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Publishing
Guidelines
III. Preparing a Publication
1.
Writing your publication
1. Research and writing are probably the most time-consuming
part of a publishing project. How a publication
is written and how it reads will have a very strong
bearing on its impact. The integrity of the scientific
and factual content will also have an impact on
the credibility of IUCN. It is imperative that publications
be well researched and written. It is also vital
to research and understand the target audience as
this too will determine how it is written. Below
are some hints and tips to ensure that IUCN publications
are produced to the highest quality.
Choosing the author
2. Writing is a skill. Although most of us can write,
it requires considerable skill to communicate a
message and content in a manner that holds the reader’s
attention and – should it be one of the objectives
of the written document – spurs the reader
into action, influences the reader, etc.
3. In IUCN, publications are written by project/programme
staff, by Commission members or by external consultants.
4. If the publication is being written by a member
of the Secretariat/Commission member, the following
rules are helpful:
-
Ensure that enough time is set
aside for the project
-
Remember to factor in staff time
when budgeting for the project
-
Use the project proposal/brief
to stay focussed
-
Consult with other members of
the team/team leader if necessary
-
Use the services of a good editor
(see section on Editing) upon completion of the
text if necessary
-
Remember that all IUCN publications
must be peer reviewed (see section on Peer Review)
5. If the project/programme has the funds to employ
an external consultant to write or edit a publication,
it would help to follow a few rules:
-
Select a person with a sound
knowledge of the subject and confirmed writing
skills
-
Provide the consultant with a
copy of the project brief
-
Brief the consultant thoroughly
about what you are hoping to achieve through the
publication, the tone of the text, the audience,
etc.
-
Draw up detailed terms of reference
for the writer
-
Provide regular support and guidance
to the writer to assist him/her to remain focused,
etc.
Hints and tips for writing
6. The reception given to a publication can be enhanced
by a clear writing style. When writing an IUCN publication:
-
Make your writing style simple
and direct
-
Make your piece look easy to
read
-
Use good titles
-
Include only information necessary
to get the message across
-
Put important information up
front
-
Make your writing interesting
-
Keep the tone professional and
avoid unnecessary jargon Use examples
-
Reinforce your writing visually
through photographs, graphs, tables
-
Citing brand names in IUCN publications
7. It is IUCN policy not to publicly endorse products
or commercial entities in its work or to permit
product placement, i.e. photographs of fieldworkers
using particular vehicles, etc. Sometimes, however,
in the context of a guidebook or a toolkit, it may
be inevitable. For example in a description of the
equipment needed for a particular process. In such
cases, it is preferable to mention the piece of
equipment by name rather than listing its specifications.
2. Peer review
[This section is currently under review by the Publications
Advisory Committee.]
See Annex
3 for a checklist of Stages for peer review
of an IUCN publication
1. Peer review is the process by which contemporaries
working in the same field review a publication for
scientific integrity and accuracy. Peer review is
a necessity to ensure IUCN’s scientific credibility.
2. The advent of the World Wide Web and the growing
volume of scientific and other information that
is now being published electronically have heightened
the need for peer review. Questions are increasingly
being asked about the scientific and factual credibility
of the information appearing on the Internet.
3. To ensure the scientific integrity of the information
published by IUCN, all Category 1, 2 and 3 (see
Section 2, Chapter 2 for category definitions) publications
– regardless of the media – must be
peer reviewed. The person with designated authority
(Director, Regional Director, Head of a Global Thematic
Programme or Strategies unit, Country Director or
Regional Programme Coordinator) will give permission
to publish.
4. The process for peer review in IUCN is as follows:
-
During the writing phase the
(lead) author should compile a list of potential
peer reviewers and make contact with them to request
them to act in this capacity. These should be
experts in the field who are not the authors,
editors or compilers. They can also be appropriate
staff in IUCN, although at least one reviewer
must be external.
-
Upon completion, the final draft
manuscript should be circulated to this small
group for comment on technical accuracy. Any queries
regarding consistency with IUCN policy should
be addressed to the Head – Policy, Biodiversity
and International Agreements. A specific deadline
for review should accompany the manuscript in
order to avoid delays in subsequent stages of
the publishing process.
-
Upon receipt, reviewers’
comments should be integrated into the manuscript
as appropriate and relevant. Any problems they
have highlighted should be discussed with appropriate
IUCN staff and resolved.
-
Subsequently, full details of
the peer reviewers, the procedures which have
been followed, reviewers’ comments if required,
and a request for approval to publish should be
provided to Publications Services. These will
subsequently be reviewed by the Publications Advisory
Committee.
-
All details should also be forwarded to the Acting Head of Publishing in Gland for inclusion in the IUCN Publications Tracking Charts ( deborah.murith@iucn.org).
5. Peer review should take place once
a final draft of a manuscript is available. Any scientific
or policy inaccuracies or discrepancies, or any queries
relating to the content, must be addressed before
the publication goes into production. The (lead) author
or Programme Head must confirm to Publications Services
that this has been completed.
6. The Committee reserves the right to advise the
Director of Global Programme/Director of Global
Strategies to refuse to publish a document with
the IUCN logo or to withdraw from circulation any
publication which has been published without adequate
peer review as deemed by the Committee. This holds
both for printed publications and for those published
electronically on the Web. This should be made clear
to the author(s) at the time when they are commissioned
and should be clearly written into any agreements
and contracts. In the event of any doubts, the programme
or office concerned should raise the matter before
the Committee.
7. The peer reviewers’ names do not appear
on the cover of the publication or on the title
page. They should, however, be included in the acknowledgements.
8.Peer reviewed publications are eligible for inclusion in the Online Publications catalogue, and in various other IUCN products, including the Progress & Assessment Report, World Conservation or IUCN Today. They can also be distributed at major international meetings, events and exhibitions.
3.
Editing, copy-editing and proof-reading
See Annex
4 for a Checklist of items for editing and proof-reading
1. Broadly speaking, there are four levels of editorial
process. These can be described as follows:
2. It is not always necessary to apply
all four processes when publishing, although copy-editing
and proof-reading are indispensable. Sometimes it
will be possible to write a publication and go straight
to the copy-editing stage, without a technical edit,
for example, which may have been covered by the peer
reviewers. Finally, sometimes the technical editor
and the volume editor may be the same person.
“Volume” editing
3. If your publication is a collection of chapters
or articles by different authors, one or many editors
may be appointed to “oversee” the process.
These are the “volume” editors. There
can also be series editor(s).
4. For example, Indigenous and Traditional Peoples
and Protected Areas: Principles, Guidelines and
Case Studies, IUCN, 2000, was Edited and Co-ordinated
by Javier Beltrán. It was part of the Best
Practice Protected Area Guidelines Series No 4,
and the Series Editor was Adrian Phillips.
5. In this case, the editor has the status of an
author and his name appears on the cover of the
publication and on the credits page. The editor’s
role can include commissioning the articles and
chapters; being responsible for the overall coordination
of the volume.
6. If the volume is a collection of articles or
chapters by different authors, the editor may decide
that all the chapters or sections have to follow
a similar, consistent writing style, i.e. the volume
will need to read as if it was written by a single
individual. This is quite common in journal publishing.
It will therefore be the responsibility of the “volume”
editor to ensure this consistency and to re-write
sections to ensure the uniformity of the content,
without changing the original intended meaning of
the manuscript.
7. Sometimes, the individual writing styles of
the chapters/articles may vary, i.e. the styles
of the individual authors are left as they were
originally written and the work clearly reads as
one written by different people. The decision about
which style to adopt is a value-judgement and is
the responsibility of the editor(s).
Substantive or technical editing
8. Once you have completed your publication and
it has been peer reviewed, it should be sent for
editing prior to going into production. The substantive
or technical editor is responsible for this level
of editing.
9. The role of the substantive or technical editor
includes:
-
Checking to ensure that the publication
reads well and is clear for the intended audience
-
Checking the accuracy and consistency
of the content, raising questions with the author(s)/editor(s)
10. The technical editor’s name should be
included in the acknowledgements.
Copy-editing
11. Once your publication has been designed and
typeset, and before the files are finalized for
print, it will need to be copy-edited. This is done
by a copy-editor.
12. The role of the copy-editor is to check the
page proofs (also known as galley proofs) provided
by the designer/typesetter for the following:
-
Consistency of design and design
elements, including:
-
Consistency of style
-
Spellings
-
Inconsistencies within the text
-
Accuracy of captions against
pictures and photographs, and graphics
-
Compliance of the design/layout
with the IUCN Visual Identity, etc.
13. Publications Services can assist with this
process by providing copy-editing services or details
of outside consultants.
14. Any changes that are not straightforward must
be referred to the authors for clarification.
15. Remember at this stage to keep changes to a
minimum and restrict them only to those that are
absolutely necessary, as typesetters may charge
for corrections and they can delay the process.
16. All corrections must be marked up on the page
proofs using editor’s mark-up signs (See the
IUCN Style Manual for details). If there are
many corrections, ask the typesetter to provide
copies of the final corrections for sign-off before
going into the next stage of production.
Proof-reading
17. Once the page proofs have been corrected, a
quick final proof-read should be done. This is the
task of a proof-reader.
18. The proof-reader is responsible for a final
check of the following items before the document
moves to the next stage of production:
19. Proof-reading takes place twice, once after
the final corrections have been made to the galley
proofs and once immediately before the final print-run
is launched.
4.
Make-up of a publication
See Annex
5 for a Checklist of pages for inclusion in
IUCN publications
1. In order to give all IUCN books a common visual
identity and ensure the highest standards of publishing,
the following elements must figure in all IUCN publications
whether they are produced in electronic and/or printed
form.
Cover pages
-
Front cover
This must include the title of the work, the author(s)
or volume editor(s), an image, further information
such as series number, Occasional Paper number,
and the IUCN logo.
-
Spine The spine
of all IUCN publications should contain the title
of the publication running from top to bottom
as well as the IUCN logo. Text on the spine of
publications in French and Spanish should also
read downwards.
-
Back cover The
back cover should contain the IUCN logo and the
standard description of IUCN. See Annex
6 for both the long and short descriptions
in three languages. It should also contain the
name of the programme or Regional and Country
Office responsible for the publication and the
address from which the publication is available.
-
Half-title page
This is the first right-hand page (recto) of a
book. It should contain the title. This page is
not numbered, but would be Roman numeral i.
-
Frontispiece
This is the verso of the first page. It is not
numbered but would be Roman ii. It is usually
left blank but can contain a photograph.
-
Title page This
is the second right-hand page of a publication.
It is not numbered but would be Roman numeral
iii. This is used by libraries and the book trade
for cataloguing and should contain all the required
information including the title, the author/editor,
component programme or Commission responsible
for producing the publication, a series title
and number, if appropriate, the publisher and
the date (year) of publication.
-
Credits page
This is the verso of the title page. Again, it
is not numbered but would be Roman page iv. IUCN
uses a standard credits page that is up-dated
by Publications Services each year. It contains
the citation, copyright information and IUCN disclaimers.
See Annex
7 for IUCN credits pages in three languages.
-
Table of contents
This is Roman page v. This page must be numbered.
All subsequent pages must also be numbered.
-
Foreword These
are usually introductory comments written by someone
other than the authors. This should follow on
sequentially from the Table of Contents and be
numbered accordingly. Thus, for example if the
Table of Contents covers two pages, the Foreword
would become Roman page vii.
-
Preface These
are introductory comments usually written by the
author. The page(s) should be numbered sequentially,
using Roman numerals and following on from the
Foreword.
-
Acknowledgements
This is where the author acknowledges the contribution
of donors, participating organizations, project
staff, etc. It is the “thank you”
page. It should be numbered using Roman numerals
and follow on sequentially from the Preface.
-
Glossary of abbreviations
This is an optional inclusion. If included, it
should be numbered sequentially with Roman numbers.
-
Acronyms This
is an optional inclusion and as above, if included
should be numbered sequentially.
-
Maps or illustrations
relevant to the whole book. This is an optional
inclusion and should be numbered sequentially
using Roman numerals.
2. The front matter is numbered using Roman numerals.
Pages i – iv should not be numbered. However,
Roman page v and all the succeeding pages must be
numbered.
3. The introduction or first chapter of the publication
always starts on the recto (right-hand page) and
is page 1. It is not necessary to number the first
page of a new chapter. New chapters usually start
on the right-hand or recto side. The page number
is also known as the folio. Blank pages do not contain
any folios, or running headers or footers.
Inclusion of the International Standard
Book Number (ISBN)
4.
The ISBN is a unique, machine-readable identification number used by the book trade to catalogue and identify books. IUCN Publications Services is responsible for allocating ISBNs in most cases, although some Regional and Country Offices also allocate their own. ISBNs should be sought as close as possible to the date of publication and not at the outset of the project to avoid confusion and double allocations. Contact cynthia.craker@iucn.org or deborah.murith@iucn.org.
Acknowledging contributions from donors
5. If a publication is being produced with a contribution,
financial, textual, technical, or otherwise, from
a donor, it will be necessary to acknowledge that
participation. The agreement for acknowledging this
participation or contribution should be negotiated
when the initial contract is signed. Although the
acknowledgement may be subject to donor conditions,
the contribution can be highlighted in a number
of places, including:
-
On the acknowledgements page
(see above)
-
On the credits page if they share
copyright (as paragraph three beginning “This
publication has been made possible in part by
funding from…”)
-
On the back cover where the logo
may be placed alongside that of IUCN
-
On the half-title page where
multiple logos may be included
Acknowledging contributions from co-publishers
6. If a document is being co-published with another
organization (a donor, member, commercial publisher,
etc.), the agreement for this collaboration and
how it is to be acknowledged must be worked out
at the time that the contract is negotiated. This
collaboration can be acknowledged in a number of
ways:
-
On the acknowledgements page
-
On the credits page if they share
copyright
-
On the cover through the inclusion
of the co-publisher’s logo
7. In all cases, agreements for acknowledging collaboration
and contributions must be negotiated satisfactorily
between all parties before the manuscript goes into
production.
8. (For further information on co-publishing see
section on Co-publishing below.)
5.
Statutory texts
1. All IUCN publications are required to include
certain statutory texts. These are listed below.
2. The IUCN name. IUCN uses two names, a shorter
presentational name and a longer legal name. IUCN’s
name should appear in all IUCN publications. The
presentational name should appear on all publications,
including the cover, except in the copyright identification.
See the IUCN Visual Identity for the exact positioning
of the logo on the covers of IUCN publications.
3. The presentational name in all three official
IUCN languages is:
English: The World
Conservation Union (IUCN)
French: Union mondiale pour la
nature (UICN)
Spanish: Unión Mundial para
la Naturaleza (UICN)
4. The longer legal name that should be used for
copyright identification is:
English: International
Union for Conservation of Nature and Natural Resources
French: Union internationale pour
la conservation de la nature et de ses ressources
Spanish: Unión Internacional
para la Conservación de la Naturaleza y de
los Recursos Naturales
5. Copyright notice. All IUCN publications should
contain the following copyright notice on the credits
page:
© 2005 International Union
for Conservation of Nature and Natural Resources
Reproduction of this publication for educational
or other non-commercial uses is authorized without
prior written permission from the copyright holder(s)
provided the source is fully acknowledged.
Reproduction of this publication for resale or other
commercial purposes is prohibited without prior
written permission of the copyright holder(s).
6. Geographical disclaimer. All IUCN publications
should include the following geographical disclaimer
on the credits page:
The designation of geographical
entities in this book, and the presentation of the
material, do not imply the expression of any opinion
whatsoever on the part of IUCN, [or co-publisher]
or other participating organizations concerning
the legal status of any country, territory, or area,
or of its authorities, or concerning the delimitation
of its frontiers or boundaries.
7. Opinion disclaimer. All IUCN publications should
include the following opinion disclaimer on the
credits page, unless it is an official policy document
of IUCN that has been issued by the Director General
or policy guidance approved by Council:
The views expressed in this publication
do not necessarily reflect those of IUCN [or co-publisher],
or other participating organizations.
8. Translation disclaimer. All IUCN publications
that have been translated from the original should
include the following disclaimer on the credits
page:
IUCN and other participating organizations
disclaim any errors or omissions in the translation
of this document from the original version in [language]
into [language].
9. Standard description. The standard description
of IUCN exists in two versions, a long one and a
short one. Usually, the longer description should
be used, however, where space is lacking, the shorter
version can be used. See
Annex 6 for the standard description in all
three languages in both long and short versions.
10. The standard description should be included
on the back cover of all IUCN publications in the
appropriate language. The address of the originating
programme can be inserted in place of IUCN Publications
Services at IUCN Headquarters.
6. Submitting your publication for production
1. Prior to publication (print/electronic), your
manuscript will go through a whole series of operations,
this is known as the production phase and consists
of:
-
design
-
layout/typesetting
-
copy-editing
-
proof-reading
2. Your manuscript will be ready to go into production
once its has been:
-
written
-
peer reviewed
-
revised
-
edited
3. Substantive changes made to a manuscript after
it has been submitted are known as “author’s
changes”. These should be kept to a minimum.
Sometimes, these are unavoidable, e.g. if a situation
changes which makes the manuscript incorrect or
inaccurate. In such cases changes will obviously
have to be made.
4. If you are publishing with a commercial publisher,
make a provision for possible changes when you negotiate
the agreement (see section on co-publishing).
Note that some commercial publishers may offset
the cost of author’s changes against possible
royalty payments.
5. Whether you are planning on producing your publication
through IUCN Publications Services, using the services
of an external typesetter, or through another publisher
(e.g. in the case of a co-publication), the following
rules must be observed:
-
Ensure that writing, substantive
editing, content, etc. are completed before starting
production. Making substantive corrections after
the production process has begun is both costly
and time-consuming and can delay production.
-
Ensure that all copyright permission,
permission to use illustrations, photographs,
credits, acknowledgements, etc., including for
electronic publishing, have been obtained prior
to going into production.
-
Ensure that all contractual obligations,
donor requirements, etc. have been fulfilled.
6. When preparing a final manuscript for layout,
include as little formatting as possible. Include
only:
7. Remove all other formatting features, including:
8. When submitting your text files:
-
always provide a hard copy of
your manuscript as well as electronic copy
-
if you wish to indicate formatting
features, please do so on the hard copy which
will be used by the typesetter for reference purposes
9. Submit all non-text items in separate electronic files. They should NOT be supplied in Word format. Non-text items include:
-
digital photographs
-
illustrations
-
graphs
-
pictures
-
captions
10. Clearly indicate on the hard copy
where in the document each of the above should be
placed. If supplying photographs, illustrations, graphs,
etc. clearly indicate on the back, in indelible ink,
where they should be placed. If necessary, include
a short list of instructions for the typesetter on
a separate sheet.
Submitting photographs: electronically
11. All photos submitted electronically need to
be a minimum resolution of 300dpi.
12. Cover photos should measure at least 6mm wider
than the book cover they are to appear on at 300dpi
to allow for bleed and trim (this enables the photo
to print right to the edge of the cover).
13. Photographs need to be sharp, not blurry or
pixelated, as there is nothing that can be done
to correct this.
14. EPS files and TIFs are preferred. But if a
photo is a JPEG it should be the original scan or
digital photo, because each time a JPEG is saved
it loses quality, whereas EPS files and TIF files
do not.
Submitting photographs: hard copy
15. All photographs submitted in hard copy must
be suitable for reproduction. They must be clear,
well focussed and undamaged. They should preferably
be supplied as 35mm slides. Colour photographs for
reproduction in black and white must be of a particularly
high standard.
Alert!
16. Always ensure that you have completed all your
photograph and image research prior to production
and submit all the material together. (Please see
Chapter 7 for further information on Photographs,
images and artwork.)
7. Photographs, images and artwork
1. Advances in technology mean that the number
of sources and formats available for producing
and submitting images are increasing. Specific
guidelines must be taken into consideration when
sourcing and submitting photographic images for
use in publications.
Photographic images
2. Photographs can be obtained from a variety
of sources: the IUCN photo library (see section
5 under “Using Publications to Communicate
the Message”), personal collections, professional
photographers, photographic agencies or commercial
photographic websites.
3. It is important to ensure that all photographs
you choose are either copyright free or if copyrighted
that they are correctly credited.
4. Most photographic agencies charge a fee for
using their images. The cost of using images should
be factored into the publication during the planning
and budgeting process.
The IUCN photo library
5. IUCN has a photo library with some 1800 images.
It has been designed to serve as a central pool
of quality, royalty-free images for use by the
IUCN Secretariat. For instructions on use of the
database please check the website on the Knowledge
Network at: www.iucn.org/kb/app/progs/inmagic/index.cfm.
Photographic agencies
6. There are many photographic agencies. We regularly
use the following:
Any suggestions for additional photographic agencies
that carry relevant images should be sent to cynthia.craker@iucn.org.
7. Some of these agencies provide images to IUCN
at a discounted fee (for example, Reuters). When
approaching them for photo use it is always wise
to stress that IUCN is a not-for-profit organization
as many suppliers apply substantially lower rates
for this category of organization.
Submitting photographs for publication:
hard copy
8. All photographs submitted in hard copy must
be suitable for reproduction. They must be clear,
well focused and undamaged. They should preferably
be supplied as 35mm slides. Colour photographs
for reproduction in black and white must be of
a particularly high standard.
9. Clearly indicate where in the hard copy of
your manuscript the photographs should be placed.
Include photo captions in the manuscript with
a clear indication that these are captions. Include
this information also on a separate piece of paper
which you should affix firmly to the photograph
using a paper clip. Do not write on a photograph
(front or back) as doing so can damage the image
and never staple or glue the information to a
photograph. In the case of slides, include the
information on an envelope and slip the slide
inside the envelope. Ensure that the slide/print
and the explanatory paper or envelope contain
reference numbers or markers to clearly link them.
Submitting photographs for publication:
electronically
10. Photographs need to be sharp and clear, not
blurry or pixilated, as this cannot be corrected.
All images submitted electronically need to be
a minimum resolution of 300dpi.
11. Cover photos should measure at least 6mm
wider than the book cover they are to appear on
at 300dpi to allow for bleed and trim (this enables
the photo to print right to the edge of the cover).
12. EPS and TIFF files are the preferred formats.
If the photo is supplied as a JPEG, you should
ensure that it is the original scan or digital
photo. Each time a JPEG is saved it loses quality,
whereas EPS and TIFF files do not.
13. Never embed images in the manuscript that
you are submitting to the typesetter. Images should
be submitted separately on CD-Rom or to an FTP
site. If this is not possible images may be sent
by e-mail if the files are small enough.
14. Clearly indicate where each image should
be placed in the text. Include captions in the
text with a clear indication that these are photo
captions.
Acknowledging photographs
15. Different organizations, photographic libraries
and photographers use different styles to acknowledge
the source and/or copyright of photographic images
used within a publication. Always remember to
check and apply their requirements for acknowledging
source and copyright.
16. For images sourced from IUCN and for which
IUCN retains copyright, the source should be acknowledged
as follows: © IUCN/name of photographer.
Artwork, graphs and other graphic material
17. If you are including artwork, graphs, illustrations,
line drawings, etc., wherever possible always
provide originals. Alternatively, they should
be submitted as high resolution scans on CD-Rom,
to an FTP site or by e-mail.
18. These elements should always be provided
separately and never embedded in the manuscript
that you submit to the typesetter. Indicate clearly
on a separate document where in the manuscript
the elements should be included. Always include
detailed captions and acknowledge the source of
the image.
8.
Designing your publication
1. The design of a publication is very important.
How your publication is presented and packaged
can make the difference between it being read
or left on the shelf.
2. In addition to text, publications can feature
a number of different design elements, including:
3. When considering the design
features to include in your publication, give
very careful thought to whether the elements you
have in mind will truly add value. Keep your design
simple; a very simple publication with few features
can be very effective. It is also worth remembering
that the more design elements you include the
more expensive your publication will be to produce.
4. Remember that an image-heavy document that
is destined for publication on the web could
take a long time to download if the reader has
a slow connection; this too needs to be taken
into consideration. (For more information about
use of images on web pages, see paragraph 4
of Chapter 1 on Electronic Publishing, under
Section IV, Other Publishing Information.)
5. The overall design and layout of your publication
will be determined by the IUCN Visual Identity.
These cover the following:
-
size and format of print
publications
-
-
use and placement of logos
-
mandatory pages and texts
(description of IUCN, addresses, etc.)
-
layout, including margins
and typefaces
How to design and
typeset your publication
6. There are different possibilities for
design. You may seek a designer who will
provide a design concept and then do the
typesetting; alternatively, you may already
have a design template and simply require
the services of a typesetter. You should
be clear about this before you approach
a designer and/or typesetter.
7. If you use the services of an external designer/typesetter
to produce your publication, you will need to
provide them with a copy of the IUCN Visual Identity and, if possible, copies of similar
publications to use as an example.
8. Before requesting an estimate for design
and layout of your publication, it is always
advisable to have some idea of what the final
product should look like.
9. The following is a checklist of the type
of information you should already know when
you go into the design phase. This information
should be included in your request for an estimate:
-
Format, i.e. A4, pocket book
size, etc.
-
Medium, i.e. paper, PDF,
electronic format for the Internet
-
Binding, hardback or soft
back
-
Approximate length of the
publication
-
-
Number of photographs and
illustrations or other graphic elements
-
Type of paper (this should
ideally be FSC approved/certified or another
environmentally-sound standard)
10. If you are seeking an estimate for design
and layout you will need to ask for the following:
-
Cost of providing a design
concept, including the cover
-
Cost of making changes to
the concept
-
Cost of design and layout
per page
-
Cost of layout without design
-
Cost of author’s corrections.
These are the corrections which the author
makes, not corrections which are necessary
as a result of the conversion of text from
a word processing programme to a design programme.
Note, however, that some designers and typesetters
do charge for the latter. You should clarify
this with the designer from the outset to
avoid any surprises
-
Cost of photograph treatment
11. If you already have a design template and
are seeking an estimate for layout only, you
will need to request the cost of the following:
-
Layout per page, including
the cover
-
-
Using colour
12. The print process uses four principle colours:
cyan (blue), magenta (red), yellow and black
(also know by its acronym of CMYK). These four
colours can be mixed to produce virtually all
the colours of the spectrum. If a publication
or photograph is full-colour or four-colour,
it means that it uses all these colours in a
variety of combinations. If a publication or
image is two-colour it means that it uses a
combination of two of these colours, usually
black and one other colour.
13. Most printers and designers use Pantone™
colours. This is a palette of colours that has
been developed and is universally recognised
as the “language” of communication
between designers and printers.
14. Shading or tints are sometimes used in
design for example, grey or pale pink. A publication
may be designed in black, red, grey and pink.
This does not mean that the publication is four-colour.
Grey is simply a lighter shade of black (i.e.
black with white), while pink is a lighter shade
of red (i.e. red with white). To achieve these
shades, the printer applies a screen and the
publication is still two-colour.
15. One word of caution. If you plan to print
a cover with text on a solid colour background,
through a process known as “reversed out”
printing, remember that it will be necessary
to fill in the text with white.
The “IUCN Blue”
16. The “IUCN Blue” is a Pantone
287C. The letter C refers to coated
paper; if uncoated paper is used, the reference
would be Pantone 287U. The Pantone colour reference
is an international colour standard that can
be duplicated by printers using Pantone inks.
If a printer does not used Pantone inks, the
4-colour separation is Cyan = 100, Magenta = 70, Yellow = 0, Black = 15.
Choice of binding
17. The type of binding used for a printed publication
will depend on the number of pages. There are
a variety of bindings available for a book.
These include:
-
-
Saddle stitching or stapling
-
18. In perfect binding, the printed pages are
stacked and adhesive is applied to the spine
of the book. The cover is then glued and folded
around the spine and the other three sides are
trimmed down to size. This type of binding is
ideal for soft cover books with a spine width
of 5mm or more. It tends to be the cheapest
form of binding and it is possible to include
the title, author, publisher, etc. on the spine
of the book. This makes it easy to identify
on a bookshelf.
19. In saddle stitching or stapling, rather
than being compiled as a stack of individual
pages, the pages are folded over and then stapled
in the spine. This form of binding is ideal
for very thin books or publications.
20. Hard-cover binding is the most expensive
form of binding and involves producing a book
in a hard-back cover. Binding methods include
gluing or stitching (a book is printed as a
series of 16-page booklets which are then stitched
together and a cover is placed over them). This
is suitable for “coffee table” books
for example. Hard cover books are more expensive
to produce and mailing and distribution costs
tend to be higher. Covers can be paper or cloth
and include a dust jacket.
21. To include the title of the book on the
spine your designer will need to know the spine
width of the finished book in order to design
the cover. The spine width will depend on the
number of pages, the thickness of the paper
being used to print the book and the thickness
of the paper being used for the cover.
22. This is calculated by determining what
is known as the PPI (pages per inch) of the
paper, i.e. how many pages are needed to get
a thickness of one inch, and dividing the number
of pages by the PPI. You will then need to add
the width of the cover paper to this. Although
your designer may be able to calculate this
– based on your choice of print paper
– if in doubt, ask the printer. For this
reason, you will need to know on what paper
you plan to print your final document.
Designing multiple language versions
23. Sometimes, if you are planning on publishing
a short, full-colour document with photographs
in multiple languages, e.g. Annual Reports,
it is often a good idea to print the colour
for all versions first and then to overprint
the text in the various languages. This removes
the need for making fresh colour films and/or
plates for every language, and reduces costs.
24. If you choose to print a publication in
this way, it is important to ensure that there
is enough space for the “longest”
language. As a general rule, French and Spanish
are estimated to be 25%–30% longer than
English. Techniques used to accommodate “longer”
languages include reducing the point size of
the longer language in relation to the “shorter”
language, including more “white”
spaces in the “shorter” language,
etc. If you choose this method, ensure that
there is scope for reducing the point size of
the longer language without making it unreadable
and that there is enough space to lay out the
“longer” language without it being
overcrowded.
25. Remember also not to design your publication
so that any of the text is “reversed out”,
i.e. make sure that you do not have a block
of colour or an image with text “reversed
out” in white. If you do, you will need
new films/plates for the pages in question which
will increase the print costs.
Working with suppliers close to home
26. Although the advent of electronic communications
means that it is now possible to work remotely,
for the sake of simplicity, and particularly
if the publication is complicated, you may want
to engage a designer close to home so that you
can supervise the process, work closely with
the typesetter and make corrections directly
on screen. Although design and layout in Hong
Kong may seem a cheaper option, for example,
your publication may end up being more expensive
if there are many alterations. Also there may
be a longer delivery time and higher shipping
costs.
Publishing as part of a series
27.If a publication is being produced as part of an existing series, the design and layout will need to be adapted as much as possible to IUCN’s new visual identity. For assistance in the adaptation process, contact the Acting Head of Publishing (deborah.murith@iucn.org) or the Global Communications Coordinator (john.kidd@iucn.org).
28. If a new series is being designed, the
design and layout should be governed by the
IUCN Visual Identity. When designing a new
series, always ensure that the design is sustainable
and that future publications in the same series
can be published to the same visual standards.
Final reminder
29. Once your publication has been designed
and typeset, and before the final files are
prepared for print, it will need to be copy-edited.
9. Printing
See Annex
8 for a Sample request for print estimate
1. Now that your publication has been designed
and laid out, you will be ready to move into
the next phase of production: printing.
2. As with design, the costs of printing can
vary widely. For this reason, and in the interests
of sound financial management, always obtain
three estimates for any print job before making
a final decision.
3. Remember also that choosing the cheapest
printer is not always the most cost-effective
option. Sometimes it is worth paying slightly
more for the services of a reliable printer.
Deciding how many copies to print –
defining the print-run
4. One of the earliest decisions you will have
to make when moving to the print process is
how many copies of your document you wish to
print. The print-run is determined by a number
of factors, some of them financial, some of
them practical. Below is a list of some of the
considerations when deciding how many copies
to print:
-
Who is the target audience
for the publication?
-
Will this publication be
distributed at a conference or meeting?
-
How large is your mailing
list?
-
How else will this be distributed,
e.g. for distribution/sale through SMI, copyright
and exchange libraries, the IUCN Distribution
Fund?
-
What is the available budget?
-
What is the expected shelf
life?
Different printing methods
5. There are a number of different printing
methods on offer today, including:
-
Offset – used by commercial
printers for large print runs > 500
-
Docutech/Digital printing
– commercial printing for small print
jobs < 500
-
Offset printing by a commercial printer
6. This is the “traditional” form
of printing used by commercial printers for
anything from 100 copies to 100,000! Offset
printing includes both rotary printing (used
for newspapers) and sheet-feed printing (i.e.
individual pages printed flat on a press).
7. A commercial
printer may use any one of the following methods:
-
Computer to plate –
proofs are generated directly from electronic
files to printing plates
-
From film – proofs
are generated from electronic files to films
and then to printing plates
-
Computer to print –
print straight from a diskette
8. Always check with your printer what format
and what technical specifications are needed
for printing. Ensure that the designer/typesetter
includes all the relevant technical details
and files for the printer. Make sure that the
designer/typesetter provides the printer with
a hard copy for reference purposes.
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