Combinação equilibrada das partes de uma composição (tamanho dos tipos em relação ao papel, distribuição dos brancos, dimensão, colocação das gravuras em relação à página, etc.). Equilíbrio entre os caracteres na altura e na largura. Harmonia.”

(Faria e Perição, 2008)

“Perfect typography depends on perfect harmony between all of its elements. Harmony is determined by relationships or proportions. Proportions are hidden everywhere: in the capaciousness of the margins, in the reciprocal relationships to each other of all four margins on the page of a book, in the relationship between leading of the type area and dimensions of the margins, in the extent to which capital letters are spaced differently from the text, and not least, in the spacing and size of the words themselves.”

Harmony between page size and type area is achieved when both have the same proportions. If efforts are successful to combine page format and type area into an indissoluble unit, then the margin proportions become functions of page format and overall construction and thus are inseparable from either.”

(Tschichold, 1991)


Guarnições correspondentes ao branco na folha de impressão; o espaço em branco pode ser superior (margem da cabeça), inferior (margem do pé), exterior (margem da goteira) ou interior (margem do dorso); o espaço da margem que não tenha sido cortado pela guilhotina do encadernador constitui um elemento de valorização do livro, especialmente se for antigo”

(Faria e Perição, 2008)

Only under certain circumstances may the margins form a rational sequence (one expressible in simple numbers) such as 2:3:4:6 (inner margin to upper to fore-edge to foot). The secret of a harmonious book page is not necessarily hidden in a relationship between the four margins expressible in simple numbers. Margin proportions do not dominate the page of a book. Circumstances seldom permit the mathematically correct size and positioning of a type area. The relationships of the margins to each other must exhibit noble proportions and yield an unalterable effect.The gutter must appear to be as wide as the outer margins. Large and wide margins simply demand healthy leading, even between lines of the same type size. The proportional relationship between upper and lower margins of a book page has to show up in the title as well. “

(Tschichold, 1991)

Wider Margins not only bring visual har­mony to the page, they pro­vide space for those who like to anno­tate the text and a place for read­ers to rest their thumbs with­out cov­er­ing up the words.In books of text meant for con­tin­u­ous read­ing, fac­ing pages should be posi­tioned in rela­tion to each other such that the reader thinks of them as a sin­gle unit.
White Space lets a design “breathe.”(…)  Dark and light areas of the page should be in har­mony. If the page is too dense, it feels heavy; the page cre­ates ten­sion.

(Bricker, 2011)

Tschichold, Jan. 1991. The Form of the Book: Essays on the Morality of Good Design. Original edition, 1975

Faria, Maria Isabel & Pericão, Maria Graça. 2008. Dicionário do Livro. Edições Almedila, SA: Coimbra.

Book Design Basics by Dave Bricker

António Santiago Turma B



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