Everyone wants an engaging book. Creating that engaging book is never a solitary endeavor.

Fiction narratives in print are generally all about text, unless it’s a graphic novel, a children’s book, or a novel by Sebald. (Actually, we recently did the illustrations for a work of literary fiction to be published by Holt in June 2010, but that’s another post). In designing a book of fiction, the book designer’s job is to present the text on the page in a way that is highly readable and without interrupting the reader’s experience of the story, or, in John Gardner’s words, “a vivid and continuous dream”.

But non-fiction almost always benefits from making the narrative more visual. Absent the hands of an extraordinary writer, non-fiction books often transport the reader not into a glorious dream but to a snoozefest (where the dream is probably something other than the book).

Making the narrative more visual doesn’t necessarily mean the use of images. It’s also about the use of white space & visualizing blocks of text on a page. (You’ll notice that writing for the Web is about much the same thing). Of course, decisions about chapter lengths, section sizes, etc., are the domain of the writer & editor, but book designers have a lot of latitude in how to present the text.

A friend recently gave us a set of three great books by Edward Tufte that came out in the 1990s: Envisioning Information, The Visual Display of Quantitative Information, & Visual Explanations: Images and Quantities, Evidence and Narrative.

Tufte gets to the heart of what book design is all about without talking specifically about book design: the arrangement of information on the page (or, increasingly, the screen as in the case of e-books).

The primary tool of a book cover designer is Adobe Illustrator, but sometimes the design for a book starts best by hand.

Notice the yerba mate to the left (in the top image), just above the jar of ink and plumin: a telltale sign of the Argentine book cover designer at work.

A future post will show the full color concept that arose from this preliminary book cover design.

The end of year approaches, bringing that time to reflect on what it’s all about.

It’s easy to let the production aspects of any job overwhelm your daily work, whether it’s the deadline of completing tasks to deliver a book on time, mastering a particularly challenging feature of InDesign, selecting the best typeface for a specific project, or devising an attractive layout that presents the information on the page in an engaging manner. These are all elements that comprise the day-to-day occupation of a book designer.

Ultimately, our greatest satisfaction in designing books doesn’t come from any one activity. It’s all about the whole thing: the book, obviously. But it’s not about holding the book in our hands, viewing our design. For us, it’s all about providing the author with a superbly designed book, a book that the author loves, a book that brings the author’s vision and words to life on the page.

We’re thankful to our great clients who give us the opportunity everyday to design books.

Working with self-publishers & small presses is a wonderful thing: they are dedicated to each project & open to new ideas. The work turns into a very collaborative process and I can offer new approaches to the book design.

This is a project we’re about to finish for a new customer, a small publisher: a poetry book for children.

Poems are very delicate creatures, and normally I wouldn’t dare manipulate the layout of poetry. However, the client specifically requested a book designer’s approach for the typography and layout.

By reading the poems I realized that each one had its own individual identity within the whole group of poems. I thought it would be interesting to bring out the story of each poem by using the typography to reinforce that unique character or situation.

I envisioned a book that the reader would find engaging & attractive to the eye. So, I mixed text and illustration by allowing the lettering to form parts of the illustration.

TARGET AUDIENCE & FONT SIZE:

One of the reasons I started looking for alternatives to the more traditional approach was that the publisher wanted her target audience to be children from 6 to 12 years old. Six-year-olds need bigger font than 12-year-olds. Using different font sizes throughout the book opens the book to a broader audience, whereas setting all the text in one size would target a more specific age group.

B&W

Since the book will be printed in black ink only, a few pages with black background sprinkled throughout the book is a good option for breaking the black on white (caution! you need to discuss this option with your printer).

A great book that we designed last year is Ed Wolkis’ How to Take Photos That Move Houses. This full color book represents an example of the complex challenges in book design. Ceci is going to have a very in-depth post on the book design issues for this title. Meanwhile, head over to the book’s website and take a look at some sample pages from the book.

BTW, this book is not just for real estate professionals. It’s a fantastic book on photography for anyone.