tag:theconversation.com,2011:/columns/zoe-sadokierski-62627From Page to Screen – The Conversation2015-08-21T04:30:23Ztag:theconversation.com,2011:article/463172015-08-21T04:30:23Z2015-08-21T04:30:23Z‘King Penguin’ designer David Pearson heads south<p>I fell in love with the Penguin <a href="http://www.penguinclassics.com.au/great-ideas">Great Ideas</a> books the second I saw them:</p>
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<span class="caption">David Pearson’s designs for volume 1 of the Penguin classic ‘Great Ideas’ series.</span>
<span class="attribution"><span class="source">Type As Image, David Pearson</span></span>
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<p>I bought the box set immediately. Almost a decade later I’m still reading my way through them all, but I bought them to have and to hold as much as to read. Created by British designer <a href="http://typeasimage.com/">David Pearson</a>, each book is a handsome object; embossed typography and graphic elements on white uncoated stock, printed only using red and black ink. The typographic treatment of each cover reveals something about the content of the book. It is a deceptively simple looking series design that, on thoughtful reflection, is a work of genius. </p>
<p>I show Great Ideas, as well as Pearson’s design for Penguin’s <a href="http://typeasimage.com/greatjourneys.html">Great Journeys</a>, pictured below, as a way to explain series design to my students. Each cover must work aesthetically on its own, but also as part of a collection. To make each book unique but still comfortably part of a series is a difficult design challenge and as with all excellent design, when it works perfectly we can’t imagine it being done any other way.</p>
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<span class="caption">David Pearson’s design for Penguin’s Great Journeys series.</span>
<span class="attribution"><span class="source">Type As Image, David Pearson</span></span>
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<p>The <a href="http://abda.com.au/">Australia Book Designers Association</a> (ABDA) invited Pearson to be the international judge for this year’s <a href="http://abda.com.au/post/119633049271/australian-book-designers-association">Book Design Awards</a> held in May alongside the <a href="http://www.swf.org.au/">Sydney Writers’ Festival</a>. Pearson joined local designers Kirby Armstrong, Allison Colpoys, Vince Frost and Fabio Ongarato, along with book buyer Meredith Drake, literary writer Stephen Romei and publisher Lou Johnson, to award excellent Australian book design across <a href="http://abda.com.au/post/119633049271/australian-book-designers-association">15 categories</a>.</p>
<p><a href="https://theconversation.com/jackets-required-australian-book-designers-unite-23411">ABDA was formed</a> in 2014 by a group of 8 book designers and a business person, to take over running the Book Design Awards after the <a href="https://www.publishers.asn.au/">Australian Publishers Association</a> announced it would no longer run the annual awards. In March 2014 the non-profit organisation was officially incorporated as the Australian Book Designers Association. </p>
<p>Beyond running the awards, the Association’s <a href="http://abda.com.au/about">mission</a> is to promote Australian book design and foster a design community through public events and educational programs. Inviting international judges is the first step in achieving this goal, with legendary UK book designer <a href="http://gray318.com/">Jon Gray</a> (better known as Gray318) joining the local judges in 2014, and Pearson this year.</p>
<p>In addition, ABDA has collaborated with the <a href="http://www.agda.com.au/events-awards/events/nsw/august/david-pearson-we-are-what-you-read-nsw/">Australian Graphic Design Association</a> and the Melbourne Writers’ Festival to bring David Pearson to Australia for a tour of Sydney and Melbourne next week.</p>
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<span class="caption">Poster for David Pearson’s Australian tour designed by WH Chong.</span>
<span class="attribution"><span class="source">WH Chong</span></span>
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<p>Pearson will deliver three public lectures in Australia. The first titled ‘We Are What You Read’ will be in Sydney at 6.30pm on Tuesday 25 August, at the <a href="https://maas.museum/event/david-pearson-we-are-what-you-read/">Powerhouse Museum</a> in Ultimo, co-presented by ABDA and AGDA.</p>
<p>The second titled ‘The Book Look: Contemporary Cover Design’ will be held at Deakin Edge as part of the <a href="http://mwf.com.au/writers/david-pearson/">Melbourne Writers Festival</a>, 7pm on Saturday 29 August. Pearson will be in conversation with WH Chong discussing the role design plays in current and future publishing.</p>
<p>Chong’s <a href="http://blogs.crikey.com.au/culture-mulcher/2015/08/21/interview-with-creative-superstar-david-pearson/">exclusive interview</a> with Pearson on his Culture Mulcher column on Crikey.com earlier this week is a fantastic appetiser for the upcoming event, including philosophical design quandries such as ‘Are you symmetric, or asymmetric? Centred or ranged?’.</p>
<p>In a <a href="http://mwf.com.au/session/david-pearson-ask-a-designer-2/">second MWF event</a>, Pearson will hold a workshop at The Wheeler Center at 2pm on Sunday 30 August. Participants will be given an insight into his working process and be able to ask questions.</p>
<p>Check the links embedded above for tickets to these events.</p><img src="https://counter.theconversation.com/content/46317/count.gif" alt="The Conversation" width="1" height="1" />
<h4 class="border">Disclosure</h4><p class="fine-print"><em><span>Zoe Sadokierski is the current president of the Australian Book Designers Association.</span></em></p>I fell in love with the Penguin Great Ideas books the second I saw them: I bought the box set immediately. Almost a decade later I’m still reading my way through them all, but I bought them to have and…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/444222015-07-24T06:46:57Z2015-07-24T06:46:57ZThe Book of Days: creating an anthology live at the Sydney Writers’ Festival<figure><img src="https://images.theconversation.com/files/89441/original/image-20150723-22814-f8ktal.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Paperback and hardback editions of The Book of Days, an illustrated anthology edited, designed and produced in three weeks.</span> <span class="attribution"><a class="source" href="http://bookworkpress.com/The-Book-of-Days">Zoë Sadokierski</a>, <a class="license" href="http://creativecommons.org/licenses/by-nc/4.0/">CC BY-NC</a></span></figcaption></figure><p><a href="http://bookworkpress.com/The-Book-of-Days">The Book of Days</a> was a publishing experiment. During the 2015 <a href="http://www.swf.org.au/">Sydney Writers’ Festival</a> (SWF) I edited and designed a festival anthology live, on site at the Walsh Bay precinct. The anthology includes writing and illustrations from festival presenters, as well as contributions from the festival audience.</p>
<p>There has never been an anthology produced alongside the SWF, which has been running for almost two decades. This seemed a shame. What better way to celebrate a well loved writers’ festival – SWF attracts 90,000 attendees each year – than in book form? But publishing a book is expensive in terms of time, labour and production. The SWF is a charity organisation, run on a surprisingly small <a href="http://www.swf.org.au/staff/">skeleton staff</a>. </p>
<p>My recent <a href="http://www.zoesadokierski.com/Books-On-Demand-exhibition">experiments with print-on-demand</a> publishing prove it’s possible to publish a book for the cost of ordering a single unit. I was fortunate to be on a <a href="http://www.gsu.uts.edu.au/policies/professional-experience-program.html">research sabbatical</a> for the first half of this year, and had a stipend attached to an <a href="http://thebookis.net/About-The-book-is">artist residency</a> at the University of Technology Sydney <a href="http://www.lib.uts.edu.au/about-us/artist-residence-program">Library</a>. My sabbatical and residency were both dedicated to researching the evolution of books in the digital age. </p>
<p>So, I proposed creating a real-time SWF anthology to Artistic Director Jemma Birrell and Program Coordinator Kate Steinweg, who enthusiastically agreed to let me perform the experiment at the 2015 festival and helped solicit writing from festival presenters. </p>
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<span class="caption">The Book of Days workstation at Pier 2/3, Walsh Bay.</span>
<span class="attribution"><span class="source">Jackson Mann</span></span>
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<p>Each day from 10am to 5pm during the festival (May 18–24) I was stationed outside the Pier 2/3 Main Stage at Walsh Bay, designing the book, working with collaborators and managing the production process. I updated an <a href="http://bookworkpress.com/The-Book-of-Days-Archive">online archive</a> daily, showing the book’s progress over the week of the festival. A large screen connected to my laptop allowed festival attendees to watch the book design process in action.</p>
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<p>The anthology is divided into two parts. The first is a selection of writing and illustrations from festival presenters including excerpts from events, previously published poems or essays, and a few tastes of unpublished work from: Robert Adamson, Dennis Altman, James Boyce, Robert Dessaix, Mohsin Hamid, Rebecca Huntley, Lee Kofman, Helen Macdonald, Emily St. John Mandel, Les Murray, Omar Musa, John Pickrell and Tom Uglow. </p>
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<span class="caption">Illustrators Lucy Adelaide and Alissa Dinallo at the Book of Days workstation, Pier 2/3 Walsh Bay during the 2015 Sydney Writers’ Festival.</span>
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<p>I invited illustrators to join me at the workstation, or submit via email. The published book includes images by Lucy Adelaide, W.H. Chong, Tessa Curran, Tony Flowers, Juno Gemes, Leigh Hobbs, Olivia King, Leigh Rigozzi, myself, Gemma Warriner, Yan Qin Weng and William Yang. </p>
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<span class="caption">The writing station outside the Sydney Writers’ Festival Pier 2/3 main stage invited festival audiences to contribute to the anthology, leaving responses to the 2015 theme ‘How to live?’ via typewriter, index card or Twitter.</span>
<span class="attribution"><span class="source">Jackson Mann</span></span>
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<p>The second part of the anthology contains contributions from festival audiences, who were invited to respond to the 2015 festival theme “How to live?” via Twitter (using #SWFBOD), typewriter or index card (at the Pier 2/3 workstation). These contributions – all 4,000 words of them – are included in the final book. </p>
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<span class="caption">Sydney Writers’ Festival audience members contributing to The Book of Days at the writing station on Friday.</span>
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<img alt="" src="https://images.theconversation.com/files/89600/original/image-20150724-20914-1o8qs21.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/89600/original/image-20150724-20914-1o8qs21.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/89600/original/image-20150724-20914-1o8qs21.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/89600/original/image-20150724-20914-1o8qs21.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/89600/original/image-20150724-20914-1o8qs21.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/89600/original/image-20150724-20914-1o8qs21.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/89600/original/image-20150724-20914-1o8qs21.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">SWF Family Day was a hive of activity.</span>
<span class="attribution"><span class="source">Ashleigh Wilson</span></span>
</figcaption>
</figure>
<p>On Sunday, Family Day at SWF, the onslaught of excited kids made the typewriters an occupational health and safety nightmare, so I replaced them with drawing tools and an invite to contribute a dinosaur drawing to illustrate John Pickrell’s essay on the problems with Jurassic Park.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/89599/original/image-20150724-20919-1t8zv47.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/89599/original/image-20150724-20919-1t8zv47.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/89599/original/image-20150724-20919-1t8zv47.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/89599/original/image-20150724-20919-1t8zv47.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/89599/original/image-20150724-20919-1t8zv47.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/89599/original/image-20150724-20919-1t8zv47.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/89599/original/image-20150724-20919-1t8zv47.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">One of three double page spreads of dinosaur drawings contributed by kids on Family Day.</span>
</figcaption>
</figure>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/89613/original/image-20150724-7599-euojd6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Contributions from the SWF audience, submitted via index cards at writing station.</span>
</figcaption>
</figure>
<p>The book was created from scratch in three weeks. In the days before the festival, I edited contributions from festival presenters, commissioned illustrators and set up the workstation in the drafty Walsh Bay precinct. Once the festival was underway, I designed the book publicly and gathered audience contributions. </p>
<p>The production continued when the festival came to an end: typing up audience contributions; scanning and laying out illustrations (all those dinosaurs took half a day alone); editing the text (with help from festival staff and friends); making additional illustrations and creating print-ready files. </p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/89612/original/image-20150724-7603-1366yx7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Spread from The Book of Days. Text by Omar Musa, illustration by Zoë Sadokierski.</span>
</figcaption>
</figure>
<p>When all this was done, I sent the files to print-on-demand company <a href="http://au.blurb.com/b/6306356-the-book-of-days-paperback">Blurb.com</a> and the book was ready to order. To buy a copy, customers order and pay via the Blurb website and a book is printed and posted to them. There is no need for me or the SWF to pay for a large print run of books and handle distribution – a book is only created when there is demand for it. However, this means the unit price of producing a book is high – the paperback costs roughly $29.00 and the hardback $44.00 to print and bind.</p>
<p>No one involved, including myself, was paid for contributions or time. The book’s retail price is set at A$1 more than its production price, with net profits donated back to the Sydney Writers’ Festival. This is not a commercially viable publishing model, but financial gain can’t be the only driving force for creative work. As the largely underpaid publishing industry knows well. </p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/89614/original/image-20150724-7578-10shf9q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Illustration of Les Murray by WH Chong in The Book of Days, a SWF anthology.</span>
</figcaption>
</figure>
<p>As well as a souvenir of the 2015 festival, this anthology is a compelling argument for the future of books in print. By the time the next Sydney Writers’ Festival comes around, there will be a new program on the website, the previous year’s newspaper lift-outs will be yellowed and all the news and conversations about the 2015 experience will be buried deep in the ether. </p>
<p><a href="http://bookworkpress.com/The-Book-of-Days">The Book of Days</a>, though, will remain on my shelf, and hopefully other shelves in Sydney and around the world. Festival audiences will remember the authors we heard, the people we met and the experience of being swept up in a community of readers. Those who could not attend can get a sense of the experience – from the authors, illustrators and audience perspective – and may discover new writing. The anthology will be on shelves for years to come because book objects are talismans as much as vessels for the content they carry.</p><img src="https://counter.theconversation.com/content/44422/count.gif" alt="The Conversation" width="1" height="1" />
<h4 class="border">Disclosure</h4><p class="fine-print"><em><span>This project was assisted by the University of Technology Sydney Library, through an artist's residency Zoë was awarded in 2015. All net profits from sales of The Book of Days are donated back to Sydney Writers' Festival, a charity organisation.</span></em></p>As well as a souvenir of the 2015 Sydney Writers’ Festival this anthology is a compelling argument for the future of books in print. Book objects are talismans as much as vessels for the content they carry.Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/440092015-06-30T08:43:55Z2015-06-30T08:43:55ZReinventing old technology: Cooper Hewitt’s interactive pen<figure><img src="https://images.theconversation.com/files/86672/original/image-20150629-9099-15e6dk3.png?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Cooper Hewitt Smithsonian Design Museum's interactive pen</span> <span class="attribution"><a class="source" href="http://www.thebookis.net">Zoë Sadokierski</a>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span></figcaption></figure><p>Between March and April I spent five weeks in New York City, researching ways museums are encouraging visitors to engage with their collections through the use of digital technology. This column reports my experience with Cooper Hewitt’s Pen – an interactive device for exploring the museum’s collection and exhibitions.</p>
<figure class="align-right ">
<img alt="" src="https://images.theconversation.com/files/86671/original/image-20150629-9056-q4an1b.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/86671/original/image-20150629-9056-q4an1b.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/86671/original/image-20150629-9056-q4an1b.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/86671/original/image-20150629-9056-q4an1b.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/86671/original/image-20150629-9056-q4an1b.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/86671/original/image-20150629-9056-q4an1b.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/86671/original/image-20150629-9056-q4an1b.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Cooper Hewitt Smithsonian Design Museum.</span>
<span class="attribution"><span class="source">Zoë Sadokierski</span></span>
</figcaption>
</figure>
<p>Housed in the Andrew Carnegie Mansion on Fifth Avenue in New York City, <a href="http://www.cooperhewitt.org/">Cooper Hewitt</a> Smithsonian Design Museum is the only museum in the United States dedicated exclusively to design. The collections include more than 217,000 design objects spanning the “thirty centuries of human creativity”.</p>
<p>The museum reopened on December 12 2014 after a three-year, US$91 million renovation to develop “immersive museum spaces and participatory visitor experiences never before seen in the museum realm.” One of the most anticipated digital additions to the museum is “the pen”:</p>
<blockquote>
<p>A high-tech device that resembles the most basic tool of design, the Pen is a key part of the new Cooper Hewitt experience. Given at admission, it enables every visitor to collect objects from around the galleries and create their own designs on interactive tables. At the end of a visit the Pen is returned and all the objects collected or designed by the visitor are accessible online through a unique web address printed on every ticket. These can be shared online and stored for later use in subsequent visits.</p>
</blockquote>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/ejIvvwmtX8M?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">Animation: Aaron Kemnitzer.</span></figcaption>
</figure>
<p>The pen was designed as a more immersive option than existing <a href="http://entertainmentdesigner.com/news/museum-design-news/museum-apps-3-0-next-generation-museum-branded-content/">museum apps</a>. In the past few years museums, libraries and galleries have introduced sophisticated apps that can be used both onsite and online. MoMA’s <a href="http://www.moma.org/explore/mobile/iphoneapp">iPhone app</a>, MONA’s <a href="http://www.mona.net.au/theo">The O</a> and the <a href="https://curio.artpro.net.au/">Curio App</a> at the State Library of NSW provide written, audio and visual content relating to museum collections and specific exhibitions. </p>
<p>Onsite, these apps function as mobile catalogues for visitors to carry through exhibitions. Online, visitors access this same written and audio-visual content, supplemented by longer texts or things “saved” during onsite visits. </p>
<p>The best of the new museum apps are responsive, in that they sense which objects you are standing near and provide customised information to save you time searching or browsing through the catalogue. But apps encourage people to stare at a small digital screen rather than engaging with actual objects and the designed exhibition space.</p>
<p>Cooper Hewitt’s Pen is designed to be more interactive for visitors by allowing users to draw and play on the spot – keeping people engaged in the physical museum environment. </p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/5V6AlRZ9Gbs?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">Director of Digital and New Media Technology, Australian Seb Chan demonstrates some of the new digital features of the Cooper Hewitt.</span></figcaption>
</figure>
<p>The following account is from my first visit to Cooper Hewitt, intended to provide a new user’s experience of the technology. </p>
<p>When we buy tickets we are each handed a Pen and given a long explanation of how it works. In a nutshell, use the pointy end to tap and draw on the large interactive screens throughout the museum, use the back end to press against the + symbol next to objects to save information (photos and descriptions) which can be accessed later via the museum’s website. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/86673/original/image-20150629-9081-98fjc8.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/86673/original/image-20150629-9081-98fjc8.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=429&fit=crop&dpr=1 600w, https://images.theconversation.com/files/86673/original/image-20150629-9081-98fjc8.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=429&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/86673/original/image-20150629-9081-98fjc8.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=429&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/86673/original/image-20150629-9081-98fjc8.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=539&fit=crop&dpr=1 754w, https://images.theconversation.com/files/86673/original/image-20150629-9081-98fjc8.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=539&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/86673/original/image-20150629-9081-98fjc8.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=539&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption"></span>
<span class="attribution"><span class="source">Zoë Sadokierski</span></span>
</figcaption>
</figure>
<p>A large interactive table beside the ticket counter (pictured above) encourages us to get used to the Pen as soon as we enter. Staff hover nearby. Like good instructors, they allow people to figure it out by trial and error but assist visitors who are obviously struggling. </p>
<p>Even though it is intuitive, it takes a few moments to get the hang of. You need to be in the mood for play and experimentation, but one hopes visitors to a design museum are.</p>
<figure class="align-left ">
<img alt="" src="https://images.theconversation.com/files/86666/original/image-20150629-9056-t31qqz.png?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/86666/original/image-20150629-9056-t31qqz.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=429&fit=crop&dpr=1 600w, https://images.theconversation.com/files/86666/original/image-20150629-9056-t31qqz.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=429&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/86666/original/image-20150629-9056-t31qqz.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=429&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/86666/original/image-20150629-9056-t31qqz.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=539&fit=crop&dpr=1 754w, https://images.theconversation.com/files/86666/original/image-20150629-9056-t31qqz.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=539&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/86666/original/image-20150629-9056-t31qqz.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=539&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Cooper Hewitt’s interactive Pen.</span>
<span class="attribution"><span class="source">Zoë Sadokierski</span>, <span class="license">Author provided</span></span>
</figcaption>
</figure>
<p>The “nib” part of the Pen is squishier than I expected. It’s made of soft rubber and requires firm pressure on the screens. My hands are the size of an average eight-year-old’s, so it feels like an oversized novelty pencil. But you’re not writing so much as tapping, swiping and basic sketching. </p>
<p>I find sketching awkward, the accuracy is like drawing in the sand with your finger. I’m reminded of a story about South Korean commuters using sausages as a “<a href="http://www.engadget.com/2010/02/11/south-korean-iphone-users-turn-to-sausages-as-a-cold-weather-me/">meat stylus</a>” when their hands were too cold to go without gloves. Once I get over the clumsiness, the practicality of the device is worth it.</p>
<p>Aside from doing a quick sketch of the Pen itself while having a coffee, I don’t take any notes or sketch in my journal while wandering through the museum. This is unusual for me, but carrying the Pen discourages me from doing so. </p>
<p>Half way through my visit I become slightly anxious. What if my pen doesn’t work? What if I lose my ticket and can’t access all the saved data later (there’s a code on your entrance ticket that allows you to access the data from the website)?</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/86681/original/image-20150629-9056-k2q0nw.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/86681/original/image-20150629-9056-k2q0nw.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=429&fit=crop&dpr=1 600w, https://images.theconversation.com/files/86681/original/image-20150629-9056-k2q0nw.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=429&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/86681/original/image-20150629-9056-k2q0nw.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=429&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/86681/original/image-20150629-9056-k2q0nw.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=539&fit=crop&dpr=1 754w, https://images.theconversation.com/files/86681/original/image-20150629-9056-k2q0nw.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=539&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/86681/original/image-20150629-9056-k2q0nw.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=539&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Not all exhibits are interactive, but all are engaging.</span>
<span class="attribution"><span class="source">Zoë Sadokierski</span></span>
</figcaption>
</figure>
<p>I find myself “saving” things excitedly at first, but more sparingly the longer I’m there. That’s partly because I am engaged by what I’m looking at, but I also start to wonder what am I going to do with all the saved content later. </p>
<p>I wouldn’t necessarily “do something” with my notes and sketches in a journal either, but the act of sketching/ notetaking is a way of engaging with objects and ideas in a museum and committing them to memory. Through sketching, I slow down to observe and think about things. In contrast, quickly pressing the Pen against the wall to “save” content means I tend to read the descriptive information less carefully – I can come back to it later. But I probably won’t.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=429&fit=crop&dpr=1 600w, https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=429&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=429&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=539&fit=crop&dpr=1 754w, https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=539&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/86818/original/image-20150630-5846-1w2rozs.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=539&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Cooper Hewitt curates according to period, style, object type, and even colour.</span>
<span class="attribution"><span class="source">Zoë Sadokierski</span></span>
</figcaption>
</figure>
<p>Many of the exhibits appeal to me due to playful curation. Seeing prehistoric stone tools inhabiting a cabinet with an iPhone – both tools designed to fit comfortably in the palm – is surprising and thought-provoking. A collection of red objects starts to tell me unexpected stories, the juxtaposition of seemingly unrelated things is delightful. I wonder, at the time, if my Pen will capture the curatorial quirks of my experience at the museum. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/86683/original/image-20150629-9054-1kddaif.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/86683/original/image-20150629-9054-1kddaif.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=429&fit=crop&dpr=1 600w, https://images.theconversation.com/files/86683/original/image-20150629-9054-1kddaif.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=429&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/86683/original/image-20150629-9054-1kddaif.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=429&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/86683/original/image-20150629-9054-1kddaif.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=539&fit=crop&dpr=1 754w, https://images.theconversation.com/files/86683/original/image-20150629-9054-1kddaif.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=539&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/86683/original/image-20150629-9054-1kddaif.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=539&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Screenshot of my saved visit.</span>
</figcaption>
</figure>
<p>Back home, when I log-in to the website using the code on the back of my ticket (which I didn’t lose because I put it into my sketch journal) I see that I “collected” 66 items (by touching the back end of the pen to the object label in the museum) and “created” four (things that I drew on the touch screen tables or interacted with and saved). </p>
<p>These objects are saved individually, not curated the way they were presented onsite. I’m glad I snapped a few iPhone photographs of the red collection but wish I had captured others as well.</p>
<p>There’s one object in particular I want to see again, the Hansen Writing Ball. It’s an early version of a typewriter that I became mildly <a href="http://bookworkpress.com/Writers-Typewriters">obsessed with</a> a few years ago:</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/86680/original/image-20150629-9059-1sbi7px.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/86680/original/image-20150629-9059-1sbi7px.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=429&fit=crop&dpr=1 600w, https://images.theconversation.com/files/86680/original/image-20150629-9059-1sbi7px.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=429&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/86680/original/image-20150629-9059-1sbi7px.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=429&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/86680/original/image-20150629-9059-1sbi7px.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=539&fit=crop&dpr=1 754w, https://images.theconversation.com/files/86680/original/image-20150629-9059-1sbi7px.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=539&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/86680/original/image-20150629-9059-1sbi7px.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=539&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption"></span>
<span class="attribution"><span class="source">Zoë Sadokierski / Cooper Hewitt</span></span>
</figcaption>
</figure>
<p>Above left is the iPhone pic I snapped. Right is the image taken from the Cooper Hewitt site. But not from my recorded visit. I collected 66 item which fill two pages (screens) on the website, but no matter how many times I refresh or re-log in, I can’t access the second page items. </p>
<p>Where the Hansen Writing Ball is. I find an image of it by searching the website, but it took ages because I incorrectly remembered it as ‘Hanson’ and it didn’t come up in a search for “typewriter”. </p>
<p>I see that there are two images of the Writing Ball listed on the site – this is also good news. It is a complex machine and if I was sketching I would have drawn it from several angles. If I was documenting properly (even with an iPhone) I would have taken several photographs from different angles. I click on the link and get the message: “the object has been digitised but we can’t show it to you yet.”</p>
<p>The problem with slick technology is that when it doesn’t work exactly as promised, we are easily frustrated. I find myself disappointed that I don’t have access to the items I collect instantaneously, but perhaps it’s better for my long-term brain development that I had to work to find what I wanted, or engage my memory and imagination to think of the object in 3D rather than relying on a series of sketches or photographs. </p>
<p>Ultimately, using the Pen meant I was more engaged in the museum itself than I have been using other phone-based museum apps. And other than researchers or enthusiastic kids, I wonder how many visitors will go back to the objects they collected during their visit anyway?</p><img src="https://counter.theconversation.com/content/44009/count.gif" alt="The Conversation" width="1" height="1" />
Cooper Hewitt’s Pen is designed to be more interactive for visitors by allowing users to draw and play on the spot – keeping people engaged in the physical museum environment.Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/364052015-01-24T01:13:57Z2015-01-24T01:13:57ZMen Explain Things and We Are Angry: how judging a book by its cover prompted reflections on feminism<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=877&fit=crop&dpr=1 600w, https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=877&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=877&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1102&fit=crop&dpr=1 754w, https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1102&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/69580/original/image-20150121-29743-ruk0x6.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1102&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption"></span>
</figcaption>
</figure>
<p>While Christmas shopping in a local bookshop, a handsome little volume stopped me in my tracks as I was leaving. The dust jacket is midnight blue with a gold-foil constellation slightly obscuring the title. The cover belongs to <a href="http://rebeccasolnit.net/">Rebecca Solnit</a>’s book of essays, Men Explain Things To Me. We were in a rush, so I put it down. My partner doubled back and bought it for me as a Christmas gift. He may come to regret judging this book by its cover.</p>
<figure class="align-left ">
<img alt="" src="https://images.theconversation.com/files/69587/original/image-20150121-29767-1nm7zdw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/69587/original/image-20150121-29767-1nm7zdw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=921&fit=crop&dpr=1 600w, https://images.theconversation.com/files/69587/original/image-20150121-29767-1nm7zdw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=921&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/69587/original/image-20150121-29767-1nm7zdw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=921&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/69587/original/image-20150121-29767-1nm7zdw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1157&fit=crop&dpr=1 754w, https://images.theconversation.com/files/69587/original/image-20150121-29767-1nm7zdw.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1157&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/69587/original/image-20150121-29767-1nm7zdw.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1157&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The book a smug host couldn’t comprehend Solnit could have authored.</span>
</figcaption>
</figure>
<p>Although slender, Solnit’s book packs a punch. The titular essay starts with a dinner party incident in which, after asking Solnit what her latest book was about, an older man interrupts her answer to inform her about another <em>very important</em> book on the same topic he’d recently read about (but not actually read). It took Solnit’s friend, who was listening in, to point out that he was telling Solnit about her own book. </p>
<p>Solnit entertained the idea that she somehow missed another book published simultaneously on the same, specific topic due to the “confrontational confidence” of this man. </p>
<p>Solnit writes: </p>
<blockquote>
<p>Men explain things to me, and other women, whether or not they know what they’re talking about. Some men. </p>
</blockquote>
<p>She acknowledges that being a published writer helps her stand her ground, but that:</p>
<blockquote>
<p>… billions of women must be out there on this seven-billion-person planet being told that they are not reliable witnesses to their own lives, that the truth is not their property, now or ever. This goes way beyond Men Explaining Things, but it’s part of the same archipelago of arrogance.</p>
</blockquote>
<p>This essay leads into a collection of Solnit’s <a href="http://www.tomdispatch.com/authors/rebeccasolnit">previously published</a> essays on feminism that are thoughtful, well-researched, and in turns funny and painful to read. It’s a measured, unapologetic argument for feminism that I wish I’d been gifted as a younger woman.</p>
<p>The power of Solnit’s writing cannot be summarised by a single quote, but I came back to this passage several times:</p>
<blockquote>
<p>Feminism is an endeavor to change something very old, widespread, and deeply rooted in many, perhaps most, cultures around the world, innumerable institutions, and most households on Earth – and in our minds, where it all begins and ends. That so much change has been made in four or five decades is amazing; that everything is not permanently, definitively, irrevocably changed is not a sign of failure. A woman goes walking down a thousand-mile road. Twenty minutes after she steps forth, they proclaim that she sill has nine hundred ninety-nine miles to go and will never get anywhere.</p>
<p>It takes time.</p>
</blockquote>
<p>In her essay <a href="http://www.tomdispatch.com/blog/175641/tomgram%3A_rebecca_solnit%2C_the_longest_war">The Longest War</a>, Solnit addresses rape. A rape is reported in the United States every 6.2 minutes, however the estimated total (factoring unreported incidents) is nearly 5 times that. Meaning there may be almost a rape a minute in the United States. The international examples and statistics that follow are similarly harrowing. Solnit writes: </p>
<blockquote>
<p>there are other things I’d rather write about, but this affects everything else. The lives of half of humanity are still dogged by, drained by, and sometimes ended by this pervasive variety of violence.</p>
</blockquote>
<p>Solnit reports that the New Delhi rape and murder of 23-year-old physiotherapy student <a href="http://www.spiegel.de/international/world/exploring-the-lives-of-the-rape-victim-and-suspects-in-india-a-879187.html">Jyoti Singh</a> and the assault on her male companion (who survived) shocked the world into recognising that rapes are not isolated incidents. A “rape culture” exists and it is a global civil rights issue. She states: ‘It’s your job to change it, and mine, and ours.’</p>
<p>Shortly after I read this essay I came across a multimedia short story addressing the same issue in a way that resonates with Solnit’s call-to-arms.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=286&fit=crop&dpr=1 600w, https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=286&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=286&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=359&fit=crop&dpr=1 754w, https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=359&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/69590/original/image-20150121-29720-knxpgx.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=359&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Screenshot of We Are Angry.</span>
</figcaption>
</figure>
<p><a href="http://www.weareangry.net/">We Are Angry</a> is a fictional work about an ambitious young Indian woman – she runs a vending machine business without a male business partner, to the incredulity of everyone including her family. The story covers a four day period in which she is the victim of a particularly brutal gang rape. Although fiction, the digital short story includes photographs, videos and audio elements, and links to real reports, statistics and editorials related to Jyoti Singh’s rape and murder.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/69593/original/image-20150121-29731-19lynnc.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/69593/original/image-20150121-29731-19lynnc.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=352&fit=crop&dpr=1 600w, https://images.theconversation.com/files/69593/original/image-20150121-29731-19lynnc.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=352&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/69593/original/image-20150121-29731-19lynnc.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=352&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/69593/original/image-20150121-29731-19lynnc.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=443&fit=crop&dpr=1 754w, https://images.theconversation.com/files/69593/original/image-20150121-29731-19lynnc.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=443&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/69593/original/image-20150121-29731-19lynnc.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=443&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Screenshot of We Are Angry, showing a YouTube video of police poking the victim’s body with sticks, crassly questioning whether she is a prostitute.</span>
</figcaption>
</figure>
<p>Author Lyndee Prickitt is a US journalist living in Delhi. She <a href="http://publishingperspectives.com/2014/11/digital-storytelling-work-best-crisis/">explains her motivation</a> for creating <a href="http://www.weareangry.net/">We Are Angry</a>:</p>
<blockquote>
<p>As a women and a mother raising my daughter in India I needed an outlet for my fury and a way to raise awareness about the inequitable treatment of women […] instead of adding to the piles of reports and editorials, I wanted to write a poignant fictional narrative from the point-of-view of a victim — a woefully disregarded and unheard voice in patriarchal India. But I also wanted to capture the real swell of anger that was marking a turning point in my adopted country, where the modern and the medieval knock against each other every day.</p>
</blockquote>
<p>I consumed the story, including many of the well-edited links to news articles and all the audio and video clips, in one sitting. It was an extraordinary reading experience. It left me agitated, unsettled and deeply angry. I’m not yet ready to experience it again, but I will. And I urge you to. <a href="http://www.weareangry.net/">Here</a>.</p>
<p>In this column, I should be commenting on the integration of the multimedia elements into the digital narrative. And I will, later. For now, I can’t critique the form of something while still so raw from the affect of its content. (Although it was the appealing design of one book that initially sparked these thoughts.)</p>
<p>I returned to Solnit’s book, and reread the hopeful passages, such as the one quoted above about feminism taking time. Seeing I was engrossed in his Christmas present, my partner asked whether I was enjoying it. I replied with a smile: </p>
<blockquote>
<p>Brace yourself, things are going to change around here.</p>
</blockquote><img src="https://counter.theconversation.com/content/36405/count.gif" alt="The Conversation" width="1" height="1" />
While Christmas shopping in a local bookshop, a handsome little volume stopped me in my tracks as I was leaving. The dust jacket is midnight blue with a gold-foil constellation slightly obscuring the title…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/340192014-11-19T00:34:58Z2014-11-19T00:34:58ZThe future of independent book publishing – notes from the 2014 Ind Pub Conference<p>This post is the third in my series about <a href="https://theconversation.com/shelf-promotion-how-everyone-can-be-a-publisher-with-print-on-demand-books-30923">print-on-demand</a> and <a href="https://theconversation.com/how-publishing-works-a-book-designers-perspective-32211">book publishing.</a> </p>
<p>The <a href="http://spunc.com.au/">Small Press Network</a> (SPN) is a not-for-profit incorporation with more than 120 small publisher members. The 3rd annual SPN <a href="http://spunc.com.au/ind-pub-conference">Ind Pub Conference</a> was held November 13-14 in Sydney to discuss the future of independent publishing in Australia. </p>
<p>With more than 50 speakers across two days, it’s impossible to summarise the conference. Below I share some insights and anecdotes from the sessions I saw and participated in.</p>
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<img alt="" src="https://images.theconversation.com/files/64911/original/qgc5kk4j-1416345993.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/64911/original/qgc5kk4j-1416345993.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=353&fit=crop&dpr=1 600w, https://images.theconversation.com/files/64911/original/qgc5kk4j-1416345993.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=353&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/64911/original/qgc5kk4j-1416345993.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=353&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/64911/original/qgc5kk4j-1416345993.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=444&fit=crop&dpr=1 754w, https://images.theconversation.com/files/64911/original/qgc5kk4j-1416345993.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=444&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/64911/original/qgc5kk4j-1416345993.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=444&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Concluding session, led by SPN General Manager Mary Masters. Shaun Symonds (Neilson Bookscan), Jon Page (Boomerang Books/Pages & Pages), Alice Grundy (Giramondo/Seizure) and Alex Adsett (literary agent and contracts advisor).</span>
<span class="attribution"><span class="source">Small Press Network</span></span>
</figcaption>
</figure>
<p>In a digital age, the complex network of technologies (ebooks, tablets and e-readers, user tracking software) and online platforms (social media, e-bookshops, book blogs, print on demand services) has dramatically altered the way books are produced and consumed. </p>
<p>This change in the environment impacts all members of the publishing community: writers, publishers, editors, designers, printers, marketers, booksellers, readers, reviewers.</p>
<p>How independent publishers fit within the shifting <a href="http://scholarlykitchen.sspnet.org/2013/01/23/a-new-publishing-ecosystem-emerges/">publishing ecosystem</a> was a topic running through many of the presentations.</p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=798&fit=crop&dpr=1 600w, https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=798&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=798&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1003&fit=crop&dpr=1 754w, https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1003&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/64696/original/ps3z4r98-1416205886.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1003&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Independent presses contribute to the publishing ecosystem like fungi enriching the soil at the base of trees.</span>
<span class="attribution"><span class="source">Tiia Monto</span></span>
</figcaption>
</figure>
<p><a href="http://www.spinifexpress.com.au/">Susan Hawthorne</a>’s keynote drew from her new book <a href="http://spinifexpress.com.au/Bookstore/book/id=269/">Bibliodiversity: A Manifesto for Independent Publishing</a>. Hawthorne likens independent presses to the rings of fungus growing around the base of trees, feeding the literary soil and maintaining socio-cultural diversity. In her proposed bibliodiverse publishing ecosystem, there is a complex and self-sustaining system of publishing and writing.</p>
<p>Part of the system of publishing and writing now includes reader participation. <a href="http://spunc.com.au/splog/post/meet-the-publisher6/">Aaron Mannion</a> described a more participatory literary culture developing, in which readers move beyond being consumers of content to contributors or producers of content. “<a href="http://www.forbes.com/sites/work-in-progress/2010/07/03/the-shift-from-consumers-to-prosumers/">Prosumers</a>.”</p>
<p>An example of this was given by <a href="http://www.khyiahangel.com/">Khyiah Angel</a>, who addressed ways digital natives (specifically young adults) read and interact with novels. Teens still read longform books alone, but want to share their experience in networked, highly social environments. Angel argues authors of YA fiction need to extend their writing skills to include managing content “horizontally” across platforms and consider how their readers will interact with and expand the content. </p>
<p>Authors are increasingly expected to develop and maintain an online “<a href="http://www.huffingtonpost.com/2014/04/30/writing-tips_n_5241199.html">brand</a>” for themselves. A recurring conversation was how publishers can help authors develop and maintain their brand.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/64910/original/r8krbbzk-1416345947.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/64910/original/r8krbbzk-1416345947.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=483&fit=crop&dpr=1 600w, https://images.theconversation.com/files/64910/original/r8krbbzk-1416345947.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=483&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/64910/original/r8krbbzk-1416345947.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=483&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/64910/original/r8krbbzk-1416345947.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=606&fit=crop&dpr=1 754w, https://images.theconversation.com/files/64910/original/r8krbbzk-1416345947.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=606&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/64910/original/r8krbbzk-1416345947.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=606&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Panel on book cover design and the challenges of designing for online retailers. Led by Beth Driscoll (University of Melbourne) with Mel Barton (Bookworld), Lou Johnson (Simon & Schuster) and myself.</span>
<span class="attribution"><span class="source">Small Press Network</span></span>
</figcaption>
</figure>
<p>Mel Barton from Australian online retailer <a href="http://www.bookworld.com.au/">Bookworld</a> raised the issue of inconsistent book covers in a digital marketplace. Traditionally books have been re-jacketed in different countries to best capture the local market, and as a way for publishers to put their “stamp” on an edition. However, different covers can confuse readers who may be following links about a book from a range international sites. Part of managing an author brand is having an instantly recognisable look. A challenge for future book designers. </p>
<p><a href="http://www.monash.edu.au/research/people/profiles/profile.html?sid=7442&pid=3962">Simone Murray</a>’s academic keynote argued that to stay relevant, publishers must effectively manage the digital sphere for authors. This means finding the right tool for the right job, and providing a point of stability for authors. </p>
<p>The demands of multi-platform marketing is exhausting – Facebook, Twitter, blog tours to name a few. By keeping all social media tools under the publisher’s umbrella, consistency is maintained and the pressure is taken off authors to be both writer and promoter of their work. </p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/yxschLOAr-s?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">Simone Murray showed this booktrailer to highlight the strain of managing an ‘author brand’.</span></figcaption>
</figure>
<p>Murray’s keynote addressed the ways e-commerce and digital book marketing are changing literary culture. Using detailed examples, she explained how online marketing “dramatically levels” the playing field for small publishers. </p>
<p>Despite current ambivalence toward <a href="https://theconversation.com/inside-the-making-of-a-book-trailer-20186">booktrailers</a> and <a href="http://www.thebookdesigner.com/2014/02/greg-strandberg/">blog tours</a>, social networks are important portals to connecting authors and readers. </p>
<figure class="align-right ">
<img alt="" src="https://images.theconversation.com/files/64923/original/image-20141119-7478-ggt09w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/64923/original/image-20141119-7478-ggt09w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=900&fit=crop&dpr=1 600w, https://images.theconversation.com/files/64923/original/image-20141119-7478-ggt09w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=900&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/64923/original/image-20141119-7478-ggt09w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=900&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/64923/original/image-20141119-7478-ggt09w.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1131&fit=crop&dpr=1 754w, https://images.theconversation.com/files/64923/original/image-20141119-7478-ggt09w.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1131&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/64923/original/image-20141119-7478-ggt09w.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1131&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Small publishers must be wary of predatory tactics by online retailers.</span>
<span class="attribution"><span class="source">Khendon</span></span>
</figcaption>
</figure>
<p>Like many other speakers, Murray warned of the predatory relationship between online retailers and small publishers. Amazon CEO Jeff Bezos’ <a href="http://www.businessinsider.com.au/sadistic-amazon-treated-book-sellers-the-way-a-cheetah-would-pursue-a-sickly-gazelle-2013-10">had instructed</a> staff to “approach these small publishers the way a cheetah would pursue a sickly gazelle”. Internally, this was referred to as the Gazelle Project until Amazon’s savvy lawyers renamed it the Small Publishers Negotiation Program. </p>
<p>Self-publishing is increasingly an attractive option for authors. An author with an established following can use print on demand services to publish a book and their own online networks to promote and drive sales. However, this publishing model takes authors away from their main practice: writing. It also assumes authors want to engage with this messy digital ecosystem. Online marketing management may be what keeps authors using publishing houses. </p>
<p>Amid the buzz of digital marketing potential, a panel on digital workflows demonstrates that digital publishing comes with significant issues. Managing workflow and archiving digital publications and drafts.</p>
<p>The other day I tried to put a CD into my newish computer. I discovered it doesn’t have a CD-drive. To access files on the CD, I must buy an external CD-drive. It’s possible I’ll also discover that the software I need to open the file no longer works on my new operating system. </p>
<p>This is an annoyance for me, but highlights a growing problem for libraries that have a statutory obligation to collect and archive cultural material. </p>
<p>Are the digital publications we are rushing to produce going to be accessible and readable in the future? Will libraries be able to archive these works for future readers? <a href="http://www.sarahjhfletcher.com/">Sarah JH Fletcher</a> gave a refreshingly clear overview of digital workflow and offered the following sage advice. Before creating a digital publication, always consider the complexity of the content (is it worth doing?) and the end use (do readers want it?).</p>
<p>One digital publication I can’t wait to get my hands on is the <a href="http://www.nla.gov.au/">National Library</a>’s enhanced ebook collating material related to Patrick White’s novel <a href="http://trove.nla.gov.au/work/7309642">Voss</a>. The project has taken 4 years to date, and will include manuscript notes, musical scores from the Opera version and even allow you to listen to music White listened to while writing. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/64683/original/thnhvcgn-1416195361.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/64683/original/thnhvcgn-1416195361.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/64683/original/thnhvcgn-1416195361.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/64683/original/thnhvcgn-1416195361.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/64683/original/thnhvcgn-1416195361.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/64683/original/thnhvcgn-1416195361.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/64683/original/thnhvcgn-1416195361.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Visitors to Clunes Booktown during the 2014 festival.</span>
<span class="attribution"><span class="source">Clunes Booktown Media Downloads</span></span>
</figcaption>
</figure>
<p>Also on my list of anticipated activities is visiting a <a href="http://www.booktown.net/">Booktown</a>. <a href="http://culture-communication.unimelb.edu.au/about/staff/dr-beth-driscoll">Beth Driscoll</a> discussed the cultural benefits attached to Melbourne’s status as a <a href="http://www.arts.vic.gov.au/Projects_Initiatives/Collaborative_initiatives/Melbourne_-_City_of_Literature">UNESCO City of Literature</a>, and how becoming an official ‘Booktown’ has affected commerce and culture in <a href="http://clunesbooktown.com.au/">Clunes</a>, Victoria. Clunes shows that such literary affiliations can foster cultural attachment to a particular small place, similar to the way writers festivals foster temporary communities. </p>
<p>Finishing on temporary communities, the conference was divided into an academic and an industry day. Those who attended both days reported that the academic papers were highly relevant for industry. During the closing session there was a call to run academic and industry streams simultaneously in future conferences. </p>
<p>Abstracts for academic papers can be <a href="http://spunc.com.au/ind-pub-conference/ind-pub-conf-academic-day-2014">downloaded</a> from the SPN site.</p><img src="https://counter.theconversation.com/content/34019/count.gif" alt="The Conversation" width="1" height="1" />
This post is the third in my series about print-on-demand and book publishing. The Small Press Network (SPN) is a not-for-profit incorporation with more than 120 small publisher members. The 3rd annual…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/309232014-10-13T01:17:26Z2014-10-13T01:17:26ZShelf Promotion: how everyone can be a publisher with print-on-demand books<p>This is the <a href="https://theconversation.com/how-publishing-works-a-book-designers-perspective-32211">second in my series</a> of articles on print-on-demand and the growth of independent publishing in Australia. It explains the value of print-on-demand services for writers who want to self-publish a book.</p>
<p>Writers generally choose to self-publish because it’s difficult to find a commercial publisher in a highly <a href="http://www.theguardian.com/culture/australia-culture-blog/2014/feb/26/golden-age-australian-debut-novelists">competitive market</a>. Without the backing of a commercial publisher, writers must manage the complicated and time-consuming process of transforming their manuscript into a sellable book independently. </p>
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<a href="https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=358&fit=crop&dpr=1 600w, https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=358&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=358&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=450&fit=crop&dpr=1 754w, https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=450&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/61494/original/84y5pgkk-1413159618.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=450&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The production of a book is a complicated part of the publishing process.</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<p>While it’s relatively simple to employ a <a href="http://www.fen.net.au/">freelance editor</a> to provide structural editing and proofreading, it’s less simple to negotiate <em>production</em>: the printing and distribution of a book.</p>
<p>In my <a href="https://theconversation.com/columns/zoe-sadokierski-62627">previous column</a> I described the role of different departments within a publishing house, but brushed over production. The production department works with the editor/publisher and designer to make decisions about format, paper stock, <a href="http://designinstruct.com/print-design/print-finishes/">special finishes</a> (such as foil, embossing, spot colours) for a particular book. </p>
<p>Based on those decisions, Production then negotiates with a range of printers to find the best deal to produce the book. </p>
<p>A self-published writer must navigate this process alone – an overwhelming prospect for most people. Moreover, the traditional publishing model poses several additional hurdles:</p>
<p><strong>1. Large print-runs</strong>
Traditional book printers rarely print fewer than 1,000 books in a print-run. The large quantities are cost driven: setting up printing presses and binding machines takes time (human labour) and resources (electricity, paper, inks, for some presses also water). The cost of those overheads is distributed across the quantity of books printed, so the more books printed, the cheaper the unit-price per book. Yet this reduced unit price only works if all the books sell.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/61490/original/xd2f8vtw-1413158007.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Web-fed offset lithographic press. Printing presses are enormous machines, and expensive to run.</span>
<span class="attribution"><span class="source">Sven Teschke</span></span>
</figcaption>
</figure>
<p><strong>2. Storage and distribution</strong>
Once printed, the books need to be stored somewhere. Look at your bookshelf and try to imagine where you’d put 1,000 books. Then consider that every time someone wants a copy, you have to deliver it to them. Distribution houses exist to deal with these problems, but incur substantial fees. </p>
<p>Some digital printers offer shorter print-run in the hundreds, or even fewer, which is a more sell-able quantity for self-publishers, but still leaves a storage and distribution problem.</p>
<p><strong>3. Waste</strong>
What to do with leftover stock? Large publishers periodically send trucks to bookstores to collect unsold stock and ferry it back to warehouses, usually in remote locations: petrol, emissions, labour costs ensue. There, the unsold books are pulped and recycled as cardboard, a process that requires large quantities of chemicals, electricity and water. Waste begets <a href="http://www.earthgreetings.com.au/paper,-printing--the-environment-i9/">more waste</a>. </p>
<p>Small publishers don’t have these facilities, which means collecting unsold books in person, incurring further time and resource costs and making “bricks-and-mortar” shops less likely to stock self-published books because it requires more administrative work on everyone’s part. And the problem of what to do with excess stock remains.</p>
<p>Here lies the value of print-on-demand. Print-on-demand is a digital printing service that allows anyone with a computer and credit card to publish a book, in quantities as few a single copy. The process is simple: the author uploads digital files of the book pages and cover to an online platform (the print-on-demand supplier such as <a href="http://www.blurb.com/">Blurb</a> and <a href="http://lulu.com/">Lulu</a>), then when someone orders a copy of the book, it is printed and posted to them, anywhere in the world. </p>
<p>This means a writer can publish a book without spending any money other than ordering a single proof copy of the book, which can be as low as a few dollars. When someone buys a copy online, the book is printed and delivered to them, and the author does nothing other than receiving royalties.</p>
<p>Print-on-demand is possible due to advancements in digital printing technology. Traditional book printing is done on large off-set machines (see image above) which, once running, are very efficient over large print runs. Newer digital printing and binding machines are capable of printing an individual book quickly and efficiently, consuming less time and resources than traditional printers (see image below). </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/61498/original/td5xf27c-1413160513.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">An ‘on demand’ digital printer. The unit on the left prints the pages, the unit on the right prints the cover. Pages and cover are feed into the rest of the machine for collating and binding. A single book takes between 5-20 minutes to print.</span>
<span class="attribution"><span class="source">Dvortygirl</span></span>
</figcaption>
</figure>
<p>Print-on-demand provides an incredible opportunity to skip the traditional book production process, saving costs and waste. However, it also skips the invaluable editing and design processes. In the next column I address some of the issues associated with bypassing design in the book production process.</p><img src="https://counter.theconversation.com/content/30923/count.gif" alt="The Conversation" width="1" height="1" />
This is the second in my series of articles on print-on-demand and the growth of independent publishing in Australia. It explains the value of print-on-demand services for writers who want to self-publish…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/322112014-09-28T19:05:17Z2014-09-28T19:05:17ZHow publishing works: a book designer’s perspective<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/60098/original/w386k65c-1411693143.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/60098/original/w386k65c-1411693143.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=359&fit=crop&dpr=1 600w, https://images.theconversation.com/files/60098/original/w386k65c-1411693143.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=359&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/60098/original/w386k65c-1411693143.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=359&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/60098/original/w386k65c-1411693143.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=451&fit=crop&dpr=1 754w, https://images.theconversation.com/files/60098/original/w386k65c-1411693143.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=451&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/60098/original/w386k65c-1411693143.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=451&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Publishing is the process of getting the author’s story out of her or his head and into the hands of a reader.</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<p>Authors don’t write books, they write manuscripts. Publishing is the process of getting an author’s manuscript into the hands of a reader, by materialising it – giving it form, as a book. This may be printed (a codex) or <a href="https://theconversation.com/what-is-a-book-in-the-digital-age-19071">digital</a> (an ebook). </p>
<p>I produced the illustrations in this post for a Sydney Writers Festival <a href="http://www.swf.org.au/component/option,com_2012/Itemid,124/agid,2898/task,view_detail/">talk</a> in 2012. All publishing houses have different protocols and cultures; this overview is based on <a href="http://zoesadokierski.com/">my experience</a> as an in-house book designer at Allen&Unwin (2003-2006), and as a freelance designer for a range of Australian publishers over the past decade.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/60100/original/rbsmf27d-1411693144.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/60100/original/rbsmf27d-1411693144.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=359&fit=crop&dpr=1 600w, https://images.theconversation.com/files/60100/original/rbsmf27d-1411693144.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=359&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/60100/original/rbsmf27d-1411693144.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=359&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/60100/original/rbsmf27d-1411693144.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=451&fit=crop&dpr=1 754w, https://images.theconversation.com/files/60100/original/rbsmf27d-1411693144.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=451&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/60100/original/rbsmf27d-1411693144.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=451&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The author enters a publishing house with a manuscript.</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<p>The author’s manuscript is either solicited (the publisher asks them to write it) or unsolicited (the author writes it, then shops for a publisher). Being rejected is awful and publishing contracts are complicated, so many authors employ an agent to negotiate a deal with a publisher. </p>
<p>The “publisher” refers to either the publishing house (such as Penguin Random House or Text Publishing), or the person whose title is Publisher. Within a single publishing house there may be several publishers, each overseeing a different list based on genre. For example, there may be a literary publisher, an academic publisher and a non-fiction publisher within the same publishing house. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/60102/original/wth3s3fs-1411693148.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/60102/original/wth3s3fs-1411693148.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=359&fit=crop&dpr=1 600w, https://images.theconversation.com/files/60102/original/wth3s3fs-1411693148.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=359&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/60102/original/wth3s3fs-1411693148.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=359&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/60102/original/wth3s3fs-1411693148.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=451&fit=crop&dpr=1 754w, https://images.theconversation.com/files/60102/original/wth3s3fs-1411693148.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=451&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/60102/original/wth3s3fs-1411693148.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=451&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">Publishing houses have different divisions, with staff who take care of different aspects of the publishing process.</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<p>Within the publishing house, different departments deal with different aspects of the publishing process. Editorial is concerned with <em>content</em>: ensuring the story/information is communicated in a clear and engaging way. Sales, Marketing and Publicity are concerned with <em>context</em>: figuring out where the book sits in the market, how to get it into bookstores, and reviewed. </p>
<p>The designer is generally commissioned by the publisher or editor overseeing the title. Some publishers have creative directors, who commission (freelance) or assign (in-house) designers. The designer is given a brief, a document that outlines the format (size and shape), production schedule, information about the content and context of the book including a blurb (a version of what end ups on the back cover), and passages that represent the writing style and plot. I also read the full manuscript. Unless it’s a maths textbook.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/60105/original/xgvtxk3t-1411693152.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/60105/original/xgvtxk3t-1411693152.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=359&fit=crop&dpr=1 600w, https://images.theconversation.com/files/60105/original/xgvtxk3t-1411693152.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=359&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/60105/original/xgvtxk3t-1411693152.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=359&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/60105/original/xgvtxk3t-1411693152.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=451&fit=crop&dpr=1 754w, https://images.theconversation.com/files/60105/original/xgvtxk3t-1411693152.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=451&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/60105/original/xgvtxk3t-1411693152.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=451&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The communication challenge book designers face is ensuring a cover evokes a sense of what the book is about as well as making it recognisably ‘of its genre’.</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<p>Designers usually communicate directly with the publisher/editor, but need to respond to critical feedback from Sales/Marketing to develop a cover that communicates both the content of the book (evoking a sense of what it’s about and the writing style) and the context (ensuring it looks like it belongs to its genre, and is appealing to the intended audience). This balance happens by showing “roughs” for different approaches. I usually present two to three different concepts, roughly mocked up to show how the final cover might look. </p>
<p>A process of to-and-fro between editor, publisher, sales and marketing continues until everyone is happy. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=230&fit=crop&dpr=1 600w, https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=230&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=230&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=289&fit=crop&dpr=1 754w, https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=289&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/60207/original/qsvmvrsf-1411880568.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=289&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Rough for two different concepts for a literary non-fiction book.</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=257&fit=crop&dpr=1 600w, https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=257&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=257&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=323&fit=crop&dpr=1 754w, https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=323&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/60208/original/ydcb9ztp-1411880569.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=323&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">After the final concept is approved, there is still a process of tinkering to reach consensus on the final art (far right).</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<p>A quick design process might involve seven or eight different iterations before a final design is chosen, followed by a process of fine-tuning (make the title bigger, try a script font, Marketing wants the author in gold foil, etc). A painful design process can involve dozens of covers; my record is almost 50 different approaches for the one cover. Excruciating. </p>
<p>People are often surprised how little input authors have in the design process, considering the cover is how their book first faces the world. It’s important to consider two factors. </p>
<p>First, most authors are happy to defer to the publisher about how to sell as many copies of their book as possible; publishing is a commercial business and the publisher knows the market. </p>
<p>Second, while the design process is happening, the author is generally in the last harrowing stage of editing their manuscript and doesn’t want <em>any</em> distraction. This said, if an author hates a cover it will go back to the drawing board, but if everyone has done their job well this shouldn’t happen. </p>
<p>Once the design is finalised, digital files are sent to a production house so copies of the book can be printed, bound and delivered to the publisher’s warehouse, from where they will be shipped to bookstores when wanted. </p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/60103/original/3q3ktnbg-1411693149.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/60103/original/3q3ktnbg-1411693149.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=359&fit=crop&dpr=1 600w, https://images.theconversation.com/files/60103/original/3q3ktnbg-1411693149.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=359&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/60103/original/3q3ktnbg-1411693149.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=359&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/60103/original/3q3ktnbg-1411693149.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=451&fit=crop&dpr=1 754w, https://images.theconversation.com/files/60103/original/3q3ktnbg-1411693149.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=451&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/60103/original/3q3ktnbg-1411693149.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=451&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The cover and internal design are sent as digital files to a production house, where the book becomes and object that can be sold in stores.</span>
<span class="attribution"><span class="source">Zoe Sadokierski</span></span>
</figcaption>
</figure>
<p>I’ve skimmed over the production process – the part between where I send files to a printer and when the final book arrives. I will address this part of the publishing process over the coming weeks through series of articles on <a href="http://en.wikipedia.org/wiki/Print_on_demand">print-on-demand</a> publishing services, the growth of <a href="http://spunc.com.au/">independent publishers</a> in Australia, and what those publishing opportunities mean for designers.</p><img src="https://counter.theconversation.com/content/32211/count.gif" alt="The Conversation" width="1" height="1" />
Authors don’t write books, they write manuscripts. Publishing is the process of getting an author’s manuscript into the hands of a reader, by materialising it – giving it form, as a book. This may be printed…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/297852014-08-04T00:22:42Z2014-08-04T00:22:42ZDesigners on collaboration: Evi O<p>In the fourth of my series of interviews with designers on collaboration, Evi O discusses balancing her in-house book design work at <a href="http://www.penguin.com.au/lantern/">Lantern, an imprint of Penguin Books</a> with various side project. Evi was awarded Young Designer of the Year in 2013 at the Australian <a href="http://abda.com.au/">Book Design Awards</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=256&fit=crop&dpr=1 600w, https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=256&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=256&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=322&fit=crop&dpr=1 754w, https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=322&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/55584/original/rk4qgd4t-1407111308.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=322&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Evi won Best Designed Book of the Year and Best Designed General Illustrated Book at the Australian Book Design Awards in 2013 for her design of Things I Love.</span>
</figcaption>
</figure>
<p><strong>How many designers are in the Sydney office of Lantern, and do you collaborate on the design of individual books, or work entirely independently?</strong></p>
<p>We have one art director, two senior designers and one junior at the moment. Every designer has their own projects and carry each project independently from conception to finish. This may involve art directing photoshoots, designing layouts and covers. However, most of the time, just like how a studio runs, we workshop design challenges with each other, especially in the beginning of a project.</p>
<p>Designers, however, collaborate closely with authors, photographers, illustrators, stylists, editors, typesetters and production controllers on different stages of book making. </p>
<figure class="align-center zoomable">
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<span class="caption">Alphabet Family Journal, issue one cover and contents page.</span>
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<p><strong>In addition to your full time job you make wooden brooches under the moniker <a href="http://www.evi-o.com/Bonnie-Poplar-brooches">Bonnie Poplar</a>, paint, and recently art directed the first issue of a new magazine <em><a href="http://www.alphabetfamilyjournal.com/">Alphabet Family Journal</a></em>. When do you find time to do these other creative projects, and do your side projects influence or feed back into your work at Lantern?</strong></p>
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<a href="https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=813&fit=crop&dpr=1 600w, https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=813&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=813&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1022&fit=crop&dpr=1 754w, https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1022&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/55577/original/s4vqc7zh-1407109610.JPG?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1022&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Bonnie Poplar brooch.</span>
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<p>As a creative, I function better when juggling many different projects at once – different design tasks and processes stimulate me. These extra projects often don’t feed back directly into my Lantern work, just because the nature of projects are so different. But I believe that having experienced diverse projects will eventually benefit to future projects, Lantern and others.</p>
<p>Where do I find time for all these other things? I must say I love book design to the core and I’ve been lucky that I’ve never felt that I actually work doing my day job. However, being a naturally greedy human being, there are millions other things that I want to do without giving up my day job, hence I slip in these “extracurriculars” on late nights and weekends, and in between reading time and Game of Thrones marathon. I guess if you love doing it, you’ll just find time for it. I often wish you get 36 hours a day, though!</p>
<p><strong>The books you design are primarily illustrated – meaning they have a significant amount of images, photographic and illustrative. Do you work closely with the authors during your design process, or is the design left to the publishing house and presented as almost finished art to the author for final approval?</strong></p>
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<p>At Lantern, it is important for us to keep the author’s voice strong in the final product so we always involve our authors in important design and editorial decision. </p>
<p>The collaboration with authors vary depending on the project. Obviously, the more complex the project, the more collaboration we have. For example The Garden at Stonefields by Paul Bangay documented eight years of building the property. It would be impossible for me to work out on my own which photographs need to be included. </p>
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<span class="caption">internal pages from The Garden at Stonefields.</span>
<span class="attribution"><span class="source">Lantern, an imprint of Penguin Books.</span></span>
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<p>Things I Love has a surprise on every page, which is a result of close collaboration between me and Megan Morton constantly bouncing back ideas. I believe, too, the more you understand your authors, the better book design you will produce.</p>
<p><strong>Describe your ideal collaboration.</strong></p>
<p>I would love to be thrown in together with creatives from other design fields and join forces to bring out the best in all of us. To experience collaboration on a product and/or fashion design is high on my wish list. Any takers?</p><img src="https://counter.theconversation.com/content/29785/count.gif" alt="The Conversation" width="1" height="1" />
In the fourth of my series of interviews with designers on collaboration, Evi O discusses balancing her in-house book design work at Lantern, an imprint of Penguin Books with various side project. Evi…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/297362014-07-27T22:55:37Z2014-07-27T22:55:37ZDesigners on collaboration: Josh Santospirito<p>In the third of my series of interviews with designers and illustrators on collaboration, Hobart-based comic maker and publishing entrepreneur Josh Santospirito discusses self-publishing as a way to grow creative communities.</p>
<p><strong>In 2013 you launched <a href="http://www.sankessto.com/about">San Kessto Publications</a>. Starting a small press from scratch is an ambitious project – how did it come about?</strong></p>
<p>San Kessto came about because I made a graphic novel that was impossible to pitch: I doubt that any major book publisher in Australia, or any comic-publisher outside of Australia, would consider a graphic novel adaptation of an academic essay about Jungian concepts. But I knew that it was going to be good – I’m biased of course – so I decided with Nadine Kessler to self-publish it. </p>
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<span class="caption">Image from The Long Weekend in Alice Springs.</span>
<span class="attribution"><span class="source">Joshua Santospirito</span></span>
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<p>We both thought it [San Kessto] might be a great umbrella organisation to publish other projects that we were involved with. Nadine is a typographer and a graphic designer and we both have a strong interest in print. </p>
<p>The other advantage of self-publishing is that we can decide how we want our book to look without having to bend to other pressures or interests in terms of marketing or annoying publishers.</p>
<p>Since we started I’ve also come up with other projects such as curating a comics-series. Nadine is also evolving a design/art based book-project which will be a long-term one. I have managed to pull a few other characters into the publishing house for future projects, and gotten lots of people interested in the comics we publish which has been really exciting. </p>
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<span class="caption">Poster for Her Majesty.</span>
<span class="attribution"><span class="source">Image by Tom OHern, design by Nadine Kessler, provided by San Kessto.</span></span>
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<p><strong>You publish <a href="http://www.sankessto.com/category/down-there-tascomix">Down There</a>, a series of comics by Tasmanian artists, and organised <a href="http://joshuasantospiritoart.com/her-majestys-fest/">Her Majesty’s Favourite Really Great Graphical Festival</a>, the “the Southernmost Tasmanian graphical celebration in the nation” in June 2014. Creative collaboration and community building are obviously important to you, what motivates you to initiate these events/ publications?</strong></p>
<p>I grew up in Melbourne and have lived in Sydney but for the last 10 years I’ve lived in Alice Springs and Hobart, both smaller communities where the onus is on each person to organise our own fun, or build our own community. </p>
<p>In Tasmania, there are the added problems of slow economy, low population, brain-drain, uncompetitive business environment etc. There is definitely an interest in underground and popular culture here but, other than some obvious exceptions, there is little institutional support in place currently for a community to grow around those interests. </p>
<p>Its an uphill battle to even get my books in the local bookstores (Hobart Bookshop have been great though).
Other Australian comic-makers are also increasingly frustrated, trying to educate the Australian market that our works are worthwhile and should be embraced by local readers. </p>
<p>Some of them are turning their eyes to more established markets in languages like French, German and even Japanese. I also think heavily about these things as I move towards becoming sustainably linked in with my art-forms, but I still have a wish to build my local community as well. </p>
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<span class="caption">Front cover for Tom O'Hern’s comic Blood And Bone, published by San Kessto Publications.</span>
<span class="attribution"><span class="source">Tom O'Hern / San Kessto Publication</span></span>
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<p>The Down There comic series is one of the most fun projects I’ve ever been involved in. So far I’ve published one of my own, one by local dynamo fine-artist Tom O’Hern and a 36-pager of Tricky Walsh, who is powering on to parts 2 and 3 of her story. </p>
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<span class="caption">Panel from Tom OHern’s comic Blood and Bone, one of the Down There series published by San Kessto Publications.</span>
<span class="attribution"><span class="source">Tom OHern/San Kessto</span></span>
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<p>I wanted to read comics by people I knew locally, and I thought that other people would enjoy it too. Thankfully I was right and I got the printing money back, the next hurdle is to be able to pay the artists for their work, which is far more difficult in publishing than people realise.</p>
<p>Building communities around areas of the arts is something that I’ve been involved in for a while. It gives us opportunities to showcase what we’re doing personally, and it gives the broader community a context for understanding what we’re doing. </p>
<p>No artist can stand by themselves, other illustrators and comic-makers also need to rise up in public consciousness as a group for any individual to make any headway. For this reason I also invented Her Majesty’s Fest to build some interest in Hobart which I felt hadn’t yet formed its own core, or sense of community yet. </p>
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<span class="caption">A panel from Tricky Walsh’s “Hoppers 1: the ‘manias” from December 2013.</span>
<span class="attribution"><span class="source">Tricky Walsh/San Kessto Publications</span></span>
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<p>Comics in cities like Melbourne have reaped the benefits of nurturing a tight-knit community which has grown and grown. But these communities require a few individuals to create the framework around which the community can knit together. I’m not a patient person by nature so I just took the plunge and made some of this happen, I’m hopeful that it’ll pay off in the long-run with some amazing projects around Hobart and with artists in other places. </p>
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<span class="attribution"><span class="source">Joshua Santospirito</span></span>
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<p><strong>Your graphic adaptation of Craig San Roque’s essay “The Long Weekend in Alice Springs” was glowingly received, including winning the NT Read Non-Fiction Book Award earlier this year. Did you communicate directly with Craig while you were adapting the essay? What was his reaction to your desire to illustrate his work?</strong></p>
<p>Craig is very open to collaboration and is a creative bloke in all of his works, and I think he was excited. But we did not communicate often whilst I was making the comic: I sent Craig the occasional email, or when I went to Alice Springs for work I showed him where it was up to. They really are a slow-burn medium, they take so bloody long to make! </p>
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<span class="caption">Panel from The Long Weekend in Alice Springs.</span>
<span class="attribution"><span class="source">Joshua Santospirito</span></span>
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<p>I used to work with Craig in Central Australia, and I showed him earlier drawings of the work, which he was interested in. I don’t know if he completely understood where it was going, not being a comic reader, let alone a comic-maker. But then a comic-adaption of an essay is a difficult thing to explain to people in a half-completed form. I could see it in my mind working really well. </p>
<p>As it grew in size, Craig’s interest grew, probably because he could see where it was going. I sent him a stitched photocopy booklet of the first 60 pages or so, which he took around to various psychological conferences that he attends where he showed it off to his Jungian colleagues. </p>
<p>The project was not a collaboration in a true sense until it came towards book-making time when I engaged Nadine Kessler to design the book and asked Craig to write another essay to include in the back of the book. I inadvertently became an editor (which I am definitely not good at). </p>
<p><strong>Describe your ideal collaboration.</strong></p>
<p>I’d love to do projects with interesting folk who push me into doing things differently. That’s what I’ve loved about collaborations in the past, along with the fact that the outcome always feels bigger than something you come up with yourself. </p>
<p>There are some fine artists that I’ve been contemplating writing comics, with them doing the art. The ones that I’ve got in mind have absolutely gorgeous abstract art that I’d like to find a way (with them) for finding a story that can be told through that.</p>
<p>But in terms of the interaction, I love to grapple with ideas. My ideal collaboration would involve robust and exciting arguments, but with lots of respect, which is always the thing you need to overcome – the “robustiness”. I grew up in a family of four, so sibling arguments are important, but its even better when you’re working towards something together. </p><img src="https://counter.theconversation.com/content/29736/count.gif" alt="The Conversation" width="1" height="1" />
In the third of my series of interviews with designers and illustrators on collaboration, Hobart-based comic maker and publishing entrepreneur Josh Santospirito discusses self-publishing as a way to grow…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/289002014-07-13T02:00:41Z2014-07-13T02:00:41ZDesigners on collaboration: Guy Shield<p>In the second of my series of interviews with designers discussing how they collaborate with writers/publishers, Melbourne based illustrator <a href="http://guyshield.com/">Guy Shield</a> shares the creative process behind his scenic storytelling.</p>
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<span class="caption">Kill Your Darlings covers illustrated by Guy Shield.</span>
<span class="attribution"><span class="source">Guy Shield</span></span>
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<p><strong>You’ve illustrated for an impressive list of publications, including Kill Your Darlings, Wired, Rolling Stone and Granta. How do you negotiate with the art director or editor to get a concept approved?</strong></p>
<p>I prefer to think of it as a collaboration more than a negotiation. To be honest, I’ve never really had to push to get something over the line with an editor/AD. I try not to get too attached to any of my ideas unless I think I’m onto something really great, in which case I might try to sway them by suggesting things could be stronger. </p>
<p>But often it comes down to the type of person I’m dealing with. I’d like to think I can discern pretty quickly between a client who knows exactly what they want, versus the type who’s happy to give you creative freedom. </p>
<p>Either experience can be fun — the art director who sends a load of references and tells you, for example, what kind of lamp they want in the background, is a lovely reassurance. On the other hand, creative freedom is quite liberating. Although when you’re left unguided and the feedback is simply “great”, I feel like there’s no real relationship happening – which makes it like a loveless marriage! </p>
<p>Halfway in between those two you can hit muddy territory, where there’s guidance but no confidence/leadership. The response-by-committee “can you just try this?” feedback. Hesitation can be creative murder — the ones who know what they don’t want, but can’t express what they want until they see it, and you’re left batting in the dark. It’s those situations I’ll have to break out more options than usual for, or iron things out in a few more steps than usual to make sure everyone’s happy.</p>
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<span class="caption">A range of cover concepts for the July 2014 issue of Kill Your Darlings. Variations on the base idea of dealing with rainy weather – each concept is a different scenario communicating that idea.</span>
<span class="attribution"><span class="source">Guy Shield</span></span>
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<p><strong>Designing book covers, I generally pitch 3 or 4 initial concepts followed by a series of rough drafts, before a series of refined drafts and finally, the finished art. At the end of a “normal” job, I have between 20 and 30 drafts in my process folder. How many drafts do you consider “normal” for an editorial illustration?</strong></p>
<p>My process isn’t dissimilar to yours, but as my illustration can be quite labour intensive/detailed there are the same number of steps, with fewer drafts. I’ll start with roughly 10 concepts, but I’ll only present the 3-4 I’d be happiest to work on. Flooding an art director/editor/client with options can be dangerous. By limiting the number of options to just the ones I’d be happy to work on, the end result feels much more engaged. If that doesn’t work, then I’ll maybe consider the remaining 6-7 concepts, but I haven’t had that problem (yet!). </p>
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<span class="caption">Initial cover ideas, click for larger view.</span>
<span class="attribution"><span class="source">Guy Shield</span></span>
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<p>From here I’ll do a tightened (but still kinda rough) sketch, get feedback/approval on that, and then present a final tighter pencil draft. This is their last opportunity to make any final tweaks as after that I’ll ink it up and run colour through it, digitally. </p>
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<a href="https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=425&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=425&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=425&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=533&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=533&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53394/original/xxvjkpgh-1404895109.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=533&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption"></span>
<span class="attribution"><span class="source">Guy Shield</span></span>
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<p>The colour stage usually involves a bit of back and forth, but all up I’d say I my process involves 5-10 roughs, two pencil drawings, one ink drawing, three colour proofs before finished art. It also depends on deadline. If I’ve only got 48 hours to turn something around, then options/feedback gets paired back to essentials.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=425&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=425&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=425&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=533&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=533&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53399/original/ry3pz5k4-1404895125.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=533&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=425&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=425&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=425&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=533&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=533&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53398/original/9pw9m8qx-1404895123.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=533&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption"></span>
<span class="attribution"><span class="source">Guy Shield</span></span>
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<p><strong>In addition to your commercial illustrations, your website features a staggering number of personal illustration projects, and a <a href="http://guyshield.com/?page_id=2482">blog</a> where you show and discuss your creative process. You also show process on your <a href="https://www.behance.net/gallery/18058083/Now-Showing-%282014%29">Behance</a> site. What motivates you to produce so much work, and share your process?</strong></p>
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<a href="https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=885&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=885&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=885&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1112&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1112&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53570/original/2zx4gr7y-1405039312.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1112&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Poster designed for a Breaking Bad competition – the popularity of this poster led Guy to produced a limited run of giclee prints.</span>
<span class="attribution"><span class="source">Guy Shield</span></span>
</figcaption>
</figure>
<p>It’s funny, I go through major phases of having drawer’s block, so when that creative knot gets untied it’s followed by a phase of panic, where I suddenly have a tonne of ideas I want to produce/try. It can be a short-lived, or quite an extended period of time, but either way I just know that I need to be as prolific as possible! </p>
<p>Drawing for me is such a natural and fulfilling past-time, that I really am a kid in a candy store when I’ve got loads of things I want to do, so I’m just producing all this work to satisfy a creative itch.</p>
<p>As for sharing my process — when I was working as a designer and getting into illustration on the side, I’d track down and write to some of my favourite illustrators/artists and ask them about their process, and for any feedback they might have on my own work. While I didn’t always expect replies, a lot of the time they’d write me some incredibly thoughtful, generous and open-minded replies … almost like a mentor. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=198&fit=crop&dpr=1 600w, https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=198&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=198&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=248&fit=crop&dpr=1 754w, https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=248&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/53655/original/m93dsyrm-1405216407.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=248&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">‘In the Dog House’, illustration for K.W.Doggetts’ Paper Merchant Calendar, 2010. Pencil draft, ink draft, final art.</span>
<span class="attribution"><span class="source">Guy Shield</span></span>
</figcaption>
</figure>
<p>So I feel by sharing/discussing my creative process, I’m offering up a wealth of learning I’ve acquired from others over the years, as well as my own experiences. I think it’s important for anyone in this sort of position to leave behind more than just a body of work. I feel like my process isn’t sacred and if it gives anything close to the level of inspiration I was getting from some of my heroes back in the day, then I can at least feel like I’m giving something back!</p>
<p><strong>Describe your ideal collaboration – who would you like to work with, and how?</strong></p>
<p>I’ve always wanted to take a year off to produce a book of short stories in a graphic novel format with a collective of well-known/talented authors from around the world. I like the idea of collaborating with someone from a different field, where ultimately it’s bringing the best out in both works. Either that, or to illustrate covers for an entire back catalogue of an author, like what Ex Libris Vintage classics did a few years ago.</p><img src="https://counter.theconversation.com/content/28900/count.gif" alt="The Conversation" width="1" height="1" />
In the second of my series of interviews with designers discussing how they collaborate with writers/publishers, Melbourne based illustrator Guy Shield shares the creative process behind his scenic storytelling…Zoe Sadokierski, Lecturer, School of Design, University of Technology SydneyLicensed as Creative Commons – attribution, no derivatives.