There are a lot of things that can make a book unreadable: the content, the prose, the plot holes. The list could go on and on. For me, nothing makes a book more difficult to read than badly justified type.
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 As technology and the practice of digital font creation have advanced, some terms have been replaced by their digital counterparts in conversations surrounding graphic design.
The first step was to pick a font; this was not an easy task as there are literally millions of fonts out there. Luckily I was restricted to choosing from the hundreds that Ooligan already has the rights to. So I browsed through hundreds of fonts, tried out a couple dozen, printed out eight, then finally sent in five.
I’ve been pursuing book cover design in the past year because in a small publishing house like Ooligan Press, book covers play more significant roles than in large publishing houses that hold big name authors and titles. I am interested in the effects of book cover design on consumers who do not know the author or content, and what information a book cover should include in order to attract consumers.
What happens when the book you’ve written doesn’t neatly fit into one specific genre? For instance, what if instead of a book that falls unquestionably into the mystery thriller category, you’ve written one that beautifully straddles the line between personal memoir and war memoir? While this question can certainly influence any number of factors in the book publishing process, it comes into a particularly important light when a publisher begins to develop the marketing plan for a new book.
Many of us associate certain typefaces with specific situations or ideas—Times New Roman is generally used for anything academic or professional, Courier is reminiscent of old typewriters, and Blackletter or Gothic script makes us think of newspapers.