Note to Readers – Every now and then, I will re-post a blog entry that has withstood the test of time. Whether you missed it the first time ‘round or read it years ago, I feel it’s worth sharing again. Recently, I was aghast to see a room designed with a bookcase full of books placed backwards, spines hidden, to match the room’s white/beige color theme. As the Rev. Sidney Smith (1771-1845) said, “No furniture is so charming as books.” Clearly the designer of the white/beige room isn’t a booklover. But you are. Here’s what I wrote about the most important part of a book’s cover on July 27, 2014.
In a recent gathering of writers, the discussion turned to book cover design and, more specifically, book spine design. Even more specifically, how often book sales are lost because authors and publishers overlook this crucial part of a book.
As important as a book’s cover is, it’s usually the book’s spine that first greets us on the shelves of stores and libraries. It’s one thing if we’re looking for a particular title or author, another if we’re browsing. Truth is we’re browsing even when we’re looking for a particular title or author. This is why book spine design deserves at least as much attention from authors and publishers as they give to cover design.
Since shelved books usually stand vertically, the ideal direction for type on the spine is horizontal to make words appear as we normally view them. But this is problematic if the book is not fat or the words are long. Most books cannot support this design. Instead, letters are usually turned at right angles to the viewer’s eye, running along the vertical spine. Because this is not the normal way we view writing, it has to be even clearer than it would otherwise have to be.
In North America, the normal direction of words on book spines is from top to bottom; in Europe, it’s usually bottom to top. This is because in North America, books are stacked face up, while in Europe, they’re stacked face down, with no front covers visible at all. The result is that readers browsing the shelves in a European bookstore tilt their necks to the left, while those in North America tilt theirs to the right.
With spine design, simple sells. This may be one reason modern books titles are often only one or two words; a design choice as much as a literary one. Capital letters, having no ascenders or descenders, present more cleanly than lower case letters. Bold fonts work better than delicate ones. Colors need to contrast but not compete. The spine must attract attention, convey information and please the eye; a huge job for a relatively small plot of real estate on a book.
Next time you’re browsing bookshelves – in a store, a library or your own home – see which books attract your attention. Then consider the designs of the spines. You’ll notice trends that succeed but also be surprised when a rule-breaking design works.
Like people’s spines, book spines should be accorded the care and respect they deserve because their job is critical to everything that resides within the body.