A4 Book Plastic Covers? The 87 Top Answers

paper cover for a book

“Dust protection” redirects here. For the firearms part, see Dust cover (firearms)

A dust jacket, erected and partially unfolded for illustration

The dust jacket (sometimes called book jacket, dust jacket, or dust jacket) of a book is the removable outer cover, usually made of paper, with text and illustrations printed on it. This outer cover has folded tabs that hold it to the front and back covers.

Dust jackets originally displayed binding information on a plain binding, at a time when it was not possible to print directly onto the binding. The role of a dust jacket has largely been replaced by modern hardcover printing technologies, where such information is printed directly onto the binding.

Modern dust jackets are still used to present promotional material and to protect the book from damage. The back or flaps of the dust jacket are printed with biographical information about the author, a synopsis of the book from the publisher (known as a blurb), or critical praise from celebrities or authorities in the book’s field. The information on the dust jacket is often similar to that on the cover, but may contain additional promotions for an edition, and the information on the flaps is not usually copied onto the cover.

The dust jacket protects the book cover from damage. However, being itself relatively fragile and dust jackets having practical, aesthetic and sometimes financial value, the cover may in turn be wrapped in another cover, usually transparent, particularly when the book is a library volume.

Early history [edit]

Prior to the 1820s, most books were published unbound and were generally sold to customers either in this form or in plain bindings for the bookseller, or in bindings commissioned by the customer. At this point, publishers didn’t have their books bound in a uniform “house” binding, so there was no reason for them to issue dust jackets. Occasionally, book owners made their own jackets out of leather, wallpaper, fur, or other materials, and many other types of removable protective covers have been made for codices, manuscripts, and scrolls from ancient through medieval to modern times.

At the end of the 18th century, publishers began issuing books in plain paper-covered boxes, sometimes with a printed spine label; This form of commitment should be temporary. Some collections of loose prints were issued at this time in printed paper packaging, again intended to be temporary. In the first two decades of the 19th century, publishers began issuing some small books in printed paper covers, and in the 1820s and 1830s some small popular books, notably annual gift books and almanacs, were issued in removable printed cardboard covers. These little boxes are sometimes mistakenly referred to as the first dust jackets. Genuine cloth and leather publisher’s bindings, in which an edition was bound in whole or in part, were also introduced shortly before 1820 by the innovative publisher William Pickering.

Oldest Dust Jackets[ edit ]

After the general use of cloth binding by publishers for all types of books in the 1820s, the first dust jackets for publishers appeared at the end of that decade. The earliest known examples were published in English literary annuals, popular from the 1820s to the 1850s. These books often had fancy bindings that needed protection. The covers used at that time completely enclosed the books like wrapping paper and were sealed with wax or glue.

The oldest documented dust jacket from a publisher was issued in an 1829 English yearbook, Friendship’s Offering for 1830. It was discovered in the Bodleian Library, Oxford, by Michael Turner, a former curator and head of conservation at the library. Its existence was announced by Oxford in 2009.[1] It predates the oldest known jacket by three years, which was discovered in 1934 by the English bookseller John Carter in another English yearbook, The Keepsake for 1833 (published 1832).[2] Both covers are of the type that completely enclose the books.

Most jackets of this type were torn when opened and then thrown away like wrapping paper; They were not designed to be reused, and surviving examples are only known for a handful of titles. The scarcity of jackets of this type, together with the lack of written documentation from publishers of the period, makes it very difficult to determine how widespread these all-encompassing jackets were in use in the 1820s to 1850s, but they were probably common in elaborately bound annuals and on some trading books.

The earliest known modern-style dust jackets with flaps covering only the binding and leaving the block of text exposed date from the 1850s, although this type of dust jacket probably saw at least limited use a few years earlier. This is the jacket that became the standard in the publishing industry and is still used today. Flap-style jackets are believed to have been in common use by the 1880s and probably earlier, although the number of surviving examples from the 1850s, 1860s and 1870s is too small to prove exactly when they became ubiquitous, and there are Again, they have no known publisher’s records documenting the use of dust jackets during these decades. However, there are enough surviving examples from the 1890s to state unequivocally that dust jackets were all but universal during that decade. They were probably exhibited more frequently than in the 1860s and 1870s in Europe, Britain, and the United States.

Late 19th and early 20th centuries [ edit ]

Hermione and her small group of serious thinkers from Dust jacket of by Don Marquis, an early work of humor produced in 1916.

Throughout the nineteenth century almost all dust jackets were discarded at or shortly after purchase. Many were probably discarded in bookstores when the books were displayed or sold; There is evidence that this was common practice in England up until the First World War. The period from the 1820s to 1900 was a golden age for publishers’ decorative bookbinding, and most dust jackets were much plainer than the books they covered, often simply repeating the ledger elements of the cover decor in black on cream or brown paper. Because of this, most people preferred to display their books in their bindings, just as previous generations had displayed their library books in their gold-trimmed individual bindings, usually in leather or parchment. Even towards the end of the 19th century there were still some publishers who did not use dust jackets at all (the English publisher Methuen is an example). Some companies, such as subscription houses that sold millions of cheap books door-to-door, probably never used them.

Cloth dust jackets became popular in the late 19th century. These cloaks, the outer fabric of which was usually reinforced with a paper backing, were usually issued in ornate gift editions, often in two volumes and often with a slipcase. Other types of publisher’s boxes were also popular in the second half of the 19th century, including many made for multi-volume book sets. The covers on boxed volumes were often plain, sometimes with cut-outs on the spines to allow the title or volume numbers of the books to be seen.

After 1900, fashion and publishing economics meant that book covers became less decorative and it was cheaper for publishers to make the covers more attractive. By 1920, most artwork and decoration had migrated from binding to dust jackets, and covers were routinely printed with multiple colors, extensive advertising, and blurbs. Even the bottom of the jacket was now sometimes used for advertising.

As dust jackets became more attractive than the covers, more and more people began keeping the covers in their books, at least until they became soiled, torn, or worn out. Evidence of when jackets became salvaged objects is the movement of the printed price from the back of the jacket to a corner of one of the flaps. This also happened in the 1910s and early 1920s. When jackets were routinely thrown away upon purchase, it didn’t matter where the price was printed (and many early jackets weren’t printed with any price), but now book buyers of the 1910s and 1920s wanted to save the jacket and give a book as a gift, them could cut the price without ruining the jacket.

In 1939, Arthur Brody, a student at Columbia University, invented a film-based jacket.[3]

Complementary bands[edit]

In Japan, both hardcover and softcover books often come with two dust jackets—a full-size one that serves the same purpose as in the West (it’s usually kept with the book), and a thin “obi” (“belt”) ); colloquially “belly band” in English), which is generally discarded and serves a similar function to 19th-century western dust jackets.

Similar bands occasionally perform in the west, for example in Palookaville #20.[4]

As collectibles[ edit ]

Dust jackets from the 1920s and later were often decorated in the Art Deco style, which is much appreciated by collectors. Some of them are worth far more than the books they cover. The most famous example is the cover of the 1925 first edition of The Great Gatsby by F. Scott Fitzgerald. Without the cover, the book fetches about $1,000. With the jacket, it can fetch $20,000 or $30,000 or more, depending on condition. One example, in a near-new jacket, went on sale in 2009 for half a million dollars.[5] The most valuable jackets tend to be those at the heights of literature. Condition is paramount to value. Other examples of highly prized jackets include those featured on most Ernest Hemingway titles and the first editions of books such as Harper Lee’s To Kill A Mockingbird, J.D. Salinger’s Catcher in the Rye and Dashiell Hammett’s The Maltese Falcon. Dust jacket prices have become so inflated in recent years that even early reprints of certain titles in dust jackets can fetch good prices. Conversely, if the book itself is unimportant, or at least has little demand, the cover is usually also of little value, but almost all surviving pre-1920 covers add some additional value to the book they enclose.

To increase the value of a first edition that has lost its original cover, some collectors and dealers take a cover from a later printing and “marry” it to the earlier one. This practice persists because some customers pay more for a first issue in a later cover than for an issue without a cover. However, the change of jackets upsets the bibliographic record and creates a kind of forgery.

See also[edit]

Further reading[edit]

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A rare book is a treasure to be treasured for a lifetime and beyond. Building your own personal library is one way to preserve a cultural heritage and create a lasting legacy for future generations. These books cannot be easily replaced and it is extremely important that you understand how to care for and properly protect your items. Taking care of your books shouldn’t be difficult. Remember the golden rule and, in a way, just treat it how a person would like to be treated.

Store your rare books properly

Most people don’t like being lonely, but they don’t like being crowded either. Rare books should be stored vertically on a shelf and close (but not too close) to other books of a similar size or a bookend. They should never be tilted diagonally. If a book is too big for a shelf, it can also be placed horizontally.

What every book lover should know about book care

Anyone who loves books wants those books to last so they and others can continue to enjoy and learn from what the book has to offer. It’s good that they feel the same way, because much of human knowledge comes from books that have been maintained and passed on for hundreds and hundreds of years. Good book care means protection and preservation for book collectors.

For some, the desire to protect and preserve a book stems from sheer love of the story, the emotional connection at having received the book as a gift from a loved one, or some other attachment. For others, book care is an additional element to ensure that the book does not lose its value. The difference between a collector’s book in good condition and one that is only in fair condition can be a significant sum of money.

Whatever the reason, good book care is worthwhile and not difficult or expensive. In fact, the most important things you should do to protect and preserve your books are things that don’t cost anything at all.

Protect books from direct sunlight

The UV rays from sunlight cause the paper to chemically degrade. (Printed Page Bookshop put a special film on its windows to reduce UV rays.) Most fluorescent lights emit UV rays and, while weaker, can have the same effect. Sunlight also fades covers and dust jackets, so “suntan” is a common mistake cited in antiquarian book catalogues. Illuminate the areas where you store your books with lightbulbs, no brighter than necessary and not aimed directly at your books.

Keep books away from water

Don’t keep books where a broken water pipe or water heater could damage them. Also, be careful not to store books in areas of high humidity, such as B. in damp basements or even on the inside of an outside wall. Books stored in sealed boxes in a damp basement can also develop mold. (The stagnant air helps mold grow.) Storing books in areas with high humidity is a surefire recipe against mold and a great way to attract insects to feast on your books.

Keep books from extreme temperatures

The rule of thumb is to keep books where you feel comfortable. Both heat and cold can damage books, which is why garages, storage sheds, attics, and basements tend to be poor places to store books.

Store and store books properly

Arrange books on the shelf so that they stand upright and are not on top of each other. Do not leave books leaning on a shelf as this will damage their spines. Shelf books not too tight or too loose. That too can harm them. Place books of similar size next to each other. A tall book next to a short book can cause the tall book to warp. Many book collectors use shelves with glass doors for their valuable books. When you take a book off a shelf, don’t pull it out by the top spine. Instead, slide in the books on both sides and remove the book in the middle of the spine. Store books in a cool, dry, dark place. Store them on a flat surface, but not on the floor. Ideally, place the books upright in the storage box. Always pack stacks of books with the leading edges toward the sides of the box so that if the load shifts, the back-to-back configuration protects against damage. Don’t lay books flat on the upright ones. If you lay the books flat in a box, make sure they are square. Stack books of similar size on top of each other. Note that most cardstock is made out of construction paper, which will sour over time. Either buy acid-free storage boxes or consider switching up your cardboard storage boxes occasionally. Never store books spine up or front edge up. In the former case, you’re stressing the binding, which can cause the block of text to detach from the cover, and in the latter, you’re causing the spine of the book to become crooked or askew.

Do not keep articles in books

Newspaper clippings are often found in books and invariably leave a dark “overprint”. Newsprint is acidic and can destroy a book over time. Newspaper clippings, letters, pictures and flowers should be kept outside of books. Do not use paperclips to mark pages. Paperclips rust or crush pages.

Treat books with care

Do not place an open book on a flat surface, pages up or down. This can damage the hinges of the book. Do not eat or drink while handling a book. Keep hands clean and dry. Do not use tape or rubber bands on books. Don’t fold down the corner of a page to mark your place; use a bookmark. Don’t write in books, but use a soft pencil if you must.

Dust off your books

Dirty books are particularly susceptible to mold. Dust by itself can cause books to spoil. First, remove the book’s dust jacket. Then use a dry shaving brush, a feather duster, or a soft, clean brush to dust a book, moving the brush outward from the spine of the book. Dust off all pages of a book. You can also vacuum books. Vacuum one book at a time, holding it firmly in the center of the spine.

Use dust covers

Clear Mylar Dust Jackets are the best and most economical way to protect your books and ensure good book care. They are available from Gaylord Brothers, Brodart, The Library Store and other library suppliers. We’d be happy to show you how to put them on.

Don’t try to restore leather bindings

Leather books used to be treated with a leather dressing. However, applying oil or a leather treatment to a leather-bound book can have adverse effects. The Library of Congress says that the benefits of leather bandages are primarily cosmetic and that having a leather bandage used by someone without expertise does more harm than good. Finishing can cause the leather to dry out over time, the leather to darken and become stiff. The best way to deal with this problem is to not let it arise in the first place. Avoid storing leather books in extremely low humidity environments – for example, in an area above a radiator.

Frequent readers know that books can be subject to heavy use if they are used regularly. School-age children can quickly wear out their favorite chapter books or workbooks, and adult readers can inadvertently soil or tear book covers along the way. If you’re hoping to protect your new book – or your child’s – from the dangers of frequent reading, cover it with clear contact paper for a protective, easy, non-permanent solution.[1] In about five minutes you can cut, fold and press contact paper to create a subtle but protective cover.

related information

At first glance, the technical term “gutter” seems like a pretty boring word, something so fundamental that it almost goes unnoticed. Well-known bibliophile John Carter seemed to think so:

“In the parlance of ordinary booksellers, this means the margin or space between the inside edges of two facing pages, a fact so obvious as to scarcely deserve attention.” – ABC for book collectors

College students will see that blank space between the margins of text on two facing pages as the very difficult margin to jot down—while bibliophiles might balk at the very idea.

Beware of things that live in the gutter

Margot Rosenberg warns, “In old books that have been neglected, the binding can pick up an enormous amount of dirt, especially deep where the pages meet.” She recommends a small brush or mini-vacuum to remove dirt.

As such, the gutter is generally viewed as a necessary evil, inconvenience, or simply the least interesting part of a book.

The gutter as a concept of the printing shop

Carter further noted that printers define the collar somewhat differently; For printers, gutter refers to “the wider space left in the FORME between the leading edges of two adjacent pages”. (The FORME referred to is the prepared type set in a metal frame (CHASE) from which the pages are printed.) Carter’s interest in defining the gutter, then, seems to have been to avoid confusion between its various meanings to avoid printers and book collectors.

While Carter is of course technically correct, a far more interesting take on the gutter can be found in the related world of comic book theory.

The Gutter: The Heart of Comics

Scott McCloud defines the gutter in comics as the space between panels, a space in which meaning is created by connecting the content of one panel to the next:

“In the limbo of the gutter, the human imagination takes two separate images and turns them into a single idea.” (understand comics).

Taking this idea a step further, Katie Monnin has written that “the gutters that fall between the panels are the ‘glue-like’ moments that hold the panels – and the story – together” (Teaching Graphic Novels).

(Image Source: Understanding Comics by Scott McCloud)

This idea returns to the practical roots of the word as a bibliographical term, for if one follows the edges of the two facing pages down into the gutter (symbolically speaking, since that is beyond the eye), one reaches the point where the pages tied together (today mostly with glue). In fact, the gutter is of paramount importance to the book restorer, whose almost invisible art often consists of refastening pages deep within the gutter.

Whether one can make the same grandiose claims for the gutter as for the symbolic “glue” that makes up the meaning between one page and the next for traditional books, as Monnin does for comics, is debatable – the comic is a form that embraces brevity a fine art exalts, while the book allows for (and perhaps encourages) sustained and often tiresome discussion (as any former graduate student can attest) – but it’s an attractive idea that might appeal to the romantic literary theorist in all of us.

And speaking of romantic literary icons, perhaps the last word should go to the great Oscar Wilde, although I don’t think he was referring to the gutter of a book when he memorably wrote:

“We’re all in the gutter, but some of us are stargazing.” (Lady Windermere’s Fan)

—

Featured image source: Brenda Clark, via CC license from Flickr)

Do you know what makes a good book cover?

You should…if you ever want to maintain steady sales of your book.

Ok, so here’s the deal. What I am about to tell you may sound controversial. It may even sound downright ridiculous.

You might even be offended.

But bear with me for a while. Just listen to me…because what I really want for you is to sell more books, and your book cover is one of the most important factors that goes into that reality, although we’ve all been told not to judge a book by its cover .

The reality of publishing is…

Everyone does anyway.

Prepare Your Book to SELL Book Cover Design Checklist Download your FREE book cover design checklist to maximize the quality of your book. Press the button to claim yours. I’M WRITING MY BOOK… I’m writing a book to grow my business. I’m not interested in starting a business. I am writing a book to make a difference. I want to write a quality novel that will entertain people. DOWNLOAD MY CHECKLIST! Share pin 4 4 shares

This is what makes a good book cover:

Why is a good book cover important?

The book cover serves one purpose, and one purpose only. And that purpose is to sell your book. Everything else is details.

Shocked? Insulted? Are you about to pluck the nearby glass of water and smack it on my head? Just keep it for a few minutes.

I understand how much we creatives hate those four letter words that start with an S. To sell? Sale? Sold!?

But it is true. If you haven’t read Robert Kiyosaki’s Rich Dad Poor Dad, I urge you to get a copy and read it.

Robert Kiyosaki was once interviewed by this bright young journalist. She had a real flair for writing. She asked Robert if he had any advice for her. And guess what Robert told her. “Go and do a sales class,” he said.

The young lady was shocked. She sat in silence for a few minutes, staring at Robert Kiyosaki in disbelief. And then she spoke. She told him she had been writing and studying all her life. She has a master’s degree in literature and journalism.

And she’s worked so hard her whole life so she doesn’t have to “sink as low” as she’s learning to sell!

Robert stated that she was a far superior author than Robert could ever hope for, but Robert was still a best-selling author while she wasn’t. She could write the best book ever written by a human being, but it wouldn’t matter if nobody read it.

And that’s why you have to “SELL”.

Makes sense? I hope so, because as I mentioned before, the cover of your book is one of the most important elements in becoming a successful author.

What makes a good book cover?

I’ve been on the side of the fence where creatives hate the concept of selling or marketing. And I’ve been on this site for the longest time. But the sooner you become familiar with these words and concepts, the better.

The best way to start is to understand the importance of investing in a good book cover design and what makes a good book cover design. Knowing the basics is still very important, whether you’re looking to hire a professional self-publishing school designer or any other professional cover designer.

And why should you even listen to me? Well, I have a bachelor’s degree in marketing.

After my bachelor’s degree, I spent almost ten years trying to convince myself and the world that I was an artist.

And do you know the funniest part? All of my creative friends and colleagues have been in the same situation.

And that’s when I decided I had to learn what I had avoided the longest. I had to learn how to sell. We founded Dastaan ​​​​Online. And the first business that needed our help was our own. We started publishing a literary magazine called Dastaan ​​World.

Writers, artists, photographers, even those who write poetry with readers flocked to us. I decided to design covers for every story we published. And our contributors loved them!

My covers could be beautiful and thought provoking and sublime and what not. But that’s all secondary. They keep coming back to me because my covers help them sell their books.

Any other characteristic of a good book cover can be indented as a subcategory or explanation of that one point.

The book cover serves to promote your book and ultimately to sell it.

Now the next big question is: What makes a good book cover that achieves this goal?

#1 – Focus on the big picture

The book cover must draw the viewer into the story. Even if you write nonfiction. You’re a writer, so you know there’s always a story.

The cover must show what the book is about without giving everything away, similar to the book title but with pictures.

This example from Self-Publishing School coach Michelle Gano shows how this technique works in her book Sibling Magic.

The idea is to get your reader to open the book. Once they open the book, your magic as an author won’t let them put it down until they’ve read it to the end.

But to get caught in your spider web of literary magic, you need to use bait. And that’s exactly what your coverage needs to do for you. It has to play with the human emotions of intrigue and curiosity.

So think about the big picture of what you want your book cover to represent.

Ask yourself these questions when finding your book cover:

Does your idea represent your story or message?

Is it illegal intrigue?

Does it stand out from other books in your category?

#2 – Create a strong composition

This is where you start to get into the magic of graphic design and illustration.

Composition is one of the most fundamental skills needed by anyone working with visuals. And like all basics, it takes at least a lifetime to master composition!

For this reason, it’s advisable to hire a book cover designer rather than create the cover yourself in programs like Canva or Photoshop.

But if you have some experience and want to give it a try, here are some composition guidelines:

Apply the rule of thirds

Symmetry is your friend

Use textures and patterns to add non-distracting details

Use high and low angles

Combine multiple composition tips into one to get the full effect (but not ALL).

But you can start with some interesting guidelines, or just hire a book editor who has composition experience.

See also: “Every Arm Outstretched” by Phil Halton. It is a good example of image composition in book covers!

#3 – Develop a clear focus

Every composition, every consciously designed visual communication needs a focal point. The easiest way to find your focal point is to ask yourself (or preferably a friend) where your eye first falls on this piece.

Whether it’s the title, your author’s byline, a character in the artwork, or a specific abstract shape, your focus is on what catches your eye and draws your attention first.

And it’s no coincidence.

In this example from Self-Publishing School’s Omer Redden, you can see that his book Life Doc focuses very clearly and deliberately on the eye-catching title.

There is a whole science behind this elusive art called composition. It is this magical ability that determines where a viewer will look and in what order.

You can have multiple areas of focus, but they shouldn’t compete with each other. They grab your viewer’s attention in the order you designed them. Primary, secondary, tertiary and so on.

This dance of attention depends on what story you want to plant in their head. This story will make them open your book and eventually decide to buy it.

#4 – Titles, subtitles and their relatives

Please don’t make the mistake of thinking that your cover is entirely at the mercy of your designer. no You are the author. And you play the key role in determining how well your coverage is performing.

As? The book title!

When trying to come up with a book title idea, ask yourself this: will it draw your reader from across the store? Or the website? It should be convincing. It should be visible and legible.

AND it should be further enhanced with additional visuals on your cover.

Self-Publishing School Coach Scott Allan’s book Undefeated is a great example of this. Here you can see his title plays an integral part in the overall cover design, with a very meaningful message with the ripped reveal of “un” in “undefeated”.

Your title and any subtitles and slogans play a crucial role in selling your book. So bring out your inner Don Draper as you create your cover!

#5 – Keep it simple

And finally, I like to keep my covers simple. And I personally tend to like covers that are simple and minimal.

Although my covers sometimes look complex because of all the digitally painted and photo manipulated details, the ideas and composition have to stay simple. Everything speaks to the focus and our intention to say just enough to make our viewer buy the book.

Overly complex covers usually give off a very obvious sense of desperation that the designer wasn’t quite sure what to put inside. And so they put everything they could think of into it. Not cool. Don’t do this. keep it simple So when you decide to finally seal your book cover, remember to just keep it silly. Keep the big picture of your story in mind.

Keep your viewers focused on your book’s key selling points.

Where can you find a professional cover designer?

If you’re feeling at a loss with your book cover design, schedule a call with our team and learn how we can handle cover design and other book production services for you. As a Self-Publishing School student, we can create the cover for you or direct you to a preferred list of cover designers who already tick the boxes on that list.

Unless you are a professional graphic designer, we strongly encourage you to hire a professional, be it us or someone else. A good book cover is important to attract readers to your book.

Need help? Get our easy checklist!

Prepare Your Book to SELL Book Cover Design Checklist Download your FREE book cover design checklist to maximize the quality of your book. Press the button to claim yours. I’M WRITING MY BOOK… I’m writing a book to grow my business. I’m not interested in starting a business. I am writing a book to make a difference. I want to write a quality novel that will entertain people. DOWNLOAD MY CHECKLIST! Share pin 4 4 shares

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Disclosure: Some of the links above may contain affiliate partnerships, which means that Self-Publishing School may earn a commission when you click through to make a purchase at no additional cost to you.

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A protective book cover that wraps naturally around a book without prior folding.

This lightweight, non-glare polypropylene book cover is clear, colorless and safe for long-term storage. The non-sharp edges do not catch tears. It has a variety of uses, e.g. B. for book covers from publishers, special collections, rare books and books with red rot. The polypropylene is easily cut and folded for use in panoramic photo bands, photo corners or other applications, and can be ultrasonically welded for a variety of collections including cards and documents.

Glare-free polypropylene can also be integrated into archive housings that also serve as display housings. This is a very useful combination case, especially for classroom demonstration materials, not to mention the more universal situation of using multiple items on the table for research. The anti-glare function prevents annoying reflections from overhead light and makes examining the document much easier without having to remove the object or lift the protective film. Anti-glare polypropylene is a solution to the problems of reflective polyester, which presents a real obstacle to display, camera copy and easy viewing, preventing the application of polyester overlays as a reader-friendly, aesthetically acceptable cover. An advantage of the polypropylene protector is that it does not wear out visibly.

An added benefit of Archival Products’ non-glare polypropylene book covers is an interleaving sheet that aids in stacking and handling. The acid-free buffed interleaf can be used for a variety of preservation applications. This board stays flat and stable in a variety of climates.

Specially designed as an easy-to-use book cover for publishers, this smooth, non-glare 3-mil polypropylene is an impressive material for covering and protecting books. No tape is needed that could potentially damage the books. The relative slip resistance of the book cover holds the book in place when handled. Simply slide the publisher’s jacket head into the pre-creased edge, pull up the tail, fold and crease according to the eye. The covered jacket gloves without creases on the book and around the edge of the book. An extremely simple application! The end result is an anti-glare book cover with improved readability that protects the book and cover from water damage, abrasion, dirt, dust and spills.

Ten different styles and I can’t say which is the best for you, although the Paperfold continues to be the best-selling book cover in the line-up as it offers a good mix of durability, ease of use and cost.

You may find that one type of cover works best in one situation, while another is better suited to other circumstances. For example, if your library receives a large number of books of one size, it makes sense to maintain an inventory of exact-size covers that fit those books. Since not all of your books will be this particular size, it also makes sense to keep a supply of adjustable covers to fit the other books.

If you’re binding children’s books that will see heavy use, you can opt for the added strength of the 2 mil polyester found in Superfold and Durafold II.

If you’re dealing with books that are used gently, you can reduce costs a bit with Paperfold, Securefold, Durafold, or Polyfit.

If cost is your primary concern, opt for the Econofold or Budget covers.