The Art of The Book

The Art of the Book Becoming Intimate With the Parts of the Book Joy Setterlund Kristen Youngman

Women of Kilgore Press San Francisco

Published by Women of Kilgore Press 79 New Montgomery San Francisco, CA 94105 Š 2011 Women of Kilgore Press All rights reserved Printed and bound in the United States of America 11 1 First Edition No part of this book may be used or reproduced in any manner without written permission from the publisher, except in context of reviews.

Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions.

Library of Congress Cataloguing-In-Publication Data The Art of the Book : Becoming Intimate With the Parts of the Book/ edited by Joy Setterlund and Kristen Youngman

p.cm. - (Design Briefs) Includes bibliographic references and index.

ISBN 000-000-000 1. Handbooks, manuals, etc. 2. Book design, book reference.

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Dedication The authors wish to dedicate this book to the hardworking students of the Academy of Art University and those who live to create.

Acknowledgements Special thanks to Michael Kilgore for his illustrious instruction and support throughout this project. We would also like to thank the crew at the book arts studio at the Academy of Art University.

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Table of Contents 08

Introduction

09

Chapter One

33

Chapter Two

45

Chapter Three

54

Af ter word

55

Bibliography

56

Index

Introduction This book is intended as a reference tool in which the reader will obtain a solid education in not only the history and current applications of books, but also the manner in which they are built. The reference portion of this guide is a book within a book, as we have built a resource guide within pages of our own. It is the author’s hope that you enjoy reading this book as much as we enjoyed writing it.

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CHAPTER 1:

Foreplay - Getting to Know the Body of the Book

Front Matter Front matter consists of the elements in a book that come before the story starts such as the contents, foreword, preface, acknowledgement, introduction, dedication, and prologue. The title page and any blank pages that the author wishes to include are also considered front matter.

foreword preface acknowledgment introduction dedication prologue

{

{

contents

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Title Page In addition to the full title of the book, the title page must also contain information relevant to the publisher, the city it was printed in and the names of the authors.

Dedication The dedication page is the ultimate tribute. Typically reserved for the special some one that inspired your writing, it is not unusual for the writer to dedicate their work to a group of people they have never met, to their fans, a deceased love one or even a pet. This page is not a necessity, but is a nice way to give thanks and pay tribute to someone or something that has inspired you in some way. The dedication page has been used as a manipulation tool, and it was common in early books to thank a king or person of nobility as a way to become recognized.

A bold dedication to his fans, from the novella Loser Takes All

Dear Frere, As we have been associated in business and friendship for a quarter of a century I am dedicating this frivolity without permission to you. Unlike some of my Catholic critics, you, I know, when reading this little story, will not mistake me for ‘I’, nor do I need to explain to you that this tale has not been written for the purposes of encouraging adultery, the use of pajama tops, or registry office marriages. Nor is it meant to discourage gambling.

Affectionately and gratefully, Graham Greene

T.S. Eliot dedicated his poem The Wasteland to his good friend Ezra Pound, calling her, “The better artist.”

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Acknowledgement This page is reserved for those intrinsic to the writing process such as editors, researchers, people whom the writer interviewed or those who lent their moral support during the writing process. Although a double mention in the acknowledgments and the dedication does occur, it is not common. The acknowledgment should be considered more of a statement of gratitude then the homage typically found in the dedication page.

An acknowledgement from e.e. c umming s ’ No Thanks. T he original title was changed from 70 Poems to No Thanks. The list of publishers who had rejected cumming;s novel are shaped into an urn.

NO THANKS TO Farrar & Rinehart Simon & Schuster Coward-McCann Limited Editions Harcourt, Brace Random House Equinox Press Smith & Haas Viking Press Knopf Dutton Harper’s Scribner’s Covici-Friede

Table of Contents The table of contents functions to organize your book. While many of the design elements are left to the designer, such as ellipses or bullets, the list is always presented in numerical order. The table of contents page typically falls after the title page and before the foreword and preface.

The table of contents from the collection titled: Sappho, translated

by Mar y Barnard.

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Foreword The foreword is an optional element that is written by someone other than the author of the book and usually tells a story relevant to the author or the story within the pages of the book. The foreword is always signed and has been used most recently as a marketing tool.

New Forward by

Michael Kilgore

Preface/Prologue The preface is an opportunity to fill the reader in on any relevant events that occurred before the start of the story. These events will have some sort of bearing on the story itself, but will not be included in the chapters. The prologue is an opportunity for the author to speak directly to her reader and outline any information or events she would like them to be privy to. The prologue and preface are not signed and are most commonly found in works of non fiction.

- the author to speaks directly to her reader to outline any information or events she would like them to be privy to

- not signed and are mos t commonly found in works of non-fiction

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Introduction The introduction is an optional feature in a book that serves to grab the reader’s attention. Usually only a short paragraph, this is a space for the author to explain what the reader can expect in the coming pages or what they hope the reader can take away from the piece. The introduction is often viewed as an initial offering, a space to garner interest and intrigue without overselling or revealing to much information.

Body or Chapters Alignment of text is also a way to visually connect with your reader and certain rules apply. You will typically align your type in several different fashions within a book, taking advantage of the special advantages each possess.

ALIGNMENT

Flush Left Alignment encompasses a ragged edge on the right side of

Flush Right Alignment is rarely used outside of captions, and

the column of text. The rag should

small, explanatory details.

posses a natural asymmetrical,

Here the rag is on the left side

or g ani c r a g t ha t p r o m o te s readability and a natural flow.

of text. It should maintain the same rules for rag style as flush

This alignment works best with

left. When possible, try to avoid

narrower columns of tex t and

punctuation falling on the right

is typically considered the most modern setting.

side as it visually obstructs the clean vertical line.

Justified Alignment is mainly used

Centered Alignment often

for text heavy books as it is the most

demands extra line spacing

efficient way to pack a lot of main

and is usually found in books

content on the page. Justified text

in the form of chapter headings,

is rarely the most visually appealing approach to set text but it is highly functional.

title pages and dedications.

Outside of books, centered text is used for invitations, grave markers and signs.

Lines are often broken up according to their content.

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Body or Chapters This is the main content of your book and the focus of many design elements. Chapters are sections delineated by content; a chapter will encompass a section of the story that you wish to break up naturally and are listed in order in the table of contents. The way you present your body copy on the page is driven by both necessity and stylistic choices. Style choices function as communication tools and must be thoughtfully applied.

LAYOUT Creating a grid for your work is an essential way to not only organize the page but create visual interest and balance. The type of book you create is the largest factor in designing a grid.

Children’s Books tend to incorporate a simple grid allowing for the focus to be on a large illustration with minimal text.

Art and Design Books call for just that, a more artful design while maintaining optimal organization, flow and balance. There are typically many elements at work on the page as these types of books incorporate more visuals as well as text.

Text Heavy books, such as mass produced novels and textbooks demand a grid that allows for the maximum amount of information to appear on the page.

Cookbooks and Travel Books typically contain elements such as maps, charts, conversion tables as well as photos and text. These types of books can be considered references and need to reflect easily accessible information.

Typography Typography is one of the most important design elements found within a book. First and foremost, your typeface must be legible, if you have a typeface that is hard to read, you have failed and the content serves to purpose. Many typefaces are created with a certain purpose in mind, such as intent for books, computer screens or signs. Most book appropriate fonts fall under the humanist or old style type classification that emulate a more hand lettered approach.

Literar y works are typically set in a traditional serif typeface. Popular serif fonts for use in books include Garamond, Calson and Sabon. These fonts (all set in 10 pt.) have more historical weight to them and thus lend a bit more authority to literary works.

Garamond

falls in the Humanist classification of type, as it accurately reflects the movement of a more calligraphic hand lettering employed during the Renaissance.

Adobe Calson

is a straightforward and authoritative appeal and was used in the printing of the Declaration of Independence.

Sabon also follows the traditions of Claude

Garamond. An important feature of this face is the identical weight in its italic, roman and bold weight fonts, a rare feature that allows for easier typesetting.

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It is not wholly uncommon to see a literary book set in a more modern sans serif font such as helvetica.

Helvetica is the most popular sans

Design books can be set in any number of typefaces as they are typically less text heavy and more visually based.

The examples in this book are set in Universe.

Univers

serif of all time and is reflective of the 20th century modernist aesthetic.

a font family that contains italics, bolds and light elements.

Pagination The sequential organization of your pages are marked with numbers, referred to as pagination. While some hard and fast rules apply to pagination practices, there are some elements that are left to the design aesthetic of the author.

HARD AND FAST RULES - pages are number consecutively - all pages are counted in pagination, even if a number does not appear on the page - end papers are not included in pagination

DESIGN ELEMENTS - roman numerals most commonly denote front matter pages - numbers may appear on each page, or alternate pages - placement of numbers can appear at the top, bottom or side margins of the page

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Captions & Images An image is typically supported by a caption. Captions are textual reinforcements that function to provide information not overtly displayed in the image. When supporting an image, captions must supply the who, what and where relevant to the example. Captions provide the most widely read information in a book and must be written and handled with care. Spacing, font, and word choice must be carefully considered.

A PICTURE IS WORTH A THOUSAND WORDS IN THEORY

- clearly identifies the subject of the picture, the creator, where the event took place and the time period associated with the event - does not restate the obvious - establishes the picture's relevance to the article - provides context for the picture without restating the obvious - draws the reader into the article

A caption and image from the book: Reading Jackie by William Kuhn. 2011.

Back Matter

index checklists biographies resumes chronologies

{

{

glossaries

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Afterword The afterword exists on two levels. When the author of the book has created an afterword it functions to provide insight into how the book came into being, a statement of the author’s processes, trials and tribulations. When a second party has written the afterword, it functions as a method of providing historical or cultural commentary.

In this style, the goal is to provide the reader with enriching details concerning the time period found within the pages of the book. An afterword is usually follows a piece of literature in each instance.

From the novel: People of the Book, by Geraldine Brooks.

Index & Appendix The index and appendix both serve to provide the reader with information somehow related to the book they exist within. The appendix is a list of additional and outside sources of information made available to the reader, while the index points to content found within the book and provides the page number where this information can be found.

Index from the Virginia Woolfe novel: Moments of Being, edited by Jeanne Schulkind, 1985.

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Glossary Usually found in non fiction books, this section alphabetically lists uncommon or highly specialized terms and their definitions found within a book.

Glossary of terms from

Bibliography The bibliography provides a space at the end of the book for the author to credit and acknowledge the sources that informed the content in the book. The information on this page follows strict guidelines depending on the manner in which it was originally presented, and is always created in alphabetical order according to the author’s last name.

BOOKS

Author(s). Title of Book. Place of Publication: Publisher, Year of Publication. Print.

ARTICLE IN A PERIODICAL

Author. “Title of Article.” Title of Source Day Month Year: pages. Print.v

ENCYCLOPEDIA

WEB PAGE

ARTICLE IN AN ONLINE MAGAZINE

Author. “Title of article.” Title of Encyclopedia. Year edition. Print.

Author. Title of Page. Date of Posting/Revision. Name of institution/ organization affiliated with site. Web. Date of Access.

Author. “Title of Article.” Title of Journal Volume. Issue (Year): Pages/ Paragraphs. Web. Date of Access

29 | The Art of The Book

Author Biography The author biography follows the conclusion of the book.The biography is written in the third person and details the accomplishments, achievements and details of the author’s professional career. Personal information should be kept to a minimum, but it is common that the author’s city of residence is stated.

Nicole Krauss grew up on Long Island. At the young age of 14 she started writing, mostly poetry. At Stanford University, she majored in English and won several undergraduate prizes for her poetry. Krauss received a Marshall Scholarship to pursue her masters degree at Oxford University where she did her thesis on Joseph Cornell.

At 28, Krauss published her first novel, Man Walks Into a Room (2002), which was very well received and garnered her six-figure, two-book deal.

She followed with The History of Love, about an old man who feels his life slipping away and a teenage girl attempting to hold her family together.

The History of Love won numerous awards and was a best seller.

Krauss' third novel, Great House (2010), is composed of four linked stories in which she "manages to break down all notions of form and expectation to create a work that is so exceptional and ambitious that it is nothing short of a triumph."

Krauss is married to author Jonathan Safran Foer and lives in Brooklyn, NY. In 2010, she was selected as one of The New Yorker's "20 Under 40" writers to watch.

Colophon The colophon page is a tradition method of incorporating information regarding the publishing of a book. This data includes the city in which it was published, the names of the individuals that were instrumental in the development of the book, including the printer and publishers, and other relevant information. Around 1500, this page evolved into the modern day title page, although it has become fashionable to include a colophon in books as of late. Modern colophons now include information on the type of software used to develop a book, typefaces, papers, ink and printing methods used. Colophons fall at the end of a book.

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33 | The Art of The Book

CHAPTER 2 :

Getting Physical - Getting Personal with the Page - Becoming One

History of the Page Recto/Obverso vs. Reverse/Verso Chapter always on the Recto bc was the smoother side from the Codex, bc the animal skin was rough where the follicles were

35 | The Art of The Book

Folio to Page to Spread Using the correct vocabulary to refer to the contents of your book is essential. Facing pages in a book are called a spread. A folio consists of several folded spreads. A page of course, is just that, one singular page.

reverse or verso

recto or obverso

}

folio

leaf

Gutter & Margins A margin is used to provide boundaries for text on a page and dictates where the content on a page will be placed. Margins exist on the left and right side of a page as well as the top and bottom. The margins on the page of a book provide balance and white space. A gutter is the space between two pages, or spread. Many factors determine the size that your gutter and margins should be set to, including: book size, paper weight, and type of binding.

37 | The Art of The Book

beware of things getting c aught in the gutter

Signature/Gathering/Sewing A signature is a group of papers folded in half and arranged within each other to create a small booklet. A signature is also sometimes called a gathering. A group of signatures of gatherings are often sew together to create a book. Some books are sew together. The point at which they are sewn together is called the sewing station.

39 | The Art of The Book

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Front & Back Cover

back cover or back board

headcap

raised bands

front cover or front board

spine or back tail

Exterior Parts of the Book These terms are the basic elements of book construction. Endpapers are the first welcome given to a reader and should reflect the mood or tone of your book. Endpapers are a decorative element that also function to connect bound signatures to the cover of the book. Headbands serve to cover up unsightly glue from the binding process.

headband

turn-in

endpapers or end sheets

43 | The Art of The Book

The text block can be considered the meat of your book. The text block is the bound pages that fall within the front and back cover of your book.

spine

head or top

fore dge or foredge

tail or bottom

book block or text block front cover

Dust Jacket The dust jacket serves to protect the hardcover of a book from wear and tear and other damage. This removable paper cover wraps around the book with folded flaps encompassing the front and back covers.

The dust jacket is typically highly decorative and the flaps provide additional space for endorsements and acclaim from other authors or celebrities.

45 | The Art of The Book

CHAPTER 3 :

Bound & Gathered - Types of Binding - Toys to Bind with

Bindings There are many different ways to bind your book. While the choice of how to bind your book is mostly a matter of aesthetics, paper weight, number of pages and image placement are factors that should be taken into account.

Perfect

Side Stitch

Pamphlet Stitch

Tape

47 | The Art of The Book

Bindings

Stab

Spiral

Case

Screw and Post

Common Materials & Machines for Binding

Industrial Paper Cutter

Industrial Book Press

Drill

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Beeswax, Bone Folder, Exacto Knife, Awl and Clips

Headband Fabric

Industrial Punch Cutter

Afterword This book was created as a class project for the History of Graphic Design class at The Academy of Art University in San Francisco. The contents found within this book are the result of countless hours pouring over books, both design and informational. The authors are grateful to have had the opportunity to create this book and hope that it will prove to be a useful reference tool.

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Bibliography

Dodd, Robin. From Gutenburg to Open Type. Vancouver: Hartley & Marks Publishers. 2006. Print.

Elam, Kimberly. Grid Systems. New York: Princeton Architectural Press. 2004. Print.

Lupton, Ellen. Indie Publishing, How to Design and Produce Your Own Book. New York: Princeton Architectural Press, 2008.

Lupton, Ellen. Thinking with Type, New York: Princeton Architectural Press, 2004. Print.

Lupton, Ellen and Phillips, Jennifer Cole. Graphic Design, The New Basics. New York: Princeton Architectural Press, 2008. Print.

Pohlen, John. The Letter Fountain. New York: Taschen, 2010. Print

Unknown Author, The Waste Land. Unknown Posting.

Colorado College. Web. October 5, 20111.

Unknown Author, Chronicle Forums, April 19, 2010. The Chronicle of Higher Education. Web October 20, 2011.

Index A

Acknowledgments Appendix Author Alignment Adobe Caslon Afterword Adhesive

B

Body Backmatter Binding Bibliography Book block Back cover Biography

C

Contents Chapters Captions Cover materials Colophon

D

Dedication Dust jacket

E

End papers Epilogue

F

Foredge Folio Fly leaf

G

Gutter Garamond Gathering Glossary

H

Hinge Headband Helvetica History of the page Head

R

Recto

S

I

Signature Sewing Sewing stations Spine

J

Tail Table of contents Typography Title page

K

univers

Index Images Introduction

Kilgore

L

Layout

M

Margins

N O P

Pagination Preface Prologue Page

Q

T

U V

Verso

W X Y Z

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Author Biography Joy Setterlund is a student at the Academy of Art University in San Francisco. She is the future recipient of the Pulitzer and Nobel Prizes.

She lives with her filthy roommate in Cole Valley, San Francisco.

Kristen Youngman is a student/teacher at the Academy of Art

University, as well as a freelance designer. She plans to change the face of design through furniture that will save the world. She currently lives in San Francisco in a very multi-colored apartment.

Colophon This book has been laser printed on Epson 5 star paper in San Francisco, California. Font choices for this work include Adobe Garmond Pro and Univers.