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Returning to the home stitcher ... The Espresso Book Machine

This morning, back home the stitcher: paper cover will not dry, it is difficult to cut, the line (pre-drawn) by a subcontractor does not correspond to the width of the back, cutting is imprecise, books must be delivered in the afternoon, the production line can not be interrupted ...

Recently I was reading another article by Anne-Moeglin Lacroix insisted that artists' books in the 60 insiders had been created in the concern for controlling the entire production line of the book, from conception its realization. Hence the preference of the artist to turn to techniques for producing accessible and controllable - such as photocopying and offset-and the adoption of simple bindings require the least possible stakeholders. One imagines that Ed Rusha that time met his printer, drank with him a cup of coffee while exchanging some small talk, saw examples of achievements, was operating the machine, interrupting production at will, put their hands a little dirty ...
Today more question as a designer to intervene in the choices, careful, accidents of course: the manufacturing process, one we know, is no longer a tool that can attempt handle. The book is mostly given in a production line where love of books, know-how and advice tend to disappear in favor of a business model that dictates its law to produce, anything, provided that it is profitable. The book is thus reduced to the strict definition of product like a bottle of coca-cola or pair of sneakers, back to the level of consumer goods.

This is not like that part of publishers, authors and designers, intend to build the book. And for that, that they will find alternatives, new tools, like the artists of the 60s who tried to escape from the industrialization of knowledge. The hidden dimension of the book is in the care, kindness, patience that he be given at its creation. Its value is also reflected in the choice of paper that he will be assigned, presses inked many which have been printed, well-ventilated drying, sewing and cutting precise, binding solid, generous openness. Its weight, its smell, its bill will have so many signs of authenticity - authenticity extends only to the manuscript even long after his moment of Mechanical Reproduction - As the new book will not redefine its forms and qualities of existence. Its taste is on par with new practices, new trades and new skills, but also new commitments, new conditions of knowledge sharing and new temporalities design and production.

Good Inline Skates For Pavement

: Print on demand at the University

The University of Michigan has recently developed a machine for making books. The Espresso Book Machine printed and bound book of 300 pages in 7 minutes, sequence emotion



It consists of a black and white printer Kyocera FS-9530DN and a large format color printer Konica Minolta Magicolor 7450 for printing blankets. The software that controls the printing is Open Source (Open Printing Database ). The maximum finished size is 8.5 x 11 "or more or less 21.5 cm x 28 cm.

This machine contributes to the evolution of the practice commonly called Print on demand or POD (Print on Demand) and participates in the development of custom publishing (a book = individual), self-publishing ( self-publishing ) and sharing of academic resources.
Graphic designers, bookbinders, printers: On your marks to contribute to this technological and sociological instill quality and value-added fruit of knowledge and experience it takes at any cost share with industry to that the shape of the book can still be meaningful and contribute the editorial statement of a new era.

One Large Peg How Much Ml

Wikipedia and not the book


German Bertelsmann Publishing
17.0 x 14.0 cm 992 pages

€ 19.95 (including 1 € paid to the Wikipedia Foundation)
authors
90,000 20,000 entries
1000 illustrations ISBN
: 978-3-577-09102-2

Why? To whom?



As much as we headed towards the publication of collaborative content and collections, both this publication raises questions. Who will read the paper versions of the digital content if no mark, no statement is added by editorial publishers with versatile content from the web? As publishers position themselves in the digital opponent, try to stabilize their content that escapes from the hands to better control its value, they continue to panic about their fate and the fate of the book in general.

At this point, read the excellent manifest editor Sara Lloyd Digital * which reads in part; " Anyway, we will have for publishers, beyond their traditional boundaries and develop editing tomorrow, they will accomplish a revolution in form, their culture and their approach to digital. Digital publishing strategies will pass defense or the protection of creation, with emphasis on the offering opportunities for readers to share and transform what they read. Skip to the centrality of the text (text-centricity) will be critical to the multimedia, which will affect the types of fees that publishers will have to negotiate as well as the skills they need for their staff. Publishers should view themselves as shapers and enablers rather than producers and distributors. They must take a project approach rather than product approach and consider their place as an element of the publication circuit between writer and reader. They must adopt new business models and they will learn to become media companies rather than publishing. "

* at the head of Electronic Publications of Pan Macmillan has just initiated (in 6 notes) a manifesto for the digital publisher Digitalist.