The word processor has placed new burdens on writers to understand how to use italics, big and small capitals, dashes, hyphens, initials, etc. Writers who do their own typesetting often produce mediocre results. Likewise, trade publishers sacrifice typographic aesthetics when they pack tiny type into small margins to save money on massive print runs.
With type being butchered by big and small publishers alike, how do we establish criteria for professional standards in book typography? Though economic costs and benefits are easy to assess, writers and publishers should be able to evaluate aesthetic compromises based on a set of typographic best practices. Continue reading →
My latest article on GraphicDesign.com discusses the difference between designers and production artists.
What exactly is design? Do designers build projects or do they have a larger and more valuable role. What do designers really do? How can you find clients who understand the value of creative insight and quality work.
I pondered these things on an airplane on the way to a consulting job, then brought the questions back to my classroom.
Organic Design – Real design doesn’t look like a technology demonstration; real design looks like the work of a living, thinking person. In handwork, scuff marks from sanders or extraneous saw marks are unacceptable flaws. In digital design, the same standard applies; go beyond the software footprint to bring your work to life.
Part 3 of Book Design Basics explores better ways to present numbers on your pages. Numbers (called figures) look simple at first glance, but they present interesting typesetting challenges. Many digital typefaces offer several number styles but few designers know what they are or how to use them properly.
If you got to class late, Read Part 2 of Book Design Basics first to learn about optical margins, paragraph formatting and spaces.
Numbers (figures) come in four primary categories. Though they play a very small role in the text of an average novel, numbers still have an important effect on the appearance of your text. Tables, menus and recipes use numbers in different ways than text set in paragraphs. There are two figure styles: Oldstyle and Lining. Each comes in two flavors: Proportional and Tabular. An understanding of their differences allows your numbers to communicate clearly and effectively. Continue reading →
The self-publishing revolution is (aside from the Internet) the greatest thing ever to happen to freedom of speech and expression, but self-published books are widely stigmatized as poorly produced. Why? Because they almost universally are. Moreover, the declining standards of mainstream publishers do not justify the mediocrity of self-publishers. In fact, self-publishers will find a competitive advantage in applying basic book design principles to produce books that are comfortable to read and pleasing to the eye.
After all those hours writing and editing, why not produce a book that conveys your good taste, attention to detail and care? Here are some simple but powerful book design tips to help your book achieve excellence. Continue reading →
Book design is a lost art. Though book design discussions usually focus on covers, consider how much more time a reader spends staring at the text. An elegant book block is just as important. Decades ago, professional tradesmen practiced the fine art of typesetting. Today, book design is often executed (pun intended) by amateurs. As easy as it is to set type, many fine points of typography are commonly overlooked. Fortunately, for the design-aware, digital tools like Adobe InDesign make it possible to produce pages that aspire to the old standards of hot metal type. This is the first of a series of articles offering book design tips to help polish your pages.
Sacrificing comfortable margins is unfortunately a good business decision, even if it’s a bad design decision. As the book industry has grown, page margins have shrunk. Text is packed ever more tightly onto the page. Why? A big publisher may print 30,000 copies of a new author’s book. That’s a huge financial risk. If more text can be fit on each page, the print run uses less paper and less ink, resulting in huge savings.
Fortunately, self-publishers don’t have this problem because print-on-demand (POD) allows for the production of one book at a time. Using classic margins and printing a few more pages per book adds negligible cost while giving POD publishers a competitive edge. Continue reading →