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It seems that the ePub file format is gaining as the leading vehicle for electronic distribution of books. After many years of multiple file types or inconvenient PDFs, ePub is quickly establishing itself as the premiere file format for publishing or converting traditional books to an electronic format that can be used on the iPad, Sony Reader, Kindle, and more.
We’re getting more requests from our publishing house clients for books to be converted to the ePub format. Some of these are rolled into the end of a current project. But also, they are looking to convert older titles to the ePub format.
Like many things in the design world we find ourselves competing with very low cost providers. There are software and online tools that can be used to create ePub files for very low cost or even free. It seems like with a push of a button you can magically convert a book to the ePub platform.
But like most things, when it sounds too good to be true, it probably is.
There are two rules that have held true over the years: 1) technology is only as good as the human using it, and 2) everything takes longer than you anticipate.
A good analogy is using and sharing photos from your digital camera. The idea in our head is that we’re going to instantly and easily take a photo, get it onto our computer, print it through Snapfish, share it on Flickr and post it on Facebook. In our mind, the transition from taking the photo to sharing it with friends is immediate: it happens quickly and with ease. The reality is that while each step is quite simple, the whole affair could take you an hour or more. And, making some adjustments such as cropping, rotating, adding captions, sharing the links, etc. are all critical to making the whole project worthwhile.
This is very much like converting an ePub file. While it can be a fairly straightforward process, it’s the little adjustments that make all the difference.
Additionally, there is a big difference in whether the book being converted is basic, straight running text, or if there are photos, tables, and other artwork.
If you are not familiar with our book design work, I suggest you peruse our online portfolio to get a sense of the book cover and book interior design projects we are involved with.
There are many, many book out there that are 100% straight body text. They may have chapter numbers or section breaks, but essentially there is a master body type style and that is used throughout the entire book. In cases like this, publishers frequently use type setting services rather than graphic designers or book designers when preparing the book for printing. These books can quickly and easily convert to the ePub format.
However, there are a large number of books that need extra attention when converted to the ePub format. You can’t expect to just do an automated conversion process and be happy with the results. Photos need to be anchored the correct text, styles and fonts need to be confirmed as having translated accurately, graphics and tables may need tweaking, and links will need to be verified.
I’m not talking about over-designing the ePub book. In fact, a good ePub harkens back to the most basic of design principles. Making text readable, making the hierarchy of levels of heads easily understood, putting images near the text it refers to, etc. It is, in fact, critical to relinquish a lot of the fussiness of print design.
As a designer involved with both print and web we’re expecting our design studio to master the ePub format with ease. Just like in web design where you have to work within the parameters of HTML and CSS and be able to “let go” of the need to overtly control every nuance of placement, font and size. A similar ability to deal with the restrictions, yet still make something pleasing and readable will be key.
The second thing I’m realizing is that the ePub conversion, will factor into how we layout books from the start, even while preparing initially for a print run. At Visible Logic, we do all our book design in Indesign, but in the past haven’t used all the features that would be beneficial for an eventual ePub book. As an example, you can auto-generate the table of contents’ page numbers in InDesign. Sometimes we use this feature, other times it has been just as easy to manually enter and typeset the numbers. In the future, we’ll probably always try to use the auto feature because that will make the ePub conversion easier.
What are some of the hurdles you’re experiencing with converting old files or creating new files for the ePub format?
The other day, I went into a coffee shop that I like to frequent in downtown Portland, Maine. They have an area where customers can put their business cards so that other customers may learn about their services. As I glanced over, I saw a business card that I recognized. I knew that I had seen the business card on the door of another suite in my office building. So I took a closer look, and read that it was a Yoga teacher’s card. I was confused because I knew there wasn’t a yoga studio in the same building as Visible Logic. I honestly was pretty perplexed until I realized that it was the same business card design used by two different businesses. One was a therapist; the other, a yoga teacher.
About one week later, I had a meeting with someone and we were trying to make some networking connections for one another. She opened her business card holder and I caught a glance of the same business card design, again. I asked: “Whose card is that?” And when my acquaintance told me, I realized it was yet a third business person in this small community using the same business card design. This person is an LEED AP (An aside: No, I don’t know what that means… do you? I can guess it has do with something with LEED energy stuff, but that’s all the card said.)
Here is one of the 3 business cards. All use the same design template with different contact details
This is in an unfortunate instance where uniqueness would help. Lack of differentiation is causing at worst confusion, and at best just a watering down of any sort of distinction between local businesses. Let’s say I was looking for a yoga teacher, but when I glanced at that card and recognized it as a therapist’s card I might not give it a second glance.
The bottom line is that all of these businesses are relying on a stock (I’d guess free) business card design. Probably each business owner went to the same online printer such as VistaPrint and selected the same free design. I’ve now already spotted three of these in our small community and there’s likely more.
If you’re trying to build a brand it needs to be distinct. What if another yoga teacher or therapist selects that same design? Then you’d look just like your direct competition; causing serious confusion and complete brand dilution.
Design is just one part of branding. It specifically is about building a brand identity or visual position for a brand. On the other hand, branding projects are just one type of design projects that a graphic design studio or web design company may handle. You can read this post about Tropicana packaging to understand more about the difference between design and branding.
Is there a problem with the design of the card? No. The design is elegant. The color palette is pleasing. The larger organic shapes on the right are a nice contrast to the subtle geometric pattern on the left. The typeface is a bit difficult to read. If someone showed me this design and asked for a critique, I would not be horrified.
But, if someone asked me if they should use this as the basis of their brand identity I’d tell them to stop immediately. You need uniqueness to differentiate yourself and build a distinct look for your brand.
Most graphic designers and web designers pride themselves on creating distinctive design solutions. However, one reality underlying the usage of free business card templates, low cost web site templates or royalty-free photos is that most small businesses have a very limited budget for their design needs.
My clients are in this boat too. I’m often working under the barriers of restricted budgets.
So I wanted to show you an example from my own work, where I got caught using the same design elements as someone else. But I’ll show you why it wasn’t critical to the design and branding for my client.
Below is a book cover design that Visible Logic created. The cover was meant to be part of a series, so that the dominant design elements would be recognizable even as small details changed. You can read more about the book design project and see the design of the other covers here.
Let's Eat Out! Book cover design by Visible Logic
Just this week, I received an email from Borders Books that looks like this:
E-Newsletter from Borders Books
Right next to offer #1 is that same royalty-free image of the women eating at a restaurant that we used on our cover. I recognized it immediately because it was an image that I searched for, and it was an image that went under a lot of scrutiny from the client. But the reality is that in both cases it is just a quick way of making the viewer think “restaurant”. In neither case is it critical to the design and/or brand identity of either product.
This is a case where uniqueness is not that critical.
When you are forced to use design elements that are not unique, make sure they are NOT the one-and-only, the most critical, or the defining element of your design. Use free, low-cost, or widely available elements such as graphics, images, photos and decorative elements carefully. Ensure that they do not define your brand identity.
…
If you’ve seen other examples of that business card design above, I’d love to have them. I’m making a little collection. Also, if you know where the design comes from, I’d like to know that too—thanks!
I recently purchased a Xerox color printer, (the Phaser 6280, which I love, by the way). As part of the warranty registration process I am now on Xerox’s email list. I just received this e-newsletter that had me cringing at the contradictory advice given.
Xerox E-Newsletter (click to enlarge)
The e-newsletter’s first head line is:
10 ways to stand out from the crowd
The second headline and article are:
More free business flyer templates. With our new professionally designed business flyers, there are now over 20 free designs you can use to look your best in print.
It’s really hard to stand out from the crowd, when you use a free template. The worst case scenario is that your competition is actually using the same template as you. This is more common than you think. If you are the travel business you choose the travel theme. If you are a florist, you choose the floral theme. Unfortunately, that’s what everyone else is doing, too.
What differentiates you from your competition? Is it that you sell flowers? I don’t think so. Rather it’s your unique way of combining different types of flowers, or your incredibly fast delivery, or your guarantee that the bouquet will last for 5 days, etc. The themes presented in templates—whether they be printed brochures templates or web site templates always focus on the lowest common denominator. They can’t be distinct enough to make you stand apart from others in the same field.
As Xerox realizes, you need to stand apart from the crowd if you wish to recognizable, well-known and trusted. A distinct brand identity can do that for you in a way that no stock template can.
Yesterday’s blog post was a bit of a pity party and I wanted to turn the mood around and start by thanking all the wonderful clients we work with.
Most of our clients are a joy to work with, and we’re proud to say that several have been clients for many, many years. We especially like the relationships we’ve formed with: Educational Endeavors, Global Citizenship Experience, New England Breeze, The Project on Civic Reflection, Chicago Review Press, Narrative Pros, New Leaf Project Management, New Chapter Press, Cream & Sugar Bakery and Well-Fit Triathlon.
We’ve watched their businesses grow and have helped in their growth.
We were able to do this for our clients by working closely with them on project after project. We’ve been allowed to be more than just creative hands, but true business partners. We’ve learned about their business goals outside of the specific design job at hand. In addition to the graphic design and branding expertise, we find ourselves helping with: organization and editing of copy to communicate more effectively; finding more cost effective solutions for print jobs; researching better vendors; offering and receiving general advice on running a small business.
Great clients make for great work. Here’s why:
When I work on projects I like with clients I like, I always become extremely invested in the outcome. There have been times when I’m falling asleep at night and I think about design projects and remember small details that will improve the project.
There have been times when I’m in bed and realize we didn’t check to update the copyright date on some materials. Or, I just visualize a much better design solution, or a more economical solution for my client.
Face it, I’m only going to do this when I’m jazzed about a project. When I just feel like I’m “executing” someone else’s orders, or feel there is a lack of respect, there is no reason for me to put my most creative resources into the project. While that work will be satisfactory, it may not be as effective as it could be.
Unfortunately, I am currently in the midst of “separating” myself from a toxic client. And while this blog post is not about design, it is about being a small business owner, and I had to write it.
First of all, what makes a toxic client? There can be many variations and each is unique but there are usually early red flag warnings, followed by one or more of the following:
Many times relationships start out OK, but then sour. Sometimes it’s easiest to just keep trudging along. If a profitable client is hard to work with it can be tough to say good bye to their revenues. But let me share why I think it’s good riddance:
The bottom line is that I should not be writing a blog post about this. But I’m angry and stressed and hurt by the situation. Which just proves my point. If it weren’t for this toxic client, I would writing a blog post about something of more interest to my readers. Or, I could be working on billable design work. Or, I could be working on finding better clients to work with.
If you have a story to share on this topic, please add it in the comments.
This weekend I attended a friend’s wedding. For most of us ladies this is how it goes when we get a wedding invitation. First thought: What fun, can’t wait to go. Second thought: What am I going to wear?
From there, we go through the usual process of looking through the closet, or going out to purchase something new. For this weekend’s wedding I found a fabulous dress that was perfect for this late afternoon summer wedding.
If you’re a small business owner, think about your own brand imagery. Does it make you feel proud of your company? Does it fit who you are and the types of clients you wish to attract? If you feel anything other than fabulous every time you pull out your business card, or send someone to your web site, it’s time to rethink your brand identity.
I remember back when I was in art school, there were many lengthy and emotional conversations about the difference between designers and a fine artists. Was a designer an artist? What was the difference? Was it working for clients vs. working for yourself? Was it computer-driven vs. handmade? Was it because design involved manufactured typography? Did I, as a designer, consider myself an artist?
It’s a long and never ending debate. In fact, at The Massachusetts College of Art (MassArt), where I have my degree from, there was a call to add design into the name. And recently the college was formally renamed to The Massachusetts College of Art and Design. I am happy to see this name change, because I do think there is a difference.
But I don’t think it’s focused on any of those areas I thought about while in art (design?) school.
After working as a professional designer for more than a dozen years, I think one of the most critical differences between a fine artist and a designer is that as a designer I create with the end result being mass production. I am not creating one-of-a-kind finished pieces. While each design is unique, the actual end result is something that must be manufactured (in the case of print) or displayed electronically (in the case of the web).
In fact, I think what also separates an experienced, high-quality designer from the newbies and wannabees is this same distinction: the ability to design for an end production technique that is ultimately out of our hands, and yet we are responsible for.
Most art schools, Mass Art included, do not have the time in their curriculum to teach all the nuts and bolts of production. The focus is on learning design and having only some awareness of production issues. In addition to time restraints, there is the fact that production techniques are always changing (most especially with the web) but that design principles are universal and (mostly) unchanging.
Therefore, most designers learn their production skills through experience. Some of this experience is trial and error as they complete more and more projects. Junior level designers also learn from senior designers through internships and with their first jobs.
Even the most exceptionally talented entry-level designer probably lacks the internal tools to see a project through to accurate production.
Designing for print is the ultimate manufactured design. It doesn’t matter what it looked like as a PDF or on your ink-jet-printed mockup. It needs to look good on the 5000 copies that just rolled off the Heidelberg press. Were the files set-up correctly? Was the correct paper spec’d? Was the job accurately proofed? Is the printer capable of completing the required finishing techniques? Is the reality of the design going to be just like everyone has been envisioning?
Learning about offset printing is all about experience. Ideally, a young designer learns valuable insights from someone more experienced, such as a designer or from their print sales reps or pressmen. But every designer will likely have their own share of less-than-perfect results which add to their own experience.
Web initially seems less manufactured, because the whole point is that it’s paperless and electronic. But just like designing for print, an understanding of the end product is a critical requirement for web design.
A design is not really worth much if it doesn’t render correctly in certain browsers. Or, is unreadable by search engines. Or falls apart when viewed with certain operating systems.
So again, web design is not just about what it looks like in a controlled vaccuum, but making it render how you envision it for all your viewers, in many different situations.
That doesn’t mean that I’m not creative. But it does mean that I will cringe when you use the term graphic artist.
I see my creativity more in the guise of problem solving and communicating, and ultimately bending my creative vision to allow for the mass production of my ideas.
As we head into the three-day weekend, many of us are focused on taking some time off from work. I know our office will be closed on Monday and it will be a pleasure to enjoy a scheduled day off.
Your web site, however, will not be taking time off. And in fact has been out there promoting or detracting from your business’ image from the day it launched.
A couple of times a week I walk by the Portland Chamber of Commerce office, and it always gives off a very “closed” and impenetrable vibe to it. As I walked by it the other day, I realized why.
Portland, Maine Chamber of Commerce Office with their always closed blinds.
I realized that in the nearly five years I’ve lived in Portland, Maine, those blinds on their windows have never been opened. Yes, you can go around the corner and find a door and see they are open, but the side of their building facing the busy street is always shuttered behind blinds.
It made me wonder why. Probably it has something to do with the glare and the computers. But why not at least take some of the window space and figure out a way to make it look open and inviting? Show us that someone in there is working for its members.
For many of us, a peek at our web site will be the first impression, rather than your office. Obviously securing your companies domain name and having a web site presence is the most basic first step. Having a web site that is live and functioning is like being open for business. But it is more subtle things (like the blinds on the windows) that show whether you are really a thriving and active business.
There are numerous ways the content and look of your site are presenting an image of your business as either alive and thriving, or stale and stagnant. Web site first impressions are hard to overcome: make it a good one.
As you pull together your brand identity you need to look at design as well as production costs. First you need a well designed business card, then you need to get it printed. In addition to web design there are development and hosting fees. As a business owner, you’re probably looking for ways to minimize expenses; but you need to understand how and where you can safely cut corners.
For example, there is a plethora of online printing sources that will print your cards cheaply; and many times they will look like that — cheap. If you know your way around printing, you may be able to score some decent, but well-priced cards. However, many new business owners don’t know anything about printing, so they end up with thin paper and poorly reproduced artwork. If you want to read about my own experience getting some cards printed online, read this series of posts.
It’s all about understanding where it’s OK to save money and where you’ll end up looking cheap.
As many of you know, I recently moved my office. To decorate the new space, I decided to frame and display some logo designs that we’ve done in the past. It’s a nice way to showcase some of our design work for people who stop by the studio.
I had to find some frames, and I needed at least a dozen of them; so they couldn’t be expensive. I’m a small business owner watching the bottom line, like just you. I checked out Target, some craft stores and ended up at the Christmas Tree Shop. If you’re not from New England you may not be familiar with this quirky, bargain-hunters’ dream. It’s one of those places that you’ll never know what you’ll find, but they always have an assortment of home decorating and housewares items that are inexpensive.
I headed to the frame department. All were inexpensive. Some looked flimsy, were poorly manufactured, or had chipping finishes. But some of the most basic ones were acceptable.
I purchased twelve of these basic, black wooden frames. They are simple and square. And they cost only $3.99 each.
I didn’t try to make it look like gold leaf, or have fancy mattes. I chose a quality material (wood, rather than plastic), a basic style (square shaped and flat edges), and a simple finish (flat black paint).
Framing up these logos got me thinking… It’s often the person with the most understanding who can cut corners, save money, use templates, etc. and still have it all look good. In this case, I was able to see which elements were critical to having a professional look.
Another example is web templates. If you don’t know anything about web design, it’s hard to make a free template look very good. But an experienced web designer could make the most of even the most limited web design template. But then, a good web designer would probably never use one of those cheesy templates.
It’s sort of a catch-22: templates, clipart, inexpensive printing and do-it-yourself systems are supposed to make someone look professional with minimal cost; but they often backfire and make you look even worse.
Most importantly, allow your designer to use their expertise to help you find a cost-effective solution.
