dot-font: Putting Some Spine in Design

John D. Berry

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dot-font was a collection of short articles written by editor and typographer John D. Barry (the former editor and publisher of the typographic journal U&lc) for CreativePro.  If you’d like to read more from this series, click here.

Eventually, John gathered a selection of these articles into two books, dot-font: Talking About Design and dot-font: Talking About Fonts, which are available free to download here.  You can find more from John at his website, https://johndberry.com.

Maybe you can’t judge a book by its cover, but in a bookstore we judge most of them first by their spines. With most new books—not the ones lying out on tables or prominently displayed with their covers out, but the ones lining the shelves—the spine is all we see. The beautiful, dramatic cover, upon which great effort and sometimes even expense may have been lavished, never gets seen if a browsing book buyer doesn’t reach out and pull the book off the shelf.

Given this cruel dynamic of the marketplace, you might expect that book publishers and the designers they hire would devote a lot of attention to what the spine looks like. But it seems to be the rare designer who gives the question much thought at all.

Standing up and Standing Out

As a book designer who is also a book buyer and reader, I’ve thought about this a lot—and in the course of my professional life I’ve been able to put some of my thoughts into action. I know that when I scan the shelves of my favorite bookstores, it’s the simplest, most dramatic, most legible book spines that stand out.

Obviously, since most books are shelved vertically, the ideal direction for the type on the spine is horizontal, so that the words are the right way up when viewed by the browser’s eye. And if the book is fat, the spine is wider and there’s more space for the designer to work with. Sometimes the designer can use some of that space to frame the title and the author’s name.

The spine of this comprehensive Italian dictionary from 1949 is striking and easy to read.

But few books are thick enough to allow this kind of spacious display. In most cases, the type is turned at right angles to the viewer’s eye, in order to run along the vertical spine. In North America, the normal direction is from top to bottom; in Europe, it’s usually bottom to top. (This means that in North America, in a pile of books stacked face up, all the titles are easy to read; in Europe, it’s the pile of books stacked face down, with no front covers visible at all, where the titles on the spines are easy to read. The biggest practical effect is that readers browsing the shelves in a European bookstore crick their necks to the left, while those in North America crick theirs to the right.)

Since the type is not aligned with the way we see, it has to be even clearer than it would otherwise. Crowded, cramped type gets lost in the clutter. No matter what the front cover looks like, capital letters make the best use of the narrow spine (no ascenders or descenders to extrude into the limited space). A little extra space between the letters—even more than you’d give them in a horizontal line—helps them stand out and be read.

Crisp letterforms (in this case, Big Caslon caps), if they’re not too cramped, can stand out even when they fill the space on the spine.

Clarity in Complexity

Most of what I’m going to show is my own work, since this is the easiest approach and perhaps the most honest. But one example I’d like to include is the spine of a trade paperback edition of “Virtual Unrealities,” a collection of short stories by science-fiction writer Alfred Bester (published by Vintage Books). The designer, Evan Gaffney, uses the space in a unique way. The intrusions of amorphous blue photographic details in strict rectangles, and the swirling clock-face image, reflect the design of the front cover (and the back); they also tie this book in with others in the uniform series of Bester reprints, each of which features a different dominant color. The complexity of this spine draws a browser’s eye in; the well-spaced type of the author’s name and the title make it clear what this is. (Even the letterspacing of the subtitle, in caps and small caps—which would normally not be a good idea—works here, given the size and the vertical nature of the spine.)

Clear typography within a complex composition is hard to pull off, but it works in this Vintage paperback.

Clarity and simplicity tend to stand out and also to please the eye. But which element is most important? Which should be emphasized? You have to think about what will catch the browser’s attention—the title, the name of the author, the publisher’s logo, or something else entirely. In the case of the Alfred Bester book, it’s Bester’s name that will sell the book; he’s known as one of the classic writers of science fiction. In the case of a book I designed for the University of Washington Press, “Answering Chief Seattle,” by Albert Furtwangler, the author’s name was not well known, but the subject—Chief Seattle—is famous in the Pacific Northwest, and a title like “Answering Chief Seattle” ought to pique the intended reader’s interest. So, in my design, the title is what stands out.

If the title is what will catch readers’ interest, emphasize it.

Using Space

In one of my early book designs, a sequence of poetic prose by Sam Hamill about following in the footsteps of the haiku master Basho (published by Broken Moon Press), my cover design was bold and simple, but on the spine I was timid, and I hadn’t thought enough about what a book spine had to do. I chose very small type, and set it within the empty space of the spine. The type got lost there, rather than standing out against its ground.

The small type on this spine easily gets lost.

Years later, in a volume of collected poems for White Pine Press, I got to give Sam Hamill a much more inviting spine to his book. I knew that some readers of poetry would seek out books by Hamill, so his name had to stand out; but I also wanted to attract others, so the most striking emphasis (white type on a dark blue background) was given over to the intriguing title, “Destination Zero.”

Larger type for Hamill’s “Destination Zero” amends my earlier timidity.

Sometimes neither the author’s name nor the book’s title is a guaranteed reader magnet. Poet Arthur Sze is well respected among certain circles of poetry readers, but he’s hardly a household name. And the title of this book for Copper Canyon Press, “The Redshifting Web,” is a particularly awkward combination of words to do anything with on a book cover or spine. But I had an attractive piece of artwork that lent itself to being wrapped around from the front cover onto the spine, giving a natural division to the area of the spine. So instead of running a simple author/title line down a blank spine, I chose to blow up Sze’s single-syllable last name large enough to dominate the top section. Then I reduced the title until it fit within the artwork. The point was to be intriguing enough to make browsers stop and pull the book off the shelf.

This design emphasized the poet’s last name but used a wrapped-around illustration to help catch browsers’ eyes.

Too Colorful?

Color is an important factor in book spines, but contrast is even more important. The most “typographic” colors are black and white, and I usually try to stick to these for type. The best second color is one that’s light enough not to drown out black type, but dark enough that you can reverse out white type and still read it.

Sometimes using a color combination from the front cover, or even from the artwork, is effective. It’s easy to get carried away, though. On the spine of Jane Miller‘s “Memory at These Speeds” (Copper Canyon), I made the mistake of using a blue for the author’s name against a dark orangey-red, with a light yellowish orange for the title. The title stands out, but the blue and red fight each other, in an electric effect, and Miller’s name is hard to read.

The choice of type color could have been better with this design for Jane Miller’s “Memory at These Speeds.”

Spine Space, the Final Frontier

Capital letters aren’t the only possibility for a book spine. And italics can sometimes be very effective, even though they slant down from top to bottom on a North American spine, farther from the browser’s horizontal orientation. For Eleanor Wilner‘s collection “Reversing the Spell” (Copper Canyon), I thought the title itself would draw the most attention, so I made it prominent. The spine was wide enough that I could give the author’s name horizontally, in contrast to the title.

The title warranted the focus in this design, but the different orientation of the author’s name helps it remain easily readable.”

The same technique of combining vertical and horizontal type worked on the spine of the first complete edition of Thomas McGrath‘s book-length poem, “Letter to an Imaginary Friend” (Copper Canyon). I probably played down McGrath’s name too much (I should have used a contrasting or complementary typeface that was stronger, for his name), but the title stands out (the small caps are not faked; the typeface actually has “small caps” that are nearly as tall as the capital letters) and the spine was wide enough that I could use a cropped version of the very personal, inviting photo of the author. You don’t often get to use a person’s face on a book spine.

This design also emphasizes the title, but the width of the binding allowed the flexibility to add the author’s photograph.

The opposite problem comes when you’ve got a very narrow spine, for a very thin book. Heather Allen‘s “Leaving a Shadow” was one of the shortest books I’ve ever designed, an almost archetypal “slim volume of poems” (again, for Copper Canyon Press). The cover was a duotone, in black and silver, of a photograph with type against it. On the spine, there was no room for anything fancy; I simply used all the space, and all the variations at my disposal, setting the author’s name in black and the title in white, both in letterspaced caps in a crisp typeface, against a pure silver background.

Books with thin spines can be especially challenging.

Details, Details

Why spend so much time thinking about a subject that almost no one, including book designers, gives much thought to? Because this, like so many neglected details of design, actually has a big impact on which items in the marketplace get noticed—and bought. The spines of books ought to be pleasing, so that book buyers will enjoy having them on their shelves once they’ve read them; but the first thing a book’s spine has to do, in the real world, is attract the reader.