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How is a book designed? What do book designers think about as they turn manuscripts into printed books? In this unique and appealing volume, book designer Richard Hendel and eight other talented book designers discuss their approaches and working methods. They consider the problems posed by a wide range of projects - selection of a book's size and shape, choice of typeface for text and display, arrangement of type on the page, and determination of typographic details for all parts of the book within manufacturing and budget limitations. Written not only for seasoned and novice book designers, this book will fascinate others in publishing, as well as all readers and authors who are curious to know how books end up looking the way they do.
- Sales Rank: #697611 in Books
- Published on: 1998-11-10
- Original language: English
- Number of items: 1
- Dimensions: 11.34" h x .90" w x 7.52" l, 1.90 pounds
- Binding: Hardcover
- 224 pages
Most helpful customer reviews
4 of 5 people found the following review helpful.
Excellent
By A Customer
Thoughtful and thorough, and offering no easy answers, this book forces one to think for herself. On a par with Hochuli's 'Design of Books'.
6 of 6 people found the following review helpful.
How designers work
By JL--
As author Richard Hendel notes, designing a book is a complicated process, "especially because there isn't a single way to proceed." Hendel is associate director and design and production manager at University of North Carolina Press, ideally qualified to give a true picture of the life of a book designer.
On Book Design is divided into three sections. In "Looking Like Books" Hendel discusses what makes a book, a book. More than just the author's words, a book is defined by its typography, the size of the fonts, the width of the margins, where the subheads fall on a page. While this may seem obvious, what is harder to determine is the right combination of all these subjective elements. If a reader is paying more attention to the arrangement of the words rather than to the content itself, the design may be overdone.
The book's second section, "The Design Begins Here" describes exactly what it is that designers do-from the big picture stuff (e.g., matching the author's content and tone) to the smallest details (e.g., determining whether to choose old-style or line numbers).
Scattered throughout the book are samples of projects designed by Hendel and others. This is extremely helpful and often fascinating, though on occasion the level of detail Hendel provides borders on the tedious.
In the third section, "How Designers Work," Hendel hands the page over to several respected designers. Some work entirely on the computer; others, like Hendel, use pencil and paper to create their first design drafts. As Hendel notes, "What is important is not the mechanics of making the layouts but finding exactly the right design and typeface for the author's words."
46 of 49 people found the following review helpful.
Book Designers on Book Design
By Simulacrum
When Henry David Thoreau made a complete list of each and every possession he had at Walden Pond, he curiously omitted one thing: He forgot the pencil that enabled him to make the list. Successful book design, says Richard Hendel, often goes as unnoticed and unappreciated as Thoreau's pencil. It is, as Beatrice Warde once said, a transparent goblet, so that (writes Hendel) "the very invisibility of its design is to its credit." Hendel should know, having worked for many years as a highly regarded book designer, most recently with the University of North Carolina Press. Thankfully, this is not a prosaic instructional manual--"it is a book about how books are designed," he cautions, "not a book about how to design books"--but a medley of honest reflections about how book designers see, think, and feel. Written by the author and eight other American and British designers, it is illustrated by 110 black and white examples, among them several pieces by Iowa-born designer Merle Armitage and the University of Nebraska's Richard Eckersley, two of the century's most inventive (yet unheralded) book designers. With surprising candor, the text asks: How do book designers get their ideas? What do they worry about? How did they approach a particular book? And what difference does it all make? After all, confides Hendel, prize-winning book designs are largely unappreciated, cost more to produce, and are rarely available in bookstores. "There isn't any correlation between what books look like and how they sell," he laments. "Design seems to make no difference." Of particular interest is a section about the design of this book, which led us to wonder how well it will sell, whether bookstores will carry it, and (hopefully, because it has much to offer) the extent to which it might inspire other, younger book designers. (Copyright by Roy R. Behrens from Ballast Quarterly Review, Vol. 14, No. 4, Summer 1999.)
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