Design of Books

That's a big territory to cover. It starts with selections of font and paper. It then works up to the design of entire families of books like the Penguin series, as of when this book was written. No one text can possibly cover the whole range of skills in book design, at least not in any detail. This gives a quick introduction to the many concerns of the book designer. Many topics will look familiar, such as harmonious matching of different fonts and selection of layout grids. Other topics are technological, like the strengths and weaknesses of different typesetting processes. Some choices won't be available to all book designers - choice of one volume vs. three or four, or choice of binding and cover material. Yet other concerns have to do with the business of book design, estimating design jobs and working with the authors, illustrators, and others involved in the book. The coverage may be sketchy, but the whole of the design process is laid out.The biggest problem is that the original edition came out in 1967. It predates effectively all of computer-based design. There are Jetson-like predictions of technology, though, such as the dream of Computer Composition: having typewritten text scanned (!?) automatically for typesetting. WYSIWYG never occurred to Mr. Wilson. Beyond lack of computers, its technology is archaic in other ways. Hand typesetting is still used in limited, artisan printing, but is obsolete for all commercial books. The tools of the designer have changed, as well. The real weakness, though, is its treatment of color. Again, printing technology has made photorealistic use of color feasible in most contexts. Some of the commentary is completely up to date, though. The garish, cartoony textbooks he criticizes have, if anything, gotten worse.There are some minor problems as well. The text makes reference to illustration 3-9, for example, which is not included in this edition. The "cover flaps" folded from the paper binding tend to get in the way. When they are the vehicle for a discussion of book design, the irony becomes annoying.This is an outstanding introduction to the full breadth of book design issues. It has weaknesses, but was never intended to stand alone as a typographic how-to. It still complements other texts very well.

This book is a distinctly mixed bag, so potential buyers should beware. On the one hand, its author is a master book designer whose opinions deserve special consideration. He has filled the book with rich and rewarding guidance that will endure. On the other hand, the book was written long before computers revolutionized the publishing industry, so it has a distinctly archaic - even obsolete - aura. Vast portions of the text are no longer relevant to modern publishing, and readers who rely on them will be very seriously misled. Newcomers should take note: this book cannot tell you how books are made today. There are other problems, too. The book was an incomplete survey even when it was new, and the author has the unfortunate habit of using technical terms that he has not explained. These serious shortcomings will create annoying obstacles for many readers. Still, the book has value for those who recognize its limitations. As one wanders from page to page, one has the sense of visiting some grand but long abandoned building whose former glories still speak through their layer of dust. For instance, the book is an interesting source of information about the history of book making and about the pre-computer state of its technology. And the author has included many useful examples of well-designed books, which repay careful study. The author's general advice about book design also retains much of its value. This is not a book that I would recommend for casual novices. It is much better suited to the respectful appreciation of those who already understand book making and who will recognize this book as a valuable artifact from a former era. Unfortunately, students will find that there is no modern alternative to this book. So although its value has diminished, it can serve as a useful stepping-stone for those who want to know how fine books are made. Proceed at your own risk, and bear in mind that many other books - none of them wholly satisfactory - must also be consulted for supplementary guidance within this sadly under-documented field.

This book is the best introduction (I know of) to the design, layout, and typography of traditional page and book design. This was written in 1967, long before desktop publishing and Web pages, but anyone who works in visual design can learn a huge amount from this classic work on page layout and typography.