Whilst people like to say that a book cannot be judged by its cover, most consumers do choose their reading material according to its design. A freelance book designer has the task of creating an impression on readers, not only through the cover but its blurb, internal layout and spine. With the emergence of the e-book industry, the task has become more complex, with publishers requiring layouts that can adapt to several platforms.
Many writers underestimate the time, effort and thought involved in generating a successful layout of the text inside books. One formatting task takes an enormous amount of time, so designing one for every platform can be expensive. Publishers often prefer to have a layout that is easily adaptive to e-books, PDF documents and print.
It's important that cover styles be unique. Designs need to give readers an idea of what is contained in the pages. Fiction and nonfiction genres come with their own, constantly adapting trends. Stylistic needs differ according to genre. Typography is a central part of layout, and some core fonts are most favored by designers because they are readable and tasteful. Whilst it is a welcome luxury to be able to have typography specially designed, it is seldom necessary and usually costly.
Any product in the commercial sector needs to be potently branded. Book branding is a unique niche that requires special skill, but the usual branding concerns apply. Designers who are clearly informed about the target audience will produce a more attractive result for their niche consumers.
New media have opened the door for more interesting and creative illustrations for covers. Mixed media that make use of image enhancing software often make a strong impression on consumers. Standards of design have peaked in recent years with the advent of these programs, and expectations have risen. Still, consumers do not always prefer the sleek, glossy effects achieved with image software alone, which is why many design professionals are combining PC generated graphics with traditional media such as watercolors and oils.
Since the internet cleared room for an international marketplace, it has become intimidating to look for the right contractor for one's needs. Publishers are, however, given the opportunity to shop more widely for talent overseas. They are no longer confined to their own borders. Nonetheless, hiring through the internet needs to be done as carefully as is done in brick and mortar environments.
One of the biggest mistakes a design professional can make is to use every tool at his disposal. This is a habit that is seen most often in the portfolios of contractors who use software for their covers. In the end, the use of every possible texture and filter leads to a confused aesthetic that lacks focus or design strength. Simplicity, when combined with talent, achieves a far more striking look.
The fact that fewer designers are using traditional media adds impact to work achieved using watercolors, oils and charcoal. Covers designed using traditional media stand out from the many graphic designs on offer today. A freelance book designer who is well acquainted with many different media usually has a better command of his industry.
Many writers underestimate the time, effort and thought involved in generating a successful layout of the text inside books. One formatting task takes an enormous amount of time, so designing one for every platform can be expensive. Publishers often prefer to have a layout that is easily adaptive to e-books, PDF documents and print.
It's important that cover styles be unique. Designs need to give readers an idea of what is contained in the pages. Fiction and nonfiction genres come with their own, constantly adapting trends. Stylistic needs differ according to genre. Typography is a central part of layout, and some core fonts are most favored by designers because they are readable and tasteful. Whilst it is a welcome luxury to be able to have typography specially designed, it is seldom necessary and usually costly.
Any product in the commercial sector needs to be potently branded. Book branding is a unique niche that requires special skill, but the usual branding concerns apply. Designers who are clearly informed about the target audience will produce a more attractive result for their niche consumers.
New media have opened the door for more interesting and creative illustrations for covers. Mixed media that make use of image enhancing software often make a strong impression on consumers. Standards of design have peaked in recent years with the advent of these programs, and expectations have risen. Still, consumers do not always prefer the sleek, glossy effects achieved with image software alone, which is why many design professionals are combining PC generated graphics with traditional media such as watercolors and oils.
Since the internet cleared room for an international marketplace, it has become intimidating to look for the right contractor for one's needs. Publishers are, however, given the opportunity to shop more widely for talent overseas. They are no longer confined to their own borders. Nonetheless, hiring through the internet needs to be done as carefully as is done in brick and mortar environments.
One of the biggest mistakes a design professional can make is to use every tool at his disposal. This is a habit that is seen most often in the portfolios of contractors who use software for their covers. In the end, the use of every possible texture and filter leads to a confused aesthetic that lacks focus or design strength. Simplicity, when combined with talent, achieves a far more striking look.
The fact that fewer designers are using traditional media adds impact to work achieved using watercolors, oils and charcoal. Covers designed using traditional media stand out from the many graphic designs on offer today. A freelance book designer who is well acquainted with many different media usually has a better command of his industry.
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