If I was still teaching first year Indiana University graphics students (after declaring Graphics as their major at IU), I could use the following examples to demonstrate some basic graphic design typographical tweaks and tenets.
Each page of a book should be inviting to the reader. Every unit of text must relate to every other unit and be in harmony while maintaining its typographical distinction. It’s a balance. For instance, the 2-page spread I’m using as an example (created for Kathleen Wiley’s first book, “NEW LIFE: Symbolic Meditations on the Birth of Christ Within,”) perfectly illustrates this. Each chapter’s beginning page has six separate elements to juggle. I managed this by sculpting the white space.
The first five sections within each chapter have centered text. First, I bunched the three uppermost elements together at the top as a unit because they appear together on the Table of Contents page. As the purpose of the first three lines is informational, I used the easily readable Gill Sans font family: light for the Chapter number (a), bold face for the chapter title (b) and regular to note the scripture.
The next section (4) is Kathleen’s first voice–her insightful commentary about the meaning of a particular biblical passage. I set it using Garamond Italic type and centered it. Usually, centered text in italics is difficult to read. I used italics anyway because I wanted the reader to slow down. I balanced readability issues by increasing the font size and leading and carefully manipulating the collective shape of the text by making sure each line ended with a noun or a strong word. I carefully removed hyphenations and eliminated widowed text (one word at the end of the paragraph taking up an entire line.)
Section (5) is the scripture associated with each chapter. I significantly indented the text block on both sides, making the biblical passages similar in feel to how they usually appear in context. Because it was of the same serif type family as Kathleen’s commentary above, I just used Garamond’s regular text font. I also wanted it to be significantly different from the major text font.
In her major commentary section (6), Kathleen is in a more analytical mode. That’s why I changed the typeface back to the sans serif, Gill Sans, and split the text into a two column format. The tone is different, more intellectually removed from the subject, but contemplative. To set off each chapter head so as to give the eye a focus, I inset a decorative initial capital letter within the first paragraph of text. The major text continued in its two column format until Kathleen’s ideas were complete. To signify the end of the major text, I placed Kathleen’s iconic key lock.
The last section, chapter (7), is “Inner Reflections,” the chapters’ quiet Call to Action.
Although this final section may appear to be centered because of the title, the type is in fact justified left, ragged right. I used Gill Sans Light and indented it within a thin-bordered box to make it easily found for those who wish to quickly refer to the meditation.
Even with all these typographic rules in place, no two spreads appear alike. Each thought is a visual an expression unto itself, yet contributes to the harmony of the book as a whole