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.
A few typographical terms still in use today have historical origins. As technology and the practice of digital font creation have advanced, some terms have been replaced by their digital counterparts in conversations surrounding graphic design.
Do you like making your own schedule and choosing your own projects? Are you someone who doesn’t mind being home all day and is probably also a night owl? Chances are you’ve thought about being a freelancer, perhaps for design, editing, or marketing. The publishing world, like many other industries, is increasingly relying on outsourcing […]
What makes your favorite book your favorite? Most answers focused on content will include positive story elements related to characters, language, etc. These effective books and our interactions with them rely on the communication of a story, experience, or information through the “text” of the inside, the interior design. Along with the contents of a book, it is important that readers shape meaning, glean information, or immerse themselves in a text. If the text and interior elements do not have a familiar and clear structure separating different chapters or ingredients from steps, the product runs afoul of difficulty and confusion and invites criticism. By orienting the text to fit the market, reader, and content in the clearest way possible, books are memorable because of the choices made through interior design.
The last time you heard from the Ocean in My Ears team, we were busy copyediting the manuscript. Well, now the copyediting is finished, and we have since turned our attention to the cover. Like many of our projects at Ooligan Press, this was a collaborative effort. Taylor Farris came up with the original concept for the cover that featured a watercolor splash, a denim textured font, and a clean aesthetic; Leigh Thomas built upon this design, adding the mountains and the reflection, as well as fine-tuning the details; and Riley Pittenger hand drew the illustrated car. Needless to say, the result is a cover that is more than the sum of its parts, but let’s go ahead and take a closer look at some of those parts anyway.