Self-Publishing Guide to Doing It Right the First Time

Total Page:16

File Type:pdf, Size:1020Kb

Self-Publishing Guide to Doing It Right the First Time FORMATTING MANUSCRIPT ARE YOU PUZZLED BY SELF PUBLISHING? A SELF-PUBLISHING GUIDE TO DOING IT RIGHT THE FIRST TIME. PRINTING EDITING PROMOTION TABLE OF CONTENTS How to use this Book Copyright example page Dedication example page Prologue 9 The Process Defined 10 Your First Steps 12 - The Manuscript 12 - Sourcing Printing Quotes 13 Design and Formatting 14 - The Basics: Page Overview 15 - The Basics: Page Overview - Defined 16 - The Basics: Typography 18 - The Basics: Font Size 20 - The Basics: Line Length 21 - The Basics: Line Spacing 22 - The Basics: Choose your Binding 23 - The Basics: Picking your Paper Stock 23 - The Basics: Formatting for Print 24 TABLE OF CONTENTS CON’T Tutorials 25 - Setting your Margins 25 - Setting your Page Size 26 - Setting Line Spacing 27 - Setting Chapters and Headings 28 - Creating a Table of Contents 29 - Saving a Print-Ready File 30 - Creating your Cover File 31 Registration & ISBN 33 The Printing Process 34 Glossary 35 Notes 36 The Table of Contents gives the reader a comprehensive overview of what topics or chapters that your manuscript PRO TIP has, as well as the page number each chapter begins with. These are most common in print - electronic documents FRONT MATTER have started to adapt this principle as well. - TABLE OF CONTENTS HOW TO USE THIS BOOK Congratulations! You have finished your manuscript and have decided to self-publish your book. We have taken our 28 years of expertise and developed an easy to use guide to take you through the world of self- publishing. This guide is a reliable, practical, and straightforward reference guide for you. Through common language (or defined if we found it questionable) and conversational tone, this guide provides you with vital information about self publishing and the best practices and tips you can use for any style of books. In addition to understanding the terms and responsibilities you have as a self publisher, you will Helping you, the author, have the learn the value of knowing terminology, tips and information valuable to every self publisher. This will best experience with your current give you the confidence to bring your book to life and give you the maximum opportunity for success in your project and all future endeavors. new adventure. All of the tasks involved in self publishing from writing the manuscript to formatting and finally selling your book are detailed in this guide. By no means are we able to guarantee your success, but if you follow our tricks of the trade, we sincerely hope they bring you all the success in the world. If you’re ready, let’s get started. Together we’ll produce a great book - well-written, well-made. - From the Staff at Throughout this book you’ll see TIP boxes like this one. In them you’ll find the most common questions, concerns PRO TIP and fun facts we’ve encountered over the years. Be sure - WHAT IS A PRO TIP? you take note of them! A copyright page is extremely important for all self- publishing authors. This lets everyone know that the contents of your book is your intellectual property - and yours alone. You want to be sure to include your name, address, date and copyright symbol at the very least. PRO TIP If you’ve had your cover art designed, photographed, or illustrated. Be sure to give credit to your artist; they FRONT MATTER deserve the same copyright acknowledgment as you do. - WHAT IS A COPYRIGHT PAGE? HINT: ALT 0169 will give you the copyright symbol © ! Blitzprint Inc. Puzzled by Self-Publishing A Self-Publishing Guide to doing it right the first time. ISBN: 978-0-9938620-0-7 © Blitzprint Inc. Third Edition 2021 All rights reserved–no part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, or by any information storage or retrieval system except for the inclusion of brief quotations in a review, with- out permission in writing from the publisher. Blitzprint Inc. 3,1235 64th AVE SE Calgary AB Canada T2H 2J7 www.blitzprint.com Cover design, lettering and illustration by Blitzprint Inc. Printed and Bound in Canada by Blitzprint Inc. Distributed in Canada by Blitzprint Inc. © Copyright 2018 WE DEDICATE THIS BOOK TO ALL AUTHORS “Whatever you may have heard, self-publishing is not a short cut to anything. Except maybe insanity. Self- publishing, like every other kind of publishing, is hard work. You don’t wake up one morning good at it. You have to work for that.” - Zoe Winters Smart Self-Publishing: Becoming an Indie Author The dedication page is for those who deserve a special thanks, acknowledgment, or other form of appreciation... PRO TIP This would also be a great spot for a quote, photograph or illustration. - DEDICATION PAGE PROLOGUE Blitzprint Inc. is not your average printer. Over our 28 years, we have made it our mission to marry the finest contemporary printing and book- manufacturing technologies with the best in traditional, personal service. We know our clients need the speed, efficiency and high quality of state- of-the-art digital-imaging systems. They also benefit from direct and easy access to skilled, helpful and enthusiastic people. We know printing. We know publishing. And we’re delighted to share what we know. Located in the most advanced colour-digital facility of its kind in Western Canada, Blitzprint leverages decades of experience to deliver the highest standard of colour reproduction. We were the Here’s the Deal: You retain full first company in Canada to offer digital short-run book printing. Since then we’ve produced more rights to—and control over—your than 10,000 printed titles, including many best- work, and we’ll supply the right selling, self-published books. Add to that the repeat business of more than 75 percent of our clients, combination of services, expert and you’ve got a company that’s earned the trust of authors and publishers alike. support and ongoing guidance At Blitzprint, you’ll find great people who get a kick to help you succeed in the highly out of having helped thousands of new authors competitive book marketplace. from over 50 countries realize their self-publishing dreams. Our experience has shown us that 99 percent of self-publishing authors simply need a printer who is dedicated to books. So here’s the deal: You retain full rights to—and control over—your work, and we’ll supply the right combination of services, expert support and ongoing guidance to help you succeed in the highly competitive book marketplace. Together, we’ll produce a great book—well-written, well-made. Blitzprint inc. | 9 THE D.I.Y. PROCESS TO SELF-PUBLISHING Well done, you’ve worked long and hard to finish your manuscript, and now it’s time to turn that stack of paper into a finished book. The world of self-publishing can seem a bit daunting but at Blitzprint you will always have a real person to talk to that will help guide you through this process. THE MANUSCRIPT DESIGN AND FORMATTING • Writing • Deciding page size • Editing • What’s in a page • Best font choices • Optimal type size • Line height START • Ten questions to ask • Why you should get when selecting a printer an ISBN • What you’ll need to get • Copyright page of a quote your book • How much should you • Creating your charge for your book? barcode PRINTING QUOTES REGISTERING AND OBTAINING ISBN 10 | Puzzled by Self-Publishing? – A Self-Publishing Guide to Doing it Right the First Time GETTING YOUR PROOF GETTING THE WORD OUT • Reviewing your pages • Promoting your book • Checking quality • Author websites • Making revisons • Book launches and signings • Signing off • Marketing materials REPEAT An author’s work is never complete! Your book will go through many • Printing stages of shipping, promoting, reprinting • Binding and new versions until you move onto • Understanding the your next book or production scheule project! UNDERSTANDING THE PRINT RUN Blitzprint inc. | 11 YOUR FIRST STEPS THE MANUSCRIPT Once your manuscript has been written, editing is the The best writing always next step. The world’s finest authors rely on skilled editors, because the best writing always benefits benefits from a professional from a professional editor’s fresh set of eyes. We editor’s fresh set of eyes. can recommend editing professionals and publishing proofreaders who have the insight, command of language and literary skills to help you impress book reviewers and the media. EDITORS CANADA • A content editor will dig into your book and help you Phone: 1 (416) 975-1379 strengthen its structure and development of themes Toll Free: 1 (866) 226 3348 and character. Fax: 1 (416) 975-1637 (Attn: WGA) E-mail: [email protected] • A copy editor will make changes to your sentences, www.editors.ca focusing primarily on grammar, word usage, and punctuation. • A proof reader will double check the text for typographical, spelling, and formatting errors. You can find an editor through Editors Canada, the Writers’ Guild of Alberta, or ask us for a recommendation. Editors Canada will put you in touch with a variety of professionals to help you on your journey including proofreaders, copy editors, translators, and indexers. 12 | Puzzled by Self-Publishing? – A Self-Publishing Guide to Doing it Right the First Time SETTING UP YOUR PRINTING QUOTE When you are looking for a pricing quote you will need to know what the finished size of your book will be, the page count of the manuscript and quantity of books you wish to order. Because your book is now edited you will have a much better idea of this.
Recommended publications
  • Making Connections: Typography, Layout and Language
    From: AAAI Technical Report FS-99-04. Compilation copyright © 1999, AAAI (www.aaai.org). All rights reserved. Making connections: typography, layout and language Robert Waller Information Design Unit & Coventry University [email protected] Abstract paragraphs are an interpolation, and would more com- These working notes summarise a genre theory that accounts fortably appear in a panel or box if I were able to write in for document layout in a three part communication model that another genre Ð textbook perhaps. Limited to the linearity recognises not only the effort of the writer to set out a topic of prose, I should really spend time crafting my language, and the purposeful effort by a reader to access information, and working out a way to knit the anecdote more closely but also the professional and manufacturing processes that 3 intervene. I suggest that layout genres use conventions that at into my argument. some historical point are rooted in functionality (of document A year or two back I redesigned the medical journal The generation, manufacture or use) but which have become con- Lancet. Part of the brief was to make it clearer to readers ventionalised. It follows that genres will shift over time as that as well as acting as a primary research journal reasons to generate or access information change, and as text through its refereed papers and letter, The Lancet also technologies develop. Case studies are described that illus- trate key aspects of the model and offer insight into the way contains highly topical and readable medical journalism. designers think about layout.
    [Show full text]
  • The Arydshln Package∗
    The arydshln package∗ Hiroshi Nakashima (Kyoto University) 2019/02/21 Abstract This file gives LATEX's array and tabular environments the capability to draw horizontal/vertical dash-lines. Contents 1 Introduction 3 2 Usage 3 2.1 Loading Package . 3 2.2 Basic Usage . 4 2.3 Style Parameters . 4 2.4 Fine Tuning . 5 2.5 Finer Tuning . 5 2.6 Performance Tuning . 6 2.7 Compatibility with Other Packages . 7 3 Known Problems 9 4 Implementation 10 4.1 Problems and Solutions . 10 4.2 Another Old Problem . 13 4.3 Register Declaration . 14 4.4 Initialization . 17 4.5 Making Preamble . 22 4.6 Building Columns . 27 4.7 Multi-columns . 30 4.8 End of Rows . 32 4.9 Horizontal Lines . 33 4.10 End of Environment . 37 4.11 Drawing Vertical Lines . 38 ∗This file has version number v1.76, last revised 2019/02/21. 1 4.12 Drawing Dash-lines . 44 4.13 Shorthand Activation . 45 4.14 Compatibility with colortab ........................... 48 4.15 Compatibility with longtable ........................... 48 4.15.1 Initialization . 49 4.15.2 Ending Chunks . 51 4.15.3 Horizontal Lines and p-Boxes . 53 4.15.4 First Chunk . 55 4.15.5 Output Routine . 56 4.16 Compatibility with colortbl ........................... 60 4.16.1 Initialization, Cell Coloring and Finalization . 62 4.16.2 Horizontal Line Coloring . 63 4.16.3 Vertical Line Coloring . 65 4.16.4 Compatibility with longtable ...................... 68 2 1 Introduction In January 1993, Weimin Zhang kindly posted a style hvdashln written by the author, which draws horizontal/vertical dash-lines in LATEX's array and tabular environments, to the news group comp.text.tex.
    [Show full text]
  • Copyrighted Material
    INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets,
    [Show full text]
  • 5 the Rules of Typography
    The Rules of Typography Typographic Terminology THE RULES OF TYPOGRAPHY Typographic Terminology TYPEFACE VS. FONT: Two Definitions Typeface Font THE FULL FAMILY vs. ONE WEIGHT A full family of fonts A member of a typeface family example: Helvetica Neue example: Helvetica Neue Bold THE DESIGN vs. THE DIGITAL FILE The intellectual property created A digital file of a typeface by a type designer THE RULES OF TYPOGRAPHY Typographic Terminology LEADING 16/20 16/29 “In a badly designed book, the letters “In a badly designed book, the letters Leading refers to the amount of space mill and stand like starving horses in a mill and stand like starving horses in a between lines of type using points as field. In a book designed by rote, they the measurement. The name was sit like stale bread and mutton on field. In a book designed by rote, they derived from the strips of lead that the page. In a well-made book, where sit like stale bread and mutton on were used during the typesetting designer, compositor and printer have process to create the space. Now we all done their jobs, no matter how the page. In a well-made book, where perform this digitally—also with many thousands of lines and pages, the designer, compositor and printer have consideration to the optimal setting letters are alive. They dance in their for any particular typeface. seats. Sometimes they rise and dance all done their jobs, no matter how When speaking about leading we in the margins and aisles.” many thousands of lines and pages, the first say the type size “on” the leading.
    [Show full text]
  • Lecture 11 – Typography
    Typography Steven R. Bagley Introduction • Looked at the beginning at representing text in a computer • And then how to describe the appearance of a page • Now going to start to looking at how to convert from text to into a PDL • Formatting algorithms Formatting • At its most basic formatting text is breaking it into words and fitting them into a space forming lines • But it turns out its a hard problem to solve • Because the text has to look nice • And computers don’t do nice… Formatting • Lots of parameters that affect formatting • All of which are interrelated, so changing one may require you to change another • And the effects are psychological affecting the readability of a block of text Formatting • Goal is to be able to quantify good layout • Computer can then select one layout over another • To do that we’re going to need to understand what makes good text layout • And so understand the lingo of typography • A lot of the terms are steeped in history… Mainly from hot-metal typesetting… Show face to face with progress ;) Measurements • Basic units of measurement in typography are the point and the pica • Derived from the inch • Point is 1/72 inch • Traditionally, has been slightly less but now rounded to 1/72 • Pica is a 1/12 inch (or 6pts) ~1/72.27 So 12 point text is 1pica high Measurements • These are absolute measurements • It’s also useful to have measurements that are relative to the current point size • Particularly used for horizontal spacing to remain proportional as the font gets bigger em and en • One such relative measurement is the em • Specified as being the same as the point size • Also have the en which is half the point size • Will also see references to M/3, M/4 and M/5 Character size • The size of text is referred to the point size (and not font size) • Describes the distance from baseline to baseline when text is set solid • That is when the bits of metal type are abutted together Letterforms have tone, timbre character, just as words and sentences do.
    [Show full text]
  • Baseline Shift a Function Within Indesign That Allows a Character To
    Type Terms #2 baseline shift (four dots): .... (Lupton, p. 211) Use A function within InDesign that your glyph palette or simply use the 22:342 allows a character to be raised or keystrokes option-;. Studio Problems in Typography lowered relative to the baseline. In Cutler-Lake InDesign, the Baseline Shift control is em dash (—) located on the type character control A longer dash that is equal to the Important concepts in Text chap- panel at the top of the screen, just to point size of the type. Can be used ter from Lupton textbook: spacing; the right of the tracking control. (“Aa,” to join two phrases together into linearity; the user; kerning; tracking; with an arrow underneath the lower- one sentence instead of using a spacing; alignment; marking para- cased “a.”) conjunction, or to insert information graphs; hierarchy. instead of using parentheses. Also body copy/body text used before the author’s name at the The main text of a book, story, or end of a quote. In a word-processed article, usually set in a consistent document (such as Microsoft Word), manner using a single font with the dashes can be indicated with two same line length, leading, and point hyphens (--). Em dashes are required, size. however, in typesetting. Use your glyph palette or simply use the book weight keystrokes shift-option-hyphen. A typeface weight specifically See Lupton p. 211. designed to be used as body text. Usually found somewhere between en dash (–) light and bold. The dash you need to use to indicate ranges of numbers. Such as April caption 4–6 or 2:30–8:30.
    [Show full text]
  • 2.1 Typography
    Working With Type FUN ROB MELTON BENSON POLYTECHNIC HIGH SCHOOL WITH PORTLAND, OREGON TYPE Points and picas If you are trying to measure something very short or very thin, then inches are not precise enough. Originally English printers devised picas to precisely measure the width of type and points to precise- ly measure the height of type. Now those terms are used interchangeably. There are 12 points in one pica, 6 picas in one inch — or 72 points in one inch. This is a 1-point line (or rule). 72 of these would be one inch thick. This is a 12-point rule. It is 1 pica thick. Six of these would be one inch thick. POINTS PICAS INCHES Thickness of rules I Lengths of rules Lengths of stories I Sizes of type (headlines, text, IWidths of text, photos, cutlines, IDepths of photos and ads cutlines, etc.) gutters, etc. (though some publications use IAll measurements smaller than picas for photo depths) a pica. Type sizes Type is measured in points. Body type is 7–12 point type, while display type starts at 14 point and goes to 127 point type. Traditionally, standard point sizes are 14, 18, 24, 30, 36, 42, 48, 54, 60 and 72. Using a personal computer, you can create headlines in one-point increments beginning at 4 point and going up to 650 point. Most page designers still begin with these standard sizes. The biggest headline you are likely to see is a 72 pt. head and it is generally reserved for big stories on broadsheet newspapers.
    [Show full text]
  • Style and Notation Guide
    Physical Review Style and Notation Guide Instructions for correct notation and style in preparation of REVTEX compuscripts and conventional manuscripts Published by The American Physical Society First Edition July 1983 Revised February 1993 Compiled and edited by Minor Revision June 2005 Anne Waldron, Peggy Judd, and Valerie Miller Minor Revision June 2011 Copyright 1993, by The American Physical Society Permission is granted to quote from this journal with the customary acknowledgment of the source. To reprint a figure, table or other excerpt requires, in addition, the consent of one of the original authors and notification of APS. No copying fee is required when copies of articles are made for educational or research purposes by individuals or libraries (including those at government and industrial institutions). Republication or reproduction for sale of articles or abstracts in this journal is permitted only under license from APS; in addition, APS may require that permission also be obtained from one of the authors. Address inquiries to the APS Administrative Editor (Editorial Office, 1 Research Rd., Box 1000, Ridge, NY 11961). Physical Review Style and Notation Guide Anne Waldron, Peggy Judd, and Valerie Miller (Received: ) Contents I. INTRODUCTION 2 II. STYLE INSTRUCTIONS FOR PARTS OF A MANUSCRIPT 2 A. Title ..................................................... 2 B. Author(s) name(s) . 2 C. Author(s) affiliation(s) . 2 D. Receipt date . 2 E. Abstract . 2 F. Physics and Astronomy Classification Scheme (PACS) indexing codes . 2 G. Main body of the paper|sequential organization . 2 1. Types of headings and section-head numbers . 3 2. Reference, figure, and table numbering . 3 3.
    [Show full text]
  • 27I OTHER PUNCTUATION MARKS
    TROYMC10_29_0131889567.QXD 1/27/06 6:30 PM Page 304 27i OTHER PUNCTUATION MARKS 27i When are quotation marks wrong? Never enclose a word in quotation marks to call attention to it, to intensify it, or to be sarcastic. NO I’m “very” happy about the news. YES I’m very happy about the news. Never enclose the title of your paper in quotation marks (or underline it). However, if the title of your paper contains another title that requires quotation marks, use those marks only for the included title. NO “The Elderly in Nursing Homes: A Case Study” YES The Elderly in Nursing Homes: A Case Study NO Character Development in Shirley Jackson’s Story The Lottery YES Character Development in Shirley Jackson’s Story “The Lottery” EXERCISE 27-4 Correct any errors in the use of quotation marks and other punctuation with quotation marks. If you think a sentence is correct, ex- plain why. For help, consult 27e through 27i. 1. Dying in a shabby hotel room, the witty writer Oscar Wilde supposedly said, “Either that wallpaper goes, or I do”. 2. Was it the Russian novelist Tolstoy who wrote, “All happy families resemble one another, but each unhappy family is unhappy in its own way?” 3. In his poem A Supermarket in California, Allen Ginsberg addresses the dead poet Walt Whitman, asking, Where are we going, Walt Whitman? The doors close / in an hour. Which way does your beard point tonight? 4. Toni Morrison made this reply to the claim that “art that has a political message cannot be good art:” She said that “the best art is political” and that her aim was to create art that was “unquestionably political” and beautiful at the same time.
    [Show full text]
  • OCR-Free Transcript Alignment
    OCR-Free Transcript Alignment Tal Hassner Lior Wolf Nachum Dershowitz Dept. of Mathematics and Computer Science School of Computer Science School of Computer Science The Open University Tel Aviv University Tel Aviv University Israel Tel-Aviv, Israel Tel-Aviv, Israel Email: [email protected] Email: [email protected] Email: [email protected] Abstract—Recent large-scale digitization and preservation ef- in the original manuscript. For future work on relaxing these forts have made images of original manuscripts, accompanied assumptions, please refer to Section VIII. by transcripts, commonly available. An important challenge, for which no practical system exists, is that of aligning transcript The solution we propose is a general one in the sense letters to their coordinates in manuscript images. Here we propose that we do not try to learn to identify graphemes from the a system that directly matches the image of a historical text with matching manuscript and text. Instead, we take a “synthesis, a synthetic image created from the transcript for the purpose. dense-flow, transfer” approach, previously used for single-view This, rather than attempting to recognize individual letters in depth-estimation [2] and image segmentation [3]. Specifically, the manuscript image using optical character recognition (OCR). we suggest a robust “optical-flow” technique to directly match Our method matches the pixels of the two images by employing the historical image with a synthetic image created from the a dedicated dense flow mechanism coupled with novel local image descriptors designed to spatially integrate local patch text. This matching, is performed at the pixel level allowing similarities.
    [Show full text]
  • Visible Language
    Visible Language Contents A lot of design has happened in the 50 years since Visible Language was founded: typesetters – gone; desktop publishing – a passing blip; comput- cont. ers – moved from desktop to pocket. The term graphic design had hardly Pictograms: Can they help patients recall medication safety instructions? entered the dictionary before the discipline started to consider renaming Louis Del Re itself visual communication design or just communication design. Because Dr. Régis Vaillancourt communication continues to grow in quantity and importance there’s no Gilda Villarreal, PhD, MHA, reason to disbelieve in a promising future for a communication design dis- Annie Pouliot cipline. What the promising design future looks like is, as always, sketchy. A well-known 20th century Danish proverb states that predictions are easy ex- 126 — 151 cept when they involve the future and George Santayana famously warned of the trouble that awaits failure to examine the past. If we take Santayana’s statement less as a warning than as a prescription to guide action, we might Recognizing appropriate representation of indigenous knowledge reflect thoughtfully on the past in order to plan our steps today to help in design practice shape a future the Danes say is so difficult to predict. Reflecting on the past Meghan Kelly (PhD) may not make predictions easier, but it might make them more realistic. Russell Kennedy (PhD, FRSA. FIDA) To celebrate its 50th year Visible Language will revisit themes from the journal’s past to help chart the design discipline’s future. This issue 152 — 173 features articles by Meredith Davis, Sharon Poggenpohl, and myself com- menting on design’s direction, design journals, and design research.
    [Show full text]
  • The Skillful Use of Typography
    Written by Gary Gnidovic and Greg Breeding The Skillful Use Of Typography A publication of Magazine Training International. What’s inside Why typography decisions are important 2 Classification of type 4 Principles for good typography 9 Selecting and using a text font 14 Other typographic elements 23 Share your thoughts with #MTIebook Chapter 1 Why typography decisions are important Aaron Burns, an influential designer and founder of the International Typeface Corporation (ITC), once said, “In typography, function is of major importance, form is secondary, and fashion [trend] is almost meaningless.” Although this may sound like an extreme view, it holds a great deal of truth. If we choose to work well with our type, concentrating on its purpose, appropriateness, and legibility, our magazines will begin to take on an air of authenticity and integrity. Rather than blindly following stylistic trends in typography, intelligent, careful attention to detail will pave the way for a more expressive, creative approach. THE SKILLFUL USE OF TYPOGRAPHY 2 Share your thoughts with #MTIebook The skillful use of type in magazine design is an area where, even with limited resources, we can do a great deal to enhance the look and feel of our publications. The creative application of a couple of well-chosen font families is often preferable to a CD containing “600 Cool Fonts for Every Purpose.” This e-book will offer some principles that will help establish a firm foundation on which to build the visual approach to your magazine. THE SKILLFUL USE OF TYPOGRAPHY Chapter 1 3 Share your thoughts with #MTIebook Chapter 2 Classifications of type There are two major classifications of type: serif and sans-serif.
    [Show full text]