More Than Printing and Binding
Book production is much more than just printing and binding. Cover design, but especially the combination of paper and cover materials, typography, and graphic design all require a well thought-out book concept. This concept has to be aligned with the content to be published and the target audience. We asked publishers how they are experiencing the changes and trends in the book market.
Recent years have shown that the trend is moving clearly towards high-quality books. The design, cover, and layout of a book have a direct influence on sales success – especially at brick-and-mortar shops. But high-end books are also setting the tone on #BookTok bestseller lists. There is no getting around edge coloring on three sides or premium finished covers in the new romance or new adult genres especially. Bertram Schmidt-Friderichs from German publisher Verlag Hermann Schmidt, who previously ran a print shop himself, confirms this. “Today, to make the bestseller list, the first edition requires edge coloring on three sides or an embossed and, better yet, coated cover.”
Conflict with procurement and controlling
Johanna Kurz at Austrian publisher Brandstätter Verlag also considers finishing crucial to sales success. “Classic hardcovers with a protective jacket are more and more often being replaced, with many publishers turning to special coating materials for visual and tactile effects. The possibilities for creative design are endless,” asserts Johanna Kurz. This phenomenon can also be seen in very opulently designed “coffee table books,” which today serve as decorative eye-catchers in offices and living rooms, encouraging readers to flip through their pages. But at the same time, everyone we’re talking to confirms unanimously that publishers often find themselves in conflict with procurement or controlling. “Even seven cents for spine embossing are getting trimmed from the budget.”
Our books are design pieces
Vincent Illner, Head of Production at gestalten, explains that the publisher adopts a design approach to finishing its books that can be enhanced with a range of finishing options. The business established design guidelines for finishing, giving books a distinctive “gestalten” look. “Our books aren’t just books. They’re design pieces that are in demand in Europe, but also in retail in the UK, USA, and Australia.”
Vincent Illner, Head of Production at gestalten: “Our books aren’t just books. They’re design pieces.”
One good example for aligning the finishing with the topic or cover of the book is the title A House in Japan where the ribbed cover material adds a tactile dimension reflecting the structure of the building depicted. “These are details, but that’s exactly what makes the difference.” It’s also exciting to design cost-sensitive titles to stand out on book shelves and attract buyers. The challenge is to strike a balance between design and finishing without breaking the budget.
Branding with premium finishing
Bertram Schmidt-Friderichs asserts that book finishing is an essential component of branding. Over the past 30 years, publisher Verlag Hermann Schmidt has built a true fan community that expects the exceptional, and is willing to pay for it: “A book with an appealing tactile feel subconsciously conveys through the fingertips that it is something special.” Because you eat – but also read – with your eyes first, Schmidt-Friderichs points out, while also emphasizing that simply produced books are more vulnerable to being replaced by e-books.
Bertram Schmidt-Friderichs, publisher Verlag Hermann Schmidt: “In my experience, more dynamic book projects where things can change at any time are easier to implement with regional partners.”
All three publishers value short supply routes when selecting production partners. “One of our most important USPs is the high-quality finishing of the books, which means quality is a key aspect for us. Within the EU, we find the right partners who share our quality standards,” affirms Johanna Kurz. Bertram Schmidt-Friderichs agrees completely: “In my experience, more dynamic book projects where things can change at any time are easier to implement with regional partners.” With the exception of the “Typodarium” and its journaling calendar, all products from publisher Verlag Hermann Schmidt are produced in Germany. “Producing these two calendars in Europe isn’t economically viable.” gestalten, too, places an emphasis on regional or European production. Vincent Illner lists multiple reasons: The quality and flexibility print shops offer, but also the collaboration as equals plays an important role for him. The publisher also realized that production in Asia no longer saves significant costs, and with a delivery time of several months after the books are produced, the flexibility to respond to increased demand is limited.
Spotlight turning to sustainability
For Brandstätter Verlag, sustainability plays a central role. “Our priority is on high-quality, long-lasting books. And so we purchase the majority of our paper from Salzer Papier, an Austrian paper producer that also places an emphasis on sustainability. Keeping supply routes in production and delivery short is one of the biggest levers we can actively influence to make book production more sustainable,” emphasizes Johanna Kurz. All of Verlag Hermann Schmidt’s imprints reference the environmental certifications of the respective print shops and FSC. The same goes for books from publisher gestalten. However, the focus is not only on sustainable forestry, but also on social aspects covered by FSC. Bertram Schmidt-Friderichs also enjoys indulging in the occasional experiment: “Bagasse paper, made of sugarcane residue, is very exciting. It isn’t certified, but using the residues from production is sustainability in its purest form.”
Book-on-demand
Book-on-demand is a recurring topic for the Vienna-based publisher. From Johanna Kurz’ perspective, this could be an interesting approach to keep titles on the backlist alive in the future. Thanks to positive developments in digital printing, even extremely small runs can be produced cost-effectively. But no specific projects are planned at the moment. Verlag Hermann Schmidt uses digital printing to re-issue sold out books in small runs. They considered classic book-on-demand production across various platforms, but from a publishing standpoint, the quality requirements would make it uneconomical, adds Bertram Schmidt-Friderichs.
Bottom line
The printed book prevails thanks to quality, design, and sustainability. Those who invest in high-quality finishing strengthen their market position – and make the book what digital formats cannot be: a tactile, high-quality cultural object with a strong emotional connection.
