Eight Tips for Better Book Cover Design

Being a design educator, I’m often asked to critique reserve covers. The most common stumbling block is typography. Here are some simple tricks for designers and do-it-yourselfers.

1 ) Title text message often will crowd the space. Ideally it will either sit comfortably within the cover and have some breathing room, or on the other hand, it may expand past the margins altogether and hemorrhage off the page. click to read more

2. Though it’s popular among center text on e book covers, I rarely middle text unless I’m creating a wedding invitation or the lines of textual content are roughly similar in length. The eye loves to jump to a still left edge to read the next line and with centered text, it has to hunt for where the next line starts. Centered text is a natural and logical, but predictable approach. After some exploration, there are almost always significantly more stylish solutions.

3. Setting textual content on top of an image is often difficult. The common solution is to include bevels, glows and drop dark areas. Better to use photographs with large areas of light, dark or sound color. Photoshop filters look like the hand of a computer – not the hand associated with a specialist.

4. Never ever, at any time, ever, ever, ever, ever before, ever, ever, ever, ever before, ever, ever, ever, ever before, ever stretch or reduce type. Look around and you’ll find poorly made signs the place that the middle of the “S” is disproportionately fattened by compressing the written text. There are compressed and extended typefaces designed to do that job without losing their proportions. It’s like gazing into an exciting house hand mirror.

5. Use comic without; go to jail. Is actually the law.

6. Figure out the temporal context of your type choices. A lot of people choose type indiscriminately from a dropdown menu offering 200 choices without the knowing of whether the typeface is classic or cliche. A friend of mine has art nouveau type on the titles of his self-designed martial arts/vampire literature. It’s incongruous, but this individual doesn’t even know it. Different typefaces are able to place your work in the correct-or incorrect-temporal setting. In the beginning when i first began working with computers, We couldn’t understand what was so futuristic about the typeface Futura. Later, I actually found that when Paul Renner designed it in 1929, it was part of a modernist, developing revolution in geometric sans-serif typefaces. It was highly advanced for it’s time, even though it’s still used and useful, it implies mare like a 1930’s feel than a highly advanced one.

7. When creating ANYTHING, do some research. Look at book addresses by pros like Chipp Kidd. One of the best “design bibles” is an e book of Black Note album covers designed by Reid Miles in the 1950s and 70? s. As a subject of fact, the cover of my most recent book was intentionally designed from his album includes to establish that all point. My design students typically sit down at some type of computer and start moving text and pictures around, hoping to come up with something inspiring. This kind of is the “white cane” approach to design. You can develop something properly original based upon the work of brilliant people who came before you. The work will be better, and you should grow as a designer by assuming their vocabulary.

8. Challenge yourself to set a colophon for your book-even if you don’t include it in the content. This is the section to make clear your choices of well, imagery, color, etc. If you cannot justify it, it’s oblivious choice – not mindful design.