Tanya Sokolovskaya's blog: posts tagged Design books

Typography and book layout. Part 2

Fri, 26 Feb 2016 22:46:39 +0100

Jan Tschichold

In the first part of this article, recommendations and methods for calculating the layout of the typesetting strip and the canons of constructing the title page are collected. I recommend reading it if you haven’t already.

Also read the first part of the summary.

Continuing my summary of ‘The Form of the Book’ by Jan Tschichold, we will delve into the rules of typesetting and text formatting, as well as the layout of illustrations. It will be informative and interesting :-)

Typesetting rules for publishing

The quality of typesetting determines the appearance of a book. Adhering to the following rules can achieve an aesthetically pleasing typeset text.

In all headings, and especially in continuous text, the space should be one-third of an em space (an em space is a space element equal in height and width to the point size of the given font).
After periods at the end of sentences and after abbreviations, only a normal space should be used, as in the rest of the line.
Individual letters and abbreviations, such as etc., B.C., C.F. Meyer, are always typeset with a reduced space.
Titles and headings should not end with a full stop.
Lowercase letters should not be spaced out letter by letter. Instead of letter spacing, italics should always be used.
Uppercase letters are always typeset with letter spacing (from 8 points and above, at least 1 1/2 points), and the spaces between them are carefully aligned, preferably leaning towards increasing rather than decreasing the spacing.
Paragraph indents are always em space. Too large an indent can lead to the last line of a paragraph being shorter than the indent of the following line.
Quotation marks should be of the same style throughout the book.
Numbers indicating notes should be typesetted in the same font as the main text. After a note sign in the form of a number or asterisk, a bracket should not be used — neither in the text nor in the note itself.
Footnotes are separated from the main text by an empty line or a solid thin line. The empty space above and below this line should be no less than the leading of the main text of the page.
Umlauts Ä, Ö, Ü should not be represented as Ae, Oe, Ue.
When typesetting numbers, a comma is used only in decimal fractions. Thousands are separated by spaces, not commas or periods. 300,000 is not three hundred thousand, but simply three hundred. Three hundred thousand is typeset as 300 000.
Points are not used to separate thousands. In decimal fractions, a comma is used: 3.45 m; 420,500 kg. However, when indicating time, a period is used: 2.30 h. In Russian, a colon is customary: 2:30 h. When typesetting telephone numbers, it is better to separate digits with spaces or hyphens, grouping the numbers in twos or threes: 123-45-67 or 123 45 67.

Paragraph indents

Starting a paragraph without an indent creates a sense of a continuous flow of thought for the reader, which is difficult to follow. However, a good writer thoughtfully divides the text into paragraphs and wants their rhythm to be precisely maintained.

Setting text without indents hampers readability

There’s only one case where making a paragraph indent is senseless and unsightly: under a centred title. The first paragraph should start without an indent. But under a left-aligned title, a paragraph indent is necessary.

There is only one correct, technically flawless, and at the same time simplest way to mark the beginning of paragraphs — a paragraph indent, usually one em (i.e., at 10 ems — 10 points). It can be slightly less, or in some cases, slightly more.

Today, a multitude of exquisite literature, even scientific books, are printed without paragraph indents. People don’t seem to understand how much harder it is to read text without them. Setting text without paragraph indents only seems simpler and calmer, but it comes at the cost of losing rhythm — an essential feature of beautiful typography.

Italics, small capitals, and quotation marks in the layout of books and scientific journals

In artistic texts, there are almost no highlights made with italics or small capitals. Only occasionally is a word italicized to emphasize its significance.

Italics are primarily used to denote the names of books, journals, works of art, terms, and ships encountered in the text. In this case, these words can be printed without quotation marks. Additionally, words and phrases in foreign languages can be set in italics without quotation marks.

Small capitals are used to highlight names and are always set with slight spacing; otherwise, they are difficult to read.

Less well-known titles rarely used expressions, and expressions used in a figurative sense, are enclosed in quotation marks but are set in lowercase, not italics.

Bold fonts are needed to attract attention, not to separate text. They can be used for headings.

For instance, if the main font in a preface is italic, then highlights are made with a regular font, not spaced italics.

Quotes are set in a regular font with quotation marks. Direct speech is also enclosed in quotation marks; this is not mandatory, nor very aesthetically pleasing, but it makes the text more understandable than without quotation marks.

There are several types of quotation marks.

German quotation marks: „n“. The ending quotation marks are inverted commas (“), not apostrophes (’’) because it would then be a double apostrophe.
French quotation marks: «n». In Germany, they are typed with the angles facing the letter: »n«. In Russian typographic jargon, French quotation marks are called fir tree quotes and are considered the primary form, used with angles outward: «n». German quotation marks are called feet quotes, considered supplementary and used like this: „n“. To type a quote within a quote, some type «— , ‘ — » (but not ,n’ — an apostrophe is not a quotation mark!), others « — „ “ — ».
The English distinguish single quotation marks (‘n’) and double quotation marks (“n”). To type a quote within a quote, in the UK it is customary to use single quotation marks as the primary form and double as the supplementary, while in the US it’s the opposite: ‘like “these” in England’, and “like ‘these’ in America”.

Different countries have their own forms of quotation marks and rules for their use. For example, in Finland, Greece, and Turkey, the same form of quotation marks is used as both the opening and closing marks: ”quotes in Finland”.

About Leading

Leading is the distance between lines of text.

There’s an almost always true rule — the more end lines and lines of varying lengths there are, that is, the more restless the form of the typesetting strip, the greater the distance between the lines should be. Large leading emphasizes the linearity of lines and thus to some extent harmonizes the jagged silhouette of the typesetting.

By increasing the leading, you can save text that has been typeset with too large spaces between words, that is, typeset poorly. However, large leading in no way exempts you from the need to make proper word spacing.

If the leading is the size of a pica or larger, you can typeset words in a line a little wider than with compact typesetting: otherwise, due to the large distance between lines, there is a sensation that words in a line are merging, which reduces readability.

The leading in a book depends on the size of the margins. Large leading suggests wide margins, and then the plane of the font is perceived harmoniously.

The length of the line, that is, the number of letters in it, also affects the leading. The longer the line, the greater the leading needed, otherwise the eye gets tired and the reader loses track from one line to another. But long lines are generally bad; wherever possible, you should try to make them shorter — either set in two columns or increase the font size.

There is one almost always true rule — the more end lines and lines of different lengths there are, that is, the more restless the form of the typesetting stripe, the greater the distance between the lines should be. A large interline spacing emphasizes the linearity of the lines and thus to some extent harmonizes the ragged silhouette of the typesetting.

By increasing the interline spacing, you can save text that is typed with too large word spaces, that is, poorly typed. However, a large interline spacing does not free you from the need to make proper word spaces.

If the interline spacing is the size of a pica or more than a pica, you can type the words in the line a little wider than with compact typesetting: otherwise, due to the large distance between the lines, there is a feeling that the words in the line are sticking together, and this reduces readability.

The interline spacing in a book depends on the size of the margins. A large interline spacing implies wide margins, and then the plane of the font is perceived harmoniously.

The length of the line, that is, the number of letters in it, also affects the interline spacing. The longer the line, the larger the interline spacing is needed, otherwise the eye gets tired and the reader gets lost from one line to another. But long lines are generally bad; wherever possible, you should try to make them shorter — either by setting them in two columns, or by increasing font size.

Set of superscript numbers and notes

Let’s talk about what is ugly and therefore incorrect.

In the superscript numbers of footnotes in the text of a book:

Unsuitable font for small superscript numbers. The shape of the superscript numbers should match the main font or at least be close to it.
An unnecessary bracket after the superscript number. A bracket after a number is appropriate in a manuscript, but in a book, it is redundant.
Lack of spacing between a word and the following superscript number. In good typesetting, it is essential to space the reference number with a thin space; otherwise, the number does not stand out. It should not stick to the word.

In the notes:

Superscript numbers, because they are too small, often cannot be read and, moreover, usually come from different, completely unsuitable font families. They must be clearly distinguishable, as it’s specifically them that are being sought. Therefore, the footnote number should be typed only with normal numbers of the same size as the text, in no case small (in the Russian typesetting, the number is placed on the top line of the font with a half-size spacing from the text of the note without a dot).
The absence of punctuation after the footnote number. After the ordinal number of the note, typed in normal form and size, a full stop is mandatory. In the first line of the footnote, it is correct to make an indent of a round space (this recommendation does not apply to the Russian typesetting, see point 1).
Unnecessary and unattractive thin line on the 4 cicero format to the left above the note. To separate the text from the footnote, it is enough to reduce the size of the font in the footnote. If division with a thin line is still required, it should be made to fit the format of the column.
Too small leading in the lines. The column will be harmonious if both the text and the note have the same leading, regardless of the font size. But you can set the note with leading 1 point less than the distance between lines in the text, this will not be an error. A strong difference in leading makes the note noticeably darker than the main text, which is not good.
In the main text of the book, there should be no spacing between paragraphs, and between individual notes on the page, spacing is not necessary.
Confused construction of the note due to the lack of paragraph indents in it. Unprofessional division of footnotes with leading of several points, even 1 point, gives an unclear picture of the typesetting. This is just as unacceptable as typesetting simple text without a paragraph indent.

In addition to the above:

If there is only one footnote in the book, or if notes occur singly on a page, it’s better to use an asterisk instead of the number 1.
In the text, the asterisk is not separated from the preceding word, but in the note, there should be a two-point space after the asterisk (in Russian text, the asterisk is spaced two points from the preceding word and is not separated from the closing quotation marks).
If the note consists of a single or a few words and stands alone on a page, it can be centred; this will look harmonious with overall centre alignment.
Sometimes, several short notes follow in succession, and they can disrupt the balance of the spread if they are stacked one under another. Such notes can be set horizontally one after the other, separated by round spaces. A period is placed at the end.
A very long note can be divided, placing one half on the left and the other on the right side of the spread, but this technique should not be overused.
If the format of the main text’s typesetting strip is very wide and the font size is cicero or larger, it might be feasible to set the notes in two columns.
Starting footnotes on each page with the number 1 should be avoided; it’s better to have a continuous numbering of footnotes for the entire book or at least for individual chapters.

Ellipsis

An ellipsis indicates that several letters of a word, a single word, or several words have been omitted. Never use more than three dots or two dots. It is correct to use exactly three dots.

The dots should be typed without spaces, certainly not spaced out, as this creates holes in the fabric of the page. Before an ellipsis that indicates omitted words, it is correct to place a normal inter-word space for the line: ‘I think I was very ... afraid.’ If punctuation follows the ellipsis, it is separated from the last dot by a space of 1 point (in Russian, a comma is not used before or after an ellipsis).

Dots placed instead of omitted letters are also typed without spacing, and no space is placed before them.

Hanging lines at the end and beginning of the typesetting page End lines at the beginning of the typesetting page are not allowed. An end line disrupts the rectangular format of the typesetting page, and a phrase fragment at the beginning of the page looks pitiful.

There is a reliable and tested way to get rid of a hanging line: you can make one page a line longer. However, this is only possible in a book with large margins.

When a thin rule stands under a variable header, a hanging line is not a problem. In this case, the rectangularity of the typesetting page is preserved.

Layout of strip illustrations

There are two ways to place strip illustrations in a book: they can be laid out together with the text or reproduced separately.

The maximum width of the illustration equals the width of the typeset strip; the maximum height is less than the height of the typeset strip by 7-11 millimetres, left for one or two lines of the caption to the illustration, the caption is included in the typeset strip (Pic. 1).

Pic. 1

Horizontal format illustrations in size and placement should also correspond to the typeset strip (Pic. 2).

Pic. 2

If the book has very wide margins, the height of the illustration (b) may equal the width of the typeset strip, and the caption printed on the margins. But in other cases, as a rule, the caption should stand within the limits of the typeset strip and, accordingly, the illustration should be reduced (Pic. 3).

Pic. 3

Illustrations laid out across the page are always inconvenient. Everyone tries to avoid this option. If there are more of them than others, it is advisable to choose a horizontal format for the book and set the text in two columns (Pic. 4).

Pic. 4

The book spread should form a single composition, even if the illustrations are very different (Pic. 5).

Pic. 5

A vertical, long illustration takes up the entire height of the typeset strip, and naturally, it needs to be placed in the centre of the typeset strip (Fig. 6, left). Meanwhile, a smaller illustration (Pic. 6, right) is positioned so that the ratio between the distances from the illustration to the top trim and the bottom trim is 1:2 or 3:5.

Pic. 6

Where it is impossible to do without cross illustrations, they should be placed so that they are convenient to view:

Pic. 7a. Cross illustration next to the text strip

Pic. 7b. Normal and cross illustrations

Pic. 7c. Cross illustration on the left and normal on the right (worse than 7b; this option is used only in exceptional cases). So, the top of the illustration should be turned towards the binding! Option 7c does not exclude option 7d

Pic. 7d. Two cross illustrations, both should be viewed from the right side; turning the picture on the left strip would be a mistake, as it irritates the reader when they have to turn the book twice

The top ten most common mistakes in book publishing

Unsuitable format: too large, wide, and heavy books. Books should be convenient.
Unstructured, shapeless set as a result of the absence of paragraph indentation.
Initial pages, not highlighted in any way, standing at the top of the page, without a left indent, which looks like random pages of text.
Shapelessness arising from the erroneous use of only one font size.
White and overly bright paper. It is very unpleasant for the eyes and harmful to health. A light, unobtrusive tinting (ivory colour or darker, but not cream shades) is almost always much better.
White binding. Looks ridiculous, like a white suit, because it’s equally prone to staining.
Straight spine of the binding. The spine of a bound book should be slightly rounded, otherwise, after reading, it skews and the notebooks in the middle of the block stick out.
The book’s title is in a large font, set along the spine, which is wide enough for crosswise placement of inscriptions. Nobody reads the title on the spine from a distance.
Spine without the book’s title and the author’s name. Unforgivable for books wider than three millimetres.
Ignorance or disregard of the rules for setting capitals, italics, and quotation marks.

I hope I haven’t dumped too much information at once :-) The book also has chapters about the root label, capital ribbon, dust jacket, and the colour of the paper, but I decided to omit them, as they pertain to its external appearance. In any case, I recommend reading ‘The Form of the Book’ in its entirety, as it contains a lot of useful stuff.

In conclusion, I want to share my emotions. As I mentioned in the first part of the article, it was my first time working on the layout and design of a book, so I didn’t give much thought to the process. But thanks to [author], my opinion has changed. Working on a book is very labor-intensive, but at the same time, fascinating process, which I even grew to love, so if I have the opportunity to implement another book, I would gladly do it!

Typography and book layout. Part 1

Wed, 11 Nov 2015 20:27:47 +0100

Jan Tschichold

I recently had the opportunity to work on a book for the first time. Initially, I was confident in my skills and knowledge, so I started working without delving into the details of the book layout. However, as I progressed, I realized I had overestimated myself and needed help.

“The Form of the Book” by Jan Tschichold became a panacea for me. I read the book in one breath. Below, I will try to highlight the thoughts and advice of Tschichold that were most useful in my work.

Read the continuation in the second part.

Introduction

Perfect typography is more a science than an art. Mastery of the craft is not enough; it gradually evolves into expertise.

It’s crucial to understand that the work of a book artist differs significantly from that of a graphic artist. The latter’s goal is self-expression, while a book designer aims for self-effacement. The centuries-old methods and rules for creating perfect books don’t need improvement but revival and application. The more significant the book, the less the artist should emphasize their individuality and style, by which they can be immediately identified. They are not the master of the text but their servants.

In typographic work, complete harmony in relationships and proportions is essential: in the size of margins, the ratio of the four margins on a page, the relation between the width of the text block and the book page, the distance from the text block to the page number, the spacing in lines set in uppercase letters compared to solid text, and the size of word spaces — both as a whole and in each element individually.

The supreme principle of any typography is readability, which depends on the choice of font and typesetting method. The best fonts are either originals of classic fonts, their later versions, or new fonts close to the classics. The less conspicuous the font, the more noble it is.

Thoughtful proportions of the page and typesetting strip

The format of the book depends on its purpose, for example, children’s books should not be printed in folio format because it’s inconvenient for children to hold them in their hands.

The book should be very convenient or at least sufficiently convenient

Books can be divided into two main groups: those that we lay on the table to study, and those that we read while sitting back in a chair, an armchair, or on a train, i.e., those that are convenient to read while holding in our hands. Such books are of all kinds of octavo formats. They are narrow and can be held in the hands for hours without effort.

There are many proportions of the page, i.e., ratios of its width to height. Everyone has heard at least once about the “Golden Ratio” proportion: exactly 1:1.618. The 5:8 proportion is close to the “Golden Ratio”. A little further from it is the 2:3 proportion. In addition to the proportions of 1:1.618, 5:8, 2:3, for books, 1:1732 (1:√3) and 1:1.414 (1:√2) are most often used. See Pic. 1.

Pic. 1. Comparative width of various rectangles: A 1:2.236 (1:√5), B 1:2 (1:√4), C 5:9, D 1:1.732 (1:√3), E 3:5, F 1:1.618 (21:34) — “Golden Ratio”, G 1:1.538 — see Pic. 2, H 2:3, I 1:1.414 (1:√2), K 3:4

Pic. 2 shows a beautiful, but not very well-known rectangle, constructed based on a pentagon; proportion 1:1.538

Pic. 2. Rectangle constructed from a pentagon. Proportion 1:1.538 (irrational)

Geometrically defined irrational proportions of sides 1:1.618 (the “Golden Ratio”), 1:√2, 1:√3, 1:√5, 1:1538 (Image 2) and simple rational proportions 1:2, 2:3, 5:8, 5:9 are clear, thoughtful, and definite. All else are arbitrary, random relationships. The difference between a clear and a random proportion is noticeable, though often insignificant. Although it’s difficult to explain, it has been proven that people find geometrically clear, thoughtful proportions more pleasing or beautiful than arbitrary, unthoughtful relationships.

An ugly format makes a book ugly

Small books should be narrow, while large ones can be wide; small ones are convenient to hold in hands, and large ones lie on a table.

However, not only the format is important, but also the text column. Harmony between the page format and the text column is achieved by matching proportions.

There are three simple ways to design harmonious, logically structured text columns.

The Raoul Rozarivo Canon (1903—1966, Argentine typographer, artist, illustrator). The size and placement of the text strip are determined by dividing the page’s diagonal into nine parts (Pic. 3).

Pic. 3. Dividing the height and width of the page into nine parts according to the Rozarivo principle. The paper ratio is 2:3

The Method of Jan van de Graaf (Dutch typographer). A simple construction method where geometry replaces calculations in millimetres (Pic. 4).

Pic. 4. Division into nine parts according to the van de Graaf principle, shown on a page with a 2:3 ratio

The Villard de Honnecourt Canon (French architect). This lesser-known but exquisite Gothic canon allows for harmonious partitioning and can be used in any rectangle. With it, one can precisely divide a segment into any number of equal parts without a scale ruler (Pic. 5).

Pic. 5. Villard’s drawing. With this canon, shown in bold lines, it is possible to divide a segment into any number of equal parts without a scale ruler

In Pic. 6, Villard’s drawing is depicted by itself, without a book page.

Pic. 6. Villard’s division canon, inscribed in a 2:3 rectangle. The long side of the page is divided into parts up to the twelfth fraction

So, for example, let’s consider book formats with proportions 1:√3, 1:√2, and in-quarto (3:4), using a nine-part division with the use of Villard’s diagram, as it is suitable for any rectangle (Pic. 7—9). So, for example, let’s consider book formats with proportions 1:√3, 1:√2, and in-quarto (3:4), using a nine-part division with the use of Villard’s diagram, as it is suitable for any rectangle (Pic. 7—9).

Pic. 7. Page proportion 1:√3 (1:1.732). Division of the height and width of the page into nine parts

Pic. 8. Page proportion 1:√2 (the so-called “normal” format). Division of the height and width of the page into nine parts

Pic. 9. Page proportions 3:4 (in-quarto). Division of the height and width of the page into nine parts. Here too, the typeset strip should correspond to the page proportions

Pic. 7. Page proportion 1:√3 (1:1.732). Dividing the height and width of the page into nine parts

Pic. 8. Page proportion 1:√2 (the so-called “standard” format). Dividing the height and width of the page into nine parts

Pic. 9. Page proportions 3:4 (in-quarto). Dividing the height and width of the page into nine parts. Here too, the typeset strip should correspond to the proportions of the page

Using this method, harmonious typeset strips can be designed even for unusual formats — square (Pic. 10) and horizontal (Pic. 11)

Pic. 10. Page proportion 1:1. Dividing the height and width of the page into nine parts

Pic. 9. Page proportion of 3:4 (in-quarto). Dividing the height and width of the page into nine parts. Here too, the text block should correspond to the page proportions

Using this method, harmonious text blocks can be designed even for unusual formats — square (Pic. 10) and horizontal (Pic. 11).

Pic. 10. Page proportion of 1:1. Dividing the height and width of the page into nine parts

Pic. 11. Page proportion of 4:3. Dividing the height and width of the page into nine parts

Dividing the page into nine parts is not the only correct way. If we divide the page into twelve parts, as seen in Pic. 12, the text block becomes larger.

Pic. 12. Page proportion of 2:3. Dividing the height and width of the page into twelve parts using the Villard diagram (Fig. 6)

Pic. 13 shows the division into six parts in height and width of the page with a proportion of 2:3.

Pic. 13. Page proportion of 2:3. Dividing the height and width of the page into six parts. Composition of a small prayer book, written at the end of the fifteenth century by Marques Vincentinus

If necessary, the height of the page can be divided into any number of parts. Even narrower margins than in Pic. 13 can be made. But the text block must be connected with the diagonals of each page and spread, as only in this way its placement will be harmonious.

Font size and leading

The choice of font size and leading is also essential for the beauty of the book. There should be eight to twelve words per line; more is unnecessary. Wide margins, which are obtained by dividing the page into nine parts, allow for the use of a larger font size than when dividing it into twelve parts. Lines containing more than twelve words require greater leading.

The relationship between the proportions of the font and the proportions of the page is important. A square format, not the best for a book, requires a font with a wide set, where the shapes of the letters ‘o’ and ‘n’ somewhat correspond to it. For the usual elongated formats, fonts of standard proportions are suitable, in which the shape of ‘o’ and ‘n’ fully corresponds to the proportions of the book page.

Page numbering

The page numbering does not belong to the typesetting stripe; it stands separately. The best and at the same time the simplest composition is to place the page numbering centrally in the lower field. However, if necessary, the page numbering can be placed at the bottom under the outer edge of the text with an indent of one em or more, because otherwise, it will interfere with the last line.

Typography of the traditional title page

The title page, in its typographic form, is a part of the book and should correspond to the rest of the book’s design.

The title — the herald of the text

It must be in excellent shape, have a fresh look, and not fade into a whisper.

A good title can only be created based on the parameters of the book page. Therefore, the proportions of the book page’s margins and the placement of the text block are very important for it (Pic. 1): it is not advisable to place the title in the middle of the width of the book page (Pic. 2), as is unfortunately often done. In this case, it loses connection with the book. The lines of the title should never extend beyond the text block. Almost always, it is better if the main line of the title is noticeably shorter than the width of the block. Many titles do not fill the entire height of the block; this is especially common when the book has very narrow margins.

Pic. 1. A spread scheme for comparison with the incorrect composition of the title page in Pic. 2. The title should not shift horizontally from the centre of the typesetting strip

Pic. 2. If the book margins are not too small, then the top and bottom lines of the title are correctly positioned. However, the error is that this title is positioned in the middle of the page width

Even a short title should fill the book page. This means that it should be of sufficient size. However, it seems that designers often fear using large-sized fonts. The main line should be at least two sizes larger than the book’s primary font. However, there are no strict rules here, as the main thing in typesetting a title is a sense of form. Even a short title, set in not very large font, can fill the page if it is well composed.

The space between the title lines and the publishing data should not seem empty and random. The tension of the white space should participate in the overall impression. A good publishing mark (Pic. 3) would be appropriate here, but it is not mandatory.

Pic. 3. A beautiful French title page from the Renaissance era with a large publisher’s mark. Paris, 1585
For the title, a cup-shaped layout is best suited (see Pic. 4), if possible

Pic. 4. The title is set in the shape of a cup

To create a good title, it is important to understand the relationships between letters. Lines of uppercase letters should always be set with spacing and carefully aligned inter-letter spaces.

Lines of uppercase letters without spacing or with insufficient spacing are always unsightly

On the title page, it is never appropriate to use letter spacing with lowercase serif or italic fonts. If there is letter spacing with uppercase letters on the title page, this does not mean that it should be done in lines set with lowercase letters.

Numbers in the text of the title (e. g., “with 240 illustrations”) should be spelt out (e. g., “with two hundred and forty illustrations”, “eighteenth century”); only years should be in Arabic numerals (1958).

The fewer font sizes on the title page, the better. It is difficult to properly place four or five font sizes. More than three font sizes should only be used in exceptional cases, and sometimes even two font sizes are sufficient (see Pic. 5).

Mixing too many types of oil can spoil the porridge, and too many font sizes can spoil the title

Pic. 5. Title page of the author’s work. In the style of German Rococo. 1957

The author’s name is always more important than the publisher’s, and therefore the publisher’s name should be set in a type size no larger than that used for the author’s name. Too often this order is violated and the author’s name is set in a smaller type size than the publisher’s!

A good title, even if it is smaller than the set area both vertically and horizontally, should in its composition correspond to the proportions of the book page. Otherwise, it will not harmonize with the entire book.

The spacing between lines should not only correspond to the meaning but also participate in the overall composition — just as the lines themselves do. As a rule, most of the page remains blank, so lines with small leading are perceived as foreign. The white background should flow through them. In most cases, the title should be transparent enough (Pic. 6). Otherwise, the lines do not combine with the background, and unity is not achieved.

Pic. 6. Author’s work title page. Set in Monotype Bell typeface. 1954

On the back of the title page, various details are almost always printed, if not about the editor, then about the print run and the printing house. The text of the publication details should be as short as possible. These lines usually show through to the title page, so they should be positioned in such a way that they align with text groups and individual lines of the title wherever possible, and do not disrupt its composition.

The reader is not concerned with the minutest details about those who worked on the publication of the book. All information about printing, print run, and even the names of the editor and translator is better placed at the end of the book.

The last two pages of a well-made book should remain completely empty, as should the first two. The best place for information about the editor, typesetter, etc., is the third or fourth page from the end, where the year of publication should also be printed if it is not on the title page.

This is only half of the book. If you found the material interesting and useful, I highly recommend reading the entire book.