Question 1:
How do you feel about the lack of imagery in my book? Is this fitting seeing as it is a novel, or would you, as a reader, prefer more visuals?
Question 2:
In terms of keeping the colours quite muted, do you feel this well suits the content, considering is it a story of loneliness, or do you think it will be a turn off for others?
Question 3:
Do you feel that Minion body text and DIN running foot / titles are working well together?
Thursday, April 30, 2009
All The Lonely People - UPDATE!
Hello Everyone.
Here's a little update as to where I'm at in the bookmaking process...
I just finished the writing, editing and layouts of my book over the past weekend and delivered it to Tony at Van Huizen Bookbinding to have it perfect bound as a softcover. It may seem a bit odd to offer advice on my book as it is already in the process of being sewn and glued, however I'd love some feedback anyway as not many people saw it in the works.
The Premise:
The book I wrote is somewhat of a tragedy about 7 different characters who's stories are all intertwined. The underlying theme of this tale is failed communication and missed opportunities, two very related subjects which I find to be quite intriguing in a society where we are all connected by the push of a button. There are 7 chapters in the book, each telling the story of an individual character. Each story ends abruptly, leaving the reader to wonder who else is involved and if/how the unfortunate plot will be rectified.
The Layout and Design:
I decided to keep the book image-free except for the chapter openings. I was really struggling to find a way to visually communicate the loneliness and despair experienced by the characters in these stories without resorting to cliched and expected solutions - such as a lone chair or tree standing on its own, a single silhouette etc.
In order to dig a bit of a deeper meaning from this meaty subject matter, I explored what it is exactly that ties individuals together and how our lives and personal stories intertwine. When considering vocabulary such as "tie", "weave", "attach", "unite" and "merge", that directly relate to the way in which humans interact, it became clear that a solution involving rope could be a strong possibility.
After researching a bit about ropes and string, I came across the art of knot-tying. I particularly enjoyed the instructional drawings offered by certain resources such as the Boy Scouts of America: Official Handbook. This style of illustration reminded me of technical renderings found in textbooks, often accompanied by the tag "Fig. 1 - (Insert Description)". I liked the way this related to individuals as case studies and decided it would be an appropriate choice for the chapter openings and cover - depicting each character with a different style of knot. The covers are quite plain, with an illustration of two separated knots, some distant typography and a muted coloured spine.
In terms of the actual page layout, I chose to create a smaller book (finished dimensions 4.75" x 7") but to contrast the stout ratio with long, narrow and off-centered columns of text. I was hoping this would create a sort of tension on the page that the reader will most likely feel when reading these stories. Originally my intent had been to create a hardcover book, but I began to realize that this was not very fitting for my content. I want readers to feel comfortable holding this book and traveling around with it, so like many novels, I chose to bind it softcover.
Here's a little update as to where I'm at in the bookmaking process...
I just finished the writing, editing and layouts of my book over the past weekend and delivered it to Tony at Van Huizen Bookbinding to have it perfect bound as a softcover. It may seem a bit odd to offer advice on my book as it is already in the process of being sewn and glued, however I'd love some feedback anyway as not many people saw it in the works.
The Premise:
The book I wrote is somewhat of a tragedy about 7 different characters who's stories are all intertwined. The underlying theme of this tale is failed communication and missed opportunities, two very related subjects which I find to be quite intriguing in a society where we are all connected by the push of a button. There are 7 chapters in the book, each telling the story of an individual character. Each story ends abruptly, leaving the reader to wonder who else is involved and if/how the unfortunate plot will be rectified.
The Layout and Design:
I decided to keep the book image-free except for the chapter openings. I was really struggling to find a way to visually communicate the loneliness and despair experienced by the characters in these stories without resorting to cliched and expected solutions - such as a lone chair or tree standing on its own, a single silhouette etc.
In order to dig a bit of a deeper meaning from this meaty subject matter, I explored what it is exactly that ties individuals together and how our lives and personal stories intertwine. When considering vocabulary such as "tie", "weave", "attach", "unite" and "merge", that directly relate to the way in which humans interact, it became clear that a solution involving rope could be a strong possibility.
After researching a bit about ropes and string, I came across the art of knot-tying. I particularly enjoyed the instructional drawings offered by certain resources such as the Boy Scouts of America: Official Handbook. This style of illustration reminded me of technical renderings found in textbooks, often accompanied by the tag "Fig. 1 - (Insert Description)". I liked the way this related to individuals as case studies and decided it would be an appropriate choice for the chapter openings and cover - depicting each character with a different style of knot. The covers are quite plain, with an illustration of two separated knots, some distant typography and a muted coloured spine.
In terms of the actual page layout, I chose to create a smaller book (finished dimensions 4.75" x 7") but to contrast the stout ratio with long, narrow and off-centered columns of text. I was hoping this would create a sort of tension on the page that the reader will most likely feel when reading these stories. Originally my intent had been to create a hardcover book, but I began to realize that this was not very fitting for my content. I want readers to feel comfortable holding this book and traveling around with it, so like many novels, I chose to bind it softcover.
Sunday, March 22, 2009
ebon heath.
Just stumbled across this designer. These 'typographic mobiles' are HAND CUT! Check out his site and the rest of his stereo.type collection.http://listeningwithmyeyes.com/stereotype.html
Friday, March 20, 2009
All The Lonely People
I'm in the process of writing my first novel. It's a story of loneliness and failed communication amongst a group of strangers. The novel will consist of seven chapters, each telling the story of a single character. The stories are linked as each character is trying to contact the character in the proceeding chapter. The reader must continue to the following chapters to find out why their attempts at communication have failed.The theme of this tale questions whether or not all of our modern communication vehicles are actually keeping us better in touch with one another.
As of right now, I'm visualizing this book as being bound as a hardcover. I'd like to somehow incorporate old upholstery fabrics into the binding or containing of these books, as old tattered furniture and fabric evokes a certain loneliness and distressed feeling; like a person who feels unacknowledged, used and cast aside.
As there is a large sum of copy to set in this book, it will be mostly text based. However, each chapter opening will incorporate graphic elements or illustration of some sort to introduce the character. The mode of communication used in each chapter (ie. letter, postcard etc.) will be tipped in or displayed as if it were actually pasted in the book.
Fingers crossed..
(Above image: http://www.flickr.com/photos/extraspecial/201139468/)
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