Académique Documents
Professionnel Documents
Culture Documents
Together
Questions to be shared
about the publication process
The linear structure of this document doesn’t
always reflect the publication process. We’ll ask
questions and move forward—and then, when we
return to the questions later on, we’ll find that
they have changed.
Contents
What is publishing?
Why publish?
How can we come up with a publishing project?
File of concessions
How can we develop content for publication?
What is editing?
What is design?
1. Print or digital publication?
a) Print publication
b) Digital publication
Formats
2. How can we design a page as part of a publication?
a) Layout
b) Framework
c) Text box
d) Font
e) Color
3. What kinds of images should we use?
4. What aspects of printing should we consider in our design?
a) Print area
b) Overlays
c) Font
d) Font and color
e) Offset type
f) Lines
5. How can we review what we’ve designed? The dummy
Costs
What is prepress?
1. Reviewing the material
a) Physical originals
b) Digital originals in PDF or editable files
2. Page makeup
a) Manual page makeup
b) Digital page makeup
3. Marks
a) Registration marks
b) Cut lines
c) Fold lines
d) Bleeds
How and where should we print?
How should we finish our publications?
1. Binding
a) Saddle-stitched binding
b) Spiral binding
c) Perfect binding
d) French binding
e) Paperback
f) Hardcover
g) Folded binding
2. Basic tools
Parts of the book
What is an archive?
How can we circulate our publications?
i. What kind of strategy should we use?
ii. Participation
SELF-PUBLISHING TOGETHER came out of the Taller de Producción Editorial (TPE, or Editorial
Production Workshop), which is physically located in the Cooperativa Cráter Invertido in Mexico City.
The TPE is a collaborative space where we share our enthusiasm for publishing texts and exchanging
questions. This manual is a stockpile of doubts and a few certainties collected from our different
experiences with the publishing process. We aren’t interested in reaching conclusions; what we want is
to start conversations that will be transformed and reorganized whenever and wherever they’re shared.
What is publishing?
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Why publish?
What do I want to share? Why do I want to share it? Who do I want to share it with? Is it something I
already know or something I want to find out? What sort of place am I speaking from? What kind of
dialogue do I want to start? What resources do I have that can help me share what I want to share?
Are we doing this for ourselves, for others, or with others? Is publishing the same as writing? What is a
catalogue of shared knowledge? What does collaboration really mean?
How can we come up with a publishing project?
Any of the following elements can be our starting point in planning a publishing project, as long as we
consider all of the aspects and all of the questions.
The order in which the elements are presented isn’t necessary the order of the process itself.
About the content: What is our context? What is our intention? What are our topics?
About the readers: Who do we hope will read our publication? Who is going to read it? In which
languages? How will the publication coexist with/affect the context where we want it to circulate? Who
can afford to buy it? How much can she pay?
About the working process: How do we want to work on this publishing project? Do I want to publish
it on my own, or do I want to be part of a working group? What is self-publishing? Who creates the
content and what is my relationship with these people? Do I want to publish my own work? Do we
want to publish someone else’s work? How can we organize the entire process? How can we structure
our timeline?
About the publication: What kind of publication do we want? What form will it take? What are the
basic resources we need to produce it? How can we make it sustainable and affordable? Is this the only
way we can achieve the effect we want our publication to have? Why?
About circulation: How will the publication circulate? How many copies will circulate? Will it be part
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of an ongoing conversation? What is our position on copyright?
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Some alternatives to traditional copyright include Creative Commons licenses, copyleft, peer production licenses (which is
what we’re using in this publication), anti-copyright, or none of the above.
2
If we consider size of the paper sheets in choosing the final formats of the printed publication, we will end up wasting less
paper. For example, cutting a 57 x 87 cm sheet of paper into four sections produces tabloid-size (28 x 43 cm) sheets, which
means wasting only three percent of the paper.
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For a more detailed description of different binding processes, check out the section “How should we finish our
publications?” at the end of this booklet.
systems (peer-to-peer). And there are commercial systems dedicated to distributing and selling
publishing material. It’s important to ask ourselves where we want our publication to be. In doing so,
we should always consider the file’s final weight, which will determine whether it can be transmitted
easily.
Digital circulation depends on informational formats like web browsers or apps that depend, in turn, on
computer equipment or e-readers like tablets and other devices. Some forms of publication require
third-party distribution services, which often charge a fee.
The layout depends on the production system. It can be developed through a platform in html5 and
CSS, JavaScript, or graphic environments (whether commercial or in open code), generally producing
formats in PDF or EPUB (electronic publication), as well as systems used exclusively for devices and
commercial e-readers.
Formats
Digital
Weblog or personal page Social media (client-server) P2P (peer to peer) EPUB
Advantages Low-cost Low-cost or free Free Low-cost
Doesn’t require a large team of Immediate access to readers Isn’t mediated by corporate Digital circulation
people Independent administration interests Independent administration
Independent administration Doesn’t require technical skill Independent, consensus-based Possibly constant circulation
The publication’s lifespan Broad reach administration via (flexible lifespan)
depends on who publishes it peer-to-peer networks of
nodes
Possibly constant circulation
(flexible lifespan)
Possible to distribute different
kinds of files (e.g., audio,
video, PDF, text documents)
Dis-advanta Reading experience Reading experience Little-known model Reading experience and legibility
ges Requires programming skill Social networks are corporate Requires some technical skill Physical disconnect among
Physical disconnect among property Physical disconnect among individuals
individuals Content ends up in their hands individuals Determined by access to
Determined by access to Subject to private interests Determined by access to computers and the internet
computers and the internet Physical disconnect among computers and the internet Programming languages can
Programming languages can individuals expire or cease to be updated
expire Short publication lifespan
Determined by access to
computers and the internet
Programming languages and
social networks can expire
Print run ∞ ∞ ∞ ∞
Intermedial Small-scale printing Industrial printing
2. How can we design a page as part of a publication?
Design means arranging the elements that make up our publication and considering how it will be used
and how the reading experience will be structured (in texts and graphics). The nature of each project
poses different questions and possible experiments with how to organize the elements and establish a
rhythm. All of this depends on our own intentions for the publication, including whether we want to
offer a complex reading experience.
a) Layout: T he distribution of elements on a page is called the layout, and it involves making an
internal composition of the content (titles, page headings, the body of the text, photographs, etc.) in
order to establish the order in which it should be read. It’s important to keep these decisions consistent
so that the project can be read clearly.
b) Framework: The framework is a system of invisible guidelines established to organize the
compositional structure we call the layout. It helps determine the position of specific elements. It can
follow whatever order or system of construction we choose, if and only if it helps simplify the design
process.
c) Text box: This is the space designated for the text. It generally defines a specific space within the
layout for the text to flow on every page.
d) Font: The kind of typeface we choose will give our publication a personality. The selection of font
families, styles, and point-sizes should work to establish hierarchies among the different elements.
Consistency in the use of font resources and styles will make the reading experience easier.
e) Color: Choosing the color(s) we’ll use is a decision defined not only by aesthetic or conceptual
factors, but also by how we will end up printing/copying the publication and by our financial and
practical production conditions. It’s important to stress that digital publications use the RGB color
model, which is the one screens use to convey images. By contrast, print publications can use the
CMYK color model, a gray scale, or a spot color scale.
Depending on the context, our available resources will vary. In order to meet our goals, it’s important
that we can produce publications with minimal resources. The design can be done manually by
formatting texts with a simple word processor (even by hand or on a computer), using photocopies and
drawings for the production of images, and compiling the original by hand. Digital d esign calls for a
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computer. It’s helpful if you have a word processor, a photo editor, and an imposition program to
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Before printing, we have to position the pages on their corresponding sheets. This way, once they’re binded, the
succession of pages will turn out correctly. This process can be carried out either manually or digitally. Check out the
section “What is prepress?” for more details on imposition processes.
create the output files.
3. What sorts of images should we use?
We use the term “images” to describe any visual elements (photos, drawings, diagrams, maps, tables,
etc.) that are part of the discourse of a publication. A publication can be made entirely out of images
and have no text at all. Even so, they should always be chosen carefully.
The size of the images we use should be close to the final size we want (whether measured in inches or
centimeters) and they should appear in a high-quality definition. The ideal images are characterized by
high contrast, clarity, sharpness, and tonal richness.
Images have different formats and qualities, which then determine different degrees of quality. The
recommended files for digital formats are .jpg and .gif. If using vector-based images, the format .svg is
the recommended one. Digital publications should include images with a resolution of at least 72 ppi,
although the latest file formats, e-readers, and computers require a minimum of 144 dpi.
For print publications, we recommend the use of the .tiff format because it doesn’t compress the
information, which means it will be printed in higher quality. In such cases, it’s advisable to use images
close to the desired size with a 300-ppi resolution.
Note: Image resolution in digital formats is measured in pixels per inch (ppi). Physical resolution in
printed material is measured in dots per inch (ppi).
Note: The resolution is the number of pixels or dots in an image. The higher the resolution, the greater
the level of detail when printed.
4. What aspects of printing should we consider in our design?
Every printing system has technical specifics we must take into account during the design process. We
suggest asking print suppliers for the specifications they require.
a) Print area: It’s not possible to print on the entire surface of the page. The maximum print area varies
by system. In general, we should leave margins for handling the paper, for the cut marks, and for image
bleeding (if applicable). We’ll return to the subject of bleeds and cut marks a little later, in the section
on prepress.
b) Overlays: We should remember that the use of color overlays in printed publications means higher
printing costs and doesn’t necessarily improve the design. It’s a good idea to evaluate the effects you
hope to achieve by using ink overlays.
c) Font: For the body of the text, we recommend using fonts larger than 7-point size for optimum
legibility. To compose fonts, it’s best to use vector graphics editors or self-publishing programs, not
image-editing programs.
d) Font and color: It’s best not to use more than one ink for the text. If you do, you run the risk of
causing a slight variation in the position of one color in relation to the other, which makes the
publication more difficult to read.
e) Offset type: We recommend not overlapping text on image or overlays under 9-point size, because
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the tone value increase can complicate or hamper the reading experience.
f) Lines: We recommend that your lines are at least 0.25 points. If the point value is greater than that,
the lines tend to disappear when printed.
5. How can we review what we’ve designed? The dummy
We recommend making a dummy of the project with all of its final characteristics; that is to say, a test
model of the physical publication (ideally printed in its actual size). The dummy helps us make sure
that everything looks and reads as planned, and it helps us spot possible errors in the editing, design, or
binding. It’s a very useful guide for the rest of the printing and publishing process.
This exercise also helps us evaluate the ink distribution, weight, drape, and transparency of the paper
we intend to use, among other relevant features for the project.
Note: We should always remember that the result we’re seeking may lead us to different solutions than
the one we imagined at first.
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This is the effect of the ink spreading onto the paper, which causes a slight expansion of the dots that form the letters.
Costs
It’s important to consider all of the costs involved in the process. It’s also important to calculate,
according to our plan, the practicality of publishing in one system or another and the number of
copies that can be published. The costs to consider can be divided into two categories:
Fixed costs are paid just once, regardless of the print run: they include payments for content creation,
capture, copyediting, design, illustrations, formatting, and prepress, as well as the fixed costs involved
in the work space (rent, utilities, etc.).
Variable costs depend on the medium, print run, publication format, number of pages, printing
supplies (for print publications), storage costs (for digital publications), amount of time in operation,
paper, finishes (binding), and circulation.
Some important questions worth answering carefully are:
a) How much should our publication cost?
It’s essential to think about who our readers are and how much they can pay for our publication. Not
all projects have commercial objectives. Sometimes the best way to circulate them is by distributing
them for free. When this isn’t possible, we can calculate a price by considering our expenses (fixed
and variable costs). This total is divided by the number of copies, and the result is the production
cost; that is, the real cost per copy.
If the publication has been subsidized, or if we so choose, this same result can be its retail price, or
what we will charge someone to buy it.
However, if we’re thinking about setting a commercial price—one that will leave a margin to help us
fund the next publication, for example—then the production cost should be multipled by three or by
five. We can make this decision depending on what works best for us.
b) H ow many copies should we print?
It’s worth experimenting with different print runs so we can find a balance between the priced our
readers can pay and the number of copies we can print without getting overextended. It’s important
to consider that, while the costs do drop when you print lots of copies, a large print run comes with
great responsibility—so that the publications don’t turn into a dead weight stuck in a warehouse.
c) Is our project viable?
It’s important to consider the practicality of our publication in terms of our budget, the relevance of
the publication itself, the possibilities for circulating it, and how long it will be circulating. All of these
factors will affect the number of copies we print.
What is prepress?
Once the design stage is behind us, we need to prepare the material for printing. In the prepress phase,
we’ll make sure that our files have the characteristics we planned in the design, and that the page
numbering, margins, cut marks, and measurements are the right ones. Two other aspects we need to
review are the image resolution and ink-separation.
Is everything we see in our design file going to turn out the way we want when we print it?
1. Reviewing the material
The first step is to make sure that the material we’ve designed, whether made by hand or digitally, has
the characteristics we chose for publication and production parameters:
- Full size (measurement of the open publication; that is, before it’s folded)
- Final size (measurement of the closed publication; that is, the final cover size)
- Page makeup
- Number of inks (color selection or spot colors)
- Number of booklets (division of the total number of pages into little books to be sewn)
- Type of binding
The prepress process depends on how the book has been designed. For example:
a) Physical originals
The material must exist in the final intended size and with the highest possible quality. We need
the originals of every page, back and front, separately. If we’re going to color-print our
publication, we need to separate the originals by color.
b) Digital originals in PDF or editable files
The designed material must be complete and the files must exist in their actual printing size,
with images of the highest possible quality and selected fonts.
If we’re going to submit open files to a service provider, we need to include the images and
fonts, as well as a printed mockup so we can doublecheck all the material.
2. Imposition
Imposition is the distribution of pages onto sheets before being printed, folded, and bound in the
correct order. It involves considering spaces for the margins, gutter margins, and lines indicating cuts,
folds, and registration marks. The imposition is determined by the number of pages. Depending on the
final size of the publication, we’ll know how many pages fit on each sheet and therefore how many
sheets we need.
a) Manual imposition
The position of each page on the sheet is determined by the imposition outline. This, in turn,
depends on the type of binding: if the publication will be made up of independent pages
(French, spiral bound, rustic), a booklet (saddle-stitched), or various booklets (paperback and
perfect-bound).
To create a page layout outline, we determine how many pages fit on one sheet and fold as
many sheets as the number of pages in our publication. Then we determine the number of pages
in each booklet (the standard is 16 pages per booklet) and assemble the folded sheets together.
Once the booklets have been assembled, we number them so we can keep track of how many
there are. We create a window by making a diagonal cut into each booklet, which we use to
number the pages. When we unfold the sheets, we’ll have the order and position for the page
imposition. We call this technique the “page numerator.”
b) Digital imposition
The digital page makeup process can be carried out in various ways:
The first is to create a new file in the self-editing program in which the pages are the same size
as the sheet to be printed. Here, we’ll arrange the designed pages (extracted from a final PDF)
in the order and position established by the imposition outline (page numerator), as well as the
marks. We’ll make one page per side of the sheet.
The second option is to use specialized imposition programs that automatically perform the
process of organizing and arranging the pages on sheets. These programs include Imposition
Wizard, Imposition Studio, and Booklet Creator.
4. Marks
a) Registration marks: These indicate the position of a printed ink in relation to the other inks.
b) Cut lines: These indicate where the final cut will be made. They also help create the ink registration
and align the bleed on both sides of the paper.
c) Fold lines: These mark where the printed sheet will be folded.
d) Bleed: When the printed area extends all the way to the edge of the publication, we have to leave a
bleed, because the trim size is never exact. In general, this margin should be under 5 cm.
How and where should we print?
Before printing, it’s necessary to make sure that the publication has been edited, copyedited, and
proofread; that the design layout describes our publication effectively; and that the image resolution
and marks are adequate. Once we have exhaustively reviewed every aspect of our publication, we can
dedicate our efforts to the printing stage. This stage will truly display all the work we’ve done together,
and so we should carry it out calmly and carefully.
Every printing system has its own characteristics and requirements. The table of formats included in
this guide can help you think through some of the standard techniques that are available to you. Talking
with the printing provider can teach you more about these issues.
On the medium and the long term, forging a ccooperation relationship with the printing provider can
help your publishing project continue to grow and evolve.
How should we finish our publications?
Once the sheets are printed (back and front), the finishing and binding phase begins. The first step is to
fold the sheets and form booklets. Then the booklets are assembled according to the series of sheet
numbers. Next, they’re put together with the technique of your choice (sewing, glue, or staples). After
adding the cover or jacket, the edges are trimmed.
1. Binding
How do we want our publication to be used? The type of binding will determine the lifespan of the
printed work, depending on how it’s going to be used, as well as its flexibility. We should also consider
the number of pages and costs. There are different kinds of binding: saddle-stitched, spiral, French, or
paperback, just to name a few.
a) Saddle-stitched binding (stapled or sewn): The sheets are grouped together and stapled in the
middle. The pages should be a multiple of four. We recommend not stapling more than 64
pages (16 sheets). Bear in mind that the booklets will shift as you make them. This method
requires few finishes, which means it also requires few tools: a paperknife, a stapler, and a
paper trimmer or box cutter. There are few cuts needed and it has no spine. It’s very flexible,
but it can be damaged easily.
b) Spiral bounding: The loose sheets are punched with holes and bound together with a metal
spiral. This system is available in any stationary store. It’s best used for printing a small number
of copies, because the process is slow, costly, and labor-intensive.
c) Perfect binding: The sheets, in a block, are rasped and glued together at the spine. The hot melt
method dries quickly but is more rigid (it works better for a small number of pages). If your
publication has lots of pages, the cold melt method is a better choice. In both cases, the covers
are made of cardstock.
d) French binding (stapled at the margin): T he loose sheets are stapled on one side along the
spine. We recommend testing this method first and not binding more than 36 pages. This
method doesn’t allow the publication to be opened completely, and it’s important to include a
margin for stapling. It calls for few finishes and tools.
e) Paperback (sewn and glued): The sheets are grouped into 16-page booklets. Each booklet is
first sewed individually, then sewed onto the next booklet, and so on. The set of booklets that
form the publication is finally glued onto the cover, which tends to be made of thicker paper
than the inner pages.
f) Hardcover: The sheets are grouped into booklets, which are sewed together. The cardboard
covers are sheathed in cloth or leather and joined to the block of pages through an internal
his is the most durable
structure that isn’t visible, because it’s covered up with the endpapers. T
and most expensive method.
* When we use French or perfect binding, we must the width of the spine so we can include it
in the cover design. With papers between 82 and 105 g/m,2 we must calculate 1mm per 16
pages, which means that if a book is 96 pages long, the spine will be 6mm wide
(approximately).
g) Folded binding: T his type of finish requires us to fold a sheet once or several times, depending
on the design. The folds can be combined with cuts for a range of different results.
2. Basic tools
Some of the basic tools we should have on hand are a paperknife, a press, a hacksaw, a paper cutter, a
box cutter, a metal ruler, a cutting board, framing squares, glue, a stapler, a needle, and hemp thread.
Parts of the book
What is the archive?
Why is it important to keep a record of what we’ve published?
How can we circulate our publications?
What are we going to do with our publications? How will we share them? What are some possible
strategies for doing so? When is the right time to think about this: at the beginning, in the middle, or at
the end? Or all the time? Are circulation and distribution the same thing?
Circulation is the way we bring our publication into the hands of other readers and spark a dialogue
with them. Based on the project goals and motives, it’s important to ask ourselves: Who do we hope
will read this publication? Keeping this question in mind will help us answer many others, both about
the publication’s physical characteristics (costs, print run, etc.) and about means of exchange and hubs
of circulation.
Not all projects are commercial projects. Some may only need to recover the costs of the materials
used; others may have their own funding sources; or maybe it’s more important to absorb the expenses
in order to encourage dialogue and exchange.
What kind of strategy should we use?
Once we know who we want to share our publication with, our next question might be: How can we
reach them? The possibilities include word of mouth, through social media, at public events, in fairs or
bazaars, or at special presentations. Other options include digital distribution, consignment or direct
sales in bookstores or specialized spaces, via distributors, or through exchanges. Can you imagine any
other possible forms of circulation?
More formal circulation systems usually charge some kind of commission, percentage of the sale, or
even fixed participation fee. To choose the right mechanism for us, we have to consider the reader’s
relationship to the material and how she will come into contact with it. It’s always best to have direct
communication with our readers. This way, we can explain certain details and motives involved in
making the publication, in addition to discussing why a reader might be interested in the project and
how it was created. Do you think it’s important to establish a relationship with readers?
Participation
We think it’s important to consider the fact that selling a publication isn’t the only way to make it
available to our readers. We also suggest other mechanisms for approaching readers and encouraging
them to get to know our material. Some ideas include:
● Public readings (group or guided), which can even be transmitted via digital media.
● Discussion sessions.
● Presentations/talks with authors or contributors.
● Gatherings with other publishers.
● Reprinting/sharing in other formats and forms of exchange.
What other ways to share a publication come to mind?
Why don’t we go back to the questions we asked
at the beginning?
Self-Publishing Together
First English edition
Translation by Robin Myers
Mexico City
Printed on the RISO GR of the Taller de Producción Editorial [Editorial Production Workshop] at
Cráter Invertido
taller.produccion.editorial@gmail.com
TPE, 2018
Copyfarleft P2P