How to Make a Gorgeous Photo Book

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HOW TO MAKE A GORGEOUS i

HOW TO MAKE A GORGEOUS

PHOTO BOOK EDITION ONE

©Copyright 2009 by Blurb,

Inc., all

rights reserved.

First edition.

blurb

Certain designated materials are reprinted

in this

publication with

the permission of the author of those materials. No reproduction or other use of those materials

is

permitted without the consent of

Blurb and the author thereof.

Adobe®, InDesign®, and Photoshop® are registered trademarks of

Adobe Systems Incorporated

countries. Microsoft® in

Word

is

a

in

the United States and/or other

trademark

of Microsoft Corporation

the United States and/or other countries.

HOW TO MAKE A GORGEOUS

PHOTO BOOK EDITION ONE

With contributions by Darius Himes Daniel Milnor Brigitte

Carnochan

Mat Thome Chad Jennings

©Paul Thormahlen

Introduction

Foreword Contributors

The Right Kind

Chapter

1:

Chapter

2: Editing

Chapter

3:

of

Photography

& Sequencing

Layout, Typography, and Final Touches

Chapter 4: Exploring Your Creativity Appendix: Using Blurb

40

INTRODUCTION

Creating a book

a transformational experience. Everyone -

is

whether blogger, cook, tect,

traveler, photographer, parent, archi-

marketer, or student - should be so lucky. Right?

However, after creating books two, three, and

more

discerning.

became

book with chagrin -

and what was thinking with that font? I

put ink to papyrus, books have captured

first

first

I

the photo editing and sequencing was not good, the cover was horrible

Since people

looked back on that

I

four,

about

telling a story with

my

pictures -

I

began

was there

to think

a beginning,

the best thinking, learnings, and experiences our lives have middle, and end?

I

considered the use of text to help move the

given us. They can be vessels of great beauty and even greater story along and provide context. Most of

meaning. But

recently only the fortunate few were lucky

until

more or wealthy

enough

to have their

work published

in a

selective about which photos

made

all,

I

got more and

the cut - and which

book. did not.

New

internet-based publishing platforms

like

Blurb have

Over the past couple of years we have been fortunate to meet

changed

all

that.

Combining purpose-built book layout software

some with print-on-demand technology and an online bookstore

great talents

in

the field of photography book editing

now and design.

I

have learned from each and every one of them.

brings publishing to the masses. Everyone with a broadband

Several of the contributors to this book have even taught

connection can now make a book of one, affordably. But,

like

workshops on behalf a lot of things,

once you've made your

first

so look beyond the amazing fact of doing

it

at

all

(I

made

even more beautiful and professional

That's what this book

is all

- almost always sold out affairs -

we

thought,

"How

could

we provide

a book!)

numbers to aspiring to

of Blurb

book, you begin to of

people?"

results.

about - introducing folks to the

A book seemed the

perfect vehicle.

questions, choices and design decisions that professional book

Happy (gorgeous) bookmaking!

when applying

designers consider

I

can

tell

you from personal experience that creating and

receiving I

their craft.

my

first

Blurb book, Five Hours

remember checking the

in

Napa, was

mail every day to see

if it

thrilling.

had arrived. Eileen Gittins

And when

it

came,

I

looked. Frankly, the

the content.

was astounded

at

how good the work

mere book form elevated the

quality of

Blurb Founder and

CEO

this

guidance to greater

BY DARIUS HIMES

Photography books have never commanded greater interest than they do today. Over the past 15 years, this interest

due

in

photography books has grown

at

an accelerated

rate,

no small part to the welcoming embrace of photography by the contemporary art

in

world and the increased popularity that the

digital

format provides. Each year, photog-

raphy books are published by the hundreds worldwide, and the proliferation of small,

Photography

nimble boutigue publishers has turned the photography book into an art form

+ books

right.

+ democratic accessibility

Books provide an

a

whole new world

to be increasing unabated.

cares about books?

atmosphere, the opportunities for publishing a book of one's photographs have

never been more

plentiful.

Now more

professional photographers ask,

We

do.

passport to the international photography scene and

of possibilities. In this

Who

own

create occasions for exhibitions, talks, gallery walks, and reviews. Both the supply and the

demand seem =

artist with a

in its

than ever, both aspiring artists and established

"How do

I

get

my

project to a publisher?" With the

advent of print-on-demand technology, the options for realizing a book have never been easier.

With the publishing and book

recap what makes a great book.

field

First,

it

constantly expanding, however,

within the

book

itself.

And

text treatment, to editing to the for.

work

When

ality

itself. In

of subject matter, they

lastly,

is

useful to

has to start with great content, and that means

the photographs. Those photographs can range from the

and sublime, but regardless

it

silly

and absurd

to the serious

must operate as a complete world

the design of the book - from cover design, fonts and

and seguencing

of the

photographs - should be complementary

other words, a happy marriage of content and form must be striven

those elements come together, the disparate elements transcend their individu-

and create a unified whole.

DARIUS HIMES

DANIEL MILNOR

Darius Himes

California/New Mexico-based photogra-

is

an acquiring editor at

Radius Books, a non-profit publisher

founded

in

2007

that publishes books on

the visual arts and photography. Prior to that he

was the founding editor

of

photo-

eye Booklist, a quarterly magazine devoted to

He

photography books, from 2002-2007. is

and

also a lecturer, consultant, educator,

writer,

having contributed to Aperture,

Blind Spot, Bookforum,

BOMB, PDN, and

American Photo. He earned

his

BFA

in

pher Daniel Milnor specializes

in

long-

term, black and white documentary work relating to a variety of topics including:

Easter

in Sicily,

the surf culture of Oahu's

North Shore, and

life

along the United

States/Mexico border. He has worked

in

the newspaper and magazine fields and

was

a

photographer

Eastman Kodak Company. have been published

The

specialist for

His photographs

Magazine,

in Life

Photography from Arizona State University

People Magazine, CameraArts, Black &

and

White Magazine, and

a

Master of Arts

St.

John's College.

by

PDN

In

in

Liberal Arts

from

others.

2008, he was named Milnor has taught at Art Center College

as one of 15 of the most influential of Design,

people

many

in

The Santa Fe Photographic

photo book publishing.

Workshops, The Julia Dean Workshops,

and

is

scheduled to teach

Milnor's portrait

by Masterfile.

work

is

in

Peru

in

2010.

represented

BRIGITTE Brigitte

CARNOCHAN

Carnochan's photographs have

been exhibited nationally

and

at galleries

Mat

and museums

Editions

limited edition

in

July

monograph

2006 and

with

11

a

original

an

artist

Virginia.

in

He earned

his

Jennings helps Blurb better understand

beautiful Rockport, Maine

from 2004-

his relationship with

the Workshops as a faculty member,

designer

in

New

in digital

photography, is

also

and freelance

York City where he

currently resides.

website, ucts,

and brand. As Director

of clients including

council of Center

in

Santa

Fe.

for a

range

Samsung, HP, Adobe,

Autodesk, Sun Microsystems, Reuters, Gucci, Microsoft,

from the

the Stanford Continuing Studies

of Interaction

Design at Method, and team lead at

Smart Design, he designed

she teaches a seguence of photography in

and user experi-

BookSmart software, book prod-

a Master's

program and serves on the advisory

useful, usable,

ence teams for our Webby Award-Winning

A 2003 Hasselblad Master Photographer,

classes

Insight at Blurb.

also led Blurb's design

in

a lecturer, consultant,

magazines.

Customer

Workshops (now Maine Media Workshops)

and Silvershotz and

Zoom

of

employee

and desirable products. Jennings has

multimedia, and design. Thorne

LensWork, Black and White UK, Frankfurter

and VP

a founding

Art Director for the Maine Photographic

leading courses

Allgemeine Zeitung, and

in

is

customer needs and create

featured on the covers of CameraArts

View Camera,

BA

New Media from

2006, Carnochan's work has recently been

in

Chad Jennings

and designer

Western Kentucky University, and was the

2008. He continues

gelatin silver photographs, The Shining

Path, published by 21st Publications also

is

CHAD JENNINGS

Photojournalism and

Photographs by

Carnochan, published by

Modernbook

Thome

from West

internationally. In addition

to Bella Figura: Painted Brigitte

MAT THORNE

and Palm. Jennings holds

Degree

in

User-Centered Design

Institute of Design at the Illinois

Institute of Technology, but his signature

sound

effects: "Da-jink!" for links followed,

and "boo-yah!" when a design element plops onto a grid are what really

valuable at Blurb.

make him

CHAPTER ONE: THE RIGHT KIND OF PHOTOGRAPHY DANIEL MILNOR

One

of the great things

isn't

a right

about photography

and wrong way

and our individual vision

of doing

it;

of this world.

white, you might see as color.

that there really

is

only the world

What see as black and I

What see as I

is

there

vertical,

you might

see as horizontal.

For me, the photographic process begins and ends with

light.

A spot news photographer or photojournalist often times has few options when

it

comes

to light.

If

something happens they

make

pictures, regardless of conditions, time, or quality of

light.

But for the rest of us, picking and choosing our

light

is

often possible.

There are few ingredients required to make photographs, a camera, time, and a subject to aim

at.

There are no boundaries,

no restrictions, only our imagination to explore and to

limit us.

Early and late are typically the best,

and direction. Even when shooting black and light

I

do

to

think,

when the

is

critical to

experience the

full

light

has color

white, direction of

range of form and shadow.

however, there are a few key ingredients that seem

be consistent

Also, great light doesn't in

what

is

have to be about the perfect sunset or

considered good photography. sunrise. Cloudy or real

drama

stormy days also do their part and can add

to a scene.

A winter storm approaches Newport Beach, color panorama, 2007.

I

think

good photography

is

the world

show

in

in

When our

also about timing.

fingers press that shutter and the curtain front of us to a split second.

falls,

we

are reducing

What we choose

to

that split second can take an image from the ordinary

to the extraordinary.

Looking back at our photo-history, rable images are reflective of real

many

of the

moments

most memo-

that existed only

for this split second, never to be seen again. Great

photography

captures these moments.

All

images

in this

section

©

Dan Milnor

A man

fixes his

motorcycle on the cracked lakebed of El Mirage California,

DOCUMENTARY PHOTOGRAPHY

Vanishing Speed series,

Being a documentary photographer

number

camera acting as

of lives, the

visiting places

is

you might not ever

visit

like living

an endless

general photography

If

and for meeting people

getting permission,

tions,

life

own reguirements,

around

I

about truth, and reflecting the

make

in

the

pictures.

think finding the right topic to this work,

is

of critical

and the idea

importance when

of shooting of

it

what you love

is

reality of

stressed even more. us,

and

isn't

about orchestration, setups, or the

fabri-

cation on the part of the photographer.

Good documentary

the stone has

begun

hit

is

you're going to devote a good chuck of your

life

to something,

you might as well choose something close to your heart. in

to a level as to not disturb. After

the surface of the pond, and the ripples have

to fade, the

to see the truth in

photography

If

pictures are about being there, but not

being there, about blending

slowly

reguire heaps of time, and often

before they can even begin to

comes is

etc., all

restric-

and demands.

Documentary work

documentary work

time, then

times documentary photographers might spend weeks field

its

demands

2006.

reguires even more. Exploring the subject, making introductions,

a permission slip for

you might otherwise never meet. But documentary work also has

Dry Lake,

from the

photographer steps

in

and begins

what surrounds them. Great documentary

also about education.

Starting small

is

a great

produce huge bodies

of

way

to begin.

work and have

on our audience. Conseguently, we delicacies, far

A

fill

this

us want to

work make an impact

our plates with visual

more than we could even

half-finished projects.

lot of

eat,

and wind up with

The Underbelly from the On Approach series,

Orange County,

California,

2008.

CHAPTER ONE: THE RIGHT KIND OF PHOTOGRAPHY

Push Start from the Vanishing Speed series, El

Miraqe Dry Lake,

2008.

California,

Case

in

point.

If

homelessness

is

an important issue to you, and

you want to make

a difference, then find a project that revolves

around

There are many ways

this topic.

some are grand in

in

scale and

America. But a project

thousands ally

all

of going

about

this

-

encompassing, such as Homeless take years to complete,

like this will

of dollars to produce,

and

have the impact you are looking

in

the end, might not actu-

for.

possible.

These people are representative

story.

good chance that there are homeless in.

It

would be

far better, in

is,

folks in the

some ways,

people, hear their stories, and spend as

to get to

there

is

is

that the issue

but

live

know these with

is

so grand there

when people are confronted local lens, great things

audience

sometimes the

nothing

is

to get the

of the

feeling

we can do about

with an international issue

can happen.

a

town you

much time

and can be a great way

to respond. With a global or national story,

through a it

broader issue,

Photography can reduce the overpowering sense

issue to a local level

it,

However, the homeless situation being what

of the

and can be a way to put a specific and personal stamp on the

them as

On

the

flip side,

social issues or

documentary work does not have

to

be about

heavy subjects. Documentary work can be about

anything the photographer finds compelling.

CHAPTER ONE: THE RIGHT KIND OF PHOTOGRAPHY

The Swan Palermo

Sicily,

from the

Dogs Can't Read

series,

2007.

19

CHAPTER ONE: THE RIGHT KIND OF PHOTOGRAPHY

The Jumper from Milnor Pictures Kids Stock Archive,

2006.

KIDS

PHOTOGRAPHY

Anyone who chooses as

lives. Kids,

truly fun to

easy,

and

in

we

with. In

some ways make

trade that can

some ways

it is,

this

know

get down.

it

kids

photography can look

but there are also

some

tricks of the

When you approach

at adult height,

and can react by closing down or becoming

When work I

to their level,

get

for the ride of their

imagery even more successful.

Newsflash! Kids are small. kids

is in

know, are unpredictable, spontaneous, and

all

work

photograph kids

to

most

with kids, the

of the time sitting

thing

I

do

down on the

is

So

drop down

floor while

ready. Their eyes widen and they instantly

my gadget

fashion you have to be very aware and

in this fluid

skilled with

your equipment.

you aren't looking is

The

reality

mean

couldn't do sit still, in

it,

so

fact,

I

when photograph I

critter

Any minute

running around

in

front of

is

that

anyone can photograph

kids,

but that doesn't

the images they are making are going to have a lasting

impression.

I

is

no different than any other genre

in

come

bag.

Yep. For me, that

still?

little

the sense that you have to find your style. Just framing and

being a kid? What was the worst thing about

Being told to hold

you are thinking about your gear

wasted moment.

you

a

at the

composing might be

Remember

If

or looking at your gear, then you need to get better.

Kids photography

my cameras

over to inspect

first

shy.

To work

kids,

want them to go crazy,

was the worst. I

don't ask

it? I

just

them

to get excited,

to

and to

fine for certain applications, but really

getting to the heart of the child and making a picture that

captures the individual

spirit

requires decision making on the

part of the photographer, and these decisions can be after experience

in

the

made

only

field.

frankly be a kW.

Kids burn hot and bright, but only for brief periods of time. You

get just a few minutes to

20

make those

critical

images.

CHAPTER ONE: THE RIGHT KIND OF PHOTOGRAPHY

Blue on Blue

from the Milnor Pictures Kids Stock Archive, 2007.

21

CHAPTER ONE: THE RIGHT KIND OF PHOTOGRAPHY

EXPLORE YOUR PASSION

Making pictures

is

easy, but

individual takes time.

signature to tion,

making pictures that are unique and

How we compose

how we see the

our images can be our

world. There are rules of composi-

but nearly anything can be justified, and these rules should

Our

lives

today are hectic, action packed, and run at a record

pace, but this lifestyle doesn't always lend itself to great photography. There

is

no substitute for time

in

the

field.

Chances

are,

if

given two months on a project verses two days, the results from

never act to hinder or hold a photographer back. Rules of

the longer duration

composition are more suggestive and exist to offer ideas more

know the people you are photographing, spending time so

than as do's and don'ts.

everyone ...

all

is

will

be better. Waiting for

light,

getting to that

comfortable with you, the photographer, being there

take time.

r-

Winter swells pound the Newport

Beach

shoreline,

Newport Beach, CA,

color panorama, 2007.

We

have many choices when we leave the house to make

pictures,

quality of

and

I

think

what we choose I

the choice, to find a subject that the best work created

work.

to shoot can impact the

the images we make. think

Why?

It's

in

is

it

is

fundamental,

of interest to you.

the world of photography

very simple.

When photographers

is

if

given

Much

of

personal

dive into a

project regarding a subject they care deeply about, typically the

images

reflect this passion

and desire

to fully explore the topic.

CHAPTER TWO: EDITING & SEQUENCING BRIGITTE

CARNOCHAN

CHAPTER TWO: EDITING & SEQUENCING

m ^^

-il

titles.

pace effortless and the images fresh.

group becomes tedious. So does

When your viewer

telling a story.

sections with chapters and

Klink has

many photos

baby bears

in this

he keeps the pace

m

using variety

in

of the

book, but lively

by

the layouts.

Jk w«

suno" up to get a better took h«

ts

not following us »ny more.

'Stay

wrtft

t» umj

Nous nous mettons debout cow

35

CHAPTER TWO: EDITING & SEQUENCING

© Susan In

Friedman 2009

these two spreads,

Friedman has provided visual variety in her use of

grids

and white space.

CHAPTER TWO: EDITING

&

SEQUENCING CAPTIONS

Providing captions

slow

will

down the pace

of

your book. Captions can be brief

they can be explanatory. These decisions affect the way someone

will

titles

or

move through the

book. Sometimes you want the viewer to pause over each image and read the explanatory note. Other times you

a text - so you put

The guiding

it

want the viewer

in

to experience

and react without being influenced by

a foreword or an afterword.

principle for

seguencing

is:

begin strong, end strong, and

make

getting there

exciting. Musical and literary analogies are apt - the structure of a symphony moves from

exposition to development, then to recapitulation and conclusion.

beginning, middle, and end. beginning,

move

to strong

In

all

story has a

other words, seduce the viewer with your best photo

images supporting

- and save a memorable photograph for the turned

A compelling

it

and

reflecting

finale that will

on

it

in

the

- but with differences

make your viewers

glad to have

the pages.

37

CHAPTER TWO: EDITING & SEQUENCING

38

CHAPTER TWO: EDITING & SEQUENCING EXPERIENCE HELPS

© Robert In

Kato

2009

Finally,

these two spreads Kato

creates drama with his pacing, building the of detail from

image

amount to

image and ending with the full-bleed

rush.

good,

remember

It's

that careful editing

a subjective

in fact,

and

intuitive process.

to try out possibilities.

sequence images

will

and sequencing take place over time - you shouldn't

And

it's

alright to

change your mind -

There are no rules to break. The way you

edit

it's

and

be different from someone else working with the same set of photo-

graphs. The BookSmart program makes

once you've uploaded your images

it

easy to change your mind and try variations

into the

program.

photograph going Experience helps - you

will

get better with practice. Part of that experience

comes from

across both pages. looking at lots of photography books.

you.

When

friends

When you

find a

book you

really love, let

it

and colleagues have opinions on your editing and sequencing,

them, learn from them. And then make the book measure up to your own ably had an idea of what you wanted the book to look

like

vision.

guide listen to

You prob-

and the impact you hoped

for.

Thoughtful editing and sequencing take you closer to the goal.

39

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES MAT THORNE

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES

FIRST THINGS FIRST

Congratulations for taking on the design of your book - smart move! A well-designed book gives your images the attention and focus they deserve. Design determines the emphasis

and focus

of

each page and also controls the way

in

which readers

will

view your work.

will

be effort well spent and, with a few pointers, you can approach a design

and

fairly

in

It

a systemic

straightforward way.

Begin by looking at your work

critically.

What

feelings do your photographs convey?

Are they guiet and introspective? Dark and mysterious? Modern and edgy? Elegant and formal? The tone of your work informs everything from the fonts you choose to the way the images are arranged on the page, so take

some time

to consider

your work with a

critical eye.

As an example,

I've

chosen a photography book

I've

designed: Seattle Suspects by David

George Brommer.

Brommer's work encompassed

a portrait series that chronicles Seattle subcultures

in

the

mid-nineties. His photographs of Goths, scenesters, drag gueens, and other characters

lend the book a subversive, bold, and energetic guality - and the book design reflects this.

we chose

Selections from David George

Brommer

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES

LAYING OUT YOUR PHOTOS

The

first

is its

of

thing you need to consider

most

when designing your book

and format. To choose, begin by noticing the format

size

of the

book

size,

your

files

images - are they horizontal or vertical? As for

bigger

is

generally better, but

first

make sure

that

are large enough to be printed at the size you want,

which, for most presses

is

however, a smaller format

purpose

to consider the

at least is

more

of the

300

DPI. In

some

cases,

effective, so take a

but are

contained on the page. Thick margins give the

collected, classic presentation. thick margins

is

One important

to be sure to offset the

image

rule

when

vertically.

using

You

want more white space on the bottom of the image than the top (not a

moment

still

photograph more separation from the page and have a more

LOT more,

the image

will

just

weight

have the

it

to the top).

you don't do

If

illusion of falling off

this,

the page.

book and plan accordingly.

Gutters To position the images effectively on the page, think about how a large or small is

effect.

The margin

the white space surrounding your image. Having no white

space at is

margin would change the

all

around a photograph (and therefore no margins)

called a full-bleed. In order for a full-bleed to work,

your image

be trimmed

will

in

some

the printing process. So,

attached to the edges of your images, you

may

if

of

you're

not want to run

your photos as full-bleeds.

There are three main types of margins being used

in

the

majority of photography books: full-bleeds, thin margins, and thick margins.

Each style says something different about your

photograph. Full-bleed images are bold and energetic. Pages with thin margins (1/2" or less) have a strong, dominant guality,

You

will

because

always lose a of the gutter.

bit of

the inside edge of every page

To accommodate

margins 1/2" from the inside edge.

this,

I

usually start

my

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES

MARGINS

Thin margins

Full-bleed

No margins. Edges trimmed

of the

image

will

be

Thin, egual

Thick margins

margins on

all

Lots of white space, with image

sides.

weighted

off to create the bleeds.

Once you

find the best presentation for

book. This

will

vary a

or

lot,

if

your images,

stick with

to the top.

it

unify the whole and keep the focus on the images.

throughout the If

your photographs

your book encompasses several projects, you may want to use more

than one layout.

If

so, limit

it

to

two or three, and make each one

distinct.

image

© Mark Jenkins

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES SAMPLE LAYOUTS

Brommer's work

is

loud and bold, so

we wanted

the layout to reflect that. The full-bleed

format allows the photos to dominate the pages. The format of lenge; they

were too

get around

this,

we

tall

for the space, but

we

didn't

want

his

images presented a

to crop the tops

chal-

and bottoms. To

placed them on the far edge of each page. The layouts vary as two-ups

and singles with a pitch-black background and white identifying Roman numerals.

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES

TYPOGRAPHY

SELECTING A FONT

There are a few basic principles

of

type design that

help you

will

do the best for your book.

Just

like

first

issue

is

Adobe® Photoshop®,

or

say volumes about your

your own Microsoft®

in

Adobe® InDesign® programs.

typeface. There are two basic type styles: serif

Simply type

and

will

work. Start with the fonts available

Word,

The

your layout, your fonts

sans-serif. Serif fonts are by far the

most common.

the

in

title

of

your book or your name. Then cycle

Serifs

through the fonts already on your computer, and see are the small decorative elements at the ends of

some

catches your eye. strokes that

make up the

letters.

A

if

anything

of the If

something does, stop there, copy and paste

sans-serif font simply does this version into

another document; then go back and continue

cycling through.

Once you have your

not have these elements.

Every computer has a collection of typefaces pre-installed called

system

fonts.

there, but

You can probably

you can also

find the fonts

find literally

hundreds

you need

right

of other fonts

on a

your

title

or

Try bold or

name

italic.

using

all

list

lowercase

Consider each

of favorites, try typing

letters,

in light

then

of the tone

all

uppercase.

you want

your book to convey.

variety of websites.

Once you've selected a Here are two examples of typefaces, both

serif

You can see how the different fonts convey

and

sans-serif.

different attitudes.

Minion Pro

Serif fonts are You'll find

Category: Serif

more

traditional.

them used

in

most

it

throughout the book.

Most designers use no more than two typefaces

in

any one

book. As a general rule, keep body copy (large blocks of text)

between 9 and Typeface:

font, stick with

12 pt. for

easy

legibility.

on each page, don't go above 14

pt.

If

you

type, or

it

title

will

your images distract

from

the image.

novels and newspapers.

Brommer's so

Typeface: Helvetica Neue

Sans-serif fonts set a

more

Category: Sans-Serif

modern tone and are

often

used For this book,

we chose

- Interstate-Light, set

in

a clean

9.5

pt.

in

contemporary designs.

and easy-to-read sans-serif font over 15

pt.

leading.

title

we created

needed

to share the attitude of his photographs,

this stark, bold

design using a sans-serif typeface.

SFATHE

SUSPECTS DAVID GEORGE BROMMER

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES THE ANATOMY OF A BOOK

The elements below are arranged

Selected front

in

the order

in

which they should appear

in

your book.

matter from

Page

Half-Title

The Blue Poet

Dreams

This

is

Hamilton.

title

first

thing your readers see it

when opening

simply gives the

appears on the cover and elsewhere, but placed

Each

the

page of the open spread -

by Brenton

in

of the book, in the

smaller print. The

the top third of the page. This page

in

title

the book. Falling on the right-hand

will

title is

same format as

it

usually centered, and

run opposite the endpaper (thicker paper

page that

is

adhered to the inside cover) and serves as a graceful transition

into the book.

runs opposite a blank page.

Page

Title Half-Title

Page

The

title

but

in

page features the book's

roughly the

same

title

(larger than

location), the author's

traditional format of this

page

is

to

have the

it

is

featured on the

half-title

page,

name, and the publisher information. The

title

and author's name appear together

in

the top third of the page, and the publisher's information to be placed near the bottom, centered. Since you

will

most

likely

be self-publishing your

first

all

book, you can choose to

leave the bottom blank, or place the publishing date there. Personally,

I

think having

some

information at the bottom of the page provides a nice balance.

Front Matter / Frontispiece

Most photography books have front-end content

in

addition to their photographs. Called

front matter, this might be written by the photographer, detailing Title

Page

about, or

it

how the images came

might be a short contextualizing essay by a creative writer or art

critic.

Such

introductory pages give a book a finished, professional feeling.

Some books title

page.

also have an image, called a frontispiece, that runs on the

page opposite the

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES

Dedication

Although not required, a dedication page

a nice touch. This can be very simple, usually

is

just a line of text.

Copyright Page

The copyright page the book so will

it

traditionally follows the title page, but

usually place

I

it

in

the back of

doesn't interrupt the flow. Typically, photographer's self-published books

simply have a small copyright notice and

some

credits.

I

also think this can be a nice

space for your website address and any other contact information you choose to include Dedication

in

your book.

Essay / Statement

Many photography books contain

essay. These are wonderful additions and can

the reader. (usually

If

mistake, especially

text

if

line

make

you choose to include one, be sure

between 9 and

to read, so

from the photographer or a contributed

a statement

it's

a

in

12

is

more engrossing experience

for

Another thing to keep

in

mind

is

line length. It's a

common

large-format books, to have long lines of text. These can be difficult

good idea

length

pt.).

for a

to use a legible font in a readable size

to increase your

a problem.

I

margins or move to two

usually aim for about 12 words per

(or

line,

more) columns

of

but that can vary

given the length of words used. Essay

Table of Contents

A

table of contents

distinct

is

usually not necessary

in

sub-groups within the work featured

including this page,

like

we have

in this

a

in

photography book. However,

if

you have

your book, you may want to consider

book.

49

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES

Selected back

Back Matter

matter from

Most

likely

may be some

your book won't contain an index or bibliography, however, there

The Blue Poet information that you'll want to include

your book that doesn't belong

in

Dreams.

in

the front.

A

couple of suggestions follow.

Biography

Biography

Many photography books

include a short biography of the photographer and any contribu-

tors to the book. I've also seen this space used to tion, again,

Plate

A

such as a website or contact

list

exhibitions or other personal informa-

info.

list

plate

list is

an index of your images and contains information that

something that you want to compete with your images. Typical plate the

title

of the image, the year

cally inclined Plate List

it

was made, the medium, and the

is

important, but not

content include:

list

edition size.

More techni-

photographers may include information such as shutter speed, aperture,

film

speed, or location.

Colophon The colophon

is

a

page that

lists

publication details such as the fonts used, the publication

or edition history, notes on the design, and other information pertaining to the book

Most photographers' books don't include

this page, or

if

itself.

they do, they add this information

to the copyright page.

Copyriqht Page

As mentioned before, place

it

Copyright Page clutter

at the back.

this

can also be placed

in

the beginning of the book, but

Those other front matter pages are so elegant that

them with the

technical stuff.

I

don't

I

usually like to

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES COVER DESIGN

Your book cover

'?

*

I f I

A

i

/I

If

*

I

mU St

i

If

•Mm

mm

***** • VII?

MM*

^fi

© David George Brommer Brommer

felt

that no single photograph captured

the spirit of his eclectic series, so

we decided

to

create what he called the "Parade of Suspects"

and feature

all

of

them

at once.

tive,

is

the

first

thing that people see, so

compelling, and informative. With that

in

it

needs to be attrac-

mind, take a look through

your images and select a few that you think reflect the entire collection.

Keep a particular eye out you can place the book

Once you've chosen they look. it

in

images that contain negative space where

title.

a few candidates, place the

Many photographers darken an area

some way

appear

for

in its

to allow for the

title.

entirety elsewhere

in

Remember

title

of

on them and see how

an image or manipulate

that the cover

image

will

the book, so don't be afraid to try an

extreme crop or other change to make the cover more dynamic.

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES COVER EXAMPLES

FERNANDO © Fernando

©Ossie Emery

Decillis

Photographer Fernando his

DECILLIS

name and

Decillis

the circles in the

played upon the "0"

image

in

to create a nicely

For this cover, Ossie

Emery chose an image

the enigmatic nature of the Balim Valley,

balanced, visually arresting cover. Because the typeface

lates the overall feel of his

mirrors the image shape, the overall effect

gaze of the

man

to the

and the bold colors used add

is

deliberate,

contemporary, and yet richly textural - a technigue that's

echoed

in

the portraits featured inside.

title,

photographic collection. The

pictured acts to

while enhancing the black

that captures

and encapsu-

move

the viewer's gaze visual

and white image.

impact

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES COVER EXAMPLES

JlJjlL*

I

©Matt Loque

©Jose

Luis

Cuevas

Matt Loque chose an ominous morning sunrise for

Jose Luis Cuevas opted

empty

series for his cover. His goal

I.

a. for its

sense of foreboding. Only upon closer

inspection does the viewer realize that the highway

leading into

downtown

is

empty, thus beginning the

for the strongest

He chose

of the sky provided a perfect place for an unobtrusive

the primary cover element.

title

and author name, the color of which was itself.

impact and an

equally strong typography for the

placed

taken from the sky

visual

introduction to the concept of the work pictured inside.

story of an unpopulated metropolis. The dark tones

sans-serif

was

photo of his

it

to the side so that the

title,

image continues

and to

be

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES COVER EXAMPLES

I

n d o c h

n e

i

Jay

©Susan Worsham

©Jay Graham

Susan Worsham chose between two images cover. In the end, she

went with

intimacy and ability to draw

made

54

the decision,

Graham

in

for this

this portrait for its

the viewer.

Worsham chose

Once she

a back cover

Photographer Jay Graham chose its

Indochine

feel.

Shot

in

the fog,

this it

cover image for

was largely mono-

chromatic so he manipulated the color to theme. For the

title font,

fit

the book's

Graham experimented

image that mimicked these colors and provided a

he found one that echoed the lines of the

unified feel to the book.

overpowering the image.

hills

until

without

CHAPTER THREE: LAYOUT, TYPOGRAPHY, AND FINAL TOUCHES BRINGING

IT

There you have

ALL TOGETHER

it

- the whole book! Remember: Identify the tone and feel of your photog-

raphy early on and apply

own

set of rules for the

do, you'll

it

to every aspect of the book. Also

book (fonts used, margins,

remember

layout, etc.)

and

to establish your

stick with

them.

If

you

have a beautifully executed photography book that's sure to stand out.

©Jay Graham Interior spreads

from Indochine.

55

CHAPTER FOUR: EXPLORING YOUR CREATIVITY CHAD JENNINGS

CHAPTER FOUR: EXPLORING YOUR CREATIVITY

also a record of technological innovation -

The history

of

long ago

graduate school, and

in

photography

Nicephore Niepce

in

Early photographers

it's

digital revolution,

They're I'm

in

new and unexplored

still

happy

doing

it,

and

in

to say that Blurb

- photographers,

first

learned this

photographs by

technology has shaped the art of photography.

were often trying to recreate paintings - the

but as photography advanced and

imagery

always stuck with me. From the

I

1826 to snapshots by Kodak's Brownie camera to color photography,

and now the

Polaroids,

is

artists,

became more

artistic ideal at

Blurb bookmakers

make take methods.

five

years ago.

helping them. As a creative platform, Blurb enables anyone

it's

to explore

and reinvent how

to

combine

the ease, speed, and affordability of digital offset and print-

on-demand technology, along with the

traditional printing

their

directions.

and business people -

photography and books. And

pushed

accessible, photographers

ways that couldn't have been imagined even is

the time,

Internet, that

have made

it

creativity in directions that wouldn't I'd like

to share a

few of

my

possible.

The books that

have been possible with

favorites with you.

CHAPTER FOUR: EXPLORING YOUR CREATIVITY SLATE NYC

CUSTOMIZED CREATIVITY

Miguel Zabludusky and Michael Rutchik created their book Permission to Get Dirty to

showcase and market SLATE NYC,

their high-end, green-centric housecleaning, dry

cleaning, and tailoring services. Their book, a stunning mix of photography and text, can be

produced with any one

of four different covers

- allowing them to match emphasis to client

with a different photograph and a different tagline. The one with the shot of an iceberg floating

in

a pure landscape focuses on their business's eco-friendly aspects, while the

one

with a skateboard and suit highlights their fashion edge.

Zabludusky and Rutchik used Blurb's print-on-demand technology to get their message out there, affordably, quickly,

and

effectively. Their

when ordered, which means none

books are printed, bound, and shipped only

of the upfront setup costs of traditional printing

- and

the ability to create multiple, customized versions for specific audiences.

Miguel Zabludusky

Here, multiple cover designs were created for the

& Michael Rutchik

beginning of customization. You might create a unique introduction page or a personal

Permission to Get Dirty

dedication for each recipient or client. Or you might establish a master portfolio of several

same book

interior,

but that's only the

chapters and then compose books of particular chapters to reach specific audiences. For

example, a professional photographer might send wedding and portrait chapters to a couple getting married, yet might

pull

these and publish different chapters to send to a fine

art client or gallery.

59

CHAPTER FOUR: EXPLORING YOUR CREATIVITY TEXAS WOMAN'S UNIVERSITY THE BOOK AS CREATIVE SPRINGBOARD

In

days gone by (that

is,

Done was done. But the

before 2005), a printed book was as good as carved digital revolution

their

flourishes that have turned

them

books to in

reflect their

states of disrepair

like. In fact,

all.

Now

several Blurb

books with hand-crafted embellishments and creative into

works

of art.

Susan Kae Grant's photographic bookmaking class this idea. After designing

stone.

has removed that limitation once and for

you can revise and customize your book as many times as you'd

bookmakers have improved

in

and printing

at

Texas Woman's University ran with

their books, the students

adapted or distressed their

photographic subject. A book that pictured houses and furniture

was dunked

in

water and given frayed edges.

In

another instance, a

razor was used to scratch ink off the pages of a book, and handwritten notes were taped inside.

Another student removed her book's dust jacket and used a

and gold-stamp the

©

April Marie

Hays

A Collection

of

feel.

on the front cover with a multi colored

One page was burned

in

foil,

giving

it

the center and around the edges.

Street

© Jenn

emboss

a beautiful,

Dreams

©Erika Williams

462 Texas

hand-crafted

title

letter press to

Johnston

Dimensions of Idealization Suicide

CHAPTER FOUR: EXPLORING YOUR CREATIVITY WIL VAN IERSEL

PUTTING CREATIVITY ON THE CALENDAR

In

2007, Amsterdam-based documentary photographer Wil Van

lersel

gave himself the

audacious assignment of making a new photography book every week for the entire year.

Each week,

his

52 books features reportage, photo essays, sketches, and

tion of

Every Week a

New Book

Rotterdam and

©Wil Van

photos explored a new theme and became a book. The resulting collec-

is

now

project

was presented

part of the

at the

diaries. His

Nederlands Foto

museum's permanent

amazing

Museum

in

2008

in

collection.

lersel

A book a week

project.

Though you may not have the time the book might give you tion, or

create your

makes

possible.

it

Until recently,

months,

if

own

some

to create a

ideas.

book a week,

Capture a project as

mini-series. You're literally

it

making

this

marvelous redefinition of

develops, document a collechistory,

commercial-quality book printing required a large

and print-on-demand

minimum order and

not years, of planning, design, and production. Today's books are different. They

can document a day, an hour, a moment, an idea. No event or subject single location, an event, a house, or a corner of town.

photography book? What book would you make today your hands

in less

than two weeks? Think about

it

How would you if

is

too small. Pick a

tell its

you could have

it

story

in

printed and

seriously - because you can.

a in

CHAPTER FOUR: EXPLORING YOUR CREATIVITY RAYLENE GORUM CREATING ARTIFACTS FROM MEMORIES

In

SKETCHBOOKS, Volume

sketching to

make

two-page spread

1,

Raylene Gorum culled her best work from

a Blurb book. Instead of scanning

(left

and

right pages)

in

a single page,

five

she scanned each

and mapped them across the gutter

sguare format book on a black background. The result

is

years of

in

a small

an evocative facsimile that

transforms one-of-a-kind documents into an archive and a story that can be shared with countless others.

And each copy

original sketchbooks.

Raylene Gorum

SKETCHBOOKS, Volume)

retains the irreplaceable textures

and character

of her

CHAPTER FOUR: EXPLORING YOUR CREATIVITY CLYDE ADAMS CREATING ARTIFACTS FROM MEMORIES

In

the introduction to his striking book Always a Marine, graphic

artist

Clyde

portion of

Adams

my

writes, "This

father's

life

is

an attempt to record a small

and the events

influence on the whole of his stories,

book

life."

of

an era that had a profound

Weaving family history

in

photographs, and scanned ephemera, such as dog

newspaper brilliantly

articles,

and even

his father's

with

tags, letters,

purple heart medal,

Adams

captures the time and essence of his subject,

turning a shoebox of memorabilia into a unigue, moving, and

permanent

artifact.

© Clyde Adams Always a Marine

63

CHAPTER FOUR: EXPLORING YOUR CREATIVITY CHAD JENNINGS CREATING ARTIFACTS FROM MEMORIES

A few years ago, when my parents containing

50 cassette tapes

music tapes brought back

sold

my

they'd found

my

childhood home, a box arrived on

when

durable, tangible

memory

its

adolescence growing up

of

cover,

in

a small Iowa

and created a book.

my teenage

finally

throw out the actual tapes. Now,

bilia,

could have

I

my garage

if

years. I

And once

It's I'd

a

in

town

my

in

the eighties,

garage,

notes, texts, and other

an

©

Chad Jennings

era,

finished the book,

photo-

could only do that with the rest of

I

felt

I

a

could

my memora-

back.

ephemera you've been saving and make them

an ancestor, or another cherished part of your past?

Cassette Adolescence

I

permanent document,

What about your own memorabilia? How could you document the varied photos,

to

doorstep

they'd cleaned out the basement. These

so instead of adding this box to the collection of dusty memorabilia

graphed each cassette and

my

letters,

into a lasting tribute

CHAPTER FOUR: EXPLORING YOUR CREATIVITY LARRY FINK AND FOTOVISION A FRESH TAKE ON LIMITED EDITIONS

Artists

have begun using print-on-demand to redefine the limited-edition book. Esteemed

photographer Larry Fink collaborated with Fotovision, a San Francisco Bay Area non-profit that supports photographers interested

in

documenting the world,

to create his book,

Night at the Met, as a limited edition. The photographer ordered and signed 100 books. The

book was then coupled with a signed, for a

premium

at a

original black-and-white

chromogenic

print,

and sold

launch party and at Fotovision events. Fotovision also placed a slightly

different version of the

book

for sale

on blurb.com using our print-on-demand technology.

According to Melanie Light, Executive Director at Fotovision, the goal was "to create a

book that would empower the featured

© Larry

Fink

Night at the Met

artist

- Larry Fink -

in

an entirely new way." And

being able to create the book quickly and economically was key. As she put

when donors and foundations are generate additional revenue with

How might your work

live

it,

"At a time

cutting back, Blurb's platform offered us a great little

way

to

up-front investment."

as a limited-edition book?

Is

there a charity that your work can

support? Would creating a limited-edition book allow you to get your art to collectors who might not be able to afford a large print?

65

CHAPTER FOUR: EXPLORING YOUR CREATIVITY DANIEL MILNOR RETHINKING FORMATS

X

The examples on the

left

rethink the very nature of the

print-on-demand technology unleash

end

creativity.

book by

letting

And, happily, there's no

in sight.

Even Blurb's most basic text-only black-and-white format can be used to achieve exguisite visual effects. Using the rough bond paper of these black-and-white books - designed for novels, non-fiction, and poetry

books -

artists

have also been creating striking photography books and

graphic novels. Daniel Milnor, a Los Angeles-based photographer,

© Daniel

was one

of the

Milnor first to experiment with this technique. His black-and-white

On Approach planes taking off and landing at

photographic

poem

in

LAX became On Approach,

book form. The format delivers

images a

of

28-page

a high-contrast

image unavailable through any other process, giving the book an edgy, groundbreaking

feel.

Daniel has since created a series of books on

different subjects using this technique, which he says

editors and collectors.

is

a favorite of his

CHAPTER FOUR: EXPLORING YOUR CREATIVITY MAKE A BOOK

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We hope

that these examples have inspired you to take

chances with your book. Whatever you do, the book your own, and once

,

it's

printed,

you can modify

Ei'i

will

creative

be uniquely

change

it,

or build on

»

it

to create another in the series. In the next section, you'll find

some

of

the most frequent questions that new - and even experienced - book-

makers

ask.

The answers that follow can also be accessed online

blurb.com/help.

Happy bookmaking!

1

it,

some

II

X

at

APPENDIX: USING BLURB

APPENDIX: USING BLURB

Welcome is

to the back-of-the-book appendix. This

by no means comprehensive, but

of things you'll

want

bookmaking.

you're

If

either using Blurb it's

is

it

a

good

list

of subjects

starting point

know before embarking on your Blurb

to

new

to Blurb

BookSmart®

really as simple as gathering

older images) and accessing Picasa, Lightroom, Flickr,

and want

to

make

a book

or our PDF-to-Book workflow,

your

digital

images

(or

them through your computer,

SmugMug,

made

quality

book

in

iPhoto,

or your tool of choice. As

long as your images adhere to the specs we've outlined section, we've

scans of

in this

pretty simple to complete a bookstore-

it

no time.

For specific help,

tips,

discussion, and further inspiration, please

take advantage of our resources. Our support center - blurb.com/ help - has hundreds of

FAOs based on questions we've received

and additional information we think would be further assistance, our customer support

team

days a week to answer your questions. And, ideas or don't

know where

helpful.

if

is

If

you need

available seven

you're short on

to start, visit the Blurb

Bookstore or

our Forums community. They're great sources of inspiration and a terrific

way

to see

what others are doing with Blurb every day.

APPENDIX: USING BLURB IMAGE PREPARATION

BookSmart images used

Blurb BookSmart*

a

New boo*

Open

this section

represent

BookSmart

2.5.

A

v.-s. Star,

(or referenced) in

Existing

Import l

Mh

;

g Started

GuOc

Book

What type Blurb

images work with BookSmart?

of

recommended

BookSmart® eagerly accepts JPG and PNG

limits

might slow BookSmart's performance,

introduce compression artifacts into your images, files

that are

stall

in

uploading, and/or prevent your book from being printed.

sRGB

color.

It

can't autoflow

enough

EPS, PDF, PICT, BMP, and GIF

images

in

CMYK

files

of

give

them, actually. But TIFF,

BookSmart

hives, as

or Grayscale. You can easily convert

do

files to

the

proper format using the image editor of your choice. (You may

want to save the Your new

What

is

files

original version just in case.)

are going to look terrific

in

And

don't worry:

your printed book.

the best resolution for the images

in

my book?

If

any image you've loaded

guidelines, please

into

BookSmart doesn't meet these

open the source

file(s) in

a photo-editing

program, make the necessary changes, save the image(s) with a different

file

name

preserve your

(to

load the optimized image(s) into your

If

source

full-size

BookSmart

file)

and

project.

you are using our PDF-to-Book workflow, the resolution

requirements are the same as for BookSmart: a minimum of 150

The resolution

images loaded

of

into

BookSmart should be 150

DPI minimum, with the preference being

BookSmart

will

and don't need

warn you about

this.

300

DPI.

DPI, with the preference being

Out-of-camera JPGs are fine

to be resized unless you're placing

a single

page

many

Fixing images in

(for instance, into a

Scanned images and/or PNGs should be smaller than 15MB.

than

4000

pixels;

also be less than

scans or PNGs should be less

the height of horizontal scans or

4000

pixels.

is

not a photo-editing tool, but does

and crop images. You can use an image editor to

of vertically oriented

BookSmart let

you zoom

yearbook-

type layout).

The width

DPI.

high-

BookSmart

JPGs on

resolution

300

By the way,

PNGs should

Adding images that exceed those

make your images

them to

into

Photoshop)

look as spiffy as possible before importing

BookSmart.

you've already imported them and wish

If

make changes, never

tions to your original

(like

fear.

file

Just

make the appropriate

correc-

using the image editor of your choice.

Don't forget to re-import the corrected images to your Pictures Library and re-drag

them

into

My

your design.

71

APPENDIX: USING BLURB

COLOR MANAGEMENT

A

Brief Note on Color

Our

digital printers

press uses -

use the standard four-color print process that most every printing

CMYK, which stands

for cyan,

magenta, yellow, and black. These four colors

are combined to give you the full-color reproduction you expect with printed materials.

Monitors and

digital

images (and

digital

cameras) use a different color space called RGB,

which stands for red, green, and blue.

You can receive quality printed color spaces and color

results without needing to

management. To go

a step further,

understand the details around

you need to manage your color

from the beginning. To

start, calibrate

your monitor. An accurate monitor

book If

isn't.

If

is

important because inaccuracies

And remember,

are passed to the printer and yield inconsistency.

a screen

is

your images are dark on-screen, they might be even darker once printed.

you are using BookSmart, leave your images as sRGB, but convert images edited

another working space to the sRGB

assume are embedded

in

profile,

it

is

If

is

sRGB

sRGB image

profiles,

allows you to view and tweak the image

imported into BookSmart.

For PDF-to-Book Workflow color

book.

in

the color space that Blurb's print devices

images. Since BookSmart converts to

knowing that the printer thinks the image before

and a

backlit

your image

is

management

sRGB, you do

NOT need

tips,

to

check out blurb.com/make/pdf_to_

do a conversion.

APPENDIX: USING BLURB

Using black and white images with Blurb

The biggest challenge

in

printing black

and white images

potential for the introduction of a color cast.

converted down from the much larger to

CMYK.

amount in

This

is

the case

in

RGB

A

in

a four-color process

is

caused when the color space

color cast

color spaces (sRGB,

is

the

AdobeRGB, ProPhoto,

any four-color process. Although there

of color drift within the digital offset presses, a color cast

is

is

etc.)

also an accepted

can be more noticeable

black and white images.

What

to

do? Just be sure there

is

no underlying color cast

in

your images prior to

importing to Blurb BookSmart.

BookSmart accepts only RGB images and sRGB are converted to

sRGB when imported

automatic conversion

may

into

is its

preferred color space.

BookSmart, while

CMYK

RGB images

images are

not be optimal for your specific images and

may

not. This

introduce an

undesired color cast to black and white images.

sRGB, you are ready

go and don't need to convert your images.

If

your images are

If

you use Adobe RGB, ProPhoto RGB, or some other RGB color space, then you can

use

in

Adobe® Photoshop®

to convert your

BookSmart. Best practices

to

images to sRGB before importing them

for black-and-white

image preparation

in

into

BookSmart and our

PDF-to-book workflow can be found at blurb.com/help.

73

*

APPENDIX: USING BLURB TRICKS & TIPS

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^^^H Using BookSmart's trim guides Worried about where your content book's

final

BookSmart

Can will

be

in

relation to your

trim? You can click Display Trim Guidelines to

show where your pages

will

in

be trimmed during

If

I

build

my own

'

book templates and layouts?

you are using version 2.0 or higher

of

BookSmart, yes, you

can create your own layouts using our customizable image and text containers.

book production. Start by selecting an existing If

you want a full-bleed image on your page, then

that you arrange your photo so that

it

completely

it's

important

fills

the page

page

in

an open book. Or start

with a blank page from the Apply Page Layout menu. Edit

Click the

Layout button to navigate to the Edit Layout mode.

and shows no background around the edges.

From the If

you aren't comfortable risking the edges of your image to

trim,

Edit

Layout mode, you can add or delete containers,

and resize the containers on your page.

use a layout that does not have a full-bleed, and make sure Click

you keep

critical

on Apply to see how your layout looks. To

content away from the page edge. repeat this process.

edit,

simply

APPENDIX: USING BLURB

How do make

a two-page spread

I

BookSmart does not

in

BookSmart?

Whichever method you use, avoid putting important content along the inside edges, gutter, or seam of the spread. You won't

officially

support a two-page spread, but

be able to see the parts of the page that are close to the binding

you can easily create the

effect.

To get started, select layouts gutter as well as you can see the rest of the page, so avoid

for

two side-by-side pages that have image containers

filling

the putting faces or other important content

inside

edges

of the page. Then, prepare your

images

one

in

in

that area. You

may

of

want

to lock your

two-page spreads together

in

BookSmart so

two ways: that you don't accidentally separate 1)

Drop the exact same image

into both pages.

hold your cursor on the image to half of

it

is

it

Then

click

on the page

outside of the image container. So, on the

hand page, move the container.

move

On

left-

right half of the picture out of the

the right-hand page,

move out

the image. Then eyeball the two pages to

the

and

until

image

editing the

them

while you continue

book by adding or removing pages

To lock the pages together, right

click

in

other sections.

on the thumbnail

of

one

of

the pages along the bottom of BookSmart and select Page Lock Options, then Lock Spread Together.

left half of

make sure

that they

line up.

2)

Use any sort half

of photo-editing

program

and then drop the two pieces

to cut the

image

in

into side-by-side pages.

images

©

Mark Jenkins

APPENDIX: USING BLURB

SHARING & MARKETING

Q

Privacy Settings Decide

who you want

able to preview

Private:

fi Public

to be

BaMiM-liiiBUAJMJel

Make your book

invite-only

Make y° ur book

publicly accessibte in the Blurb Bookstore.

Pubitc

books give you the option

of allowing

comments

and purchase

this book.

5; Turn on Book Preview

means that you agree to our Terms and Book Preview come ergmes Leam More

Ensbfrng Book Preview j

noerstartd your

eccaseibte to search

Make your book

Book privacy settings Book privacy settings determine who can

comment on your book. You can

and

view, purchase,

set the privacy level for

Here's

to

My Books. Your

to set your books Public or Private:

each Sign into Blurb, then click on

1.

book you upload

how

public or private

Blurb dashboard •

Private (Me and

my

My Books

at the top of

your

My

options are: in

the navigation bar.

guests) - Your books are private, 2. Click

meaning only you and those you've

invited (using

on the cover

of the

book you would

like to

make

public

Announce or private.

Your Book) can see and purchase them, unless you say otherwise. Be aware that invitation link



when you send

invitations,

your

3. Scroll to

Settings tab. Then simply select Public or Private and click

can be forwarded, posted, and otherwise

shared.

Commenting

marked

private.

is

the bottom of this page and click on the Edit Book

save changes. Your book

not available at this time for books

So,

world a chance to admire and purchase your book

on your book

invite friends

user can post

be set to Public or Private

depending on which one you chose.

Public - By selecting this option, you're giving the whole

Blurb Bookstore. (You can

will

still

in

the

send book announcements to

and family to check

it

out.)

comments about your

Any registered Blurb

it's

your choice to in

let

people view, purchase, and

the bookstore or

limit

those

comment

who can view

or

purchase your book, by keeping your book private and then using the announce feature.

public books. If

you choose to make your book Public, you

will

have the

option of allowing anyone from the Blurb community to

make

comments about your book. You can disable/enable comments by going to

My Account

>

Account

Info

and then

clicking

on

edit

next to Book Commenting. Don't forget to save your preference.

APPENDIX: USING BLURB

® Aquina By Mark Jenkins

••

HI vH

P

Invite others to view

Sign

in

and purchase your book

Use a Blurb badge

on My Books.

to your account on blurb.com. Click

Blurb badges are a simple entire bookstore)

When you

click

on the cover

of the

book that you'd

like to

way

to

show

off

on your own website or

your book (or your

blog, or

on

social

share,

networks it

I

like

Facebook and

Twitter.

Everyone with a published,

brings you to the book's detail page. public

About halfway down the page on the Promote, the

click

on the

right

Your Friends

Tell

hand

link.

This

side, will

under

take you to

Announce Your Book page.

Next,

fill

in

and an email with a

link to

When

own announce

you're done, click Send

your book gets sent to your friends,

family, or clients.

Your announcement email comes from you, or more

from the email address you used ever

is

listed

know who

is

on the From

field

contacting them.

pick from.

signed

on

specifically

to register with Blurb (whatthis page), so

your friends

section.

and

You can

find

yours

in

of personalized

badges

that we've If

tricks

answered some

of

your questions

in this

you have more questions or want to learn more

on Blurb bookmaking, please go

www.blurb.com/help.

to

the badges section once you're

in.

We hope

the fields to add addresses, write your

copy, or use our standard copy.

book on blurb.com gets a group

to:

tips

RESOURCES

Clyde

Adams

Susan Friedman

Always A Marine clydeadams.com David Bayles, design by Jeff Wincapaw

Notes On A Shared Landscape

Barbara Boissevain Children of The Rainbow

amarelostudio.com

Carnochan Imagining Then

Brigitte

Daniel Milnor

Drinkers of the Wind,

Equus,

2009

2008

milnorpictures.com

susanfriedmanphoto.com

brigittecarnochan.com

Jose Luis Cuevas Average Man joseluiscuevas.blogspot.com

Beth Moon Selected Illustrations

Dorothy Gantanbein

bethmoon.com

Foxfire

dorothygantenbein.com

Elizabeth Opalenik

Raylene Gorum

Poetic Grace

SKETCHBOOKS, Volume

I

raylenegorum.com

Jay Graham

Bella Figora

On Approach

Selected Illustrations

jaygraham.com

Paul Thormalen

london sk(eye)

Hays

A Collection

Thea Schrack theaschrack.com

Indochine

April Marie

opalenik.com

of

Dreams Wil

Fernando Decillis Photography decillisphoto.com

Ossie

Emery

in

collaboration with Sionen Cant

Wild Places

ossieemery.com sionen.com Larry Fink and Fotovision

aprilsimpressions.com

Chad Jennings Cassette Adolescence

Jenn Johnston Dimensions of Idealization Suicide Robert Kato Selected Illustrations

modernbook.com/robertkato.htm

Night at the Met

larryfinkphotography.com fotovision.org

Oliver Klink

Artan's Day

oliverklinkphotograpljy.com

Matt Logue

Empty

La.

mlogue.com/photography

Van

lersel

Every week a

New Book

wilvaniersel.nl

Erika Williams

462

Texas Street

Susan Worsham

Some

Fox

Trails in Virginia

susanworshamphotography.com Miguel Zabludovsky and Michael Rutchick

Permission to Get Dirty slatenyc.com

ACKNOWLEDGMENTS

Many people have helped ideas, call



with this book

in

and information, and we thank you

terms

all.

of contributions,

However we'd

like

to

out the following folks for their extra efforts:

our contributors: Darius Himes, Mat Thome, Brigitte Carnochan, Daniel Milnor, and

Chad Jennings



our designer: Mark Jenkins



our copywriter: Eileen Hansen



and

all

the

members

particular expertise.

of the Blurberati

who each added

their

own

m blurb.com

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1

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