![]() PRESS READY FILES Once you have the press-ready file completed, it will be sent electronically to the printer according to a previously arranged schedule. If there’s a missed typo, there’s nothing you can do until a new edition is printed! It is vital to get a proof reader to check all the text before your book goes to print. Because you can create separate files at this stage – with or without type – there is the opportunity to be creatively free with type colour and design without causing too much added cost or problems with translation into other languages. Once you are happy with the colour balance of the scanned spreads, the typographic designer will drop in the typeface (according to the original grid design). A sample of three different coloured spreads is usually sufficient to see if the colours of the book are true. So if your book is going to be printed overseas (which is much cheaper than in the UK) it’s advisable to ask a local printer to do some colour proofs to match with the artwork before the press-ready file is sent off as couriering back proof copies will be an extra cost and any changes made at proof stage, expensive. This can be tricky as RGB colours on the screen do not necessarily look the same as CMYK printed colours. If you do your own scanning, you will also have to know how to do colour correction in photoshop to match up the colours of the scanned image with the original artwork. You will need an A3 scanner or pay to have it done professionally. If you are self publishing your picture book, you will have to get it scanned yourself at a resolution of no lower than 300 dpi CMYK. This will all be done by the publisher’s designer. Once the artwork is completed, it will need to be scanned. Harry and the Jaggedy Daggers by Jan Fearnley. Here is a good example of typographic design that fits in well with the narrative and page design. What you are trying to avoid is a typeface that is just for effect, gimmicky, or in-your-face. Ideally you will be passing roughs and layouts to and fro until the typography and images all harmonise and feed seamlessly into the narrative. If possible, choose a typographic designer whose work seems compatible with your own and who you find inspiring to work with. Look for a typographic designer who specialises in picture book design and has an awareness of the reading eye movement so you can place the text correctly in your layouts without any confusion over the flow of the words. It might not always be possible to do this when working for a traditional publisher with in-house designers but it can be really helpful if you are going down the self publishing route. ![]() Then, if the word count of your story is not big, the typeface, text and illustrations can become integral to the narrative. If possible, work closely with a typographic designer at the earliest planning stages of a picture book.
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