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Book Designer Spotlight: Abbate Design

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Fog over Eastern Iowa Farmland photo by M. Pugh

As promised, I am following up the last article on “Tips for Self Publishers Choosing a Book Designer”, I am moving right into a more in-depth discussion today with Judith Stagnitto Abbate, of Abbate Design a professional book designer based out of Doylestown, PA.

I am over in North Central and North Eastern Iowa this week, having meetings with printers who rely on us for edition binding services and professional photo labs in relation to our new service for photobook manufacturing services.

I started the day early and as you can see in my photo to the left, there was a dense fog hanging over the farmlands as I made made way across Iowa at sunrise this morning.

I mention fog as somewhat of an analogy here. When I started the idea of a series of articles related to Book Design, it was in hopes of helping expand the knowledge base for self publishers who often ask me questions outside the scope of my company’s services. But over the past few days, through an overwhelming amount of feedback from my contacts in the book design industry, I too, have learned many tips. I have always tried to avoid that term “expert”, and in this case, I am truly a “student”, just along for the lesson and ready to learn. The combination of good book design, coupled with the perfect choice of paper, binding and other manufacturing techniques create that magic that draws us all to love the “book”. Nothing can replace it! Today Judy will “lift the fog” on book design with some insights on her craft. as a book designer.

MP:So please tell us a little bit about your background!
JA: I attended Parsons School of Design in New York, and began my publishing career there directly following college. The proximity and access to major publishing houses was enormously helpful during those fledgling years. Working on staff, where I could fully immerse in the publishing process, was simply invaluable for learning the ropes. As a result, seeing the entire publishing process in action — —from editorial to production — —is something I now recommend to everyone who’s considering a publishing-related career. Working in New York also established valuable professional relationships that still are serving me well 20 years later.

The beauty of book design, however, is that once that foundation is set, location truly isn’t an issue. After over a decade in the NY area, I opened a book design studio here in Pennsylvania and continued to work seamlessly with the same publishers and art directors. With e-mail, FTPs and teleconferencing, we chat and exchange files as quickly as when I was around the corner. Relocating had the bonus of expanding our client list to include outstanding local publishers such as PennPress (University of Pennsylvania). We’ve done a number of coffee table books together and they’re producing absolutely beautiful tomes.

These days, I work with clients in a wide variety of locations. I’d say about 75% of our calls are from NY. The balance are a mix of midwest publishers, small presses, local self-publishers and even a globally recognized Geneva-based organization.

Abbate Design

MP: What can you tell a self publisher about choosing a professional book designer.
JA: Book designers are well-versed in the myriad details that relate to this specialty, from aesthetic to technical printing concerns. For covers, their expertise is producing book jackets that truly resonate with readers, create a memorable complement to the text and perhaps most important, which sell. They have real-world experience with how particular papers and cover finishes hold up under use. That means they’ll know if the varnish or die cut you’ve requested will show every fingerprint or will rip once it’s actually in your readers’ hands.

For text design, book designers will be able to guide self publishers toward the best layout, appropriate fonts and book length (which they can adjust by altering the text setting). They’ll advise on durable papers for the children’s books and cookbooks, both of which need to survive more vigorous use. Above all, they know how to hit just the right design note for your book. I often use the word “timbre,” for good reason: it’s a huge factor in what makes a successful book design. The book designer’s forte is a particular responsiveness to the literary tone of your manuscript and the skill to translate it graphically. It’s something that can truly elevate the book.

www.abbatedesign.com

MP: What tips could you share with a new publisher on some of the pitfalls to avoid when choosing a book designer?
JA: I’d simply encourage them to hire a professional whose books they’ve personally seen and admired. Look at actual books, since they’re a much better reflection of the work than any online portfolio can show. Designers’ credits are typically placed on the jacket flap (for covers ) or the copyright page (for text designers), and one can easily Google them online.

Judith Stagnitto Abbate

Hire the best you can afford. (I did precisely the same when art directing and commissioning designers.) Some self publishers either forget to budget for the design or, alternately, deliberately under-budget that aspect in order to save money. Unfortunately, there’s nothing more disappointing than a finished book that has a distinctly amateurish, awkward look. We’ve all seen them at some point or another, and it’s heartbreaking: one knows that months or years of work went into the manuscript itself, yet an unprofessional package can instantly degrade the authority of the book in the eyes of potential readers.

2 page spread from "Lincoln Highway" designed by Judith Stagnitto Abbate

Judy wanted to remind me on a specific point in regards to “book design”. Book design embodies the whole project from cover to cover….not just the cover!
JA: Just one minor addition / clarification, Martin: I noticed you’d characterized my work as designing book covers (probably as simple shorthand ), but a more accurate description of my work is that I’m a book designer. Some designers only do book covers: in the industry, we call them cover designers. I’m a book designer, which is a bit different. It means I design the entire book package — cover, text, endpapers, the entire item that you purchase on Amazon. So while some clients may indeed commission me to only to their cover (which I enjoy), I’m considered a book designer. I hope this helps clarify the mysteries of publishing!

www.abbatedesign.com

MP: Do you interact with printers/binders and other aspects of the book production?
JA: Yes, part of my design services involves production and working closely with the printer. Self publishers can decide exactly how involved they’d like me to be with production for their project, and we scale the fee accordingly. For example, some clients may commission me to simply design a book cover, while others may opt to have my studio handle the entire book package: designing the cover and interior, typesetting the entire book, and liaising with their printer. For certain jobs, it can be helpful to get the printer involved early in the design process so that they can contribute to the design dialogue. That’s particularly the case when working with unusual varnishes or die cuts.

Judith Stagnitto Abbate

We once created a private, limited edition hardcover for a well-known financial firm that included custom, archival-quality book boxes. It was quite a beautiful result: The books were beautifully presented in linen book boxes whose interiors were lined with marbleized paper that we’d coordinated to the color of the book binding. We created a custom foil stamp for the front of each book and book box.

I’d say the best thing that printers and suppliers can do to aid the process is to establish a solid, familiar working relationship with designers. The best results happen when printers aren’t simply be the recipient of the final files but rather an integral part of the bookmaking process.

MP: With that, I agree whole heartedly! That wraps it up for today, but we are not done talking more about Book Design. whether it’s Cover Design, Interior Design, Paper specifiying, Font Choices, Choosing Cover Materials, Foil stamping considerations, Special finishing and laminating techniques or more, I want to continue onward with this. I hope you have found this article helpful, and encourage you to contact Judy Abbate. Any comments to me on this article are also welcomed. [mpugh@houchenbindery.com]

Her contact information is:
Judith Stagnitto Abbate
Abbate Design
126 West Oakland Avenue
Doylestown, PA 18901
ph: 215.489.5150
fx: 215.489.5149
www.abbatedesign.com
LinkedIn
Twitter/MakeABook

Book Designer Spotlight: Abbate Design


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