Create Your Own Great Photo Book

Introduction to self-publishing techniques
to create an amazing book of your
photographs or illustrations.
JOANN SONDY
Creative Aces Resource “Decks”
March 2015 [v1]
Copyright 2015 ◆ Joann Sondy ◆ Creative Aces Corp.
CREATE YOUR
OWN GREAT
PHOTO BOOKS

Create Great Photo Books
AN INTRODUCTION TO SELF-PUBLISHING TECHNIQUES TO
CREATE YOUR OWN AMAZING BOOK OF PHOTOGRAPHS.
This is ebook is the companion to a hands-on workshop, in which,
participants can immediately apply this new knowledge to create
and publish of their own photo book. The workshop will include an
overview of current print-on-demand publishing platforms for photo
books. An introduction to self-publishing options for photo rich books
from print-on-demand providers.
TOPICS:
■ Image Sequencing & Storyboarding
■ Front & Back Matter
■ Page Layout and Structure
■ Typography
■ Cover Design
■ Image Preparation
■ Overview: Shutterfly, Lulu and Blurb
■ Resources
From the first edit of images to printing books, this workshop/course
is intended as a practical introduction and overview of tools to create
beautiful photography books. Core principles of a great layout and
design, and applying to self-published book projects. Participants
will learn the ins and outs of typography, page layout, image editing &
sequencing, front and back matter, image preparation, cover design, and more.
CREATE GREAT PHOTO BOOKS
Photo: Ciao Newport Beach Blog
On the cover: "Carolus Linnaeus" (1982) by sculptor Robert Berks, located at the Chicago Botanic Garden, Glencoe, Illinois. Photo by Joann Sondy

Beginning with the end in mind.
We'll work toward producing the kind of book you want to
publish. Review the print-on-demand book options with
your own book product in-mind.
CONSIDER
■ Dimensions
■ Soft cover or hard cover
■ Number of of pages (24/48/60/100)
■ Image wrap or dust jacket
■ Bright white or pearl finished interior paper stock
■ Full color or black & white
■ Bleed or no bleed
Now, let’s reverse engineer the book and begin the
process of storyboarding.
BEGIN WITH A VISION
OF THE END PRODUCT.

IMAGE SEQUENCING
FIRST: Own the rights of content. If you don't own
the content, obtain legal/proper rights from the
owner.
SECOND: Theme or story line.
■ Be a “Ruthless” Photo Editor
■ Begin with a large batch of images to support
your theme
■ Edit into three piles: 1=Yes, 2=No, 3=Maybe
■ Discard/archive the rejected images
■ Edit the “YES” pile to support the number of
pages plus a few extra
“QUALITY VS QUANTITY”
Editing and sequencing the images is an art. Intuition plays a huge role and powerful role, however, you must learn to
remove your own emotion(s) from the process. Select images that express concepts and support the main story or theme of
the book. Visit the library and (used) bookstore, and ask for a second opinion.
Every image selected must have purpose to the theme.

STORYBOARDING
Typical structures are 1) beginning, 2) middle and 3) end. Organized as: flat, arc, cluster or scatter.
Most photobooks will be a hybrid of these four organizations.
FLAT OR LINEAR
■ Beginning – front cover
■ Middle – photos
■ End – back cover
■ Flat narrative
■ Reference books
■ Collection rather than narrative
ARC
■ Build tension, excitement, drama
■ Equilibrium
■ A disruption to the equilibrium
■ A recognition of this disruption
■ An attempt to restore the equilibrium
■ A restored/new equilibrium
CLUSTER
■ Organized groups of images and
text, think chapters.
■ Breaks up a flat or linear sequence
■ Sections should work on its own as
well as in a group
SCATTER
■ Challenge the viewer/reader to
make connections
■ Can use text, aesthetic pairings to
put the narrative across
N H t
N H t
N H t

MOTIFS
■ Recurring aspect
■ Selected styles for light, color and cropping
■ Stay true to the theme or storyline, guiding
the reader
TEXT
■ The text should support the images and theme
■ Shouldn’t use it for the sake of using it
■ Start to make connections
PAIRINGS
■ Make connections
■ Still images are static on their own
but together they make a moment
■ Chain of pairings, not just a pair
RHYTHM/FLOW
■ Trying to curate the method of reading
■ A person will roughly spend the same
amount of time on a spread
■ Eyes naturally fall to the right hand side of
the spread
■ Background color can affect the flow of the book
RESTS
■ A blank page is NOT always the answer
■ Negative (white) space balance
■ Use an image across the spread (both left & right pages)
CONDUCT YOUR SYMPHONY
N H t
Investing time to sequence your images is time well spent to add
energy and emotion to your photobook. Designers and editors use
structural techniques to create cognitive flow within a theme: add
pauses, build to crescendo, emphasis on single images and tell a
story visually.
N H t
N H t

RECAP: IMAGE SEQUENCING
WHAT IS MY MESSAGE?
WHO IS MY AUDIENCE?
■ Collect all information into one location – you may start to see
things you that you didn’t notice before.
■ Good and bad images – 'focus' on the theme of your book.
■ Decide what sort of structure is appropriate for your storyline.
■ Make pairings and sequences.
■ First sequence should include rests and rhythm.
PRO TIP: Storyboard your book and create a mock up. This helps you
envision the finished book as a singular piece, versus assembling it
page-by-page.

FRONT & BACK MATTER
When you're doing your research in the bookstore or local library, take note of the pages after you open the over. These page are
very important despite the mundane appearance.When you're structuring your book, the following (or part of the following) should be
included.
Front and Back Matter was cultivated from Joel Friedlander's website. The Book Designer.
FRONT MATTER can have several elements, not all will be
necessary or appropriate for your book; review and decide
which will be best for your photobook.
HALF TITLE—This page contains only the title of the book, the first
page the reader sees when opening the cover.
FRONTISPIECE—Left-hand page of the title page.
TITLE PAGE—Contains the title, subtitle, author and publisher of
the book. Illustrations or images are frequently placed here>
COPYRIGHT PAGE—Information on this page includes: copyright
notice, edition information, publication information, cataloging
data, legal notices, and the book’s ISBN or identification number.
Additionally, credits for design, production, editing and illustration
are listed on the copyright page.
DEDICATION—Optional, page following the copyright page.
EPIGRAPH—Optional, a short quotation from the author about the
book, its theme or creation.
TABLE OF CONTENTS—Also known as the Contents page,
this page lists all the major divisions of the book including parts.
Even digital books should have some sort of table of contents or
navigation for guide the reader
LIST OF FIGURES/IMAGES—Depending upon the theme and
structure of your photobook, you may want to consider a list
and thumbnail of the images. (In a digital book, this could be an
oppoortunity to link to online gallery/shop.) Include a list of all
figures, their titles and the page numbers on which they occur.
LIST OF TABLES—Similar to the List of Figures above, a list of
tables occurring in the book may be helpful for readers.
FOREWORD—Introductory section, usually written by someone
other than the author, a Forward may provide insight into the
context of the book and the author. Always signed and dated.
PREFACE—Written by the author, describing the idea and vision of
the book; signed with name, place and date.
ACKNOWLEDGEMENTS—An opportunity fo rthe author expresses
gratitude to individuals and/or organization for the creation of the
book.
INTRODUCTION—An explanation by the author about the
purpose(s) and goal(s) of the work and setting the stage for the
organization and theme of the book.
PROLOGUE—In a work of fiction, the Prologue sets the scene for
the story and is told in the voice of a character from the book, not
the author’s voice.
SECOND HALF TITLE—If the front matter is particularly extensive,
a second half title identical to the first can be added before the
beginning of the text. The page following is usually blank but may
contain an illustration or an epigraph.
BACK MATTER is reserved for author/photographer bio and
contact information, index, glossary, notes and other material
that is not part of the body of the book.

CHECK LIST OF YOUR PROGRESS:
✔ VISION OF FINISHED PRODUCT
✔ FULL UNDERSTANDING OF THE SPECIFICATIONS
✔ STORYBOARDING AND IMAGE SEQUENCING DONE
✔ FRONT AND BACK MATTER OUTLINED
✔ TEXT WRITTEN AND EDITED
✔ IMAGE FILES PREPPED AND ORGAINIZED

The concept of reverse engineering your finished book can ease the pain of putting it all together. Understand and commit
to the format and size of the book. The specifications provided by the printer should be followed exactly. An experienced
graphic designer can eliminate confusion when setting up and submitting files for book production.
The following is an overview to
elements a designer uses when
creating a book.
❶ Spread: Opened, displaying
left and right pages
❷ Inside margins
❸ Top Margin
❹ Botton Margin
❺ Header and Footer
❻ Center of Content Area
❼ Body Copy
❽ Font size (points) and line
spacing (leading)
PAGE LAYOUT AND STRUCTURE
3
PAGE STRUCTURE
aessequ asitatium inte volore, volumquis int isquiae scient
poreri re pre vene volori dolorum fugitibusam, is remo impos
ut alitibus sunt officiist, corae estor atem velest, optaqua
ecearume quatur?
Ibusam nusanietur alit quatem ipsum eicia is vid qui bero
molorehendi ut fugitemqui cumenim inulpar cimpori tatur,
eaquatu ritiatur? Quid ulparument lacest aut et rate
voluptatur, nullabo. Ut volo id quide experatur? Quis asinctat
re corruntios molupis doluptur aute num es non cum ipic
tem fugitatur, nis et ea vent accum etur adit accum nes
dusam, et et untiam qui coneste modit es auditatis es
aessequ asitatium inte volore, volumquis int isquiae scient
poreri re pre vene volori dolorum fugitibusam, is remo impos
ut alitibus sunt officiist, corae estor atem velest, optaqua
ecearume quatur?
Ibusam nusanietur alit quatem ipsum eicia is vid qui bero
molorehendi ut fugitemqui cumenim inulpar cimpori tatur,
eaquatu ritiatur? Quid ulparument lacest aut et rate
voluptatur, nullabo. Ut volo id quide experatur?
◆
Quis asinctat re corruntios molupis doluptur aute num es
non cum ipic tem fugitatur, nis et ea vent accum etur adit
accum nes dusam, et et untiam qui coneste modit es auditatis
es sequatem
HEADER
FOOTER OR PAGE NUMBER
FOOTER OR PAGE NUMBER
1
4
3
5
3
6
7
8
9
2

Use ample margins for top, bottom, outside and inside
margins; thus creating a wide gutter. This is extremely
important for hardcover books.
Add a running header and/or footer to your page
structure, these serve a guidepost for your reader; critical
if you’re including a table of contents in the front matter.
Small margins make a page look to cramped and can be
interpreted as difficult to read.
Use a running header and footer on your interior pages,
keep the page numbering simple and easy-to-read.
ESTABLISH A FOCAL POINT
■ Where do yo want the reader/viewer’s eye to go? In
a printed book, the eye naturally goes to right page.
■ Where will text blocks and cut line be positioned? In
a photobook, the images usually take precedent over
copy; however, the position of copy should not be an
afterthought.
■ Can you do image grouping? A larger image with
small grouping (cluster) is a layout which can
emphasize your theme or organize ideas throughout
the book.
■ Are full page images, page-after-page, the linear
story you intend?
KNOW YOUR PAGE SIZE
PRO TIP: Every chapter/section WILL begin on a RIGHT facing page.
NO EXCEPTIONS.

ESTABLISH A GRID
RECOMMENDED READING:
THE SCIENCE & ART OF
PAGE DESIGN:
Retinart: Secret Law of Page
Harmony
51 Elliot: Canons of Layout
Create a page grid which serves as a foundation to organize all the elements on the page.
A grid is the foundation and provides consistency for placement of objects (images and text)
throughout each page of the book.
A book designer adheres to a grid based on the “golden circle,” for an aesthetically pleasing division
of space on the page. This is a ratio that balances content blocks (images, text) with white space.
The rule of thirds, used in writing, photography and design, is a the description of how our eye
naturally gravitates to an intersection on the horizontal and vertical plane. Thus, you can create the
content area using a "rule of thirds" structure for all your page elements.
PRO TIP: Using a 3-column page structure give you several configurations for position and size your
images and text blocks creating consistency.
The "Golden" Circle

"LESS IS MORE"
PRO TIP: Note the difference when the top and bottom to avoid an awkward
split across the page gutter. Techniques used: enlarge the image and placed so
the gutter falls between the two figures.
Don’t overcrowd the page with numerous images, unless
it is done purposefully and fits within the scatter or cluster
technique.
Expertly placing your images on the page to add white
(negative) space allow the reader's eye 'rest.'
During the image sequencing stage, flag images that can
be used as full-page images. Look for the bold, dramatic or
emotional.
There are several consideration when selecting an image
to be placed across the spread (left and right pages flat).
■ How will the image fit across the gutter?
■ Can I scale or englarge the image without loss of detai
(aka dpi)?
■ Does the image have any negative space for headlines
or blocks of copy?
LEFT PAGE GUTTER RIGHT PAGE

SETTING TYPE
Selecting fonts for your project can be very personal. However,
there are some points to consider when making selections:
■ Are you syncing with your existing brand identity?
■ Do you need/want a decorative font for headlines or title?
■ San serif versus serif?
■ What fonts are available via the online layout application?
■ Are these Open source fonts?
CHOOSE WISELY
Connecting the font style to the theme of the book will accentuate
the images. For example, a serif font family (serif is the small
line attached to the end of a stroke in a letter or symbol) would
complement a historical or traditional theme. San serif font is well
suited for contemporary themes.
Keep your font families limited to two, definitely no more than three,
for the entire book. Book designers usually choose two fonts 1)
body text, cut lines (aka captions), chapter heads and 2) headlines,
footers and front and back matter.
PRO TIP: Serif fonts like Garamond, Jenson and Carlson provide
comfort to the reader when used as a body or paragraph font family.
BODY (SERIF)
Adobe Caslon
Minion
Adobe Jenson
HEADLINE (SAN SERIF)
Myriad Pro Bold
Poppl Laudito Medium
Franklin Gothic Demi
FONTS TO AVOID
Comic Sans
Papyrus
Times New Roman
Brush Script
Courier

SETTING TYPE PART 2
The Backstory 1
The backstory
Railroad ferries regularly crossed the Great Lakes before
cars, trucks or modern interstate highways existed. During
the nineteenth century railroads had grown to the point of
being the most efficient way to cross the country. There was
a certain difficulty that accompanied the railroad’s growing
success. By the beginning of the twentieth century, the most
efficient means to cross the continent had developed a traffic
problem.
Railroad ferries were created to resolve one of the nation’s
first, and largest, examples of gridlock. Chicago was where the
nation’s railroads converged, making it the hub of the country’s
transportation system. Manufactured goods and fuel from the
east passed through Chicago on their way to western destinations.
Agricultural products, from the Midwest, were directed through
Chicago. Beef, from the southwest came to Chicago, was processed
and sent back out again to be distributed nationally through
the rail system. Passenger trains were also part of the mix. Trains
moving people were forced to slow-down while passing through
Chicago’s traffic-jam. Freight trains usually just stopped; they
had to wait while the passenger trains passed. Sometimes entire
freight trains became lost in the maze of switching yards adjacent
to Chicago. Locating a lost train, and sending it on its way,
could take as long as a week. There was a huge “means of access”
problem plaguing the very center of the entire national railroad
network. The railroads implemented a pragmatic solution: Rail car
ferries simply circumvented the clogged-up pinch-point.
The Steam_Ship_Milwaukee was one of the first generation
Lake Michigan railcar ferries. She carried rail freight across Lake
Michigan. Grand Haven Michigan and Milwaukee Wisconsin were
her ports of call.
PRO TIP: Give chapter openings special
treatment. When you’re at the library
researching books in your genre, take
special note of how the publisher
artistically presented the chapter or title
page. Every chapter begins on a RIGHT
facing page and contains the chapter
number, chapter title and some illustrative
or graphic.
Be generous with the font size, and comfortable for reading (mininum of 11 point), about
10-15 words per line and keep the line height (leading) open. Don't force it to make copy fit
on a page.
Justified paragraphs are a must! A ragged right edge of your body text makes your pages
look unfinished. Full justification and NO hyphenation are details that add to the professional
appeal of your book.
Indent the first line of the paragraphs. Another detail which contributes to the appeal of the
final project. Block paragraphs with the empty space after each will make your book look
like a business memorandum.
PARAGRAPH JUSTIFICATION EXAMPLES
RAGGED LEFT
Ic te rerio ex et estemquunt
pos vendae volupitati veliae.
Itassequatis il molupta
turepudit velitionet eum dolore
placese dellupt atquide se
voluptisquae doluptam re laut
am quatinvelest voluptatus
debitiae nihillaut mos unt
volessitat laccum volupta
volupta tentiis ciaspidebit, a id
est labo. Et quia veribearum re
magnim vernam, si doluptios
ex earchilla sendus a que aut
estione cernam quatus.
RAGGED RIGHT
Nam et re nobit maxim aute
excest, sinvel maximinciae
cuptatur sum voluptio.
Onsequi asperio. Nam inverit
vollita tureseq uassequis
de num volore, voluptat et
exernatur aceatur, quaerror
asped quundisque cum lam
fugitatestin nus arum eatur
rerovit lab in es ut rates
dionsed quiam qui qui blabor
rem in pres voluptur, te niet
harumque nimi, andae volorer
speribusam quiatetur?
JUSTIFIED (L-R)
Rum que delit litatatur
accuptatiam re nonsequid quam
acepudi tisciamus delibuscia
velescid que nonsernatus
mil iliqui aut alique adistis
evenditemo eum, non perior
solupta spelique pro el in preius
sita cullorum sinctet verferrum
et alit re num aut voluptatur,
que es est volupiciis quae ventiat
et ut re renis ea dolupta tempel
ipit, sum quam ea debis si
doloribusa dellore mporeressit
lat.

COVER DESIGN
The cover should be the “essence” of the book's theme.
Entire books can be written about cover design, below are
some 'guidelines' to designing your cover.
AN INVITATION TO ENTER
Sketch ideas for the cover. Execute after interior is
complete.
Executing your storyboard and sequencing the images
into a book oftentimes ignites the cover design.
Immersion with each element on every page casts new
perspective for the cover. After editing, repositioning and
tweaking the content, what you may have considered as
the cover at the onset of the project, maybe disconnected
to the book.
The cover is a puzzle–all the pieces fitting together to
form a complete image. Make it easy for the reader
to understand the message without (visual) confusion.
Organizing the pieces in order of importance. Obviously
the title and author’s name are given priority. Layout
the pieces of the cover so the reader’s eye will naturally
flow from one to another, like title to author’s name. You
are using the cover to tell a story about the book, using
imagery that depicts the theme and evokes emotion, but
avoiding cliches.
BEST PRACTICES
■ Avoid slanting type or titles.
■ Vertical type (except on the spine).
■ Font weights (extreme bold or light weight type).
■ Color evokes emotion–use it to your advantage.
■ Make sure it is legible as a thumbnail.
■ Consider using your BEST image that defines the theme on the cover.

IMAGE PREPARATION
Another topic worthy of in-depth discussion is image preparation. Image sequencing is complete and selections made for inclusion in
the book. The next step is to review the specifications from the printer or print-on-demand provider. Understanding the specifications
of the book are KEY to successfully preparing the images for printing.
Importing Images into Blurb’s BookWright or BookSmart®
■ You can only upload JPG (jpeg) or PNG images.
■ All digital cameras can produce JPG, but if you require a
transparent background then use PNG (8 bit non-interlaced)
■ Image resolution should be 300 PPI and certainly no less that
150 PPI
■ sRGB color profile, including B&W images
■ No image should exceed 10MB or 4000 pixels in width or
height.
Largest images (for covers and pages with full-bleed images)
should be no larger than:
■ B/W Text 5”x8”: Cover 1663px wide x 2550px high; interior
pages, full bleed: 2063 x 2076
■ Square 7”x7”: Cover 2225 x 2142; Interior pages, full
bleed: 2063 x 2067
■ Standard Landscape 10”x8”: Cover 3038 x 2555; Interior
■ Standard Portrait 8”x10”: Cover 2530 x 3080; Interior
■ Large Format Landscape 13”x11”: Cover 3955 x 3342;
Interior pages, full bleed: 3788 x 3263
■ These dimensions will all give resolutions of approximately
300 PPI (pixels per inch)
Lulu.com’s book sizes are similar to Blurb, the above can
guide you when preparing images; best to review the product
specifications.
If you are using InDesign and comfortable working in CMYK,
all images will converted when the print-ready PDF is exported.
Blurb’s plug-in for InDesign brings all the tools to set-up and
deliver your files for production.
Apple iBooks Author image requirements are different:
■ All images except the book cover should be 2048 width x
1496 height pixels.
■ Your book cover should be 1004 width x 768 height pixels
■ sRGB or Adobe RGB color mode
■ Save images as JPEGs, maximum quality
Shutterfly.com makes it easy to upload images directly from
your smartphone or social media accounts to produce books and
other photo products. Shutterfly’s photobooks are very template
driven and lack the professional level tools to customize. NOT
recommended for professional-level projects.

OVERVIEW: SHUTTERFLY
Shutterfly is the company's core business for photo books, cards and gifts. Other entities: Tiny Prints (premium greeting cards),
Wedding Paper Divas (wedding stationary), ThisLife (on-line storage for photos & videos); and, Borrowlenses (photograhic and video
equipment rental.
Three options for begin a new photo book project:
CUSTOM PATH: You have more creative control.
SIMPLE PATH: Shutterfly arranges the pictures for you.
PHOTO STORY IPAD (ONLY) APP: book creation tool for iPad;
option to add finish via website.
■ Sizes range from 8x8" to 11x14"
■ Hardcopy and softcover options, review availability for book
sizes.
■ Die-cut cover options, addition fee ~$10 per book
■ Hardcover choices include: padded, genuine leather and
crushed silk.
■ Offers lay-flat pages for hardcover books only.
■ Matte or satin finish interior paper options.
No ability to upload offline print-ready file (PDF or InDesign).
Lacks distribution and selling options.
Suggested uses for personalized books, weddings, family albums, portfolio, etc. Order a proof!
Visit the website for more information: shutterfly.com

OVERVIEW: LULU
Self-publishing for print-on-demand books, ebooks, music, images and custom calendars. Authors set their own royalties and control
the publishing process. Publishing and selling a photo book is just one avenue available. Please note that ISBN numbers are NOT
required to sell the finished product, however, ISBN is required if you intended to distribute to resellers like Amazon and B&N.
Overview of photo book options:
■ Sizes range from 8.5x8.5" to 12x12"
■ Prices per book $12.50 to $45; depending on options and
page count
■ Hardcopy and softcover options, review availability for book
sizes.
■ Cover choices: hardcover, softcover and casewrap.
■ Interior page templates/guides
■ Spin width calculator
■ Print-ready PDF upload for interior and cover (these must be
seperate files)
■ Limited interior page finishes; best choice for photobooks is
80# Gloss.
■ Sell on-line, set your retail price and royalty.
Suggested uses for photography & text. Ordering a proof is a
must.
Visit the website for more information: lulu.com

OVERVIEW: BLURB
Blurb® is a self-publishing and marketing platform, boasting that it's book creation tools
"makes it easy to design, publish, promote, and sell professional-quality printed books
and ebooks."
Three options for begin a new photo book project:
BLURB BOOKMAKING TOOLS: Online, Bookwright (MAC/WIN) and BookSmart
downloadable applications.
ADOBE PLUG-INS: Plug-ins for InDesign and Lightroom t.
UPLOAD PRINT-READY PDF: Upload your own PDF file; built to specifications.
■ Sizes range from 7x7" to 12x12", 13.x11" landscape (webpage)
■ Cover choices: softcover, hardcover (w/dust jacket option) and image wrap.
■ Five interior papers: Semimatte 80#, Matte 100#, Premium Lustre (hint of gloss)
100#, ProLine Uncoated 100# and Proline Pearl Photo Glossy 140#
■ End paper color options
■ On/Off choice for Blub logo (fee to turn off)
■ Starter templates which are primarily page structure and guides.
■ Consult with "Dream Team" or freelancers
■ iPad conversion for ~$10
Sell via Blurb AFTER you've purchased minimum one copy. Set retail price and royalty, no
seller fees. No ISBN required.
Sell via Amazon and Apple iBookstore. Distribute via Ingram (globally) ISBN number
required. Seller fees apply.
Visit the website for more information: blurb.com
EXAMPLE: 7X7" PHOTOBOOK
40 interior pages
ProLine Pearl Photo Glossy 140#
Imagewrap cover
Black End Pages w/ Blurb Logo
QTY <10 = $45.00 EACH

RESOURCES
Joann Sondy, creative director of Creative
Aces, is a design and publishing firm with
a focus on visual storytelling.
Specialty is high-quality digital publishing
of pitch decks and publications.
Since 2005, Creative Aces has published
six books and products associated with
each. We currently have three books
available on Apple iBookstore and Amazon.
All six have been self-published by us.
Design, layout and content by us. I have
personally consulted with friends and
colleagues who have self-published their
own books.
Visit us:
www.joannsondy.com
www.creativeaces.com
Email: joann@creativeaces.com
I WANT TO HELP YOU PUBLISH YOUR
BOOK!
CONNECT & SHARE
ABOUT
The Ultimate 12-Slide Structure
For Any Presentation
CREATIVE ACES
Marketing “Decks” for Small Business Marketing July 2012
Universal
Pitch Deck
Please forgive any overlooked typos and grammar; I did not have the budget to include an editor and proofreader for this project.
• How to Prepare Images for InDesign or PDF to Book Using Adobe® Photoshop®
• How to Prepare Images for Blurb BookSmart® Using Adobe® Photoshop®
• How to Prepare Black and White Images for Blurb BookSmart®

Create Your Own Great Photo Book

Recommandé

Recommandé

Contenu connexe

Dernier

Dernier (20)

En vedette

En vedette (20)

Create Your Own Great Photo Book