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Teacups and Sticky Buns Title: Teacups and Sticky Buns: Mom's Story Writer and Publisher: Tom Culligan Project: Book design and production, print and online promotional materials Services: Copywriting, design, production In reading over the text supplied and examining the images, we determined that the book would work best at a smaller size, and in a squarish format. We thought this would make it more intimate a reading experience, and be in keeping with the mood of the writing, and the subject matter of the book. We were inspired in no great part by the images, particularly the kitchen scene which we used on the front cover. Format: We proposed the book be 4-1/2 x 6 inches (half of a standard 6 x 9 inch book). This increased what would have been a 192 page book to 360 pages. This had the effect of reducing the paper and binding materials consumed, but increasing the binding operations. We proposed that the book be printed in brown ink, and screened back some of the display elements to add additional colour and depth to the pages. We kept with the theme of contrast by printing some of the pages in full bleed colour - essentially all the pages that are not running text. This provided an element of colour to the overall appearance, without making the book too busy.  Images: The photographs - painting done by the subject of the book - were spread throughout the text, by wrapping 4-page inserts around text signatures. This avoiedd the expense of having to print all the text in full colour, but did not allow specific placement of images with text. The alternative would have been to insert a group of colour pages into the text, which is a slightly cheaper, but overall less effective and pleasing solution. Typography: The body text is Baskerville, a solid, slightly-heavy book face, which is considered one of the best reading faces, often used in newspapers as well as books. The display faces are Barmeno sans serif for secondary items, Baker Signet for titles and initial letters, and Caflisch for the poems. We were looking for an evocative contrast between the rather utilitarian appearance of the Baskerville and Barmeno, and the lyrical qualities of Caflisch and Baker. Normally we restrict our fonts to three faces, but in this case using Baker for the large display elements added a lyrical quality we felt was in keeping with the subject of the book, and the text. We continued our theme of contrast on the chapter opening pages. We used the modern handwriting-like scipt font, Caflisch, for the text, reversed out of a solid brown background. The poems had to keep to one page facing the chapter opening, which restricted the size of the type we were able to use. For a more accurate representation of the pages, see the Acrobat PDF file of the final design sketches we submitted before composition began. Click here to download. Okanagan Bookworks | books@booksokanagan.com | 250.870.2690
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