HERE IS HOW IT STARTED

I start publishing for good in 2008, although I designed my first book in 2002 : “The love book. The best of my dreams” by Slawomir Rumiak, 2002. It was graduation year in academy of fine arts, at printmaking and graphic design faculty. I was doing my master about concept of open form in art (interactive art), still something drew me towards books.

MY POINT OF DIFFERENCE

I think i am very classical designer. I believe that being honest counts. Also, that context and form reduction works.

THE BIGGEST CHALLENGE

Not having absolute control over production process – I am control-freak, and dealing with contradictory expectations of artist, sometimes their self-handicapping strategy. We all have issues

HOW TO SELECT A PROJECT?

I think it goes both ways – we select each other. However, I am looking for mature collaboration, for the partner.

ON WHAT STAGE IS THE PROJECT WHEN YOU TAKE IT ON?

All above. However sometimes working on an almost ready dummy can be more time and effort consuming than starting from edit and sequencing. What I have learnt so far is, that there is no such thing as ”easy project”.

CHANGING OR NOT CHANGING THE DUMMY?

I talk, find out about the story, analyse the formal solutions, if they follow the story. If yes and there is no need to change, I don’t.

IMPACT ON THE PROCESS

Sometimes we talk from the beginning what the story is about, what should be in the texts. There are times I do edit and sequencing, but I prefer to work with the third person – additional point of view always helps. It doesn’t mean that chronologically always sequencing determines design. Can be opposite – we ask for the edit and sequencing that follows the book structure, because the structure already tells the story.

THE PRINTER IS A LONG TERM RELATIONSHIP

I try to build longer relations – I have two printing houses in Warsaw I work with since 2007. I helps to work out standards and work-flow – to some extent.

PRESS CHECK, WITH OR WITHOUT THE PHOTOGRAPHER?

I am always at the press for final printing, as if it’s possible an artists is there too – sometimes the cost of travel is too big (from USA or Australia). I also strongly recommend investing in wet test print (print test on final press machine on final paper). It save lots of stress, but can save money as well. I am also present during the book binding process.

PHOTOGRAPHER’S IMPACT ON THE FINAL SHAPE OF THE BOOK

She or he is the author, so it should be dominant in terms of what the story is about. I am there to help to translate it into the form of the book. If someone has such a clear vision, that it dictates the design of the book and it makes sense – there is no need for me to interfere, only cross check and guide. Photographers with experience in making books usually have a strong overall vision – like my husband Rafal Milach for example.

INGREDIENTS OF A SUCCESSFUL BOOK

In my opinion, successful book consists mostly a good story – visually (it’s visual language after all) and the way it’s told (edit and sequencing). Then, if all elements of the book (both conceptual and formal) follow and underline it, with no irrelevant ones, it is a success. Book design is really like a jenga tower.

PROS AND CONS OF ART FAIRS AND FESTIVALS

For me:
Pros: illusion that you can have some overview
Cons: it is illusion

For the publisher:
Pros: exposure, sale
Cons: there are too many books

For the book:
Pros: exposure, sale
Cons: there are too many books

WHAT TO THINK ABOUT SELF PUBLISHING?

Same old thing as with anything else : independence vs responsibility. It is not for everyone.

AN ADVICE TO THE PHOTOGRAPHER WHO WANTS TO PUBLISH HIS / HER FIRST BOOK

Be honest. First, with yourself – if you really want to make a book out of this particular story. Second, with the viewers – don’t waste their time, don’t underestimate their skills in understanding.

DON’T DO IT VS BEST VISIT CARD EVER

Do it, but not as visit card. It’s not about you. Do it as a record of the story that matters – this is the original purpose of the book I think.

HOW MUCH TO ALLOCATE TO PUBLISH A FIRST BOOK?

Money is very subjective. Maybe as much she/he can afford, having in mind that probably sale won’t balance the costs. And as much it’s needed to make the book she/he likes at the end. Saving 100 euros and then looking at 500 copies of  ”compromised” version may not be worth the spare.

interview by Carine Dolek

International Book Design Conference, 2015, Vilnius, Lithuania. Photo by Mantas Puida

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