How to Cut PDF Pages with the Best Free PDF Page Cutter 2021

You’re ready to design a book cover —

Seeing their imagination come to life in the form of a beautiful cover for their book is every writer’s dream. Hopefully now you feel confident to tackle your next book design project.

Step 4: Gluing the Signatures Together

Steps: 1. First you need a way to hold all of the signatures together.  The easiest way is to use a couple of pieces of wood and a vice.  You could also just use a couple of clamps and some wood as well. 2. Line-up all of the signatures so the spines are even.  Before you glue, make sure that all of the signatures are in the right position – you don’t want to have any upside-down or the pages in the wrong sequence. 3. Clamp together.  There should be about 5-10mm of the spines sticking-up. 4. Add some glue.  The glue should be acid free, ph balanced and flexible.  Any store that sells scrapbook material will have this type of glue.  The glue needs to cover all of the spine but not too thick as you don’t want it to run. 5. Next cut a piece of the material.  It should be as long as the book and about 60mm wide.  Add some glue to the middle of this and attach to the spine. 6. Press lightly along the spine and make sure that the fabric is touching all parts of the spine. 7. Leave to dry for 24 hours.TIP – Don’t over-do it with the glue – you don’t want it to drip down the page and onto the wood that is bracing the signatures together.  Just make sure that you have glue covering all of the stitching. 

Video

Beginner Practice Sheet 1

This is a simple exercise sheet you can print out if you are a complete beginner to paper cutting. It will get you used to cutting lines and curves, and you can print off more sheets if you want another go. Just follow the lines as accurately as you can with a craft blade whilst your paper is on top of a cutting mat.

The "splat" shape and circles are more difficult. Remember to turn the paper rather than the blade in order to follow the lines. Your blade should be pulling towards you at all times, so to create a circular cut you will need to rotate the paper smoothly whilst you pull the blade to get a neat curved cut. You'll get the hang of it!

Step 1. Format your book to a professional standard (for free)

This is where we digitally typeset your book of choice and arrange the pages in a way that will help us seamlessly bind it. There are a few pieces of software that will allow you to typeset a book. However, we will recommend you use the Reedsy Book Editor, for three reasons:

  1. It creates professional-grade print-ready files that are easy to read
  2. It requires no training and has next to no learning curve
  3. It’s free

It just so happens to be made by our team at Reedsy — but that’s how we know that it’d be one of the best tools for the job, even if it wasn’t free. It automatically creates your copyright page and handles text like a dream. To see how to use the editor to format your book, check out this video made by our designer, Matt:

Tip: If you want to create your own special edition of a classic title, head to Project Gutenberg and download the text to thousands of titles now in public domain.

When you export your book, you’ll get a number of trim size options. Select Digest (5.5” x 8.5”), which is exactly the size of a piece of Letter paper folded in half.

Then, once you’ve exported your file as a PDF, you

Then, once you’ve exported your file as a PDF, you can then move onto the printing process.

Find out how to format your physical book to a pro standard (for free). Click to tweet!

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Free Paper-Cutting Patterns and Templates

There are many patterns available which you can find in books, or for sale on the Internet. You could also search for silhouette clip-art on the web, or make your own designs by drawing them or using shapes or profiles in photos or magazines.

The following patterns, though, are free, and are specifically for paper-cutting use.

5. Take a break

Once you’ve finished your first draft, it’s time for a much-needed break! Writing the first draft is not easy, so congratulate yourself and get some rest and relaxation. 

Taking a break is necessary for recuperating and refueling your creative tank. It’s also necessary for giving your brain some distance from the story. After you’ve taken a few weeks away from your novel, you’ll have a fresh perspective on it. Then, you’ll be able to revise it with more objectivity and more clarity. 

2. Develop the main character

Once you have your idea “seed,” the easiest part to start growing it is with your main character. Decide who will be the primary person the reader will follow through the story. Who will introduce your reader to your world? Whose perspective will the reader see your story through? Once you decide who this is you can ask yourself more questions about this person. Here are some brainstorming questions to get you started: 

  • What does my character want? 
  • Why do they want it? 
  • What problems is my character facing? 
  • What do the characters need to improve in their lives? 
  • What happened in the characters’ past to make them who they are today?

Answering questions like these will make your character take shape. It will give you a good idea of who your book will be about. Every good novel is essentially about a character who changes or transforms in some way. This is called a character arc. To establish a good character arc, you first must understand who your character is at the start of the story. This will help you figure out where they go and how they change. 

Looking for guidance on how to write characters who leap off the page? This comprehensive character master class will teach you how to write dynamic characters. It will walk you through the steps of developing your own.

Typography in book design

Great book design is only as good as its typography. In very basic terms, it makes sense that fonts should be unobtrusive, in as much as the reader doesn’t ‘notice’ the font, simply the words. It’s often said that monospaced typewriter fonts such as Courier are to be avoided in body copy, as the uniform spacing gives too much standout to individual letters.

The debate is still very much raging as to whether serif or sans serif fonts are the most legible, or most suited to body copy: and after decades of research and bickering over the matter, we’re still far from a conclusion. So really, do what you feel in that sense: legibility wise, there’s not much in it.

Petrides and Grey Gelder agree that while there are fonts designers fall back on, it’s more interesting to use less known typefaces, and introduce handwritten elements where appropriate.

“I work on women’s fiction titles and I find that hand calligraphy works well on these kind of covers, and often feels more organic with the illustration used,” says Grey Gelder. “It’s really enjoyable to commission hand lettering artists to create a signature look for a cover.”

Less is often more when it comes to typography, explains Maximilian Mauracher

Mauracher takes a strongly typographic approach to his designs for books, mainly in the cultural field, and advises that type-wise, “less is more.” He explains: “It’s all about readability – that’s what most books are for, to be read – and the mood I want to create or feelings I want to evoke when reading or looking at it.

“Of course I have some favourite fonts, but I usually vary them and see what matches the content best. As soon as I choose one or two typefaces I have a look at the hierarchies – headlines, sub-lines, body text and pagination.”

Book design is all about rhythm and pacingSara De Bondt

It all comes back to there being certain rules – those dictated by content, and a somewhat intangible sense of what feels and looks right – and then letting each project dictate how such rules are executed. “Book design is all about rhythm and pacing,” advises De Bondt, and points out that the typography is only as good as the production.

“You might design the most beautiful layouts on screen, but if you haven’t fully considered the binding or grain direction of the final thing, your book will end up looking like a hostile brick that doesn’t open.”

Where I Often See Filler

Early drafts and new authors are the usual victims of excessive amounts of filler.

As in the example above, transportation is often a common area where authors fall into the trap of inserting filler. The example demonstrates how easy it would be to talk about Sarah getting into the car, driving across town—perhaps getting lost—before finally making it to the next scene. A scene that takes place as your character is on the road, walking home, or in an airplane, may be important, but many times this is just the author filling in the time between two scenes.

Another example I see a lot is a character beginning the day at the moment they wake up. If something important occurs later in the day, don’t start the scene in the morning; start it when the conflict starts.

Why Filler Is a Bad Thing

Having sections of text whose only purpose is to connect one exciting event to the next is not only a waste of time and space, it can halt the momentum of your book and lose reader attention. Worse, I’ve come across writers who have “scenes” of filler: whole days dedicated to doing nothing of importance.

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Step 1: Things to Gather

Parts: 1.  Paper.  You can just use everyday A4 paper if you like or you can spend a little more and get some really nice paper.  I used Linen bond paper and just plain, everyday A4 paper. 2.  Cardboard – This will be used for the cover.  the best card to use is stiff, dense cardboard which can be purchased from art stores. 3.  Glue – Acid free, PH neutral, PVC works a treat when gluing the pages together 4.  Glue – all purpose 5.  Glue – spray adhesive 4.  Fabric – Any old curtain material will do.TIP – I know that 3 different glues might seem excessive but trust me, each one has a purpose.  If you want to get a book that is usable and sturdy then definitely get the similar glues to the above Tools, 1.  Sewing machine 2.  Sharp scissors 3.  Stanley knife – sharp 4.  Rotary knife  5.  Clamp 6.  Printer

Step 4: Create your hardcover

Use your stack of folios to measure out two identical hardcovers on your pieces of cardboard. They should ideally be a millimeter-or-so larger than your pages.

Then, measure out a spine. This should have the sa

Then, measure out a spine. This should have the same height as your front and back covers, while the width of the spine should equal the thickness of your bound folios AND both covers.

Using Elmer’s (or PVA) glue, affix the front and b

Using Elmer’s (or PVA) glue, affix the front and back cover and spine to the book cover paper or material. Leave one-and-a-half times the thickness of the card between the covers and spines). There should also be an inch of extra material around all sides. Make sure that the glue is spread evenly, and use a credit card to push out any bubbles that may have formed.

Apply more glue to the inside of the cover and wra

Apply more glue to the inside of the cover and wrap the material around like so:

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