sendak's 'Nutshell Library' slipcase, p.73 of "The Art of Maurice Sendak"
- How computers change the book production workflow
- "Professional prepress, printing, and publishing" is a book that focuses on the many new practices introduced in the printing industry in recent years.
- Computer files replacing mechanicals
- "The new MacDesigner's handbook" provides an overview of the many ways that various combinations of hardware and software can be used in lieu of traditional illustration, typesetting, and paste-up techniques.
- Scanners replacing the camera
- "Real world scanning and halftones"
- Instead of being photographed, the finished artwork is digitized and, possibly after corrections and/or manipulations on the computer, is recorded directly onto film using a device called imagesetter
- While you may be familiar with flatbed scanners (the kind that look like small copy machines and allow scanning of rigid objects), high quality print jobs (such as--hopefully--your picture book) still require a drum scanner.
- To wrap around the drum, your artwork must be executed on a flexible medium such as paper. Paintings on inflexible materials are always photographed on transparency first--the extra cost may be a concern to smaller publishers.
- Unlike flatbeds, drum scanners can commonly handle large originals--but oversized artwork will also incur the additional cost of photography.
- Leave at least a 1-inch margin on all sides for secure tape-down. Artwork that gets shredded on the drum is not unheard of--and generally compensated with a set amount that may not please you.
- Platesetters eliminating film
- A special imagesetter version called platesetter can be used to create printing plates directly from computer files.
- Printers replacing presses
- Various types of high-speed computer printers and 'digital presses' are cost-effective for shorter print runs.
- These devices make possible print-on-demand--the printing of as few as one copy of a book at the time it is requested by a customer.
- Print-on-demand may appeal to some self-publishers because it eliminates large up-front investments, as described in "A simple guide to self-publishing" and "U-Publish.com". The print quality and the costs involved are still incompatible--at this time--with picture book production.
- E-books eliminating books
- This most extreme development will be described in our class on electronic spin-offs.
- Some very basic business issues
- Types of contracts
- Work-for-hire
- This is a contractual arrangement in which an artist, usually compensated by a flat-fee, executes the illustrations under the direct supervision of a client. The latter owns the copyright to the work.
- In some markets (textbooks, many non-fiction works) this may be the only arrangement available.
- Royalties
- This is the term indicating the compensation received by copyright owners for licensing their work.
- In all cases except work-for-hire, the creator of the work is automatically entitled to control its reproduction (i.e., owns the copyright to it). For a picture book, the writer owns the copyright to the text, and the artist owns the copyright to the illustrations.
- 'First publication rights' is a term used in granting a license to publish an as-yet-unpublished work (often limited to a specific geographic area and format, e.g. 'First North American Serial Rights' or FNASR). Re-publishing the work is subject to a separate licensing agreement.
- 'Subsidiary rights' indicate the licensing of 'derivative works'--embodied in media other than the one originally intended by the author (e.g., a book). Examples include serialization, audiovisuals (TV, film), merchandising, etc.
- Given the spread of the Internet, electronic rights have become especially prominent. While at the moment there is hardly any money to be made in publishing on the web, this is a good example of the principle that copyright is not just about revenue, but also about retaining control over the integrity of the work. Any number of deeply distorted and/or inappropriate digital derivatives of your art can be cranked out in short order--and if you alienated your electronic rights, you won't have a say in the matter.
- The term 'subsidiary' may also be used to include international rights (the licensing of the book abroad).
- Copyright
- Copyright law is a very complex matter, and the following notes are intended only to point out the leading issues. Seek specific legal advice before making important decisions regarding copyright matters.
- For a readable and comprehensive history of how intellectual property laws came to be (and where they may be headed in the future) see The illustrated story of copyright
- Registration
- Under the current U.S. copyright statute (1978), copyright is automatically assigned to the author (except for the work-for-hire cases mentioned above). Formal registration with the Copyright Office (in the United States, see www.loc.gov/copyright) is not necessary to assert the ownership of the work. It does, however, convey rights needed to defend the copyright in court.
- Based on current practices, it is the publishers' responsibility to register--on behalf of the authors--the copyright of books they publish.
- You would have to secure on your own the copyright registration of your unpublished work. This is often done by gathering a number of drawings, sketches, etc. into a single collection of works--which can then be the object of a single registration application.
- Affixing a copyright notice on the work is, likewise, no longer a requirement. But having one may discourage infringers, and invalidate some of their claims in court.
- The Universal Copyright Convention (Geneva, 1952), extends copyright coverage obtained in any one signatory country to all the signatory countries.
- Infringement
- The copying of a work without the consent of the copyright owner is a violation of coyright law. There are very few, and very narrowly defined, exceptions to this rule (e.g., short quotes used in reviews, some types of classroom use).
- In an age of scanners and readily downloadable images, it is important to remember that copyright cuts both ways. Appropriating an existing image in the process of creating your own artwork may cause you to infringe on someone else's copyright.
- Impact of computer networks
- The Internet has been called 'a giant copy machine'--an assessment both literal (if you can read this, it's because your computer just made a copy of the web page--which a strict interpretation of copyright principles would classify as an infringement) and metaphorical (when making exact copies takes no time, no incremental costs, and is largely undetectable--then the urge to infringe may become irresistible).
- Dealing effectively with this new reality will require some new thinking. See the 1998 U.S. Copyright Office report Sketching the Future of Copyright in a Networked World.
- Contacting publishers
- Preliminaries
- Make sure your work is ready to take on the world. Unlike the good old days, publishers no longer have time to provide feedback on work they will not buy.
- Research other comparable material already in print--see if you measure up.
- A common complaint is realism that isn't very realistic (take a close look at the eyes: a round circle with a dot in the middle is an instant turnoff).
- Find out which publishers publish the kinds of books you want to create, and research their submissions policies.
- If you enjoy drawing cartoonish artwork, for instance, don't waste your time on houses that consistently use realistic artwork.
- Make sure the publisher is open to unsolicited manuscripts. See the annual SCBWI Market Survey, the Institute of Children's Literature's annual directory (they are in West Redding, CT, and on the web at www.institutechildrenslit.com), and the latest edition of the annual Children's Writer's and Illustrator's Market.
- Send self-addressed-stamped-envelope for the publisher's catalog and authors' guidelines. You should follow carefully the directions contained in the guidelines--every publisher has unique policies. The items listed below are commonly--but not always--among the requirements.
- Query letter
- A query letter is what prospective authors send in lieu of a manuscript--to see if the publisher is interested in seeing the manuscript itself.
- By contrast, a cover letter is enclosed with the manuscript--to give the editor a sense of the flesh-and-blood person behind the manuscript.
- Samples of query letters, with detailed comments, are provided in the introductory section of Children's writer's and illustrator's market.
- Sample art
- If the initial shipment attracts their attention, art directors will generally want to get additional samples--to make sure, for instance, that you can carry a character (the character is recognizably the same from the first to the last page) and tell a story in pictures. Make sure to be ready with your follow up, so as not to waste opportunities.
- Dummy
- A mock-up of the book, such as described in the class on planning, is the standard way of conveying a picture book proposal.
- If not established, illustrators can include a finished piece as an example of their style.
- Agenting
- Many publishers no longer accept unsolicited manuscripts. They may make an exception for submissions handled by an agent.
- On the other hand, for a new author it may be equally hard to get an agent as to get a publisher. Many authors feel they might as well focus their efforts directly on securing publishers.
- Promotion
- For maintaining ongoing contacts, consider sending postcards--updated periodically to show a recent sample of your work. To improve your chances of getting feedback, send along a separate postage-paid reply card.
- Picturebook (see www.picture-book.com) is a sourcebook focused on children's book illustration.
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Details regarding the books mentioned in this document
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Return to Overview
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