Your Guide to Supplying Print-Ready PDF Files
Fast Turnaround High Quality Printing Excellent Service Easy Ordering Your Guide to Supplying Print-Ready PDF Files
File Requirements
• Save your images in CMYK mode at 300dpi; • Supply cover as a spread inc. spine as a PDF; • Supply text as single pages in one PDF; • Include 3mm of bleed to your cover and text artwork; • Embed all fonts; • Save your file with ‘PDF/X-1a:2001’ settings.
© 2019 Printed and bound in Great Britain Contents Introduction Introduction 1 Service expectations 1 What is a PDF and why use it? 1 Choosing a program to create a PDF 2 Components of a book 3 Bleed 4 Image resolution 5 Colour 6 Outputting PDF Tips and general settings 7 From Word 2007 8 From Word 2008 Mac 10 From Word 2010 11 From QuarkXpress 12 From Word 2019 13 Checking the created PDF 14 Creating Covers Cover layouts Lay outs 15 Paperback cover 16 Dust jacket 18 Printed paper case (PPC) 20 Additional Components Blocking brass 22 Spot-UV/Embossing 23 Plate sections 23 Printed endpapers 23 Optimisation guide 24
Fast Turnaround High Quality Printing Excellent Service Easy Ordering Introduction
File preparation for press is not often thought about in great depth by those outside the trade, until the last moment when the project finally comes to be printed. Suddenly, a whole host of technical jargon and requirements are thrust upon you, when you have the least amount of time to spare before that inevitable book launch.
Hence the aim of this guide – to teach you a few technical requirements and aid you in preparing print-ready PDF files that will mean your book is produced just how you want it.
Service expectations Files supplied to us are checked (“pre-flighted”) when they arrive at our pre-press department for the technical requirements of commercial printing, and “Fit For Purpose” checked against the job brief – i.e. does the artwork match the order’s size, and are the cover dimensions correct for the expected size of book? etc. It should be noted that files supplied to us are expected to have already been proof-read – we do not check for spelling and grammar.
What is a PDF and why use it? The most reliable and accurate method to transfer files between your system, through pre-press and imposition schemes and then on to the press is to use a portable file format – the industry standard PDF.
PDF (Portable Document Format) “locks” the words and images in place on the page and when set up correctly ensures that everything needed for printing is contained (or embedded) within the one file, so regardless of computer platform or printing press, the end printed result is the same.
This is unlike supplying a Word file, for example – Word files do not transfer well between systems, as they rely on the individual computer’s fonts and printer settings, which vary from computer to computer.
PDFs can be made from any program, because it is based on printer code. Imagine sending a document to your desktop printer – the data that goes down the cable to the printer gets captured to a file that can then be released to another printer miles away – that’s the essence of PDF.
In fact one method of creating a PDF is to print a document to a “PDF printer”, which actually saves a file to disk instead of sending the data to a printer. Nowadays programs can simply “save as PDF”, but the internal process is the same.
1 Choosing a program to create a PDF
There are many page layout and desktop publishing programs that can create a PDF.
InDesign (and previously, QuarkXpress) is the industry standard page layout programs, if you are serious about designing lots of titles, this would be well worth the investment in money and the time to learn the complexities of it. With InDesign you can get very professional effects and results that mainstream publishers’ produce. Other programs are also available, that may produce results suitable for your project with less of a price tag.
Any program that can print to printer can be used to create a PDF. If you can’t save-as or export to PDF, you can always print to PDF by using a PDF printer – remember that’s a virtual printer that saves the fi le to PDF. Free ones like Nitro and CutePDF are available online, while Adobe Acrobat Professional is the industry-standard PDF creating and reading program.
As long as the resulting PDF meets the specifi cations outlined in this booklet, the program used is less important.
2 Components of a book
There is a variety of book styles that can be produced, each having different components that each require a separate PDF from which to print.
Saddle-stitched booklets have a set of inner pages and often an outer (thicker) cover, folded in half with two staples in the spine to keep it all together. The folded booklet is then trimmed fl ush to the specifi ed size. Components: Cover, Text Paperback (limp) books have a “book block” and a card cover – usually printed in colour and glued to the spine (“bound”), then trimmed fl ush to the specifi ed size. Components: Cover, Text. Hardback (cased) books have the book block bound on the spine with front and back endpapers (which can be coloured black or white), and trimmed to the specifi ed size.
This trimmed book – block is then “cased-in” – the hard cover (or “case”) is glued to the front and back endpapers (not the spine) and overhangs the book block by about 3mm. The case can be either fi nished in cloth or a printed paper case (“PPC”).
A cloth cover can have a “foil blocking” applied (lettering or simple graphics stamp embossed, usually in gold or silver).
A dust-jacket can also be wrapped around the fi nished book. Components: Text, Endpapers, PPC, Jacket, Foiling Spiral/Wiro books Cover and book block is printed and trimmed to the specifi ed size. Once they are trimmed, they are punched with the relevant holes. They then have the spiral/wiro inserted and is crimped or fastened depending on which style. Components : Cover, Text
3
BleedBleed Bleed Bleed is a fundamental requirement of printing yet is often Bleed is a fundamental requirement of printing yet is often overlookedoverlooked as it is not obvious to the as it is not obvious to the end reader end reader that it is required.thatBleed it isis required.a fundamental requirement of printing yet is often overlooked as it is not obvious to the end reader that it is required. Bleed is artwork that extends beyond the desired size of the Bleed is artwork that extends beyond the desired size of the book,book, this is so that when the book is this is so that when the book is trimmed to trimmed to the final size there are no white strips left at the Bleedthe final is sizeartwork there that are extends no white beyond strips leftthe at desired the edge size of of the the book. book,edge of the book. This is to account for This this is is to so account that when for slightthe book movement is trimmed in the to slight movement in the print and finishing machinery. The printthe final and size finishing there machinery. are no white The strips industry left at standard the edge is of 3mm the book.andindustry standard is 3mm and is what we is This what is we to accountrequire for for our slight files. movement in the require for our files. print and finishing machinery. The industry standard is 3mm and is what we require for our files. For example, a book that was A5 (210mm x 148mm) would need artwork supplied as 216mm x 154mm, that is if For example, a book that was A5 (210mm x 148mm) would need artwork supplied as 216mm x youFor example,require the a bookprint tothat go was to the A5 very (210mm edge x 148mm)of the page. would need artwork supplied as 216mm x 154mm, that is if 154mm; that is if you require the print to go to the very edge you require the print to go to the very edge of the page. of the page.
The image on the above artwork is set 3mm beyond the finished page size (i.e. it bleeds correctly). The image on the above artwork is set 3mm beyond the finished TheTherefore, image theon theimage, above once artwork printed is andset 3mm trimmed beyond to final the size finished always pagepage size (i.e. it bleeds correctly). goes size to (i.e. the it edge bleeds of thecorrectly). page, Therefore, the image, once printed and trimmed to final size, evenTherefore, when the there image, is slight once movement. printed and trimmed to final size alwaysalways goes to the edge of the page, goes to the edge of the page, even when there is slight movement.even when there is slight movement.
The image on the above artwork doesn’t have any bleed, the position is slightly affected by print and The image on the above artwork doesn’t have any bleed; if the binding,The image which on thewill above result inartwork white showingdoesn’t have at the any sides bleed, of the the pages positionposition is slightly affected by print once is slightlytrimmed affected to the final by print size. and and binding, it will result in white showing at the sides of binding, which will result in white showing at the sides of thethe pages once trimmed to the final size. pages once trimmed to the final size.
NOTE : If You Have Any Images That You Want To Be Printed Up To The Very Edge Of The Page, Make NOTE: If you have any images that you want to be printed up to the very edge of the page, make SureNOTE You : If YouSupply Have A MinimumAny Images Of 3mmThat YouBleed Want On Artwork.To Be Printed Up To The Very Edge Of The Page, Make sureSure you You supply Supply a minimum A Minimum of 3mmOf 3mm bleed Bleed on Onartwork. Artwork.
8 4 Guide to Supplying Print-Ready PDF Files 8 Guide to Supplying Print-Ready PDF Files
R solut o Image resolution/DPI Here’s R solut o a collection of images at different resolutions for you to evaluate their quality. An image’s resolution
Here’s a collection of images at different dpi (dots per inch) settings for you to evaluate their quality. can be found using Photoshop: Image Menu -> Image Size. For colour/monochrome photographs, 300dpi is the Here’s a collectionoptimum resolution of images to at use. different For 1-bit resolutions images (e.g. for scannedyou to evaluate text / line-art) their quality. 600-1200dpi An image’s is best. resolution can be found using Photoshop: R solut o Image Menu -> Image Size. For colour/monochrome photographs, 300dpi is the An image’s dpi can be found using Photoshop: File > File Info or use shortcut: Alt + Shft + Ctrl + Ioptimum resolution to use. For 1-bit images (e.g. scanned text / line-art) 600-1200dpi is best. Here’s a collection of images at different resolutions for you to evaluate their quality. An image’s resolution can be found using Photoshop: Image Menu -> Image Size. For colour/monochrome photographs, 300dpi is the optimum resolution to use. For 1-bit images (e.g. scanned text / line-art) 600-1200dpi is best.
Remember that by enlarging or reducing the Remember that by enlarging or reducing the image, it’s resolution is also affected. For Remember that by enlarging or reducing the Rememberexample, that by enlarginga fair 200dpi or reducing image doubled the in size image, its dpi is also affected. For example, image, it’s resolution is also affected. For a 200dpi image doubled in size will be image, it’swill resolution reduce it’sis also resolution affected. to aFor poor 100dpi. example, a fair example,200dpi image a fair 200dpi doubled image in size doubled in size will reduce it’s resolution to a poor 100dpi. reduced to 100dpi.will reduce it’s resolution to a poor 100dpi.
x2x2 x2
Guide to Supplying Print-Ready PDF Files 9 Guide to Supplying Print-Ready PDF Files 9 Note: Make sure any images you have in your book are 300dpi to ensure good quality production. Guide to Supplying Print-Ready PDF Files 9
5
Colour
Computer monitors emit colour as RGB (red, green, blue) light. Although all colours of the visible spectrum can be producedColour by merging red, green and blue light, monitors are capable of displaying only a limited gamut (i.e., range) of the visible spectrum.
Computer monitors emit colour as RGB (red, green, blue) light. Although all colours of the visible spectrum can Whereas monitors emit light, inked paper absorbs or reflects specific wavelengths. Cyan, magenta and yellow be produced by merging red, green and blue light, monitors are capable of displaying only a limited gamut (i.e., pigments serve as filters, subtracting varying degrees of red, green and blue from white light to produce a range) of the visible spectrum. selective gamut of colours. Like monitors, printing inks also produce a colour gamut that is only a subset of the
visibleWhereas spectrum, monitors and the emit colour light, range inked ispaper not theabsorbs same or for reflects both, andspecific is wider wavelengths. on RGB than Cyan, CMYK. magenta To add and toyellow this the CMYKpigments model serve is also as subjectfilters, subtracting to the ambient varying lighting degrees conditions of red, green- e.g. aand printed blue pagefrom whiteviewed light in tosunlight produce will a appearselective differently gamut to thatof colours. in incandescent Like monitors, light. printing Cons equently,inks also produce the same a colourart displayed gamut that on isa onlycomputer a subset monitor of the mayColour notvisible match spectrum, to that printedand the in colour a publication. range is not the same for both, and is wider on RGB than CMYK. To add to this Becausethe printingCMYK model processes is also use subject CMYK to the(cyan, ambient magenta, lighting yellow, conditions black) - e.g.inks, a digital printed art page must viewed be converted in sunlight from will the Because printing processes use CMYK (cyan, magenta, yellow, black) inks, digital art must be RGBappear (Red differently Green Blue) to that colour in incandescent for displaying light. on Cons a monitorequently, to CMYKthe same colour art displayed for print, onat asome computer point monitorin the design/printconverted from the RGB (Red, Green, Blue) colour for displaying on a monitor to CMYK colour for may not process. match to that printed in a publication. print, at some point in the design/print process.Because printing processes use CMYK (cyan, magenta, yellow, black) inks, digital art must be converted from the RGB (Red Green Blue) colour for displaying on a monitor to CMYK colour for print, at some point in the design/print process.
RGB CMYK
RGB CMYK If your page layout software is capable of CMYK workflow, use CMYK based colours, and convert source images to CMYK (e.g. using Photoshop) before placing into your page layout program. For best colour conversionIf your use page a FOGRA layout coloursoftware profile is capable if available. of CMYK workflow, use CMYK based colours, and convert source If your page layout software is capable of CMYK workflow, use CMYK based colours, and convert images to CMYK (e.g. using Photoshop) before placing into your page layout program. For best colour Wheresource images to CMYK (e.g. using Photoshop) before placing conversion this is not usepossible, a FOGRA we colourcan accept profile RGB if available. images, but please noteinto your page layout program. For that RGB will be converted to CMYK on thebest colour conversion use a FOGRA colour profile if available. press, and the colour conversion may not be as good as the method described above. Most digital devicesWhere (such this as is digital not possible, cameras) we cantag acceptthe RGB RGB image images, with but a pleasesource note colour that profile, RGB will which be converted makes the to CMYKRGB conversionWhere this is not possible, we can accept RGB images, but on the more press, accurate. and the colour conversion may not be as good please note that RGB will be converted as the method described above. Most digital to CMYK on the press, and the colour conversion may not be as devices (such as digital cameras) tag the RGB image with a sourcegood as the method described colour profile, which makes the RGB above. Most digital devices (such as digital cameras) tag the conversion more accurate. RGB image with a source colour profile, which makes the RGB conversion more accurate. Spot Colours
If printingSpot Offset Colours Litho method, you can increase the range of colours by adding one or more SpotIf printing Colours Offset Litho method, you can increase spot colours from a Pantone colour the range of colours by adding one or more swatchbook. Digital printing only uses the CMYK primaries, spot colours from a Pantone colour
so any spot colours used are converted on the swatchbook. Digital printing only uses the CMYK primaries, press to CMYK. However, using spot colours on so any spot colours used are converted on the a digitalDigital printingproduct only can usesbe a themore CMYK accurate primaries, way of press to CMYK. However using spot colours on colour matching – Pantone to CMYK conversion so any spot colours used are converted on the a digitalpress product to CMYK. can However be a more using accurate spot colours way on will be a closer match than trying to match a of coloura digital matching product can- Pantonebe a more to accurate CMYK way conversioncolour on an RGB monitor screen.of colour will be matching a closer match- Pantone than trying to CMYKto matchconversion a colour on will a beRGB a closermonitor match screen. than trying to match a colour on a RGB monitor screen.
Note : Images may look different on your RGB computer monitor compared to when coming out in CMYK print. Save your images as CMYK format if possible.
6 Outputting PDFs
Before generating a PDF fi le for the text element of your book, here are some tips to make the book look more professional and reduce the likelihood of experiencing problems during the print process:
• Ensure the document page size matches the size of the book. The only exception to this is if your document requires bleed and the program you are using doesn’t support it, e.g. MS Word – in this instance the document page size should be set to 6mm bigger than required (remembering that 3mm will be trimmed off each edge). For example, a book that was A5 (210mm x 148mm) would need artwork supplied as 216mm x 154mm if bleed is required.
• Make use of the text justifi cation settings – e.g. centre headings (don’t keep pressing space until it looks centred!), while fully justifi ed aligns the text to both left and right margins;
• Use tabulation (or the Tab key) on contents, indexes and tables to keep lists in line;
• Use page numbering. It’s conventional not to have a page number on the title pages, and use roman numerals for the preliminary pages, starting the fi rst chapter as page one on a right-hand (facing) page.
• Use good quality images (300dpi is optimum, anything below 150dpi will start to look pixelated in print) – remember that an image scaled up to twice the size will half its resolution.
• Ensure that all fonts used in the document are available to your computer (otherwise the font will not embed into the PDF)
Most modern programs can save or export to PDF. Below are the generic settings to employ on professional-grade software:
• Composite Output (e.g. all colours on one page, not separated) • Fonts: All embedded or subset • Bleed: 3mm • Trim marks: on, offset: 5mm • Include blank pages • Do not enable reader’s spreads • Image compression: Colour & Greyscale: 300dpi, mono/bitmap: 1200dpi.
If available, using “PDF/a” standard will ensure fonts are embedded.
VAULT
7
CreatingCreating PDF PDF from from Microsoft Microsoft Word Word 2007: 2007
To be able to create a print ready PDF in Word 2007 you will need to check whether you have the add on to do this already installed on your PC.
To check go to the Office button in Word 2007 (top left hand corner) and click on it so that it drops down. Hover your mouse over the Save As options.
If you don’t see PDF listed as one of the options then you will need to download and install the Microsoft Save as PDF add on from the Microsoft website.
Open the document that you want to save as a PDF and then go the Office button and click on it so that it drops down. Choose Save as type PDF.
8
mise for and then click
When the Options window pops up make sure that you tick ISO 19005-1 compliant (PDF/A) under PDF options. It is essential that this is selected otherwise the fonts will not be embedded in the PDF and it will not be print ready.
9
Creating PDF from Microsoft Word 2008Creating for PDF Mac from Microsoft Word 2008 for Mac:
It is very easy to create print ready PDFs for text only books using Mac Word 2008.
When you are ready to create your PDF then simply go to File / Save As… and choose PDF from the drop down list to the right of the Format box.
And that is all there is to it!
Once you have created the PDF then do a quick check just to make sure that fonts are all embedded. Open the PDF file and go to File / Properties and then the Fonts tab and make sure the words (Embedded Subset) are to the right of the font names.
10
14 Guide to Supplying Print-Ready PDF Files
Creating PDF from Microsoft Word Creating PDF from Microsoft Word 2010: 2010Creating PDF from Microsoft Word 2010: Creating print ready PDF files in Word 2010 is very straightforward. Creating print ready PDF files in Word 2010 is very straightforward. When you are ready to make your Word document into a print ready PDF then go to File then Save As Whenand letyou Save are readyas type to dropmake down your andWord then document choose intoPDF a. print ready PDF then go to File then Save As and let Save as type drop down and then choose PDF.
Before you click Save click on the button that says Options and tick ISO 19005-1 compliant (PDF/A) Beforeunder you PDF click options. Save It click is essential on the button that this that is says selected Options otherwise and tick the ISO fonts 19005-1 will not compliant be embedded (PDF/A) in underthe PDF PDF and options. it will It notis essential be print ready.that this is selected otherwise the fonts will not be embedded in the PDF and it will not be print ready.
11 1 1
Creating PDF from QuarkXpress
Creating PDFExporting from PDFQuarkXpress: from Quark
From Edit menu, output styles, duplicate [Press Quality] as a basis and check the following settings...
Ensure "Spreads" is OFF "include blank pages" option ON
Set colour conversion to none
Registration marks, 3mm offset,
3mm Symetric Bleed
Save PDF Style as "Books" to use later without having to change the settings again!
Now to save your document as a PDF, File menu – Export – Layout as PDF, and choose your “Books” PDF style in the PDF style dropdown.
Now to save your document as a PDF, File menu - Export12 - Layout as PDF, and choose your
Creating PDF from Microsoft Word 2019 Creating print-ready PDF fi les in Word 2019 is very straightforward.
When you are ready to make your Word document into a print-ready PDF go to File then Save As and let Save as type drop down and then choose PDF.
Before you click Save click on the button that says Options and tick compliant (PDF/A) under PDF options. It is essential that this is selected otherwise the fonts will not be embedded in the PDF and it will not be print- ready.
13
Checking the created PDF Checking the created PDF... After outputting to PDF, open the PDF in Acrobat Reader and perform the following checks:
All pages have output. Text and images generally appear as they should print. Pages appear in the order they should print: to help you visualise as a book, use facing pages (with cover page) in the View/Page Layout menu. Fonts are embedded:
To check that the fonts are embedded then open your PDF in Acrobat Reader and choose File
Then choose the Fonts tab: you should see embedded or embedded subset in brackets beside each font.
14 18 Guide to Supplying Print-Ready PDF Files
Creating cover layouts
“Don’t judge a book by its cover” – yet a well-designed cover of a book can be crucial to its success. Therefore, it may be well worth considering getting a professional designer to do the work for you. If you do decide to prepare the artwork yourself, read on.
The outer cover, be it a paperback, hardback jacket, or printed paper case, is printed separately from the text block, and is joined to it at binding stage. The cover and text are printed on different machines and at different stages so need sending in separate files.
Imagine opening the book and turn it cover face up. You will see the back cover on the left, spine in the middle and front cover on the right. That’s how the cover PDF file should look that you supply for us to print
The following pages walk you through examples of each of the flatplans and the design requirements for a professional looking finish.
If you’re using a professional desktop publishing program to design your cover (such as InDesign), you should set the document size to the size of the cover as indicated on the flatplan, excluding bleed – as the bleed will be allowed for on output. Remember, though, to extend any bleeding objects beyond the pasteboard by at least 3mm. The program can automatically add trim marks when output to PDF.
If you’re using a program that doesn’t allow for bleed on PDF output (such as Word or Photoshop), set the document size to the overall size of the cover as indicated on the flatplan including bleed. Remember that 3mm will be trimmed off each edge, so keep any objects that shouldn’t bleed well away from the edges.
Set guides (if available) to key points of the artwork (such as the spine – as indicated on the flat- plans) to aid getting the right dimensions while assembling the artwork.
15
PaperbackPaperback Cover cover Artwork: artwork:
328 8 Paperback Cover Artwork:
Spine
328 8
240 234 15
Spine 1 8 a Front 240 234 15
1 8 a Front
334.8
In this example, the trim page size of the book is 156mm width by 234mm height. The spine width is 16.8mm, therefore the visible width (“excluding bleed”) = 156 + 156 + 16.8 = 328.8mmIn this example, the trim page size of the book is 156mm width by 234mm height. The spine width 16.8mm, therefore the visible width (“excluding bleed”) = 156+156+16.8=328.8mm With 3mm bleed either side, the overall width of the artwork With 3mm bleed either side, the overall width of334.8 the artwork (“including(“including bleed”) is then = 334.8mm bleed”) is then = 334.8mm The visible height (“excluding bleed”) = 234mm. With 3mm bleed top and bottom, the overall height of the
The visible height (“excluding bleed”) = 234mm. With 3mm bleed top and bottom, the overall artwork (“including bleed”) is then = 240mm. In this example, the trim page size of the book is 156mm width by 234mm height. The spine width 16.8mm, height of the artwork (“including bleed”) is then = 240mm. thereforeNOTE the that visible because width paper(“exclud is inga natural bleed”) product, = 156+156+16.8=328.8mm and is affected by atmospheric conditions, the actual spine bulk With 3mmcan varybleed slightly. either side,Therefore the overall a good width design of the will artwork take this (“including into consideration bleed”) is by, then for = example, 334.8mm not having a spine The visibleNOTE that because paper is a natural product, and is affected by atmospheric conditions, the a different height colour (“excluding to the bleed”)front and = 234mm.back, but With to take 3mm the bleed design top around and bottom, at least the one overall side heightof the ofspine. the That way, artworkactual spine bulk can vary slightly. A good design will take any (“including fluctuation bleed”) in spine is then width = 240mm.goes unnoticed on the final bound book.this into consideration by, for example, Such as the example below - the spine not having a spine a different colour to the front and back, background extends to the back and front of the cover. but to take the design around at least NOTEone side of the spine. That way, any fluctuation in spine width that because paper is a natural product, and is affected by atmosphericgoes unnoticed on the final bound conditions, the actual spine bulk can varybook. Such as the example below – the spine background extends to the back and front of the slightly. Therefore a good design will take this into consideration by, for example,Also not notice having the a spinetrim marks a differentcover. colour to the front and back, but to take the design around at least one side ofidentifying the spine. the That final way, trim size, any fluctuation in spine width goes unnoticed on the final bound book. Such as the exampleand belowthat the - the backgrounds spine background extends to the back and front of the cover. and images extend beyond the trim marks for the bleed. Also notice the trim marks Also noticeAll the the readable trim marks text is a identifying the final trim size, and identifyinggood the distance final trim size,from the that the backgrounds and images and thatedge the so backgrounds that it’s not in extend beyond the trim marks for and imagesdanger extend of being beyond trimmed off the bleed. All the readable text the trimin marksproduction. for the bleed.Marks have is a good distance from the edge All thealso readable been addedtext is showinga so that it’s not in danger of being good thedistance spine width. from Thisthe allows trimmededge off us inso production.tothat double- it’s not checkMarks in the have also been added showing dangerartwork of being trimmedagainst off the in production.specification. Marks have the spine width. This allows us to also been added showing double-check the artwork against the spine width. This allows the specification.us to double- check the 20 Guide toartwork Supplying against Print-Ready the PDF Files specification.
16 20 Guide to Supplying Print-Ready PDF Files
Paperback covers can also be printed on the inside of the cover – remember though that the book Paperback covers can also be printed on the inside of the cover - remember though that the book needs to needs to be bound to the inside of the cover, so a white area with no print needs to be allowed for be bound to the inside of the cover, so a white area with no print needs to be allowed for in the spine and in the spine and 4mm either side of it for the “side-glue” (a bead of glue that is run up the inside Paperback4mm either covers side of can it for also the be “side-gl printedue” on (a thebead inside of glue of the that cover is run - upremember the inside though and holds that thethe bookcover needsclosed to and holds the cover closed onto the book block). In our example of a book with 16.8mm spine, the beonto bound the tobook the block). inside Inof ourthe examplecover, so of a awhite book area with with16.8mm no printspine, needs the total to be white allowed area widthfor in theis then spine and 4mm either side of it for the “side-glue” (a bead of glue that is run up the inside and holds the cover closed total white area width is then 16.8 + 4 + 4 = 24.8mm16.8+4+4=24.8mm onto the book block). In our example of a book with 16.8mm spine, the total white area width is then 16.8+4+4=24.8mm
S IS ICE C T S E E T IS E B I HTS ICE TE IT Y C T E E E I I T T E B I HTS
TE IT Y E e o ern ent ace a d e a B E and a e re ted n e er E ropean n on e er tate ann n eac ot er I I T prod ce t co e p t t e r ant dea o enn eat c a rr o and n ect c t o d and a o r nto t t te eat prod ct o cce t e pro ect appea to t e E t at t e e t a a ean o a anc n t e nat on pen on de c t and t ere a o d n pro ected tate ankr ptc n e o ern ent ace a d e a B E and a e re ted n e er E ropean o n on t doe e er t tate a c o e arded ann n eac ecret ot er nt prod ce o eone t co e eak t p to t et e t e r ant ne paper dea o ere enn a n eat ender on c r n a rr a er e o o ront pa e and art c e n ect e c a t o d to e topped and a o r per anent nto t t te t ook eat keprod ct t e o ern ent o cce ac e e t e pro ect t o e act e ppea t to t e at t eE e e ent t at t e o r e o e t a a Free a on ean o a anc n tep nto t e nat on t at on pen on and re o e de c t t n and co on t ere decenc a o d n and p oodro ected ta te tate ankr ptc n e o ook t doe take t nto a c o e arded t e nner ork n ecret o a n er nt o eone o centra eak o ern ent t to t e e depart ent ne paper t e ere pre a n ood re earc ender on and de e op entr n a er e co pan e o ront pa e and a t art c e o e e o a t e o tto e c o e topped ardedper anent a pect t o ook ree a onr ke t e o ern ent ac e e t o ect e t at t e e e ent o r o e Free a on tep nto t e t at on and re o e t n co on decenc and ood ta te
e t e ook n t a take t d ed nto ar ac t e nner ork n t en tra ned o a a n er a creat e o centra a o r t o ern ent t n e er depart ent e t ent e pre entered ood a re earc a pro ra er and de e op ent and orked co pan e a pand to a t e o eE ec t e o t e n o t t e c o e t o arded ondon a pect e orked o ree a onr n t at on pport or t ent ear on ot de o t e t ant c a ree ance con tant e a an ad or on proc re ent odern at on and e c enc to an o ern ent depart ent e e n t e cott order t e e t n t a t d ed ar ac t en tra ned a a creat e a o r t t n e er e t en entered a a pro ra er and orked a p to e E ec t e n t e t o ondon e orked n t at on pport or t ent ear on ot de o t e t ant c T a ree ance con tant e a an ad or on proc re ent odern at on and e c enc to an o ern ent depart ent e e n t e cott order t e
T
Files Guide to Supplying Print-Ready PDF 17 Files Guide to Supplying Print-Ready PDF
DustDust jacket Jacket artwork: Artwork:
8 8
Spine
24 0 240 1 0 a FlapDust Jacket Artwork: Front Flap
19 8 8
a Front
501Spine
24 0 In this example, the trim page size of the book is 156mm width 240 1 0 a Flap In this example, the trim page size of the book is 156mm width by 234mmFront Flap height. On a case bound book, the case overhangs the internal pages by 3mm top, bottom by 234mm height. On a case bound book, the case overhangs 19 and foredge the internal pages by 3mm top, bottom and fore edge, , therefore the dust jacket’s visible height (“excluding bleed”) should be 234mm + a therefore the dust jacket’s visible height (“excluding bleed”) Front 3mm overhang top + 3mm overhang bottom = 240mm. With 3mm bleedshould be 234mm + 3mm overhang top + 3mm overhang top and bottom, the overall height of the artwork (“including bleed”) is then 246mm. bottom = 240mm. With 3mm bleed top and bottom, the overall 501
The “width of board”height of the artwork (“including bleed”) is then 246mm. on the flat-plan also includes an extra millimetre to allow for the thickness of the board, beforeIn this the example, artwork the of trim the page flaps size start, of the however book is 156mm any background width by 234mm can height. be extended beyond this by On a caseThe “width of board” on the flatplan also includes an extra bound book, the case overhangs the internal pages by 3mm top, bottom 3mm if it’s to be seen when theand book foredge is closed. Remember that the case boards overhang the text by 3mm, , thereforemillimetre to allow for the thickness of the board, before the the dust jacket’s visible height (“excluding bleed”) should be 234mm + therefore the front width is 156+3+1 = 160mm. So that no text is visible on the flap when the book is closed, an artwork of the flaps start, however, any background can be extended beyond this by 3mm if it’s to 3mm overhang top + 3mm overhang bottom = 240mm. 8mm non-text area is recommendedWith 3mm bleed between top and flap bottom, and the front/back. overall height Flaps of thecan artwork vary in(“including size, but bleed”) should is be in be seen when the book is closed. proportion to the book, betweenthen 246mm. 60mm and 100mm
Again, the spine widthThe may “width vary of board” slightly on (see the flat-planprevious also page), includ soes a an good extra design millimetre will to take allow this for into the thicknessconsideration Remember that the case boards overhang the text by 3mm, therefore the front width is 156 + 3 + both at the spine ofand the between board, before front/back the artwork and flaps, of the such flaps as start, the however example any below: background can be extended
1 = 160mm. So that no text is visible on the flap when the book beyond this by is closed, an 8mm non-text area is recommended between flap and front/back. Flaps can vary in size, 3mm if it’s to be seen when the book is closed. Remember that the case boards but should be in proportion to overhang the text by 3mm, The Speaker’s Chaplaintherefore & The Master’s the front width is 156+3+1 = 160mm. So that no S text is visible on the flap when the book is closed,THE MIDDLING an CLASSES in Georgian Daughter can be read alongside its England were arguably the backbone of the book, between 60mm and 100mmsources, which are available8mm to non-textreaders area is recommended between flap and front/back. Flaps can vary in size, but shouldthe country be – inat least they thought they online. It makes a significant contribution to were. ftis new study, based on original social history and women’sproportion studies in the to the book, between 60mm and 100mm letters owned by Winchester College, Georgian period, not only in its core locus traces the lives of schoolmaster’s daughter of Winchester and the county of Sarah Williams, a mother of four, and her Hampshire, but elsewhere - in London, husband Philip, a cleric in search of Again, the spine width may vary slightly (see previous page), Canterbury, Oxford,Again, Cambridge, theand spine width may vary slightly (see previous page), so a good so a good design will take this into design will take this into considerationpatronage. His ancestors from North more widely in Cambridgeshire, Wales established themselves in consideration both at the spine and between front/back and Lincolnshire and Suffolk.both at the spine and between front/back and flaps, such as the exampleflaps, such as the example below: below: Cambridge, whilst he used the Oxford route. As a young man he swapped a New
A GEORGIAN FAMILY & FRIENDS College fellowship for one at Winchester, trekked the Scottish Highlands and worked on an edition of the Greek historian The Speaker’s Chaplain & The Master’s S THE MIDDLINGPolybius. CLASSES His best in friendGeorgian was the father of Daughter can be read alongside its England weredaughters arguably whothe backbonewere intimates of of Jane sources, which are available to readers the country – at least they thought they Austen and a son who proposed to her. His online. It makes a significant contribution to were. ftis new study, based on original stepfather was a petulant Cambridge don, social history and women’s studies in the letters owned by Winchester College, Georgian period, not only in its core locus traces the liveswho of schoolmaster’sendured a farcical daughter struggle with a of Winchester and the county of Sarah Williams,Professor a mother of ofChemistry four, and herover the Regius Hampshire, but elsewhere - in London, husband Philip,Professorship a cleric ofin Divinity.search of Canterbury, Oxford, Cambridge, and patronage. His ancestors from North more widely in Cambridgeshire, Wales establishedfte letters depictthemselves Philip asin a man with all Lincolnshire and Suffolk. Cambridge,the whilst ills heof usedpluralism the Oxford and privilege, but route. As a young man he swapped a New softened by affability and warmed with College fellowship for one at Winchester, A GEORGIAN FAMILY & FRIENDS a genuine affection for friends and trekked the Scottish Highlands and worked on anfamily edition offrom the Greek a historianwide social and
BARRY SHURLOCK lives in Winchester Polybius. Hisgeographical best friend was thehorizon. father offte domestic and has a strong interest in the daughters whominutiae were ofintimates his life of with Jane Sarah and the Austen and a son who proposed to her. His eighteenth century. He went up to ups and downs of their relationship stepfather was a petulant Cambridge don, Christ’s College, Cambridge, from vividly illustrate the problems faced by who enduredpeople a farcical like them.struggle But with these a were nothing Price’s School, Fareham. ftis book Professor of Chemistry over the Regius to those of her sister, Charlotte, who represents several years’ work on Professorship of Divinity. married the 3rd viscount Bolingbroke material held in the archives of William Majendie and George Henry Law, (son of Lady Diana Spencer) - he soon Winchester College, the oldest and fte letters depict Philip as a man with all deserted her to pursue a scandalous continuously active school in England. John Colville, 10th Baron Colville. An ink and the ills of pluralism and privilege, but wash sketch by Sir George Hayter, 1820, relationship with his half-sister, living in softened by affability and warmed with © National Portrait Gallery. a genuine Paris.affection ftis toofor palledfriends and and he finally fell in
SCHOLARLY SOURCES, family fromwith a a German wide baroness,social and fleeing with her 21 Marston Gate,BARRY SHURLOCK lives in Winchester geographicalto Waleshorizon. and fte then domestic New Jersey in the minutiae of his life with Sarah and the WINCHESTER,and SO23 has 7DS.a strongTel: interest in the United States. ups and downs of their relationship +44(0)1962 861913eighteenth century. He went up to Christ’s College, Cambridge, from vividly illustrate the problems faced by
Price’s School, Fareham. ftis book people like them. But these were nothing CONTINUED ON BACK FLAP represents several years’ work on to those of her sister, Charlotte, who married the 3rd viscount Bolingbroke material held in the archives of William Majendie and George Henry Law, Winchester College, the oldest and (son of Lady Diana Spencer) - he soon continuously active school in England. John Colville, 10th Baron Colville. An ink and deserted her to pursue a scandalous wash sketch by Sir George Hayter, 1820, relationship with his half-sister, living in © National Portrait Gallery. Paris. ftis too palled and he finally fell in SCHOLARLY SOURCES, with a German baroness, fleeing with her 21 Marston Gate, to Wales and then New Jersey in the WINCHESTER, SO23 7DS. Tel: United States. +44(0)1962 861913
CONTINUED ON BACK FLAP
18
Guide to Supplying Print‐Ready PDF Files
160
70 8
The Speaker’s Chaplain & The Master’s 19 THE MIDDLING CLASSES in Georgian Daughter can be read alongside its England were arguably the backbone of sources, which are available to readers S the country – at least they thought they online. It makes a significant contribution were. ftis new study, based on original to social history and women’s studies in letters owned by Winchester College, the Georgian period, not only in its core traces the lives of schoolmaster’s locus of Winchester and the county of daughter Sarah Williams, a mother of four,
Hampshire, but elsewhere - in London, T S C and her husband Philip, a cleric in search Canterbury, Oxford, Cambridge, and of patronage. His ancestors from North more widely in Cambridgeshire, T D Wales established themselves in Lincolnshire and Suffolk. Cambridge, whilst he used the Oxford T S C T D A GEORGIAN FAMILY & FRIENDS route. As a young man he swapped a New College fellowship for one at Winchester, trekked the Scottish Highlands and worked on an edition of FAMILY &FRIENDS A GEORGIAN the Greek historian Polybius. His best friend was the father of daughters who were intimates of Jane Austen and a son
who proposed to her. His stepfather was a petulant Cambridge don, who endured a On the way to St Cross and Compton, a view of St Michael’s church, farcical struggle with a Professor of
Winchester, from Culver Close, 1826, by George Shepherd (© 19 Chemistry over the Regius Professorship Winchester College) of Divinity.
fte letters depict Philip as a man with all
the ills of pluralism and privilege, but softened by affability and warmed with a genuine affection for friends and
BARRY SHURLOCK lives in Winchester family from a wide social and and has a strong interest in the geographical horizon. fte domestic minutiae of his life with Sarah and the ups eighteenth century. He went up to Front Cover: Christ’s College, Cambridge, from Price’s and downs of their relationship vividly A group of clerics and grandees, including ISBN 978-0-903330-28-2 School, Fareham. ftis book represents Philip Williams’s predecessor as Speaker’s illustrate the problems faced by people several years’ work on material held in Chaplain, Folliot Herbert Walker Cornewall, like them. But these were nothing to the archives of Winchester College, the bishops Henry William Majendie and George those of her sister, Charlotte, who oldest continuously active school in Henry Law, and peers Heneage Finch, 5th married the 3rd viscount Bolingbroke Earl of Aylesford, and John Colville, 10th Baron England. (son of Lady Diana Spencer) - he soon Colville. An ink and wash sketch by Sir George deserted her to pursue a scandalous Hayter, 1820, relationship with his half-sister, living in © National Portrait Gallery. SCHOLARLY SOURCES, Paris. ftis too palled and he finally fell in 21 Marston Gate, ���� Barry Shurlock with a German baroness, fleeing with her WINCHESTER, SO23 7DS. Tel: to Wales and then New Jersey in the +44(0)1962 861913 United States.
CONTINUED ON BACK FLAP
Barry_Shurlock_Speakers_Chaplain_Dust_Jacket.indd 1 26/9/14 12:54:50
501 2
Printed Paper Case (PPC) Artwork:
PrintedPrinted Paper paper Case case (PPC) (PPC) Artwork: artwork urn‐in
urn‐in
Printed PaperSpine Case (PPC) Artwork: 8 8
Spine urn‐in 8 8 152
152 Spine Groo e 270 Groo e urn‐in 240 19 urn‐in 8 8 Groo e 270 Groo e urn‐in 240 19 urn‐in 152
Groo e 270 Groo e a urn‐in 240 Front urn‐in 19 a Front
339 339 urn‐in a Front
urn‐in 339 36 36 urn‐in 9 9 On a PPC book, the cover is printed on paper and then wrapped around and glued to hard 36 On a PPC book,On the a PPC cover book, is theprinted cover on is printedpaper onand paper then and wrapped then wrapped around around and gluedand glued to hard to hard board board to to make make aa board to make a “case”. The case is then glued (“cased-in”) to the book block by it’s endpapers. 9 “case”. The case“case”. is thenThe caseglued is then(“cased-in”) glued (“cased-in”) to the book to the block book byblock it’s byendpapers. it’s endpapers. Remember Remember that that the the case case Remember that the case overhangs the book block by 3mm top, bottom and fore edge, hence the overhangs theoverhangs book block the by book 3mm block top, by bottom 3mm Ontop, and a bottom PPC foredge, book, and the foredge, hence cover is hencethe printed visible the on visible paper height heightand will then willbe wrapped be6mm 6mm biggeraround bigger andthan than glued to hard board to make a visible height will be 6mm bigger than the trim-size of the “case”. The case is then glued book.(“cased-in”) to the book block by it’s endpapers. Remember that the case the trim-size ofthe the trim-size book. of the book. Any background should extend intooverhangs the 15mm the turn-ins book block(the area by 3mm which top, is bottom and foredge, hence the visible height will be 6mm bigger than Any backgroundfolded should over extethe boardsnd into and the stuck 15mm downthe turn-ins trim-size behind (the ofthe the areaendpapers) book. which - isthere Any background should extend into the 15mm turn-ins (the area Any background should extend into the 15mm turn-ins (the area which is folded over theshouldn’t boards be and any stuck readable down text behind here however, the endpapers) as it will be - there obscured by the which is folded over the boards and stuck down behind the folded over the boards and stuck down behind the endpapers) - there shouldn’t be anyedges readable of the boards text here and thehowever, endpapers. as it will be obscured by the endpapers) – there shouldn’t be any readable text here however, shouldn’t be any readable text here however, as it will be obscured by the edges of the boardsThe 8mm and grooves the endpapers. either side of the spine are where the book hinges open, and also as it will be obscured by the edges of the boards and the edges of the boards and the endpapers. The 8mm groovesshouldn’t either contain side text. of Some the spine designs are extend where th e the spine book background hinges into open, the grooves, and also making endpapers. The 8mm grooves either side of the spine are where the book hinges open, and also shouldn’t containa feature text. Someof them, designs others extend extend the thshouldn’t front/e spineback contain background background text. Some into into designs them the. extendgrooves,The example, the spinemaking left, background into the grooves, making a feature of them,does others both extend the front/backa featurebackground of them, othersinto them extend. The the front/example,back background left, into them. The example, left, The 8mm grooves – either side of the spine – are where the book- different back and front. does both does both hinges open, and also shouldn’t contain text. Some designs Again, the spine width may vary slightly- different (see backprevious and front.page s), so a goodextend the spine background into design will take this into consideration - different back and front. the grooves, making a feature of them, others extend the both at the spine and at the edges ofAgain, the board the spine dimensions width may, where varyfront/back background into them. The slightly backgrounds (see previous should page extes),nd so into a good the turn-insdesign will so take this into consideration Again, the spine width may vary slightly (see bothprevious at the spinepage ands), soat the a goodedges ofdesign the board will dimensions take this, whereinto consideration backgrounds should extend into the turn-ins so example, left, does both – different back and front.the normal manufacturing fluctuations in position are not apparent on the final product. the normal manufacturing fluctuations in position are not apparent on the final product. both at the spine and at the edges of the board dimensions, where backgrounds should extend into the turn-ins so
the normal manufacturing fluctuations in position are not apparent on the final product.
ARIS & PHILLIPS CLASSICAL TEXTS
ARIS & PHILLIPS CLASSICAL TEXTS Again, the spine width
may vary slightly (see t t ed t on o Book ode pro de t e pre e to ed t on o ARIS & PHILLIPS CLASSICAL TEXTS c d de ook on t e rc da an ar and e ore t t ed t on o Book ode pro de t e pre e to ed t on o previous pages), so a good e pro de an ntrod ct on on c d de tor and on t e e oponne an c d de ook on t e rc da an ar and e ore ar a reek te t t e ect e cr t ca apparat and ac n tran at on and e pro de an ntrod ct on on c d de tor and on t e e oponne an ar a reek te t t e ect e cr t ca apparat and ac n tran at on and a co entar c o d e e ot to pec a t and to reader t a co entar c o d e e ot to pec a t and to reader t
tt e or no reek and c a e no pre o ac a ntance t
design will take this into tt e or no reek and c a e no pre o ac a ntance t c d de atter o te t and an a e are d c ed ere nece ar t c d de atter o te t and an a e are d c ed ere nece ar t t e e p a on c d de ect atter t e e oponne an ar t e e p a on c d de ect atter t e e oponne an ar pre ented a t e reate t ar n reek tor and acco nt o t e e ent pre ented a t e reate t ar n reek tor and acco nt o t e e ent consideration both at the t t ed t on o Book ode pro de d rect t e ead n pre e to t e to ar ed t on and o t eo ro t o t en an po er nce t e d rect ead n to t e ar and o t e ro t o t en an po er nce t e er an ar c e p a n t ar et een t e t o reat po er o er an ar c e p a n t ar et een t e t o reat po er o c d de ook on t e rc da an ar and e ore t cent r reece a o t and on t e a n c e a treated t t cent r reece a o t and on t e a n c e a treated t e pro de spine and at the edges of an ntrod ct on on c d de tor and on t e e oponne an ar a reek te t t e ect e cr t ca apparat and ac n a ro e or tran at on o nc ent and tor and no onorar ro e or a ro e or o nc ent tor and no onorar ro e or a co entar c o d e e ot and to pec a t E er t ro e or and to atreader t e n er t t o r a part ro ot er and E er t ro e or at t e n er t o r a part ro ot er c d de o e n t e r p a ca e t er e ot er tt e or no reek and c a e c d de no pre o o e ac a ntance n t e r t p a ca e t er e ot er the board dimensions, where ook nc de The Athenian Boule, A Commentary on the Aristotelian ook nc de The Athenian Boule, A Commentary on the Aristotelian c d de atter o te t and an a e are d c ed ere nece ar t Athenaion Politeia, A History of the Classical Greek World, 478–323 B.C., and Athenaion Politeia, A History of the Classical Greek World, 478–323 B.C., and t e e p a on c d de ect atter t e e oponne an ar A Short History of Ancient Greece. A Short History of Ancient Greece. pre entedbackgrounds should extend a t e reate t ar n reek tor and acco nt o t e e ent t er t t e n t e r p a ca e t er e d rect ead n to t e ar and o t e ro t t er o t t e t en an n t e r po er p nce a ca t e e t er e er an ar c e p a n t ar et een t e t o reat po er o c d de History II ode ARIS & PHILLIPS CLASSICAL TEXTS c d de History II ode ARIS & PHILLIPS CLASSICAL TEXTS t cent r into the turn-ins so the normal reece a o t and on t e a n c e a treated t c d de History III ode c d de History III ode c d de History IV.1–V.24 ode c d de History IV.1–V.24 ode c d de o B on
a ro e or o nc ent tor and no onorar ro e or enop on Hellenika I–II.3.10 rent c d de o B on
and E er t ro e or at t e n er t o enop on r a Hellenika part I–II.3.10 ro rent ot er enop on Hellenika II.3.11–IV.2.8 rent
manufacturing fluctuations in c d de o e n t e r p enop on a ca Hellenika e t er eII.3.11–IV.2.8 ot er rent enop on d arc e t en an on t t t on arr ode ook nc de The Athenian Boule, A Commentary enop on d on arc the Aristotelian e t en an on t t t on arr ode C T Athenaionposition Politeia, A History of the are Classical Greek not World, 478–323 apparent B.C., and on A Short History of Ancient Greece. C T t er t t e the final product. n t e r p a ca e t er e ARIS & PHILLIPS ARIS & PHILLIPS c d de History II ode ARIS & PHILLIPS CLASSICAL TEXTS c d de History III ode c d de History IV.1–V.24 ode c d de o B on
enop on Hellenika I–II.3.10 rent
enop on Hellenika II.3.11–IV.2.8 rent enop on d arc e t en an on t t t on arr ode
C T Thucydides HB cover.indd 1 22/10/2014 12:09:12
Thucydides HB cover.indd 1 22/10/2014 12:09:12 24 Guide to Supplying Print-Ready PDF Files ARIS & PHILLIPS 20 24 Guide to Supplying Print-Ready PDF Files
Thucydides HB cover.indd 1 22/10/2014 12:09:12 24 Guide to Supplying Print-Ready PDF Files
8 8
Guide to Supplying Print‐Ready PDF Files 152 19 152
ARIS & PHILLIPS CLASSICAL TEXTS THUCYDIDES History Book I
With this edition of Book I P. J. Rhodes provides the ‘prequel’ to his editions of Thucydides’ books on the Archidamian War (II, III and IV.1–V.24). As before he provides an Introduction on Thucydides’ history and on the Peloponnesian War, a Greek text with selective critical apparatus and facing translation, and a commentary which should be useful both to specialists and to readers with little or no Greek, and which assumes no previous acquaintance with Thucydides. Matters of text and language are
discussed where necessary, but the emphasis is on Thucydides’ subject- matter — the Peloponnesian War presented as the greatest war in Greek history, and accounts of the events directly leading to the war and of the growth of Athenian power since the Persian Wars which explain why this war between the two great powers of fifth-century Greece was fought —
21 and on the way in which he has treated it.
P. J. Rhodes was Professor of Ancient History and is now Honorary
Professor and Emeritus Professor at the University of Durham. Apart from his other Thucydides volumes in the Aris & Phillips Classical Texts series his other books include The Athenian Boule, A Commentary on the
Aristotelian Athenaion Politeia, A History of the Classical Greek World, 478–323 B.C., and A Short History of Ancient Greece.
Other titles in the Aris & Phillips Classical Texts series: Thucydides: History II (Rhodes) ARIS & PHILLIPS CLASSICAL TEXTS Thucydides: History III (Rhodes) Thucydides: History IV.1–V.24 (Rhodes) Thucydides Pylos 425 BC (Wilson)
Xenophon: Hellenika I–II.3.10 (Krentz) HUCYDIDES Xenophon: Hellenika II.3.11–IV.2.8 (Krentz) T [Xenophon]: Old Oligarch: ‘The Athenian Constitution’ (Marr & Rhodes)
A full listing of the Classical Texts series is available on our website History www.oxbowbooks.com Book I
ARIS & PHILLIPS 369 is an imprint of OXBOW BOOKS WITH AN INTRODUCTION, TRANSLATION & COMMENTARY BY P. J. Rhodes
Thucydides HB cover.indd 1 339 22/10/2014 12:09:12 25
Additional Additional components BrassComponents (blocking) artwork In order to add a silver, gold (or other basic colour) wording or design to a cloth case, it is necessary to create a “brass” – a slab of metal with the design embossed, which is then used to stamp the design into the case.
Brass (Blocking) Artwork:
In order to add a silver, gold (or other basic colour) wording In order for us to do this, the artwork needs to be supplied as or design to a cloth case, it is necessary to create a “brass” black only. Simple line-art can be used that is not too intricate - a slab of metal with the design embossed which is then and must also be black only at 1200dpi.used to stamp the design into the case. In order for us to do this, the artwork needs to be supplied as black only. Simple The To convert images to black only using Photoshop:line-art can be used that is not too intricate and must also be black only at 1200dpi. Gibraltar 1. Image Menu -> Image Size -> Resolution: 1200dpi; To convert images to black only using Photoshop: Law Resample image (Bicubic smoother if possible); OK. Image Menu -> Image Size -> Resolution: 1200dpi; Reports Resample image (Bicubic smoother if possible); OK. 2. Image menu -> Adjustments -> Threshold – adjust the Image menu -> Adjustments -> Threshold - adjust the slider to best represent the image. slider to best represent the image. Image menu -> Mode -> Greyscale. 3. Image menu -> Mode -> Greyscale. Image menu -> Mode -> Bitmap; Method: 50% 4. Image menu -> Mode -> Bitmap; Method: 50% Threshold. 1980-87 Threshold. The spine, front and back elements should be supplied separately, and the size of the artwork should be as follows: The spine, front and back elements should be supplied All Heights = Height of the trim size + 6mm separately, and the size of the artwork should be as follows: Spine Width = As obtained from us.
Front/Back Width = Width of trim size minus 4mm. All Heights = Height of the trim size + 6mm Spine Width = As Remember trim size is the size of the internal book block. obtained from us.
Multiple colours can be used on the same case. Each colour Front/Back Width = Width of trim size minus 4mm. Remember should be supplied as a separate file. For example, gold trim size is the size of the internal book block. lettering can be overlaid on a block of red colour (called a crusher panel) such as the example shown. Blind embossing can also be achieved using similar blocking artwork where LRI no colour is applied. This gives the effect of the design pressed into the case.
22
T HUCYDIDES
Spot UV artwork:
T
Matt laminated covers can have areas of gloss HUCYDIDES
varnish applied called a Spot UV. Artwork for this should be supplied as black only in the areas that require the varnish (see above for conversion of
images to black only). In order to get the exact
position of the varnish correct, it is advised that the cover artwork is copied and amended by THUCYDIDES
changing objects to black that should have the
varnish applied, and anything else removed. The example above is the PPC sample that has had
this treatment. THUCYDIDES
Spot UV Artwork:
Matt laminated covers can have areas of gloss varnish applied called a Spot UV. Artwork for this should be supplied as black only in the areas that require the varnish (see above for conversion of images to black only). In order to get the exact position of the varnish correct, it is advised that the cover artwork is copied and amendedSpot UV by changing Artwork: objects to black that should have the varnish applied, and anything else removed. The example above, is the PPC sample that has had this treatment. Matt laminated covers can have areas of gloss varnish applied called a Spot UV. Artwork for this should be Platesupplied sectionsas black only in the areas that require the varnish (see above for conversion of images to black only). PlateIn order toSections get the exact position of the varnish correct, it is advised that the cover artwork is copied and This is where a book is to have a separate section or sections amended by changing objects to black that should have the varnish applied,printed, perhaps in colour or on a and anything else removed. The example above, is the PPC sample that has had this treatment. different (usually glossy) paper stock. Plate sections should be supplied in the same fashion as the This is where a book is to have a separate section or sections printed, perhaps in colour or on a different (usually main text, but as a separate file or files, (remember to allow for bleeds). glossy) paper stock. Plate sections should be supplied in the same fashion as the main text, but as a separate filePlate or files, Sections (remember to allow for bleeds). The position of the section within the book may need to be considered, depending upon the exact manufacturing method of the book - speak to your customer service representative for details. Often, the main text of a book is printed in sections (e.g. This is where a book is to have a separate section or sections printed, perhaps in colour or on a different (usually 16 pages to view). Each section is folded to single glossy) paper stock. Plate sections should be supplied in the same fashion as the main text, but as a separate pages to view, and several sections collated to BackBack endpaper endpaper Page Page 3 3 Printedfile or files, (rememberendpapers to allow for bleeds). The position of the section within the book may need to be makeconsidered, up the dependingbook. When upon a book the exact is produced manufacturing method of the book - speak to your customer service like this, a plate section can be inserted The front endpapers can be printed on representative for details. Often, the main text of a book is printed in sections (e.g. Back endpaper Page between16 pages the to view).main sections,Each section but not is folded inside tothem, single Back endpaper Page 22
pages 2, 3 and 4, and the back endpapers for example between the 16th and 17th pages, Back endpaper Page 3 pages to view, and several sections collated to on pages 1, 2, and 3. The side that cannot 32ndmake and up 33rdthe book. pages, When 48th anda book 49th is pages produced and be printed on is glued to the case. Pages 2 so on. like this, a plate section can be inserted Back endpaper Page and 3 should be supplied as a spread, at the between the main sections, but not inside them, 2 for example between the 16th and 17th pages, height of the trim page size of your book and Printed endpapers Back Endpaper
32nd and 33rd pages, 48th and 49th pages and twice its width. Pages 1 and 4 should have so on. The front endpapers can be printed on pages 2, a 4mm white mask down the bind edge to allow for gluing onto the book block.3 and 4, and the back endpapers on pages 1,
2, and Front Endpaper Printed endpapers Back Endpaper
3. The side that cannot be printed on is glued to Back endpaper Page 1 theThe case. front Pagesendpapers 2 and can 3 shouldbe printed be suppliedon pages as 2,
Back endpaper Page1 a3 spread, and 4, andat the the height back ofendpapers the trim page on pages size of1, Front endpaper Page 2 your book and twice it’s width. Pages 1&4 should 2, and Front Endpaper endpaper Page 4 have3. The a 4mmside that white cannot mask be down printed the onbind is gluededge to
allowthe case. for Pages 2 and 3 should be supplied as a spread, at the height of the trim page size of Back endpaper Page1 gluing onto the book block. Guide to Supplying Print- your book and twice it’s width. Pages 1&4 should Front endpaper Page 3 have a 4mm white mask down the bind edge to allow for
gluing onto the book block. 23 Guide to Supplying Print-
The Guide to Optimising Files
1. Open PDF fi le in Adobe Acrobat
2. Save the fi le as Optimised PDF
24 3. Select ‘images’ to view Pixels Per Inch
4. Change PPI to 300 over all images
25 5. Select ‘Fonts’ to Embed fonts into the PDF
(Preventing any unwanted changes to fonts)
6. Select ‘Clean Up’ this can help reduce the fi le size
26 7. Change the PDF version to Acrobat 5.0
8. Discard objects
To ensure any extra text or images outside the PDF are cleared
27 9. CTRL + D
As a fi nal check to see if the fi le is the correct version and size
10. Finally, confi rm and Save as a PDF
These changes will ensure that unnecessary extra information isn’t retained within the PDF – ensuring the fi le size is more practical
28 Save your images in CMYK mode at 300dpi;
Supply cover as a spread inc. spine as a PDF;
Supply text as single pages in one PDF;
Include 3mm of bleed to your cover and text artwork;
Embed all fonts;
Save your file with ‘PDF/X-1a:2001’ settings.
I have read the terms and conditions on the correct way to supply PDFs.
Fast Turnaround High Quality Printing Excellent Service Easy Ordering
29