publishing
If publishing a book, there are many variables to entice, inform and motivate your audience. For instance …
L Whether your book is printed in colour throughout or mono, or has a colour cover and mono for the text pages L The shape of the book—be it rectangular portrait or landscape, or maybe square. Or even something different, like triangular L The best binding method.
All things to think about. Contact Steve and we can conceptualise something unique that’ll excite, lure and incite favourable behaviour … euphoria.
Following are some examples of book design …
A powerful message communicated simply
Set for religious education, various guides are produced by Garratt Publishing. Seen here are sample pages from the 120 page Social Justice guide—a simply delivered message on aidebatable subject.
Torn paper was used to epitomise the roughness of a lesser life.
Shown here are the front cover, contents page, a double page indice with opening text and aitypical double page spread.
Covering a never-ending cycle
Garratt Publishing required a Prayer Journal that gave student’s the opportunity to jot down their thoughts and reflections on individual Times / Seasons of the Liturgical year.
Based around the Liturgical colours seen as a never-ending cycle, each Time/Season takes its given colour—for example, purple for Advent, green for Ordinary Times and red for Holy Week, et al.
An indice opens the section with the following pages having, at left, Scriptures, Prayers and Reflections and on the right hand side lines—the latter of which are made up of page titles in colour coordinated 4ptitype. See top right.
Images seen here are the front cover, the indice and example pages for Holy Week, and a double-page spread of general prayers.
Walking three paths
Imagine a blinding desire to walk the world—about fifteen and a half thousand kilometres—encouraging Christian unity to those met along the way. Samuel Clear from Tasmania had that desire and his resulting 340 page book of the journey portrays the might and danger of it all.
Divided into three sections of the continents travelled—South and North America, and Europe (from Moscow to Spain), the author requested black and white print to convey the arduous nature of the walk—something that was not expected.
In the legends of the maps throughout (as seen above), the routes are denoted by either dotted, dashed or solid lines, the latter of which is also seen ghosted into the background of the right hand pages.
To give the book a hint of journalistic looseness, a handwriting script (Lori)
was added to the other fonts—Agenda for the headings and Bembo for
theibodytext.
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