“The correct type area, the other condition for a beautiful book, has seldom been reached, still less in any methodical manner. Like typhography it self, in the nineteenth century, the type area was neglected to such a degree that any alteration seemed permissible.”
“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. Margin proportions do not dominate the page of a book. Rather, they arise from the page format and the law of form, the canon.”
“Ideally, the type area should be worked out beforehand and sent to the illustrator so that he can then match picture and page image.”
“Perfect typography depends on perfect harmony between all of its elements. We must learn, and teach, what this means. Harmony is determined by relationships or proportions.(…) Indeed, beautifully typeset pages are always the result of long experience. ”
Jan Tschichold, 1991
“For all the beauty of pure geometry, a perfectly square block of type on a perfectly square page with even margins all around is a form unlikely to encourage reading. Reading, like walking, involves navigation – and the square block of type on a square block of paper is short of basic landmarks and clues. To give the reader a sense of direction, and the page a sense of liveliness and poise, it is necessary to break this inexorable sameness and find a new balance of another kind. Some space must be narrow so that other space may be wide, and some space emptied so that other space may be filled.”
“The page is a piece of paper. It is also a visible and tangible proportion, silently sounding the thoroughbass of the book. On it lies the textblock, which must answer to the page. The two together – page and textblock – produce an antiphonal geometry. That geometry alone can bond the reader to the book. Or conversely, it can put the reader to sleep, or put the reader’s nerves on edge, or drive the reader away.”
“The proportions that are useful for the shapes of pages are equally useful in shaping the text block. This is not to say that the proportions of the textblock and the page should be the same. (…) But it is pointless for them to differ unless, like intervals in music, they differ to a clear and purposeful degree.”
“(…) only research into the secrets of old book formats and type areas will in the end bring us much closer to the true art of making a book.”
Jan Tschichold, 1991
“It’s the arrangement of all the elements to make the piece work as a whole.”
“(…) In order to produce a “good layout” all we need to do is make a pleasing arrangement of miscellaneous elements.”
“The two poles of layout are the text, which is organized around the Reading sequence, and the images, the arrangement of which is determined by compositional considerations derived from picture-making. It is the balance between these two principles that guides the descriptions of the various models of composition.”
“ARRANJO GRÁFICO – Disposição dada a um texto ou a um conjunto de pequenos textos (no caso de um jornal), de modo a obter uma página harmoniosa e esteticamente agradável; a disposição do corpo das letras, dos espaços interlineares, a largura das margens, as notas de rodapé e as notas marginais, a largura das colunas ou da mancha tipográfica, a colocação do título corrente e a página de título são alguns dos elementos a ter em conta para obter um produto final de boa qualidade. Maqueta de publicidade. Esboço.”
Maria Isabel Faria e Maria da Graça Pericão, 2008
Tschichold, Jan. 1991. The Form of the Book: Essays on the Morality of Good Design. Vancouver: Hartley & Marks. Original edition, 1975.
Bringhurst, R. 1996. The Elements of Typographic Style. Seattle, Washington, USA: Hartley & Marks
Faria, Maria Isabel, e Maria da Graça Pericão. 2008. Dicionário do Livro: da escrita ao livro electrónico. Coimbra: Almedina.
Haslam, Andrew. 2006. Book Design.
Rand, Paul. 2014. Thoughts on Design, San Francisco: Chronicle Books.
Moholy-Nagy, László. 1921. Composition #19.