A book estimate usually takes 24 to 48 hours to prepare. Non book or book plus items may take longer. Please contact your sales executive and provide the following information:

Title
Quantities
Trim page size and orientation (portrait or landscape)
Number of pages in multiples of 4
Binding (see Binding Styles)
Text paper and printing colors (see Paper)
Endsheet and printing colors (see Endsheets)
Case materials
Dust jacket
Cover stock if paperback
Types of proofs
Shipping requirements, arrival port or warehouse destination.
Schedule requirements
Any special production or packaging requirements

A brief note on estimate:
The unit cost indicated is the manufacturing cost. Shipping and prepress are quoted as separate line items.
Most estimates have the manufacturing and a run on cost. A run on is the unit cost that you be will charged for any copies shipped over the ordered quantity. The industry standard is 5% over or under the ordered quantity.
Upright or portrait format books are more economical than landscape books.
Paperback books are less expensive than flexibound or hardbackbooks.
Based on standard sheet size, the most cost effective trim page sizes are upright 6” x 9” (22.8 cm x 15.2 cm), 7.5” x 10” (25.4 cm x 19 cm), and 8.5” x 11” (27.9 cm x 21.5 cm).

Paper Sizes

Here are some general guidelines for scheduling your project:
Prepress
Prepress usually takes 1 month to 2 months. This depends on whether we are sending proofs or if you are supplying final CMYK color proofs. Please allow for two rounds of color proofs and one round of digital ozalids. Please discuss your prepress workflow with your sales executive.
Manufacturing
Printing and binding for a standard hardback or paperback book is 4 weeks. If your project requires special treatments, manufacturing time may be longer.
Shipping
Door to door delivery takes approximately 5 to 6 weeks to US and European warehouses, 3 weeks to Australia and New Zealand warehouses.

Some additional notes about scheduling:
• UPS and FedEx packages take 2 days travel from Hong Kong to US and Europe.
• UPS and FedEx packages take 4 days from US and Europe to Hong Kong.

Book binding is the process of assembling printed and folded signatures into a book block and applying either a paperback cover or hardback case. Our standard binding is smyth sewn, which is the strongest type of binding.
The advantage of printing with Asia Pacific Offset is that your imagination or your budget is the limit. Take advantage of our 20 year-plus experience in printing and binding to make your project idea into a reality.
To stay within budget, machine binding and sewing will provide great savings. For larger trim sizes or thicker books, you have the option for hand binding and casing-in.

Here are the maximum sizes for machine binding:
Upright / Square Back
Maximum width is 12" (30.4 cm)
Maximum height is 15" (38 cm)
Spine width is 1.5" (3.8 cm) for 12" x 15" (30.4 cm x 38 cm)
Trim page size is 11.75” x 14.75” (29.8 cm x 37.4 cm)

Landscape / Square Back
Maximum width is 12" (30.4 cm)
Maximum height is 12" (30.4 cm) or less.
Spine width is 1.5" (3.8 cm) for 12" x 12" (30 cm x 30 cm)
Trim page size is 11.75” x 11.75” (29.8 cm x 29.8 cm) (square)

Upright / Round Back
Maximum width is 11" (27.9 cm)
Maximum height is 15" (38 cm)
Spine width is 1.5" (3.8 cm) for 11" x 15" (27.9 cm x 38 cm)
Trim page size is 10.875” x 14.75” (27.4 cm x 37.4 cm)

Landscape / Round Back
Maximum width is 11" (27.9 cm)
Maximum height is 11" (27.9 cm) or less.
Spine width is 1.5" for 11" x 11" (27.9 cm x 27.9 cm) (square)
***
Maximum spine width is 2.5" (6.35 cm).

Hardback binding, also known as case binding, involves sewing each individual signature for durability, adhering all the signatures to a muslin binding strip, and then anchoring the resulting "book block" into a cloth-covered or paper-covered rigid board "case." Heavy endsheet paper is then glued over the inside of the case to both decorate the inside front and back of the book and to lock the book block into place by anchoring the ends of the backing strip. Small strips of decorative fabric, known as head and tail bands, are attached at the top and bottom of the spine.

Signatures are prepared for a limpbound binding just as they are for hardback binding; they are folded and then sewn together for durability. However, they are placed into a sturdy paper cover. This durable binding makes for the highest quality paperback available. Limpbound books can be further enhanced by adding flaps to the front and back covers. This is our standard binding for all paperback books.

Perfect binding involves gathering all the signatures for a book into a book block and then grinding off the spine of that block to produce a neat stack of individual sheets. These are then glued into a heavier paper cover to produce a square-spine, paperback volume. This binding is used for the vast majority of trade paperback books because it is easy to produce and economical.

The major disadvantage to perfect binding is its lack of durability. Basically, each individual page is "padded" into the glue along the spine. Sometimes if the spine is forcibly cracked, or the glue holding the spine together ages and becomes brittle, individual pages can fall out of a perfect-bound book.

Notched binding is a combination of the cost-effectiveness of perfect binding and the durability of limpbound binding.

Notched-binding signatures are folded and gathered into a book block just as they are for perfect binding. The signatures are "notched" in alternating bands. The crossover tabs of paper connect every page to another page, providing dramatically improved durability, while the notches allow the spine glue to move into the signature, adhering the innermost pages.

Flexibinding is a popular hybrid between a paperback and hardcover binding. This format is popular for handbooks, guidebooks and journals. The book blocks are sewn and have endpapers. The covers are usually made with laminated paper over a lightweight board and a round backed spine, which allows the book to lie flat. It is a less expensive option than hardback binding, but offers a higher perceived value than a traditional limpbound paperback.

Wire-o is a general term used to indicate different binding styles in which the cover and text pages are not sewn, but rather held together by a metal or plastic wire-o, spiral or comb.

Sometimes confused with spiral or coil binding, Wire-o binding does not spiral through the printed material, but instead travels in a back-and-forth path that creates a kind of wire comb. This style is popular in the production of calendars and paperback books such as manuals and reference titles that need to lay flat when in use.

There are several options for dressing up a Wire-o binding. You can have a semi-concealed Wire-o binding that provides a printable spine. Semi-concealed is available in a paperback or hardback version. You can also use a concealed Wire-o style that almost completely hides the binding and presents a clean and attractive appearance while maintaining the advantages of a lay-flat style.

Spiral binding has the lay-flat advantages of Wire-o, but its architecture is slightly different. As with Wire-O, the book block is punched with a series of small holes. A coil binding then is screwed into those holes from one end of the block to the other. You can use plastic or metal spiral.

This binding style is sometimes used on cookbooks and other titles that must lay flat when in use. It uses a plastic toothed “comb” to hold the book block and covers together. Plastic binding is available in various colors.

Board-book binding is unlike any other and is used almost exclusively on titles for children. Each page is a rigid board that is faced with a printed (and often varnished) sheet on both sides. The sheets run from board to board creating a hinge between each page, and it is these hinges that hold the whole book together.

Nonbook products include a wide variety of products from stationary to kits to ceramic items. Asia Pacific Offset, together with our colleagues in Hong Kong, have years of experience in helping our clients develop new products. We offer suggestions for the most cost efficient and high-end options to make your product unique. As one stop shopping source for your project, we bring together all elements in a kit, from a princess tiara to a special ceramic bowl. Please contact your local sales office to find the options available for your project.

The paper selection is one of the most important decisions to make when designing your project. There are many considerations to take into account: project subject matter, best reproduction method, cost, and availability.

Asia Pacific Offset offers several papers as stock papers, ranging from uncoated to matte coated papers. We also use local paper merchants to provide a wider range of stocks. Most of the papers from the local market are on a first come first serve basis, please make sure to provide your paper order and quantity confirmation as indicated in your schedule.

For larger quantities and paper usage, we will order the paper directly from the paper mill; depending on the paper, it takes approximately 2-1/2 months for paper to be delivered from the mill and sheeted for your project.

Asia Pacific Offset is certified to use materials certified by the Forest Stewardship Council. The rules and regulations for applying these logos to projects are very strict; please indicate your requirements to your sales executive to make the necessary accommodations in the schedule.

We are also able to source PREPS graded papers. Please ask your sales executive if you have questions regarding your selection and stock availability.
Asia Pacific Offset offers recycled papers with varying amount of post consumer recycled pulp.

This is the thickness of the paper stock. Asia Pacific Offset uses the European grammages for the paper weight. Please use the chart to translate the US weights to European Weights. The most common stocks available are 115 gsm, 128 gsm, 140 gsm and 157 gsm matte coated sheets, and 100 gsm, 120 and 140 gsm uncoated or woodfree sheets. Weight Conversion PDF.

The coatings most commonly available are matte, glossy or uncoated.
Uncoated paper is a good selection for line art and softer images. Coated papers are best for art and sharp images.

In addition to the paper selection, there are several components that make up a book.

Depending on the type of binding, your book will have a paperback cover, hardback case and/ or jacket.
A paperback cover may be a coated one sided (C1S) artboard or a coated two sided (C2S) artboard. Our standard recommendation is 260 gsm or 310 gsm coated one sided artboard, and you will select a finish.

A case can be made using real cloth, imitation cloth, leather, imitation leather or a printed laminated case with a finish applied to it. All cases are wrapped over gray board, our recommendation is minimum 2.5 mm board. For larger trim size and landscape books, the minimum recommendation is 3 mm board. There are many choices available for case materials, please contact your sales executive to help with the selection. When submitting files, don’t forget to include the stamping file for the spine and the front case.
A hardbacks may also have jacket wrapped around the case. The jacket is usually printed 4 color on glossy paper with a finish applied to it.

Each component should be submitted as a separate InDesign or Quark file. Please contact your sales executive to receive a template based on the final specifications for your project.

Here is an explanation of the standard finishes that can be applied to covers, cases, and jackets. There are special techniques that can be applied to the cover, case, or jacket to emphasize a design element. When submitting a file that requires a special technique applied to an area of the cover, case or jacket, each unique element needs to be provided as a separate layer in InDesign, set at 100%. 

Lamination
Film applied after the printing is completed. This technique provides the greatest protection; it is available in gloss or matte finish.

Varnish
Varnish is a liquid finish that can be applied to seal the ink onto the printed sheet. Varnish is available in gloss or matte option. Varnish is not as durable as lamination.

Spot UV
Spot UV is varnish that is set using a UV light; finish can be gloss or matt. The UV is applied to a specific area of the cover, case, or jacket to provide a contrast to the lamination applied. Spot UV is not recommended for any flexible areas, such as the hinge area.

Foil Stamping
This is created using a stamping die and is applied after the printing is complete. The foil can be shiny, matte, or pigment color. If there is no color applied, it is called blind stamping or blind deboss.

Emboss/Deboss
Emboss is the die used to raise an element. Embossing can only be applied to a cover or jacket. To deboss is to recess an element into a case, also called blind stamping. Debossing is pressed down and is generally applied to a case after the case material is applied to the board.

You can use one or two or three of these techniques. There are other alternatives as well, so please take advantage of our expertise and ask your sales executive how to best realize your cover, case or jacket design.

Endsheets
Endsheets are the uncoated pages at the beginning and end of hardback or flexibound books that are glued to the inside case and to the first and last page of the book block. Endsheets can be unprinted or printed.

Endsheets are printed separately from the book block, and are therefore not counted as part of the text pages. Endsheets files should be submitted as separate files from the text and case.

Books with smaller pagescan be bound as self-ends, meaning that there are no separate ends. Page 1 and last page of the book block are then glued to the case. If you chose this option, design text with these two pages blank.

Gatefolds are an oversized page that folds out of the printed book. Gatefolds are a great way to showcase a large painting, graphic, map or any similar material. They look easy and fun to include, but they are quite complicated and should be designed very carefully.

Gatefolds should be designed and placed between signatures or in the middle of the signature to provide the strongest bind in the book block.

Gatefolds can be tipped in or glued in the signature, but the gatefold will have a glue strip to adhere it to the book block.

The most common gatefold is a 6 page gatefold. Although two pages appear to be part of the book block, they are actually printed separately and should be designed as such.

A 4 page gatefold is normally tipped or glued in the book, they are not sewn in the book block.

If you have any questions on how to design your gatefold, reach out to your sales executive early in the design process.

In most countries, items manufactured overseas require clearly printed country of origin. For hardback books, country of origin must be clearly marked on the jacket and the copyright page, since the jacket can become separated from the book. If you have any questions, please contact your sales executive.

90% of our projects are printed in China. A few projects need to be printed in Hong Kong because of the subject matter. If you are not sure if your project should be printed in China, please inform your sales executive when the project is quoted.

You will receive two different kinds of proofs for each project, color proofs and ozalid proofs (ozalids are also known as plotters or bluelines).

There are several choices for color proofs, from lowest to highest price: digital proofs, digital wet proofs, wet proofs or press test. The color proofs are the final guide on all issues related to color. You should review these proofs carefully. If you would like to make a change, please provide color corrected hi-res image files for replacement. Always return 1 set of marked up or approved proofs.

The digital proofs are hi-res CMYK Epson proofs, output on Epson paper. They are faster to output and the least expensive alternative for hi-resolution color proofs.

The disadvantage of using Epsons proofs are they are continuous tone, instead of CMYK screen. Moires, trapping or overprint issues will not be evident. PMS colors and tints are not accurately depicted. Digital proofs are not suitable to show line art or rules (which will appear thicker), or black and white, duotone or 4 color black and white images. Since digital proofs are output on digital paper and not the paper that will be used on press, the colors will appear different while on press. Digital proofs are not suitable for books printed on uncoated or woodfree papers.
This type of proof provides 1 set of proofs.

This is a digital proof (using toner), but on the actual paper on which the book will be printed. It uses a simulated screen, but without the additional cost of creating plates. It is more color accurate than a digital proof. Similar limitations that apply to digital proofs also apply to digital wet proofs; PMS are CMYK simulated, line art will appear heavier than in the finished printing, and digital wet proofs should not be used for duotone image, since the 2nd color is usually a PMS color.
This type of proofs provides 1 or 2 sets only.

Color wet proofs are one of the most accurate color proofs and the recommended proof for color critical projects. They are produced using print plates on the paper that will be used during printing. The proofs are created on a proofing press, using two ink wells. Since ink and plates are used, PMS colors can be accurately depicted. Because the plates are manually registered and proofed on a proofing machine, registration and dirt spots can be seen on proofs. This type of proof is suitable for high quality art and if 4 proofs are required to be sent to several parties for approval.

These are the most color accurate and the most expensive type of proofs. These use plates, the same paper that will be used on press, and are output on a printing press, not in a proofing room. Because they are placed on the printing press, the proofs take more time to produce as they have to be scheduled between bulk printing projects. This is the most accurate proof, but their cost is prohibitive in proofing an entire book. We recommend ordering press test of one or two forms and proof the rest of the project as other types of proof.

The last item you will review before the plates are created is the ozalids, plotters, or bluelines. The ozalids will show you imposed pages in correct sequence. Ozalids are not to be used for color. They are ripped from the final files. If there are any issues with the files that will create an output error the ozalids will show this. Please review them carefully and return the approved set of ozalids.

With some projects you can chose to supply color guidance for us to use on press. However, we strongly recommend that you discuss this with your sales executive to make sure that the prepress house you are using produce proofs that can be matched on press. We suggest running a test well in advance of the final files and color guidance being released.

The best way to achieve standard viewing conditions is to purchase a color-viewing booth. This will include a 5000° Kelvin light source with balanced color temperature in all parts of the spectrum, and the structure of the booth will control reflections from surrounding elements. Be careful to not make critical decisions about color under office lighting conditions.

Notes about reviewing color proofs:

• Use a red marker to write comments on the proofs.
• Clearly mark OK on all pages that are approved.
• All text corrections should be made by the designer. Please submit only the pages with the text corrections. To help the prepress department, it is helpful to circle the areas on the proofs or ozalids that have text corrections. Text corrections can be proofed as new physical ozalids or PDF ozalids.
• If you submitted hi-res files, all color corrections should be made by the designer. Please submit the new hi-res files, and clearly mark on the proofs, which images are to be replaced. All color corrections need to be reproofed as digital proofs or wet proofs.
• Asia Pacific can make the color corrections to hi-res files at an extra cost. All images will need to be reproofed as digital proofs or wet proofs. It is best to use industry standard mark-up symbols when reviewing and marking your proofs.
• A written summary clearly indicating pages with corrections is appreciated, and may be sent in an email.

Please return 1 set of approved wet proofs or the 1 set of digital proofs to use it on press for color guidance, along with approved ozalids.