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IPG Spring Conference, and gearing up for the London Book Fair

By Tyler M. Carey, Chief Revenue Officer

IPG’s annual Spring Conference, held at the Crowne Plaza Heythrop Park in Oxfordshire, is an exceptionally well-organized event welcoming small-to-mid-sized publishers for an intensive two days of sessions and networking, to help address the pressures distinct to publishers of this size. The grounds of the Crowne Plaza are beautiful, looking a bit like a Downton Abbey manor house placed in the midst of a sylvan Tolkien tale.

There are truly few better places to have a conference!  A particular benefit is that it’s removed from the London trade publishing world, bringing Great Britain’s publishers to an area outside the city, thoughtfully disconnecting them from the day-to-day distractions that can pop up when you’re just a quick tube ride away from the office, or the sense of obligation to play tourist should you find yourself in London having come from a place far away.

Westchester’s Interim Director, UK – Tim Davies – and I were excited to exhibit at the conference. Tim came on board just prior to the conference, providing a great opportunity for him to meet with some of our existing clients as well as talk with other publishers in the industry about their current workflows for editorial and production on their publications. Tim has a longstanding history within the IPG and had been invited to host a very well received workshop with smaller publishers about managing growth and operations. He has also dived in to his new role at Westchester and has provided wise guidance on the resources we will continue to expand to support the particular needs of British publishers.

For Westchester overall, finally getting to attend an IPG event was very valuable. The sessions ranged from the topical (the BBC’s Amol Rajan discussing the trends of fake news and the trust in content), to the geopolitical (MP Ken Clarke providing a perspective on Brexit for the publishing industry), to specific publishing topics (workshops, presentations, GDPR and AI sessions, and a keynote by innovative designer Alan Moore). The feedback for IPG following the conference was very positive. You can read their post-conference wrap up here, which is like a mini-summary for those who missed it.

The footprint of IPG’s membership aligns quite closely with the size of clients Westchester typically supports, especially those that are in growth mode and are at the point where they need to evaluate the choice of hiring on a vendor to help support growth, or hiring on more staff and having enough work to keep them constantly busy.  Within the coming weeks, a white paper sponsored by Westchester Publishing Services will be released exploring that idea in greater detail.  Make sure you subscribe to this blog to stay up to date on that. While that paper has been in production for a while it was really valuable to revalidate that position in discussions with many publishers that are approaching that tipping point of growth.

In closing, the IPG conference also served as a great opportunity to meet with several of Great Britain’s independent publishers in advance of attending the forthcoming London Book Fair. It helped us to reaffirm the services that Westchester provides are in alignment with their requirements as we continue to expand our support for publishers in this important market.

Are you headed to LBF? You can find Westchester on Stand 6B107b.  Contact Us to arrange an appointment at the Fair, or just come by our Stand to meet some of our management team and discuss your particular publications needs.

 

by Mark DaGrossa, Director of Creative Services

In this edition of Cover to Cover, I’m going to take you through the steps we consider when we are designing a textbook.

After the project is awarded to us, we assemble our team and get down to work. First, we determine whether we are creating a design template or if one will be provided. If we are creating the template for our client, we need to define several items, including:

  • Chapter openers, unit openers, covers, testing pages, activity pages – all need to have the same visual theme or family but may have their own feel.
  • Icons – need to be created for each sidebar item
  • Head treatments – the head in the general body of the text will be worked on, A-Head, B-Head, C-Head, and so forth.
  • Columns – how many should each page have?
  • Fonts – We need to select fonts that allow for several options within the font family.
  • Printing – This is important to ensure specific margins or gutter spaces are incorporated into the design.
  • Photos – Will they have square cuts, borders, vignettes, breakout images, outlines or drop shadows? We also consider how captions will be shown.
  • Footers and folios – What will go into these areas?
  • Book map – is there one which shows how the pages flow? This is important if you want each unit to open with a spread.

For projects that are more design intensive, once we have a design template established, we move on to verbal visual conferences (VVC) for the pages. A VVC is a meeting that brings together the editor, art researcher, and the designer.

In the VVC, the designer uses a printout of the loose version of the pages, including the items that are static on the pages. The designer works through the manuscript, page by page, with the editor and art researcher, drawing a sketch of how each page will look. The editor highlights what is important in the content, allowing the designer get a better idea of the look and flow of the page. This also gives the art researcher a clearer understanding of what they need to be looking for and how the images will be used.

VVCs are conducted in the earlier stages of the project using rough sketches and will change somewhat once the final images are found, chosen, and approved. I’ve included an example below of a rough sketch and the final version so that you can see the types of changes that occurred as the project took shape.

Another important detail we need to factor is what grade level the content is being designed and written for. The lower the grade level, the less text and more imagery will be used. Lower grades get a bigger, more easily read font. Leading is larger, and the actual writing is grade level specific. Colors tend to be a bit brighter and primary. The imagery is much larger and more specific to the content, allowing younger students to make a better connection between the words and pictures. As the grade level climbs into the middle and high school levels, less imagery is required. Font sizes will be somewhat smaller, and the colors for images may be more muted so as not to distract from the text.

As you can see, there are many important items designers, working with editors and the art team, consider. Effective design ensures students better understand the program.

I hope this post has helped you learn more about how designers approach working on a textbook project. I welcome your design questions and ideas for future blog post subjects. Feel free to email me at: mdagrossa@westchesterpubsvcs.com

Have a great day!

Mark

 

by Michael Jon Jensen – Director of Technology

Michael Jon Jensen, and the software development team at Westchester’s Chennai office

I recently returned from my third visit to our offices in Chennai, India. The first trip seven months ago was an adventure and a revelation; the second, three months ago, was a return for strategic development. This most recent trip was a reunion with colleagues who I now consider friends, to refine our mutual long-term plans.

My first ever trip to India, in late April of 2017 — was a cultural whirlwind. The intersection between an ancient civilization, the impacts of a few hundred years of colonization, and 21st-century modernity means that Chennai lives all of them simultaneously. Their day-to-day traffic manifests that complex intersection: handcarts, bikecarts, scooters, motorcycles, three-wheelers, autos, small trucks, panel vans, and big trucks interweave constantly, usually gracefully (if terrifyingly hair-raisingly), blithely ignoring lane markings and traffic signs. I tried to put my foot through the floor so often that my right calf ached at the end of the first few commutes.

During that first visit to our Chennai offices, I discovered a depth of skill and capability that I’d only halfway understood. I found a desirable Indian workplace comprised of good jobs which were well-staffed, and a production workflow focused on quality-control at every stage, across the board.

I shouldn’t say I was “surprised” by anything I saw in our Chennai offices on that first trip. Before joining Westchester Publishing Services, I’d done due diligence by talking with a lot of publishers I knew to confirm their reputation before signing on, and to be sure that their Indian staff were well treated. I heard nothing but support.

What I saw on that first trip exceeded my expectations, and delighted me. I also reveled in the reality that at the Chennai offices we have our own software development team, who were already deeply knowledgeable about data transformations, typesetting nuances, as well as XML, EPUB, and textual presentations. These are things I’ve done and loved my whole career, and I realized that we could insource a lot of development, building internal strength, and creating some amazing tools together to serve our clients’ needs, and to expand what’s possible behind the scenes.

My job just got more exciting at that point.

My second trip, in August of 2017, was a solid week of engagement, bookended each day by that brief, routine commute in Chennai’s hair-raising traffic. That time, I complimented myself on only freaking out about the traffic once or twice per commute, such as when a family of five on a motorcycle swerved successfully around the three people on a scooter who were swerving around a slow-moving bicycle cart.

During that second visit, Elan and Christober (Development Chief and Head Architect, respectively) and I strategized out the next 18-24 months. From immediate priorities to stretch goals, we laid out what might be achieved given our existing strengths and client needs, and given our capabilities. Such fun, imagining what we could build. What kinds of hires would we want to make to achieve specific goals? What steps should we take now, to enable certain kinds of analysis a year from now?

Regarding this most recent third trip, begun when the January winter storm began?  Apart from my luggage finally arriving the day of my departure from India (a story for another day), it was sheer delight.  I was returning to meet with friends, people I had worked with to devise some radical improvements of already-streamlined production services, and to re-envision data infrastructure. Only geeks can get excited talking about the user interfaces for our backend workflows, which will also feed data to our client-facing Portal. And we were trans-Atlantic geeks, to be sure.

We’re already working out how to design a “scholarly EPUB” format optimally suited for scholars; refine image and textual analysis tools to flag possible problems like rivers, or stacks, or a disproportionate degree of “feathering”; identify the richest 25% of the document’s content; auto-categorize publications, via multiple frameworks (Amazon, BISAC, LC, etc.); identify most-related titles within a publisher’s WPS ouvre; and on and on.

Of course, we work on this stuff together daily from across the ocean, via Skype, phone, and email. But there’s nothing like being in the same room with really smart developers, brainstorming ways to enhance the quality, the beauty, the processes, and the value of the work we produce.

Best of all, during this visit’s daily commute, I didn’t slam on my “virtual brake” at all. I can’t say I was calm, but clearly, some part of me had become acculturated to Chennai’s traffic.

On my next visit to Chennai, we’ll hammer out the strategic structural necessities, and the required scripted processes to enable our next leap forward.

I can’t wait for that next trip!

– Michael

Tim Davies, ALPSP UP Redux, Stationers’ Company – and more

By Tyler M. Carey – Chief Revenue Officer

Sign outside The British Library, site of the 2018 ALPSP UP Redux Conference

Westchester’s year is off to a great start, especially with the growth of our work in the UK market. As you may have seen a couple of weeks ago, we have brought on Tim Davies, formerly of The History Press and Oxford University Press, to help us grow our business in the UK.  Tim’s expertise running publishing companies, and his previous experience with American firms such as Baker & Taylor and Author Solutions has him uniquely positioned to help Westchester not just grow our client base, but also to identify any areas where we should grow. He is currently actively engaged in expanding our bench of copyeditors in Great Britain to help us stay ahead of the curve in our copyediting capacity as we grow.  And boy, are we glad Tim is doing that! At ALPSP’s UP Redux conference, there was a tremendous level of interest from the UK’s university presses about the work that Westchester does with many of their peers in the US, as well as more and more work with UK-based publishers.

Our friends at UCL Press hosted the recent ALPSP UP Redux, which was a well programmed conference for the university press and academic publishing spaces. The show had an international feel as a result of old friends from the States including Duke University Press and The MIT Press sending staff, giving the conference a set of contrasts to draw from for sessions and discussion. The US presses that came gave helpful, proven insights on where the US university press space has been and where it’s going; The MIT Press’ Amy Brand’s Keynote was particularly effective in exploring these areas. Timothy Wright (Edinburgh University Press), David Prosser (RLUK) and his panel, and Bloomsbury’s Richard Charkin also contributed quite a lot of perspective about where academic, university press, and library programmes have been headed. Andy Redman from Oxford also provided a very practical walkthrough of how a larger university press has embraced XML-first production to handle its large legal list, tying in nicely with the later panel on “buy vs. build” regarding tech platforms.

From the UK perspective, the use of Open Access as a mechanism to help grow presses rapidly was covered by UCL Press and other UK based presses, as well as JSTOR’s Frank Smith who added to the global perspective by talking about how Open Access has helped put scholarly content into the hands of scholars and consumers in emerging markets. There was some debate on this topic, but based on the successes of smaller start-up university presses in the UK – as well as those like UCL Press that have experienced growth fueled by open access – it was impossible to challenge the use of Open Access as a way to launch a program. The debate did continue though, as it pertains to the Higher Education Funding Council for England’s (HEFCE) position that all UK monographs need to become open access in the near future. You can read more about publishers’ concerns regarding HEFCE’s stance in this article by The Bookseller.

Another highlight for me was once again visiting Stationers’ Hall for the New Members evening at The Stationers’ Company. While I’m still very much a new recruit myself, it was great to speak with other publishing professionals who are interested in joining the Company, as well as seeing old friends who have been members for years. Of special focus during the evening’s open presentation was a focus on the Stationers’ Academy and other charitable programmes run by the Company. It was inspirational to hear members speak of the mentoring work they do to help children better navigate their education and early professional development. There is truly a commitment at the Company to help others, while also ensuring that publishing continues to remain a viable path for young graduates, keeping up the Company’s more than 600 years’ worth of work growing the industry.

During the remainder of my trip to London, Tim and I took the opportunity to meet with existing partners. We also took time to plan for the upcoming IPG Spring Conference (if you haven’t registered yet, mention Westchester when you do) and the London Book Fair.  Westchester will have stands at both conferences and we’re eager to talk about all the great work we are doing with publishers in the US, and increasingly in the UK and Europe.  Please contact us to arrange a meeting to discuss your publications program and ways we can help.

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by Mark DaGrossa, Director of Creative Services

Hello everyone! In this post, I will cover general use images and where we obtain them. As we work on most design projects, there is always a need to find the perfect image to enhance the design of the project. It may be a full page image, an image to use as an icon, or an item collaged into a header. No matter what the use, it is very important to follow the correct procedures for acquiring an image.

For example, did you know you cannot simply use anything you find on the Internet? If you do a Google Image search, many images will pop up. However, that doesn’t mean you have permission to use any of them.

I had no idea! So where can I find the images I need for our project?

If you need a simple image of a pencil, for example, you can probably do that yourself using a smartphone or digital camera. You could try to find free image resources online, though it can be tricky to determine what is actually free to use. For projects that are more specialized, it’s always best to retain the services of a designer. Designers possess the artistic training and access to image resources that will enhance the look and feel of your project far better than if you attempt to do the work yourself.

Many of the images designers use come from photographic stock houses, which offer professionals a huge selection of royalty free images, and are a very helpful resource when you’re trying to find a specific image. Most of these images can be manipulated and used however you need for the final design.

For certain projects, we need one amazing shot of a specific item or place. In that situation, we will often use a photographer based in that region. I recall a project where we were working on a sales incentive program and found this spectacular image of the destination hotel the clients were using. It was taken by a local photographer who only shot fine art images of Florida. A deal was worked out with all parties to use the images and the final product was completed for the client.

When a project requires images from a certain time period or place, then we work with museums or historical societies to source and use images from their collections. For example, if you need a tree from a specific natural park in Indiana, the designer will need to find a source who can verify that this tree is from this forest. You will not be able to just use any tree, especially if the description in the book calls out the tree and forest.

In conclusion, using the services of a designer is cost-effective because a designer will work with you to make sure that your design aesthetic is followed. They will coordinate with the owner of the images to obtain the necessary permissions or will find another reputable source to acquire pictures which suit your project. Working with a designer prevents the problems that can occur when images are obtained without receiving authorization from the artist to whom the work belongs. Resolving these issues can often cause delays that can be costly and time-consuming to fix. If you use a designer from the beginning, the process will go far more smoothly and you’ll end up with a project which is exactly as you envisioned, or even better.

Have a great day!

Mark