{"id":73453,"date":"2023-02-27T08:01:13","date_gmt":"2023-02-27T08:01:13","guid":{"rendered":"https:\/\/www.solopress.com\/blog\/?p=73453"},"modified":"2023-02-27T23:06:11","modified_gmt":"2023-02-27T23:06:11","slug":"den-ene-vej-den-anden-vej-afsted-vi-gar-en-paperback-historie","status":"publish","type":"post","link":"https:\/\/www.solopress.com\/blog\/da\/print-inspiration\/this-way-that-way-off-we-go-a-paperback-story\/","title":{"rendered":"Den ene vej, den anden vej, af sted med os! En paperback-historie"},"content":{"rendered":"
<\/div>

Vi har lanceret Paperback-b\u00f8ger<\/a> for f\u00f8rste gang p\u00e5 solopress.com, og den f\u00f8rste publikation, der gik gennem pressen, var skrevet af en af vores egne. Solopress-designeren Richard Kemp har skrevet en bog til b\u00f8rn med titlen \"This Way, That Way, Off We Go!\"<\/span><\/p>\n

Richard fik ideen til sin bog for 20 \u00e5r siden. I l\u00f8bet af den tid har den udviklet sig fra en samling l\u00f8se, h\u00e5ndtegnede sider til en fuldgyldig paperback-bog med sin egen stregkode og ISBN-nummer!\u00a0<\/span><\/p>\n

Vi har talt med Richard om den proces, han og hans mange\u00e5rige kollega og illustrator Matt Bruty har v\u00e6ret igennem for at n\u00e5 frem til den f\u00e6rdige artikel.<\/span><\/p>\n

En helt ny historie...<\/b><\/h2>\n

Richards m\u00e5l med bogen var at skabe en historie, der var let at f\u00f8lge for b\u00f8rn i f\u00f8rskolealderen og p\u00e5 f\u00f8rste klassetrin. Han ville gerne flette elementer af farver og t\u00e6lling ind i en fort\u00e6lletr\u00e5d, som alle b\u00f8rn kunne forholde sig til.\u00a0<\/span><\/p>\n

Stykke for stykke fandt han frem til historien om et barn og dets t\u00f8jdyr \"Thingy-Bob\", som skulle rydde op i deres leget\u00f8j. Men vi ved alle, hvor let det er at blive distraheret, mens man rydder op, og det tager ikke lang tid, f\u00f8r barnets livlige fantasi tager over. N\u00e6sten \u00f8jeblikkeligt begiver de sig ud p\u00e5 en magisk rejse, hvor de m\u00f8der aber, troldm\u00e6nd, rumv\u00e6sner og meget mere!<\/span><\/p>\n

\"\"<\/a><\/p>\n

Et tidligt opkald<\/b><\/h2>\n

At skrive for b\u00f8rn rejser en masse stilistiske sp\u00f8rgsm\u00e5l for forfattere. Mange af dem virker indlysende, men nogle er helt uventede.<\/span><\/p>\n

En grundl\u00e6ggende beslutning i starten kan v\u00e6re at beslutte sig for et k\u00f8n til hovedpersonen. Ethvert valg her kan begr\u00e6nse, hvor inkluderende bogen f\u00f8les for unge l\u00e6sere. Richard besluttede at omg\u00e5 problemet ved at lade barnets k\u00f8n v\u00e6re tvetydigt gennem hele bogen.<\/span><\/p>\n

Vi f\u00e5r aldrig et godt kig p\u00e5 barnets ansigt, og der er ingen specifikke pronominer til at fastholde karakteren. Det overlader det til den unge l\u00e6sers fantasi at beslutte, hvordan han eller hun ser karakteren, eller at s\u00e6tte sig i karakterens sted.<\/span><\/p>\n

At g\u00f8re undtagelser for b\u00f8rnene<\/b><\/h2>\n

Andre lige s\u00e5 vigtige sp\u00f8rgsm\u00e5l handler om, hvordan man udtrykker bestemte ideer i teksten. For eksempel handler Richards bog om tal og t\u00e6lling. Skal tallene vises som tal, eller skal de staves? Mens tal skrevet som en del af en s\u00e6tning oftest staves, besluttede Richard sig for tal, som han mente ville v\u00e6re lettere at genkende for b\u00f8rn.\u00a0<\/span><\/p>\n

\"\"<\/a><\/p>\n

P\u00e5 samme m\u00e5de valgte Richard at bruge store bogstaver til at udtrykke de forskellige farver i bogen. Selv om disse ord ikke ville blive skrevet med store bogstaver if\u00f8lge de traditionelle grammatiske regler, mente han, at de ville f\u00e5 st\u00f8rre gennemslagskraft med store bogstaver. Igen er der ingen forkerte svar, men det er godt at overveje disse beslutninger.<\/span><\/p>\n

Hvad er din type?<\/b><\/h2>\n

N\u00e5r det g\u00e6lder valg af skrifttype, er der forskellige opfattelser af, hvad der er en god skrifttype til b\u00f8rn. Mange mener, at sans-serif-skrifttyper er lettere at l\u00e6se.<\/span><\/p>\n

Seriffer er de sm\u00e5 streger i begyndelsen og slutningen af bogstaverne. Sans-serif-skrifttyper undg\u00e5r disse streger, hvilket g\u00f8r bogstavets kerneform lidt tydeligere. Ligeledes anbefaler l\u00e6seeksperter at bruge en version af det lille \"a\" uden \u00e5bningen i toppen.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Det er dog v\u00e6rd at bem\u00e6rke, at The Gruffalo og The Very Hungry Caterpillar bryder begge disse regler, og disse titler klarede sig OK! Andre b\u00f8rneklassikere som Tigerdyret der kom med te og Elmer har en serif-skrifttype, men med det lukkede \"a\".<\/span><\/p>\n

Richard var opsat p\u00e5, at hans bog skulle ligge inden for denne tradition, men samtidig virke s\u00e5 indbydende og tilg\u00e6ngelig som muligt. Han valgte en skrifttype, der hedder Cormorant Infant, en serif-skrifttype, der er tilpasset unge l\u00e6sere med det vigtige \"a\".<\/span><\/p>\n

At finde et niveau, at finde en stil<\/b><\/h2>\n

At skrive til denne aldersgruppe - fra b\u00f8rnehaveb\u00f8rn til elever p\u00e5 f\u00f8rste klassetrin - er en unik udfordring, fordi l\u00e6seoplevelsen \u00e6ndrer sig s\u00e5 radikalt i l\u00f8bet af disse \u00e5r. Det yngre publikum vil n\u00e6sten helt sikkert f\u00e5 bogen l\u00e6st op af en voksen. B\u00f8rn i midten af gruppen l\u00e6ser den m\u00e5ske sammen med en voksen. \u00c6ldre b\u00f8rn vil v\u00e6re i stand til at l\u00e6se den selvst\u00e6ndigt. Richard brugte sin bevidsthed om dette problem til at sikre, at der var noget for alle p\u00e5 hver side, b\u00e5de hvad ang\u00e5r ord og billeder.<\/span><\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Gentagelser er et almindeligt tr\u00e6k i b\u00f8ger til denne aldersgruppe, og det var et element, som Richard gerne ville have med. At have en gentagen s\u00e6tning gennem hele historien hj\u00e6lper med at afrunde hvert m\u00f8de, karaktererne oplever, og giver et sing-along-element for voksne og b\u00f8rn, der l\u00e6ser sammen.<\/span><\/p>\n

Oprindeligt var de gentagne afsnit, der afsluttede hver dobbeltside, l\u00e6ngere. Men da Richard bad om feedback fra venner med sm\u00e5 b\u00f8rn, mente de, at det var for langt. I stedet for at drive historien fremad blev det l\u00e6ngere gentagne afsnit lidt tr\u00e6gt og bremsede fremdriften. Som svar forkortede Richard s\u00e6tningen til:<\/span><\/p>\n

\"Kom nu, Thingy-Bob.<\/span><\/p>\n

Den ene vej, den anden vej, af sted med os!\"<\/span><\/p>\n

Talende billeder<\/b><\/h2>\n

Til at lave illustrationerne henvendte Richard sig til sin ven og kollega Matt Bruty, som selv er b\u00f8rnebogsforfatter. Richard og Matts mange\u00e5rige forhold som designkolleger bet\u00f8d, at de havde en kortfattet kommunikation mellem sig, s\u00e5 kommunikationen kunne flyde frit.<\/span><\/p>\n

Ved at udveksle ideer og skitser via Whatsapp kunne Matt skabe og arbejde p\u00e5 vektorfiler i Adobe Illustrator, som kunne udvikle sig med Richards input. Vektorbilleder er ideelle til denne type arbejde, fordi de kan skaleres til enhver st\u00f8rrelse og forblive redigerbare, indtil det er tid til at printe - du kan l\u00e6re mere om dem i vores <\/span>Guide til vektorst\u00f8tte<\/span><\/a>.<\/span><\/p>\n

Find en visuel stil<\/b><\/h2>\n

Den stil, de er landet p\u00e5, bruger et fladt perspektiv til at s\u00e6tte scenen for de genstande og figurer, vi m\u00f8der. De figurer, vi m\u00f8der, er placeret p\u00e5 stiliserede tekstkulisser og er fyldt med masser af personlighed og humor. Efterh\u00e5nden som bogen skrider frem, stiger antallet af figurer, vi m\u00f8der. Det giver b\u00f8rnene flere og flere muligheder for at udforske hver enkelt eller diskutere dem med deres voksne. Denne dybde i indholdet betyder, at bogen forbliver engagerende gennem gentagne l\u00e6sninger, hvilket er godt for b\u00f8rns udvikling og for\u00e6ldres fornuft!<\/span><\/p>\n

\"\"<\/a><\/p>\n

Mens hele bogen arbejder ud fra en konsekvent farvepalet med levende sekund\u00e6re og terti\u00e6re farver, har hver dobbeltside sit eget tydelige farveskema. Det er med til at give de unge l\u00e6sere en fornemmelse af sted og fremskridt, mens de f\u00f8lger deres vej gennem historien.<\/span><\/p>\n

Tid til en v\u00e5dpr\u00f8ve<\/b><\/h2>\n

Da alt indholdet var samlet, var Richard og Matt klar til at producere en f\u00f8rste v\u00e5dpr\u00f8ve. En wet proof er en fuldt realiseret trykpr\u00f8ve, som<\/span>\u00a0giver skaberen mulighed for at holde den \u00e6gte vare i h\u00e6nderne, identificere problemer og foretage yderligere justeringer.<\/span><\/p>\n

Det var tydeligt, at der var et par ting, som Richard gerne ville \u00e6ndre. Visse ord, der sad p\u00e5 m\u00f8rkere omr\u00e5der i baggrunden, var sv\u00e6re at l\u00e6se. Ved at flytte baggrunden og justere farverne kunne Matt skabe st\u00f8rre kontrast og dermed forbedre l\u00e6seoplevelsen.<\/span><\/p>\n

Andre steder syntes tekst og illustrationer, som tidligere havde haft god plads, at synke ind mod bogens ryg. Dette er et almindeligt f\u00e6nomen for paperback-billedb\u00f8ger p\u00e5 grund af deres perfekt indbundne struktur. En omhyggelig omplacering af elementerne p\u00e5 siden f\u00f8rte til en langt mere afbalanceret komposition.<\/span><\/p>\n

Udveksling af ord<\/b><\/h2>\n

Ud over at give Richard mulighed for at afpr\u00f8ve farverne og identificere eventuelle problemer, gav det dem ogs\u00e5 mulighed for at sende pr\u00f8ver til venner og bede om yderligere feedback. Nogle l\u00e6sere \u00f8nskede at se et mere detaljeret sprog. Denne feedback udfordrede Richard til at finde en balance mellem at introducere et mere dynamisk sprog og samtidig holde det tilg\u00e6ngeligt for unge l\u00e6sere. Mens Richard bevarede enkelheden i sit f\u00f8rste udkast, var han i stand til at berige nogle centrale s\u00e6tninger. For eksempel:<\/span><\/p>\n

\"Trylleformularerne r\u00f8g op i luften\"<\/span><\/p>\n

blev<\/span><\/p>\n

\"Besv\u00e6rgelserne br\u00f8lede ud i luften\"<\/span><\/p>\n

En anden kommentar handlede om forsiden. Med sine silhuetagtige figurer og d\u00e6mpede farver mente en ven, at den var lidt for afd\u00e6mpet. Richard og Matt tog kritikken til sig og fandt frem til et nyt design til forsiden, som var lysere og mere dristigt, og hvor teksten og de illustrative elementer fyldte hele siden.<\/span><\/p>\n

\"Gamle<\/a>
Den originale forside ved siden af den endelige version<\/figcaption><\/figure>\n

Omkring st\u00f8rrelsen p\u00e5 den<\/b><\/h2>\n

Det v\u00e5de pr\u00f8vetryk er ogs\u00e5 en chance for at bekr\u00e6fte de valg, du har truffet med hensyn til st\u00f8rrelse, papirtyper og finish p\u00e5 omslag og indersider. Til \"This Way, That Way, Off We Go!\" brugte Richard en brugerdefineret st\u00f8rrelse, der faldt inden for A4-dimensionerne.\u00a0<\/span><\/p>\n

At v\u00e6lge en brugerdefineret st\u00f8rrelse er ikke uden risiko. For det f\u00f8rste kan du uventet f\u00e5 dine omkostninger til at stige, hvis du v\u00e6lger et s\u00e6t dimensioner ud af den bl\u00e5 luft. Men ved at v\u00e6lge dimensioner, der faldt inden for A4, kunne Richard undg\u00e5 at \u00f8ge regningen.\u00a0<\/span><\/p>\n

En anden faldgrube er, hvis din bog falder uden for det, som forhandlerne er vant til at h\u00e5ndtere. Det er et st\u00f8rre problem for voksenlitteratur, hvor massemarkedspocketb\u00f8ger falder ind under et par konventionelle st\u00f8rrelser, der passer godt i b\u00e5de pakkekasser og salgsstativer i lufthavne.\u00a0<\/span><\/p>\n

Som man kunne forvente, er der langt mere spillerum, n\u00e5r det drejer sig om billedb\u00f8ger til b\u00f8rn. Med 210x270 mm er \"This Way, That Way, Off We Go!\" inden for de forventede parametre og ligger mellem 8\"x10\" og 8,5\"x11\", som begge er standarder for overst\u00f8rrelse i USA.<\/span><\/p>\n

\"\"<\/a><\/p>\n

Forsidehistorie<\/b><\/h2>\n

Til omslaget valgte Richard et satinlakeret 350gsm papir. 350gsm-omslaget giver bogen struktur, hvilket betyder, at den ligger godt i h\u00e5nden og st\u00e5r stolt p\u00e5 hylderne uden at falde sammen eller kr\u00f8lle sig under sin egen v\u00e6gt.<\/span><\/p>\n

Denne v\u00e6gt kombineret med satinlaminering giver holdbarhed og beskytter den til en vis grad mod de pr\u00f8velser og faldgruber, som et barns ejendele g\u00e5r igennem. Satin f\u00f8les ogs\u00e5 behageligt at r\u00f8re ved og har en visuel appel, der er mere livlig end mat, men ikke s\u00e5 ubarmhjertig som glans.<\/span><\/p>\n

Indre styrke<\/b><\/h2>\n

Mens en bog til det voksne marked typisk har sider p\u00e5 80, 100 eller 120 g\/m\u00b2, er Richards bog i 170 silk for at give lidt mere beskyttelse mod rivning og fugt.<\/span><\/p>\n

En anden og tredje runde med v\u00e5dpr\u00f8ver var nok til at fjerne hver eneste sl\u00e5fejl og designfejl, og s\u00e5 var det \"af sted\" for \"This Way, That Way, Off We Go!\" Hvis du vil sikre dig dit eksemplar fra det f\u00f8rste oplag, kan du <\/span>K\u00f8b dit eget eksemplar<\/span>.<\/span><\/p>","protected":false},"excerpt":{"rendered":"

We\u2019ve launched Paperback Books for the first time on solopress.com, and the debut publication that went through the press was written by one of our own. Solopress designer Richard Kemp has written a book for children, titled \u201cThis Way, That Way, Off We Go!\u201d Richard had the idea for his book 20 years ago. During […]<\/p>\n","protected":false},"author":134,"featured_media":73471,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[544,551],"tags":[],"class_list":{"0":"post-73453","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-print-inspiration","8":"category-solopress-news"},"acf":[],"yoast_head":"\nThis Way, That Way, Off We Go! 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