#dbw – Digital Book World – this is one GREAT conversation by folks involved in helping change the landscape of publishing. Digital Book World is a new annual conference (the one I wish I had gone to), that focuses more on the how-to and strategy rather than the crystal-ball gazing and the “where will we be in 10 years” like some conferences. It’s well worth your time to follow this hashtag daily. It’s maintained through @DigiBookWorld and @glecharles feeds. (BTW, Guy Charles has a personal blog worth checking out, too.)

#followreader – Follow the Reader – this is a weekly chat covering a specific topic each week. I’m constantly surprised by the quality and depth of the topics. Not too mention the techincal knowledge of the folks who chime in. This hashtag and site are sponsored by NetGalley and maintained by @charabbott and @katmeyer.

#ISBNHour - ISBN Hour – @ljndawson runs this weekly chat, every Friday at noon Eastern. It’s worth checking in on during the week to see if the slant of the current chat is of interest. This is one of the more open threads, as the conversation is really built on sussing out ideas and possible solutions for future problems. Lots of good talk of ISBN, categories, libraries and indexes here. Smart people trying to solve the issues facing the publishing industry before they become crippling problems.

#ePrdctn – eProduction – this is a recent add for me, but is the only one of these four that has earned a permanent column in TweetDeck. If you follow this hashtag you’ll find people chiming in and helping each other from all over the eBook production workflow. Full of solid advice and help regarding Adobe products, indexes and lots of  “has anyone dealt with this before” kind of camaraderie. This is an ongoing conversation by lots of people actually doing the production work that so many in the industry and media try to analyze. There have been some weekly topic-focused chats organized by @crych.

Think of those as four separate cocktail parties attended by just publishing-industry folks and we can walk from party to party listening in on conversations from publishing insiders in New York City, Los Angeles and maybe even Birmingham, AL. Yes, they can get a tad technical (which is sorely needed) and we could think of these as four different publishing workshops, but I promise you this will be a lot more fun if you read through all the conversations with a cocktail in hand.

I know that there are lots more conversations out there. Please, plug your favorite in the comments so I can check it out, if I’m not already.

I REALLY like these two:

But have to wonder about this choice:

The image just seems to literal and obvious to be chosen as worth “buying for the cover alone”.

It’s almost too much. The synopsis just seemed to call for a simpler more representative image. But then my skills as an illustrator are often challenged by sitting in the floor coloring with my two-year-old.

Thanks to BDR for spilling the beans on the winners (because I sure couldn’t find any updates online). Click through to see the runners-up and such, too.

Though I liked #6 & #7 (I’m a sucker for die cut), my favorite is this one by Justin Walsh. The bleeding watercolor effect is almost too much, but I think the rest of it is executed wonderfully! It certainly stands out from the group.

The winner will be announced at a New York event on September 25th.

{via bdr}

It’s a blog staffed by professional illustrators over in Ireland. Some of it is weird. But some, like this post from Monday which chronicles the illustration of a book cover, are very cool. If you skim through that post you’ll see that even the pencilers use PS. Enjoy! Let me know if any of you know that free ghost filter he mentions…. I’m looking for it.

Over on BibliOdyssey, this weekend,  a collection of over-the-top “holy smokes how long did it take them to make that back then” ornate letters and folios were posted. Some of the letters are so ornate that I wouldn’t know what letter it was if not for the tag line. I’ll remember this is how they used to do it, the next time I’m cussin’ a font designer for not setting the kerning correctly on a new display font and maybe it won’t seem so bad.

Since the Quills are no more, I am going to spend my “award show tracking energy” to keeping up with the Type Directors Club annual competition. I have to say that I am in 100% agreement with the Superfamily winners this year! Awesome. Though I’m not a fan of the Display category winner, but then display fonts never really rank that high with me. And I am really digging the lowercase ‘y’ of Fondo.

I am, however, going to have to find a way to justify purchasing Tiina, just so I can use the italic face. Mmmmm, mmmm… that is one great slant!

{via ILT}

Once you have found your book, you submit it to Public Domain Reprints and they handle the hassle of submitting, typesetting, etc. with some online service like LuLu.com. Then you get your book, at cost (plus a $1 fee),in the mail. That’s it.

The cost “classic editions” is about to plummit. The only real value a publisher can now add to a book that’s been around forever is text design and cover design (though some may think a new ‘foreword’ or ‘introduction’ would be of value) . So it’ll be interesting to see what that is worth.

Would someone pay extra to have a better designed book? Or when it comes to the printing of the oldies, is it just the content (at the cheapest price) that they are after?

{via blogoscoped}