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.
Page layouts have demands that are often underestimated by those publishing their first books. Typesetting is more complicated than people imagine. It is costly to pay for the time it takes to produce a single layout, so it is most cost effective to have a single adaptable layout that fits all platforms.
The uniqueness of a front cover is a pivotal part of the returns it will generate. It needs to tell readers about the work itself, and it needs to demonstrate genre. There are also concerns about typographical needs. Many publishers prefer to hire typographers to design new fonts, but there are many popular existing options that are more affordable and do the task equally well. It is expensive to have a font designed, and popular pre-designed fonts are extremely clear and tasteful.
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.
A great majority of designers are choosing not to use traditional media, which makes the use of water colors or charcoal sketches all the more noticeable on the shelves. Graphic design programs can achieve great things, but they can become lost on a shelf flooded with similar styles. A freelance book designer with skill will have mastered many media.
Page layouts have demands that are often underestimated by those publishing their first books. Typesetting is more complicated than people imagine. It is costly to pay for the time it takes to produce a single layout, so it is most cost effective to have a single adaptable layout that fits all platforms.
The uniqueness of a front cover is a pivotal part of the returns it will generate. It needs to tell readers about the work itself, and it needs to demonstrate genre. There are also concerns about typographical needs. Many publishers prefer to hire typographers to design new fonts, but there are many popular existing options that are more affordable and do the task equally well. It is expensive to have a font designed, and popular pre-designed fonts are extremely clear and tasteful.
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.
A great majority of designers are choosing not to use traditional media, which makes the use of water colors or charcoal sketches all the more noticeable on the shelves. Graphic design programs can achieve great things, but they can become lost on a shelf flooded with similar styles. A freelance book designer with skill will have mastered many media.
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