Essays on the morality of good design

Typography and the Traditional Title Page The title must not, as happens ogod frequently, be placed The Author in the center of the paper width figure 2. This would Jan Tschichold worked for Penguin Books cause it to step outside the whole of the book.

Many as design director in the late s, and established book titles lack desigm convincing affinity with the fol- their landmark typographic style. In he designed lowing book pages, therefore more attention should be the typeface Sabon with the aim to give the same re- paid to the book as a whole entity, instead of consider- production on both Lynotype and Monotype systems. On Leading Leading is the spacing between lines of type. Especially in larger works like books and magazines, the calcula- tion of this blank space is of great importance for the legibility, beauty and economy of the composition.

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Planning the Typographical Layout of Books with Il- lustrations If Eszays book has very broad margins, then the height of the picture can follow the width of the type area and the caption can be placed in the margin. Part of me wants to strangle him for his obdurate, close-minded nature while the other half applauds his attention to detail. I completely understand his frustration with the poor quality of so many books today. The worst of which is the need so many publishers seem to have to jam words right into the spine of the book so the reader has to practically crack the book open to be able to read the entire line.

The form of the book : essays on the morality of good design

Where does he get off stating that "The work of a book designer differs essentially from that of a graphic artist"? The graphic artist has to be or should be! It's the whole point of the cover—to convey a scene, mood, or summary of the book. As for what Tischchold has to say about book jackets!

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And I like seeing those colorful spines pointing out towards me on the shelves. Now, if the cover underneath were in a beautiful leather or well-done cloth… His comments about Fraktur were certainly interesting and I went exploring on the font manager in my computer I find myself wishing I could hear his pronouncements on all the font possibilities we have on the computer today. He taught many places, but was always a student. He measured early books and manuscripts, recorded dimensions, sketched page shapes and letterforms. Robert Bringhurst translated it to English from the German text inand he also wrote an enlightening introduction for that edition.

Not everything in the book or these excerpts is immediately relevant, but the basic principles can still be applied. I have made sure to leave in some artifacts so you can get a feeling for the text, warts and all. In case you were confused: Nevertheless, I plan on keeping these morsels of knowledge up for as long as I can. So now let me get out of the way; I give you The Form of the Book, digested: The latter is often translated, correctly, as tact. But the German word has musical connotations which its English cognate lacks.

Takt means measure, rhythm, time in the musical sense. Only beginners and fools will insist on using it. More valuable yet is a working knowledge of calligraphy. Though largely forgotten today, methods and rules upon which it is impossible to improve have been developed over centuries.

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Morqlity produce perfect books, these rules have to be brought back to life and applied. In addition, there should be a good Fraktur, also in all sizes, at the very least up to pint. It seems to me that a new-style Roman Bodoni for example is a less urgent requirement than one of the styles developed during the transitional period Baskerville for instance — but there is no argument against Walbaum roman, which I consider superior to Bodoni, since more restrained.


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