A couple weeks ago we received the copy of a book I’ve designed: The Imperfect Enjoyment by Dewan Gibson.

In an earlier post I mentioned using the font Brothers for the cover. So when working on the layout, the idea was (& always is) to relate the layout with the cover to unify the book.

Having the Brothers font on the cover, I thought that I would like to find a good text font to go with it: something masculine, geometric, but at the same time highly readable. (Remember that usability always must be in mind when designing a book: the book is meant to be read!)
The chapter headings and small ornaments were also set in Brothers, and for the main text, the choice was Melior by Hermann Zapf. After trying some other fonts, Melior fit the bill: the geometric rectangle based font went perfectly with Brothers.

For the front matter I started to incorporate Melior, always combined with Brothers Bold & Regular. (In the image is the horizontal design for the TOC & Dedication page.)

BTW, The Imperfect Enjoyment has its own website, which I found very amusing… featuring Barack Obama!

We’vet just finished the e-book guide 4 Perfect Days in Buenos Aires. It was a process full of questioning many things that are, should or could be different from printed books. (Another post will address why PDF and not some other format for this e-book.)
Here I’ll share some of the topics that we came across while working:

ORIENTATION: portrait or landscape?

By thinking that we are designing a ‘book’ the impulse is always to go with a known book format (portrait), but since the screen is landscape, it’d be useful to follow that format if the e-book is intended to be read on screen.
However, when we read a print book we are always looking at a landscape format from the moment we open the book: the double page. So finally, I decided to go landscape, but as double page to keep the book familiarity and avoid the feel of a PowerPoint presentation.

Should we use COLOR or B&W?

Should we do it full color? We can! So why not?

A full color e-book can be done for the same price and will be more attractive since it’s full of graphics… ok, let’s think about the audience: what if the people want to actually print it and take it with them? Remember this is a tourist guide!
WHAT TO DO? We decided to work on 2 versions: a screen version with images & full color for people to enjoy, read and look at while planning the trip; and a print version that is B&W with a simpler layout. So by printing 11 letter-size pages of the print version then the reader can have the complete text to go.
Here an example of the screen version and the print version:

One complicated part we encountered was a double page with an architectural walking tour that included buildings photos: in this case we just left the map in the print version with references (so people could find the buidings) without images and included the text of that section:

To keep the feel of the book, the print version has the same text orientation (landscape), so by slightly modifying the original grid it was ready:

TYPOGRAPHY: screen font or book font?

I wanted a font family that could be used for the whole project, including the print version. The Rotis family was the choice because of the maximum readability and many options to combine the different levels of hierarchies of headings and text. The main text is set in Rotis Sans Serif and the headings are Rotis Serif & Rotis Semi Serif.

With or without LINKS?

I find it useful when a multi-page document (e-book in this case) has anchors from the Table of Contents linking to the corresponding pages in the e-book. Also since this is an e-book all Web sites mentioned in the e-book are actual links embedded in the document.

COVER

To be consistent with the landscape look of the whole project, the cover was done in the same style, so when opening the document all the pages are the same size, including the cover.

This is the second part of a multi-part post describing the design process of the cover, layout, & website for the book A Worthy Legacy by author Tomi Akinyanmi. You can read the Part I here.

PART II: The Final Cover

The first round of the cover concepts were focused on the uniqueness of the yoruba origins of the author and her grandfather, the focus of the legacy.

For the second round we looked for a more ‘universal’ approach on the topic of the book’s theme “learnings of life”, which would allow more people to relate to it. This was a better approach from a marketing perspective and also conveyed the message that the author was transmitting in a better way since the book is about people and life regardless which culture they are from:

The dark background immediately stood out from the rest. And though we loved the title set in the calligraphic font Affair, we later changed it to Bentley & MrsEaves for improved readability:

Here is the final cover:

When we finished the cover, we sent it over to the talented team of COS Productions to produce the book trailer. I was thrilled to see how the video captured the essence of the book:

Coming soon | Part III: Book Jacket & Interior Pages

Book design will diverge down several paths and has a surprisingly healthy future.

1) E-books based on a reflow format (i.e., suitable for small devices) will be based on common style sheets and exhibit a fairly uniform appearance. There will be a set of small (in size) firms that customize and refine these style sheets. Publishers will mostly outsource the format conversion since the ever changing variety of devices requires continual reformating of material. There will be some firms that profit very well from providing this service.

2) E-books based on PDFs also will be very popular due to the variety of light-weight computing devices with large screens. (The whole PDF vs reflow format for e-books is misleading unless one assumes that small, palm-sized devices will completely replace all other forms of desktop, notebook, and tablet-sized computers.)

3) Some material traditionally only published in book format will shift to Web delivery and “book” design for this genre actually is Web design. Many challenges for publishers in this segment who have not yet figured out how to monetize Web sites. (If publishers have not figured that out in the last 15 years, will the next 15 years be much different?) Many opportunities for new publishing firms to emerge to fill the gap for producing and monetizing engaging content using digital media. Many opportunities for designers since elegant Web design is neither simple nor cheap.

4) Print-on-demand establishes a significant market operating in bookstores, libraries, big-box retail outlets, and direct shipping to consumers. All those books still need designing and the PDF byproduct can feed directly into pathway #2 above as well as #1 with conversion services offered in pathway #1.

5) Print book designers will still flourish as some publishers will realize that a niche audience is willing to pay a premium for a wonderfully designed book, heralding a surprising renaissance in book design. Also, print book designers can design PDF-based e-books with no problem since PDF is usually a byproduct in the print book design process.

Regular readers will not that I continue to push back against the dire warnings that e-books will replace print books. My resistance comes not because I’m a bookman (which I’m not) but because sweeping, generalized statement leave out so much.

Everyone points to how cars replaced horse-drawn carriages, but there are so many examples where a new technology did not replace previous methods. Yes, e-books will shift print books, publishing, and booksellers in new directions but that doesn’t mean the eradication of print.

In the 1800s the public lecture was a popular and effective way to convey information. Radio did not entirely replace the gathering of individuals to hear someone speak. Cinema did not replace theater. DVD replaced VHS but not movie theaters. MP3s replaced CDs, cassettes, 8-tracks, & vinyl but none of that replace live concerts.

Moving-going, attending concerts and lectures: those are all communal activities but reading is not. In that way, reading is more akin to the solitary viewing of a movie at home or listening to music on an iPod. Yet, when we go to the movies, or sit through the performance of an opera, we process that experience in solitary ways, as individuals. Part of our sensory experience may feed from the audience (particularly at a rock concert) but much of our pleasure at enjoying movies in a theater or a classical concert stems from the environment of the theater and other perceptions. Who is not annoyed at that guy talking two rows over? (And, honestly, I do have to say that I can think of very few lectures that I have enjoyed in person. For that, please, please just give me the lecture on YouTube.)

There are ways that we interact with books through typography, design, and the format of print itself that are so successful that it’s practically transparent to most. For many books – and I don’t say all – print will remain the most effective medium because the book itself has a form that suits our senses.

In a decade or two from now, with advances in digital displays, this will certainly change but I still doubt that even by 2025 we will have seen the complete absence of print books. I know I must sound like a Luddite to all those who are convinced that everyone – right now – should be reading books on their iPhones.

What I do expect is that digital media will create new forms of interacting with a large body of textual and image-based material (the common ingredients of books), ways that go far beyond what we see with the current generation of e-book reading devices. Yet, the capabilities of rich Internet-based digital media have been with us for more than a decade now and, honestly, we’ve not seen a very significant shift towards utilizing this new media in creative and impactful ways. For that, I do blame academia and publishing. There’s a lot more that needs to be done and it will probably come about with the generation that was born into a world where digital media is not considered “new”.

We need to learn what it means to write with digital media.
We need to learn what it means to read a digital text that is not an e-facsimile of a book.