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Get your book layout under control and publish like a pro with these formatting tips for print-on-demand books.

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Books hold many forms of magic within their pages, and book dedications are one such form. A book dedication is a way for authors to bestow a high honor on a person, place, or idea they want to spotlight or pay homage to. These dedications can be lighthearted, humorous, mysterious, or profound. Here are 100 heartfelt book dedication examples, categorized into various themes. Dedication to parents “To my mother and father, who never stopped believing in me.” “For my dad, who taught me the love of stories, and my mom, who lived them.” “To my parents, who planted the seed of knowledge in my…

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Sketch spread 2 - Pages 1 & 2

Sketch spread 3 - Pages 3 & 4

Sketch spread 4 - Pages 5 & 6

Decide how you want the layout ON PAPER where you want your images and text

Don't forget to stay away from the center of your spreads, as that is where the gutter is. Images/words put there will not be able to be seen

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work on Steps 5 & 6

Sketch spread 1 - Front & back cover

Sketch spread 2 - 4 Pages 1 -6

Decide how you want the layout ON PAPER where you want your images and text

Don't forget to stay away from the center of your spreads, as that is where the gutter is. Images/words put there will not be able to be seen

Decide how you want the layout ON PAPER where you want your images and text

sketch rectangles where you want your sentences to go.

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Look at Eric Carle's design style -

Would this style be easy or hard to use in Photoshop?

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Day 2 - Step 4 - Choose an Illustration style

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Day 2 - Step 4 - Choose an Illustration style

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After looking at Eric Carlyle and research different types of illustration styles, choose an illustration style for your story that you feel will fit the message of the fable, and works with your aesthetics.

Choose an illustration style

Save the 3 illustration style images to your DOWNLOADS and also copy them to your MS word document for reference for your story

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Download attachment

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Turn in a screenshot of your 3 illustration styles and an AI rendering of 1 of your characters from your fable. Your generated image needs:

1 animal

Background setting

Examples: Monkey in a forest, crab in a coral reef, horse pulling a cart on a road in the country

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Assignment 4 - TURN IN Sketching Thumbnail Layouts for Design

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Assignment 4 - TURN IN Sketching Thumbnail Layouts for Design

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Using a Zine for a thumbnail sketchbook.

THUMBNAIL SKETCH: A thumbnail sketch is a small, beginning drawing used by designers to quickly explore ideas, composition, and layout before committing to the final design.

TURN IN - Using the blank zine provided, complete a sketched Zine for your sketch grade

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Upload your illustration style to the generate image style reference section of AI to help design your characters

Enter in the type of animal in the Generate image box for AI to design it

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Separate out the animal from your background - Using AI create all additional characters in your story, masking the background out so they can be placed anywhere in the landscape.

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How to Generate AI Images in Photoshop with Adobe Firefly

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What animals are used?

What colors will be used?

How detailed, what types of textures and colors are used?

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Navigate to the Library of Congress website for Fables and choose a fable to illustrate.

Choose your fable

Copy your story onto a Microsoft Word file

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Day 1 - Step 2 - Divide your fable into 6 sections

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Day 1 - Step 2 - Divide your fable into 6 sections

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After looking at different aspects of this layout & text column, decide which words will be with each page.

There will be 6 pages for your fable. A few words/sentences need to be incorporated into each page. The picture you will be creating on each page will illustrate the sentences. Divide them into sections that work well together. Do not split sentences in half.

Divide your fable text into 6 pages in the Microsoft word file

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Eric Carle's website - how can his images help us?

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Eric Carle's website - how can his images help us?

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Questions to help develop your illustration style

Look at the shapes - are the edges consistent?

Look at the colors inside each the shapes - do the colors work together and what is similar with the colors?

Are there shadows in this type of illustration - what keeps similar colors from bleeding into each other?

How do the textures help define the shapes? Do the textures work better in the background or in the shapes?

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Welcome to the Official Eric Carle Website! Discover Eric Carle, Learn how he makes his tissues and even find out where his museum is!

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1. Choose a fable

2. Copy fable text and moral of the story to a MS Word document

3. Divide your fable into 3 sections using a page insert

4. First section will have Page 1 & Page 2

5. Second section will have Page 3 & Page 4

6. Third section will have Page 5 & Page 6

7. Each page will need 1 sentence written for the story

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Size: setup your book spreads

7"x11" - per page

14" x 11" -Total size of 2 page spread

Put a guide in the center of your spread to keep track of where your gutter is. Keep your lettering & important images away from the middle gutter and your edges.

4 spreads

Spread 1 - Cover & back cover

Spread 2 - Beginning of Fable

Spread 4 - Middle of Fable

Spread 5 - End of Fable

With each spread turned in with a screenshot, also turn in a screenshot of your layers as well.

***Keeping the images consistent through the story is important - use the tools you have learned in Photoshop with layers, warping, masking just to name a few will help to alter your original figures so they retain a similar look throughout the book.

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In very early times people told stories in which animals talk. By their actions the animals show how foolish or wise people can be.

Folklore scholars think that fables probably originated among the Semitic peoples of the Middle East.

The tales spread to India and then west to Greece.

Many fables go back to an ancient Sanskrit collection from India called Pancatantra (“Five Chapters”). These stories were told and retold through many generations. Eventually they reached Greece.

The Greeks added detail and action and made Aesop master of all the fables.

The Romans translated Aesop’s fables into Latin.

They were translated into French in the 13th century.

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Make sure the amount of text is balanced with the image.

Keep in mind:

The amount of text per page

Neutral space in the illustration for the words for better readability

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12 Illustration Styles Every Illustrator Should Know

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When it comes to illustration, there are plenty of styles and genres! Learn more about what they are and learn a new technique.

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Many picture books are 32 pages, which is a common format, but consider the story's length and complexity when determining the page count.

Based on the amount of text, what would be the reader's age this book was created for?

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Margins are the blank spaces between the edges of a page and the text or images. Gutters are the space between columns of text or pages in a bound document, making sure the words aren't hidden by how the book is put together.

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Select a clear and consistent font that is easy for the target age group to read

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Use ornamental scene breaks or other visual cues to signal transitions between scenes or chapters.

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Ensure easy-to-follow page layouts that guide the reader through the story

Keep where the wording & the page numbers are placed consistent

For stories for older readers: Use running heads (chapter titles) and feet (page numbers) and scene breaks to enhance navigation, keeping the font size small and aligned appropriately

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Choose a page size that is appropriate for the target age group, considering readability and practicality.

A book for a baby/toddler would be better smaller, less likely for pages to tear as they are still developing their fine motor skills.

Larger book sizes can be geared towards older children as their attention spans are longer and more information can be included on the page.

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Establish Setting. Illustrations that establish both place and time

Define and Develop Characters. Books that rely on illustrations to define and develop characters

Reinforce Text. Illustrations reinforce the story

Provide a Differing Viewpoint

Extend or Develop the Plot

Provide Interesting Asides

Establish Mood

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Make sure the images reflect what is happening with the text.

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Decide what will be included in your background -

Simple color background or texture?

Additional things based from nature or man-made?

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What secondary animals, creatures are included in the Fable you have chosen?

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Editorial illustration appears in both digital and print publications. ...

Fashion illustration is used to convey fashion designs through images. ...

Concept art is visual imagery created to convey concepts in various types of media such as video games, films, and animations.

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Editorial illustrations cover a wide range of topics, notably politics, social issues, and culture; for centuries, they have been vital for editorial design in attracting readers and enhancing their experience.

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Fashion illustration involves sharing fashion concepts visually, either by hand or with image and vector graphic editing software.

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Concept art focuses on visualizing ideas and designs for a project - like characters, environments, or props

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Research different illustration styles and think of how you would like your fable to look.

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I think the Christian publishing industry is quite unique in that we spend a lot more time thinking about what we have in common rather than what sets us apart.

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The layout should be appropriate for the target age group, taking into account their reading level and attention span

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Illustrations should enhance the narrative, showing characters, actions, and emotions, and potentially hinting at what's to come

The text should complement the illustrations, and vice-versa, creating a cohesive and engaging experience

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In the second part of a series for illustrators starting out in Picture Books , Words & Pictures Illustration Editor John Shelley takes a look at planning images and layout.

So you have a story, and maybe some character studies and other sketched drawings. The next stage is to plan out the book and make a dummy.

Storyboards

A common starting point for illustrators is to mark out a storyboard on a single sheet of paper, representing the whole book in small thumbnail sized squares. This allows the artist to pencil in the basic design of each page, plan how the story unfolds over the pages, divide up the text, see where the dramatic points are, and consider the rhythm of the images. As the sketches are thumbnail size and very simple it's an easy matter to rub out and redraw. Some illustrators draw tiny sketches or write the text on sticky notes which they can switch around the pages, though I find these have the annoying habit of curling up and falling off!

Sketching and Layout

Having roughly planned the book it's time to make larger sketches for each page or spread. Personally I draw pencil roughs at A5 size per page (so A4 for a double page spread) scan these to make my dummy and later enlarge for the final artwork stage, but everyone will have their own method.

All books (indeed all illustrators!) are different and the variety of style, composition and design is much too big a subject to summarise here. However here are a few commonly accepted pointers:

Boxed, Vignette, Spot and Full Bleed

(This may sound somewhat obvious, but it's worth clarifying!) In classically constructed books, a "
boxed" illustration has straight defined edges, possibly with a border or frame, and sits within the confines of the page, so there is a gap between the image and the trim (i.e. the edge of the page). The illustration might be cropped from a loose-edged original, or painted to a ruled edge. As the border encloses the scene these are particularly suited to images with a considered, balanced composition.

Vignettes are illustrations with faded or loosely defined edges. The loose edges incorporate the white of the surrounding page to give the image space, lightness and draw the viewer into the scene.

A spot illustration is a small free-floating motif, usually with no background. In picture books spots are particularly useful as visual addenda to the main narrative. Bleed refers to part of an illustration that runs off the page edges, ' full bleed' means an image that entirely fills the page and is cropped by the trim. Nowadays very many picture books are full bleed throughout, however it's particularly effective when suddenly brought into play for the most dramatic and panoramic images.

Big or Small?

A small image on a page surrounded by white space focuses on detail, so it might suggest quiet intimacy, or a key-hole view of a drama about to unfold. Some books begin with smaller images, then gradually open up to full bleed as the drama unfolds. The reverse can work too - big to small. A classic example of this approach is Sendak's
Where the Wild Things Are, where the first and last illustrations are small, with very wide white margins, while the central fantasy spreads are full bleed.

Another use of small images is to break up a series of actions into details on a page. So for example, a piece of text might describe a character putting on a coat, then shoes, then tieing on a hat... one single image would suffice to cover all these actions, but by separating each into a series of vignettes or spots on a page a sense of time and motion can be introduced.

Crescendos and Patterns

Picture books are a little like songs in that there is usually some kind of pattern or structure that the whole book follows, a regular rhythm flowing through, with choruses of loud, dynamic pages at key stages. It's equally true of both text and illustration. An image near the front of a book might be reflected with a similar design later to create a resonance.

Page Turning

A key element of picture books is the need to move the narrative forward - the reader should always be encouraged to turn the page. This can be done by building tension and expectation in the image or text, ensuring plenty of movement from left to right, and drawing the reader's attention to the page corners.

Rules are Made to be Broken!

Well, some of them perhaps. It's not necessary to mix image sizes in a book - regularity works well if the story has a strong rhythm. Full bleed images don't have to be panoramic. Within these basic patterns all kinds of fun can be had by breaking up these types and inventing ways to combine/contrast layouts. In fact this is what makes picture books so interesting. Go wild, be clever, be crazy! But remember, however mad the page layout, the narrative has to move forward, it has to be understandable as a book.

The key thing is to follow instincts suggested by the text, do what the story conjures.

Things to be careful of:
Remember the gutter (the book's hinge)! Avoid putting busy elements in the part of the book closest to the spine, they'll be lost in the final product. Be especially careful not to place key characters in the gutter!

Consider the text - where will it lie? How much space will it require? Will it run over the illustration or be separate on the page? Likewise, leave a good gap between text and the gutter and page trim.

Page design is a big topic with myriad aspects. It's a good idea to peruse a lot of picture books and examine how other artists solve the challenges of page layout. There's also a lot of inspiring stuff on the Web if you dig around - for example Design of the Picture Book is a useful resource.

Some illustrators make very elaborate dummies before submitting to publishers, but editors frequently say that a dummy that is too polished can actually make it difficult to consider the story. It's often recommended that artists sketch out spreads in simple black and white roughs, nothing too complicated, overlay the text, and draw just one or two finished images in colour to give an indication of the final look. Personally I sketch all my dummies in pencil on loose sheets, scan in to
Photoshop, adjust, then lay out using InDesign, adding the text. I might spend a long time tweaking, changing around and so on before I'm happy with the result. Finally I'll save as a lightweight .pdf which I can then either email to my agent/art director or print out, clip into a plastic file and show as a physical dummy.

He's illustrated over 40 books for children, many of them published in Japan where he lived for many years. His next title John Shelley is the Illustration Feature Editor of Words & Pictures and current Central East Network coordinator. The Stone Giant is scheduled for release by Komine Shoten in Tokyo this autumn, and Charlesbridge in the US in Spring 2014. www.jshelley.com

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Picture Book Basics - Sketches and Layout

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In the second part of a series for illustrators starting out in Picture Books , Words & Pictures Illustration Editor John Shelley takes a look at planning images and layout. So you have a story, and maybe some character studies and other sketched drawings.

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Original illustration  |   Style Reference with prompt: Cat in a garden  |  Animal taken out for background

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Photoshop Prompts

Separate your background from your main characters. This will allow you to place your characters where you want them in your setting, like a puppet.

Describe the scene:

Be specific about the location, objects, and characters in the illustration.

Specify the style:

Use keywords like "children's book illustration" "watercolor" "cartoony"

Add details:

Include information about the characters' expressions, clothing, and actions.

Examples:

Background - "A mushroom house in a colorful forest, children's book illustration style"

Character - "A cheerful, cartoon fox with bright blue eyes sitting down"

***THIS IS JUST THE BASE DESIGN - Use Photoshop to adjust colors, add details, or make other improvements to more closely reflect your thumbnail layouts.

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Choose a story for your illustrated book.

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Example of thumbnail sketching for layouts

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Example of thumbnail sketching for layouts

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How layout can change the look of a story - 1

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How layout can change the look of a story - 1

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How layout can change the look of a story - 2

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How layout can change the look of a story - 2

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Which spread is easier to read?

Which spread has better balance between the illustration and the text?

Which spread is more enjoyable to look at?

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14" x 11" -Total size of 2 page spread

Design book cover spread - pay attention to the placement of the front cover

Front cover requirements see below:

Title of the Fable

An Aesop Fable

Front cover illustration

Back cover requirements see below:

Extension of the front cover illustration

Title

Short synopsis of your fable

Bar code

Simon & Schuster logo

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Beginning of the story: Setting the scene

Pages 1-2

Requirements:

Background - support and complement the characters

Readable text on each page - consistent size, font & placement

Page numbers - consistent placement for each page

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Middle of the story: Developing the story

Pages 3-4

Be aware of how your textures interact with your shapes and make sure what is going on in your background allows the words to be readable.

Requirements:

Background - support and complement the characters

Readable text on each page - consistent size, font & placement

Page numbers - consistent placement for each page

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End of the story: Finishing the story

Pages 5-6

Keep the text away from the gutter and the margins, but the images do not have to stay completely on 1 page.

Requirements:

Background - support and complement the characters

Readable text on each page - Consistent size, font & placement

Page numbers - consistent placement for each page

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White text on a dark background

Black text on a light background

White shape around wording

Warped and bold text for EMPHASIS

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Colors can make a word/phrase more important or stand out.

Do NOT use yellow words on white background!

Make sure your colors have enough contrast for readability.

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Individual letters can be increased for more EMPHASIS

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Do not use cursive or script text. It is hard for beginning readers to understand the letters.

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You can also add a drop shadow to a lighter word to create separation between the picture and the words.

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Individual images can be paired with a line of text for further story development.

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You can do individual page designs

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Choose a readable typestyle that fits your illustrating style and story. It can be one that is already installed on your comptuer, or you can choose a font from this Adobe fonts link.

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Adobe Fonts partners with the world's leading type foundries to bring thousands of beautiful fonts to designers every day. No need to worry about licensing, and you can use fonts from Adobe Fonts on the web or in desktop applications.

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Or you can do a full spread illustration, just make sure there are areas for the text on both pages

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Glued down & End papers are blank. These are here to show how a book is put together.

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Spread 1 - Cover & back cover

Spread 2 - Beginning of Fable

Spread 4 - Middle of Fable

Spread 5 - End of Fable

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Even though you might have an idea of what you want your finished work to look like, sometimes you have a better idea later as you are working with your design in Photoshop and it is OK to change.

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How to Generate AI Images in Photoshop with Adobe Firefly

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Design inside cover spread

Pages 1-2

Pg 6 - Copyright page requirements:

Who you are dedicating your book to

Simon & Schuster copyright information

PUBLIC DOMAIN

FIRST PRINTING BY WILLIAM CAXTON

26 MARCH 1484

Flame Tree Collectable Classics November 24, 2020

ROCKEFELLER CENTER, 630 FIFTH AVENUE

NEW YORT 20, N.Y.

ISBN13: 9781839641800

Pg 7 - Title page requirements:

Extension of the cover illustration

Title

An Aesop Fable

Simon & Schuster logo