Book design

Another designer who sought to establish and create propor-

actions and grading systems, becoming a reference for the
book design in the post-World War II wasJosef Müller-
Brockmann. [2]
According to the principles ofJan TschicholdDesign
of books has a series of methods and rules that have
have been developed over centuries. For this design-
to produce perfect books some rules must be followed
to be rescued and applied. [3] Richard Hendel describes
book design as a 'mysterious subject' and emphasizes
the need for a context to understand what it means
notify. [4]

1 Components of a book

1.1 Description of physical elements

Adapted list of some items present in the text re-

Reference in book design The book and the Designer II - How
create and produce books by Andrew Haslam.[5]

Drawing for the metal cover of a book, made byHans Hol- Loin[6]
being the Younger
Lombada (in English: Spine). According to
with the type of binding the pages
Book design is the art of incorporating the content,style, can be stapled, glued or sewn
format, design, and the sequence of several components of tours.
aroundbookin a coherent whole.
Headed[7]
The graphic production of books can be considered a
the first activities in the History of Graphic Design. Piece of cloth, generally cotton or
Books were initially sponsored by the Catholic Church glue, which is attached to the spine of a book
lice, and its first producers were the co-monks hardcover.
ninth-century tracks that copied writings on parchment
minhos. It is noticeable that when the production of the book left Hinge8
from handwritten to printed, in a first mo- Strip of fabric or leather to form the
First, an attempt was made to imitate what was done manually. mirror guard.
The designerJan Tschicholdsought, in the mid of the century-
XX century, to rescue the tradition of these artisanal works, Cover[9]
investigating the design logic behind ma- models
manuscripts, medieval and Renaissance. Tschichold discovers It can be made of cardboard, coated.
or not, made of paper or other material. It can
I saw that most of the books were designed using the
proportions [Link] for the dimensions of the inter-margins be glued, stapled or sewn with
nas, top, external and lower. The Designer realized the core.
also that the height of the text block was the same as the
Guards[10]
page width and found recurring proportions of
2:3 between height and width of the page. The proportion searched- Sheets of paper folded in half with
sada by Tchischold is described in the book The Form of the Book the purpose of binding the book's spine
[1] on the hardcover. A sheet is attached to the
it is the golden ratio used even by Gutenberg.

1
2 3 COVERS, SPINE, BACK COVER AND OVER COVER

front and another at the back of the book. 2.3 Post-Textual Matter
The guards may or may not be printed
in order to present a texture, illus- The post-textual matter (in English: back matter), if used,
traction, etc. usually has some of the following items:

Fourth cover[11]
back cover. 3 Cover, spine, back cover and
White guard[12] dust jacket
sheet without printing that is part of the ca-
derno.

Notebook13
Composed of printed sheets and folding-
which form multiples of 4 pages,
that are bound together and form the
book content.

2 Structure of the book

2.1 Preliminary material

14
Pre-textual material or preliminary pages (Front
matter) is the first part of the book and is usually the
smaller in number of pages. The pages can be Aspeed bumpThe book cover is an important aspect of book design,
especially regarding the cover design. When the books are
numbered in lowercase Roman numerals. Each pa-
stacked or stored on a shelf, the details of the
Gina is told; but it cannot lack sheet or nu- The spine is the only visible surface that contains the information.
printed pages can be presented in about the book. In a bookstore, frequently the details of the
white.[lacks sources?] the bumps are those that attract first.
The pre-textual elements of a book usually appear
but only in the first volume of a multi-volume edition Acoverit is the front of the book and, if designed appropriately-
volumes, however, some elements such as summary and by text and/or graphics in order to identify it, is
index can appear in each volume. considered the beginning of the book. Generally,
The following table will help to distinguish some differences. it has at least thetitleand/orauthor, and often a
illustrationappropriate to the theme of the work.
front matter
Inside the cover, extending to the next page
it is the front (endpaper) sometimes referred to as FEP. The
2.2 Main Body of the Work the free half of the final paper is called the guard.
additionally, in hand-bound books, the guard
The structure of a work (and especially of the content it was just a blank sheet of paper or ornament
The principal is often arranged hierarchically. tada to mask and reinforce the connection between the cover and the
book content. In modern publications, it can be yes-
Volumes pleased, as or adorned and illustrated as in books of
image, illustrated or of art. Aspeed bumpit's the side to see-
A volume is a set of pages. spine of the book where the cover and the pages are connected. The books, in
bound. This way, each line- general are stored on a shelf in position
work can be a single volume or di- vertical, therefore the visible part of the book on the shelf is the
divided into more volumes. from the spine, which is essential to include the title
and the author of the work. In published and/or printed books
Chapters and sections
In the United States, the spine text is positioned-
A chapter or section may contain a two from top to bottom, with the right side facing up. In
part or the book. Both, chapters and se- Europe, the text on the spine is, traditionally, executed
actions are used in the same work, the from bottom to top, although this convention comes
sections are generally larger and contain recently changing15The speed bump contains normal-
the chapters. lie about all, or some, of the four textual elements in
 3

following order: (1) author, editor, or compiler; (2) ti-

title, (3) publisher, and (4) the publisher logo.
On the inside of the back cover, there is also the presence of fo-
guard rails. Its design matches the front guard
that can be made of plain or decorative paper.
On the back cover, one often finds biographical material.
information about the author or editor, and quotes from other sources
like reviews or phrases from critics that praise the con-
book content. It may also contain a summary or a
book description.
Soft cover books, paperback, or paperback, with a thin finish
pocket book peak
4 Binding
cover of paper or fine cardboard, as well as others
materials such as plastic can be used. The covers are
flexible and usually glued to the core.

5 Double Page

Double page with classic text graphic stainJ. A. van de

Graaf's constructionand proportional margins.[16]

The unit on which the layout of the book's core is based,

Hardcover Books
at least regarding the layout of the text, it is the pá-
Books are generally classified under two categories of mirrored gina or double page. The left page and
agreement with the physical nature of the binding. The design- the right page has the same size and proportion, and
the middle of both, the gap of the binding.
nationHardcover(or hardback) refers to books with ca-
rigid covers as opposed to flexible covers (binding The possible layout of the text on a page is determined by
common brochure in paperback books). The binding does not affect the printing area (graphic area) and it is also
the book cover includes sheets of paper covered with fabric, an element in the design of the book page. Clearly,
leather, paper or other materials. The binding of the pages must have enough space for the binding, to
(notebooks) with the cover can be sewn, in the case of those where the text does not disappear in the binding of the book, or
hardcover books, or glued, in paperback books, that is, one must calculate and design generous margins.
brochure. The external margins of the graphic area that structure the
A more economical method is the one used in book editions, which must have an appropriate size, both practical (in
brochure or pocket book(in English, paperback, soft - the moment when the book is held), how aesthetic (for
back or softcover). A large part of paperback books does not suffocate the page).17
4 8 OTHER READINGS

5.1 Graphic Stain The book and the Designer II - How to create and
produce books, Rosari Editions,ISBN 978-85-88343-46-
The graphic spot (in English: print space and in German 7
The term 'Satzspiegel' is a typographic term and determines the area
The Book and the Designer II - How to Create and
printing of a work, book, newspaper, or other work publish books, Rosari Editions,ISBN 978-85-88343-46-
printed. The graphic stain is limited by the margins that 7
it surrounds.
The Book and the Designer II - How to create and
The term originates from printingtypographic. producing books, Rosari Editions,ISBN 978-85-88343-46
7

6 See also The Book and the Designer II - How to Create and
publish books, Rosari Editions,ISBN 978-85-88343-46-
7
• Jan Tchichold
Haslam, Andrew, The Book and the Designer II - How to create and
• Book cover produce books, Rosari Editions,ISBN 978-85-88343-46-
7
• Title page
The Book and the Designer II - How to Create and
• Penguin Books publishing books, Rosari Editions,ISBN 978-85-88343-46-
7
• Printing
Haslam, Andrew, The Book and the Designer II - How to create and
• Typography publish books, Rosari Editions,ISBN 978-85-88343-46-
7
• Editing
The book and the Designer II - How to create and
• Editorial design publish books, Rosari Editions,ISBN 978-85-88343-46
7
• Mesh (typography) Haslam, Andrew, The Book and the Designer II - How to create and
produce books, Rosari Editions,ISBN 978-85-88343-46-
Other types of books 7

[14] Hendel, Richard, The Book Design, Editorial Atelier,

• Comic Book 2003,ISBN 85-7480-100-3

• Interactive Children's Books Petroski, Henry. The Book on the Bookshelf. [S.l.]: Al-
Fred A. Knopf Inc, [Link] 0-375-40649-2
• Interactive Fiction
New calculation for the configuration
• Picture Books or Illustrated Books Ving. (1946)

• Pop-Up Books [17] [Bringhurst, Robert. Elements of Typographic Style.]

São Paulo: Ed. Cosac & Naify. 2005
• Art Books

• Artist Books
8 Other readings

7 References Hendel, Richard, On Book Design. New Haven:

Yale University Press, [Link] 0-300-07570-7.
Fawcett-Tang, Roger, The Book and the Designer I: Wrap- Hochuli, Jost, and Robin Kinross, Designing Books:
gem, navigation, structure and specification, Rosari Editions, Practice and Theory. London:Hyphen Press, 1996.
2007ISBN 978-85-88343-52-8 ISBN 0-907259-08-1.
Fawcett-Tang, Roger, The Book and the Designer I: Packaging-
gem, navigation, structure and specification, Rosari Editions
Bruno, Michael H., Pocket Pal: The Handy Lit-
The Book of Graphic Arts Production. 19th Edition.
2007,ISBN 978-85-88343-52-8
Memphis, TN: International Paper, [Link] 0-
[3]Tschichold, JanThe Form of the Book (1991), Hartley & 88362-488-5.
Marks,ISBN 0-88179-116-4
Lee, Marshal, Bookmaking: Editing, Design, Pro-
On Book Design duction. Third Edition. New York [etc.]: W. W.
ISBN 0-300-07570-7 Norton and Company, [Link] 0-393-73018-2.
 5

Lommen, Mathieu, The book of books: 500 years

of graphic innovation. London: Thames & Hudson,
[Link] 0-500-51591-3.

University of Chicago Press, The Chicago Manual of

Style, 15th ed. Chicago, Ill.: University of Chi-
Cago Press, [Link] 0-226-10403-6 (hardco-
ver)ISBN 0-226-10405-2 (hardcover with CD-
ROM):ISBN 0-226-10404-4 (CD-ROM).

University of Chicago Press,The Chicago Manual

of Style15th ed., Online ed. (Chicago: Released
September 29.

9 External links
• Walter Hamady and the Perishable Press Limited

• DesigningThe Painted Bird

• Alcuin Society Book Design Awards

• Elbert Hubbard, Dard Hunter and Book Design at

Roycroft Press

• Five Simple Steps to Designing Grid Systems

• How to Choose the Best Fonts for Printing

• Foreword: A Book Design Blog

• Merle Armitage: Impresario of Book Design

• A Tribute to Richard Eckersley: An Exemplary

Book Designer
6 10 SOURCES, CONTRIBUTORS AND LICENSES FOR TEXT AND IMAGE

10 Sources, contributors, and licenses for text and image

10.1 Text
•Book designSource:[Link] Contribuidores:Everton137, Jonas AGX,
EmausBot, Caverna06, Rodrigolopes, Ezalvarenga, Iara pierro, Eduardo Pazos and Addbot

10.2 Images
•Ficheiro:[Link]:[Link] License: CC BY-SA 3.0 Contribution-
builders:Transferred [Link] artist:Pratheepps
•Ficheiro:Design_for_a_metalwork_book_cover,_by_Hans_Holbein_the_Younger.jpgFonte: [Link]
Design for a metalwork book cover, by Hans Holbein the YoungerLicense: Public domain
Contribuidores:Susan Foister,Holbein in England, London: Tate, 2006,ISBN 1854376454Original artist: Hans Holbein
File:Dü[Link]:[Link] License: Public domain Contri-
buidores:?Artista original:?
•Ficheiro:Golden_section_in_book_design.svgFonte: The link provided points to an image related to the golden section.
book_design.svgLicença:Public domainContribuidores:Obra do próprioArtista original:jossi
•Ficheiro:Magnifying_glass_01.svgFonte:[Link]
CC0 Contributors: Originally [Link] page is/washereOriginal artist: Original uploader wasMango juiceat
[Link]
•Ficheiro:Paperback_book_black_gal.svgFonte:[Link]
svgLicença:CC0Contribuidores:?Artista original:?
File:PediaPress_Hardcover_pile07.jpg Source:[Link]
[Link]ça:CC BY-SA 3.0Contribuidores:Obra do próprioArtista original:PediaPress

10.3 License
• Creative Commons Attribution-Share Alike 3.0