Your chosen font should invoke the messaging of the book and how you want the reader to feel while immersed in the writing. The right font is something the reader may not even notice because it flows so well with the content, whereas the wrong font can seem awkward and out of place, creating a jarring reading experience.
Book lovers, take a look at your shelf. What do you see? Not all of us can be Bookstagram stars with a plethora of breathtaking displays, but recently I’ve discovered that my books seem to follow a very similar color scheme. At first I thought this was a happy coincidence, but it turns out that publishers definitely know what they’re doing. In the book publishing world, marketing all begins with the cover.
How does one choose what book to read next? There are indeed a plethora of ways to discover your next literary treasure. Certain authors may interest you, you may be immersed in a genre, you may have been stunned by a book’s reputation, or you may pursue an interest in either something you love or something that is new to you. There is one approach, however, you supposedly should never use to choose what your next literary adventure will be, and that is judging the book by its cover. However, while this rule does apply to almost the entirety of the publishing world, there are always some exceptions.
There is an ongoing conversation about conscious editing and how important it is to making great inclusive stories. I would be the first to tell you how crucial it is for books to be edited consciously, as it increases the accuracy and the quality of a book and helps it appeal to a wider audience—something that is very important in publishing. But that is not the only area in book production that has so much to gain from conscious practices, diversity, and different perspectives—design can also benefit from these things.
Whereas fine art (such as illustration) looks inward by asking the viewer to see the artist behind the art, graphic design looks outward by asking the viewer to see the art and go do something because of it. While these two concepts overlap in places, the purpose of each is very different.
Ooligan Press is mostly made up of students in either their first or second year of the master’s in book publishing program at PSU. This means that every student is working on a book project team or as a department manager in addition to taking another two or three classes. And who can find the time to create cover and interior designs as we juggle up to six books in development at once? The key is collaboration. By trusting each other as managers, creators, and book lovers with valuable feedback to give, we work toward a fully designed book that best reflects the essence of the final manuscript.