Reviewing the proofs...
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Really nice, a class act, and fwiw the design work has a sort of "occult vibe" I pick up from older, respected books (published in the 70s or thereabouts).
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Very NIIICCCCEEE!
Reminds me of the old cover from Franz Bardon's The Practice of Magical Evocation.
Has that classic this-must-be-essential feel to it!
Can't wait to know when we can finally order it! -
I esp. love the color.....
So do you feel any different now?
Two babies born.....Those last stages of pushing, and pushing...
and now look at the beautiful creature you have given the world....Bravo and congratualtion....
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@Veronica said
"I esp. love the color....."
The picture (due to the camera) is slightly more blue than the actual cover, but it's pretty close.
"So do you feel any different now?
Two babies born....."Not born yet, just Braxton-Hicks. (And whataya mean two, this would be three just in recent time
)
Tension increases as we push toward a very tight deadline to make all the pieces fall right. We've lost about a week from what I think it is. At this point I probably won't have the proofs returned to them until the first of the week which, with the holidays, means they're starting on the manufacturing roughly December 1 (close to when I wanted finished product in hand - some buffer time). We should, though, still have delivery in early January (and, most critically, for the NYC event on January 29).Thanks for the kind words.
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Sweet! Congrats!
Let me know when the actual birth date is, so I can remember to lay low 9 months later...
What level of familiarity with astrology and/or Enochian do you think is a prerequisite to getting value out of reading this?
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LOL. Will do. Looks like it will be in January, so be careful in October.
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Is there a public event in NYC you have or will be posting related to the book release? Perhaps a baptism for the new one?
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@sphinx666 said
"Is there a public event in NYC you have or will be posting related to the book release? Perhaps a baptism for the new one?"
On January 29, tentatively 6 PM, in a location to be determined there will be a public lecture and book signing, yes.
If you're on Facebook you can see this information as it emerges on <!-- w --><a class="postlink" href="http://www.facebook.com/jamesaeshelman">www.facebook.com/jamesaeshelman</a><!-- w --> - and we'll post it here as it firms up.
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Sweet. Hope to be there and get to meet you in person.
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"Hey Jim, any chance the lecture might be recorded?"
Maybe. We usually have better luck getting that done in LA, but maybe. - This one, also, will be pretty dependent on the visuals I'll be projecting.
"Congrats on the book by the way, looks fantastic."
Thank you
I'm pretty excited about the content, too. -
@Alrah said
"It has an interesting Retro look. If I found it in a bookshop, I'd assume it had been in continuous print since the 60's.
Is there any reason you wished it to be associated with the genre of texts that came out in that period?"No. That's just what I got when I started designing the cover.
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Well, that's moot now because it's past the point we're going to make any changes. These are printer's proofs, and I should have shipped them back already to greenlight the print run.
And, in fairness, no designer was involved in creating the cover; that is, no one whose job and training is design. When I managed ACS Publications, we hired cover artists. My instincts were always good in tweaking their work, and often in original concept, but I jobbed it out. But that's when I had the financial resources of a publishing company at hand.
Here are the principles that matter most in our cover design process:
No four-color printing. The price break to that is huge - it would add almost $10 to the cost of the book for nothing more than a four-color dust jacket. Not worth it!
We pay for two colors of ink: One pantone background, and black. Over time, we've learned a couple of tricks. For example, the black can be half-toned, so that gives ranges of gray (and sometimes those can be used very effectively to produce special results - 776 1/2 used a gray so balanced that it automatically pulls the flash of whatever it touches, so that it dances and quivers and shifts color. Or, against the black (in the border) of the current cover, it's nearly silver. But that's all done with half-tones. And, of course, we can use no ink on part of the cover, and thus get white.
But, bottom line, everything is done with one background color and black.
Besides that, it's mostly about getting the title and byline on the cover in a balanced disposition, using typefaces that are compatible with the book theme (and probably used as distinctive typefaces in the book) - with a focus on legibility! - and maybe add some artwork to break it up. No artwork was designed specifically for this cover. Rather, in my original Black Pearl pilot, I'd created an image of one scene in one of the visions, and, while working on the current book, realized that it was both (1) unique, original artwork for this book and (2) communicated core ideas of the whole set of visions very well (nonverbally - as an image). I asked Juan Ramirez to clean it up, while preserving the original as much as possible, and he did a great job.
We do have people that could create blow-me-away cover art, and who would do it for free. But the added printing costs are not negligible, and would need to be passed along to the reader. While our covers have become more sophisticated over time (compare this to the text-only-plus-a-lamen cover of The Mystical & Magical System of the A.'.A.'.), but they're not likely ever to have anything approaching the care of the contents of the book.
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My uninformed biased opinion and I'll state the obvious-you can't judge the book by the cover, BUT it does draw you in. However-The title and the subject matter in this particular case says it all.
I really like the cover, the graphic grabs you and I'd pick it out of a pile of books and recognize it as consistant with the other work I have of yours. I really like the style of the fonts, etc in 776 1/2.
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But it's just not that big of a deal. It's a dust jacket.
And remember: We're not in bookstores. Although online images of a cover are used, it isn't the same as picking a book off of a shelf while browsing. If we were competing for shelf space in a brick-and-morter, priorities would be different.
PS - Our print run is way smaller than yours.
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From my experience working in a bindery, moving to four colors has a big effect on labor and price, especially for small runs. Each color requires it's own plate and the the requisite setup labor, and each additional color requires additional work in aligning all the plates to each other. Additionally, with a small run, they're likely to be using a smaller machine, which forces them to run the dust jacket through the press once for every color. So four color would double the time required to print the jackets once setup is complete.
Those costs really get driven down by volume. So, as Jim pointed out, it's not a straight comparison to a large run.
Really, we're talking about a pretty niche market here: sidereal astrologers who are interested in Aleister Crowley's Enochian scryings. It's all about the content. Anyone who's going to buy this book is going to do so based almost entirely on content reviews.
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@Alrah said
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@Jim Eshelman said
"PS - Our print run is way smaller than yours."Yes - but how many of these runs have you put thier way?
AV - even at runs of 2,000 my cost only went upto 1.80p for an entire mag."
And printing a dust jacket, which is printed on single sheets of heavy weight stock, requires a completely different machine, than printing a magazine, which is usually done with on a much faster machine, where the paper can pass immediately through each of the color plates.
The setup and labor differences between 2 and 4 color on a magazine are completely different than for a dust jacket.
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Our costs would be significantly higher.
And, just to be more blunt, our interest in four-color covers is so small that it's worth neither the time nor the cost.
Perhaps this is just my personal quirk. (I do tend to lean toward the "It's all about the words" end of the argument.) However, based on the majority of the comments here, this particular cover is a definite (and, admittedly, surprising) hit.
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I have no idea on price. I had no experience as a sales or customer person.
Just my perspective from a bindery point-of-view. Printing a dust jacket and printing a glossy magazine cover are separate processes, done on different machines. In the bindery I worked at, they were done on different factory floors, and required drastically different time and effort. Of course, each print shop and bindery is different, and will have a different mix of machines and personnel, so prices are going to be individual.
May I suggest we each take a pill of a chill variety? Eh, Do what thou wilt. I'm taking one. Gulp
On a side note: most bindery guys I know are appalled at the general shoddy binding of most books these days. 99% of the books out their are really crappy in that sense. Quality binding is key to the life span of a book, and I'm glad to see that Jim's books reach a much higher standard than the rest. I'm sure that these could all be published with vibrant 4 color covers, with a glued spine for cheaper. And I'm very glad they aren't.
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Binding-I'd pay more for that! My MTP and my 5" thick Golden Dawn deluxe edition are not holding up and I'm still a muggle. I'm one bad conjuration away from a piles of papers.
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Using acid-free components, and having the best binding available are essential, in our view. Excluding intentional destruction or serious accident, these books should last a hundred years.