~ by Brad Schmidt, Technical Support Specialist
Typography plays a vital role in book design. While it’s tempting to debate the merits of one font over another, it’s more productive to focus on how font choices interact with the practical realities of printing and finishing. The right font can elevate a book’s aesthetic, but it must also perform well in print, especially when special effects like foil stamping, embossing, or debossing are involved.
Font Size and Audience Considerations
One of the first decisions in typography is font size, which should be tailored to the book’s intended audience. For early readers, larger serif fonts are typically used to support readability. These fonts offer clear letterforms that help young readers distinguish characters. In contrast, adult fiction often uses smaller fonts to conserve space and create a more compact layout. Books aimed at older readers may return to larger font sizes to reduce eye strain and improve the reading experience.
Thin Fonts and Print Limitations
Fonts with thin strokes or delicate serifs can be visually appealing, but they present challenges in print. When printed in black on a white background at a standard size, these fonts usually perform well. However, when reduced in size or printed in lighter colours like grey, the thin areas may become problematic. Grey text is produced using a halftone screen, which simulates shades by creating a pattern of tiny dots. On uncoated paper, where the screen resolution is lower, these dots can leave gaps in the thinnest parts of the letters. The lighter the grey, the more pronounced the gaps, which can cause parts of the font…especially serifs…to disappear.
Reverse Type: White Text on Colour
Using white text on a coloured background (known as reverse type) introduces additional complexity. Fonts with thin strokes are more likely to fill in or close up, especially at smaller sizes. To maintain legibility, it’s best to avoid font sizes under 12 points for reverse type. Sans-serif fonts are generally more reliable in this context, as they have fewer thin areas and simpler shapes. Serif fonts, even when bold, can still pinch at the serifs, making them less suitable for reverse applications.
If the background is a rich black (100% black), trapping techniques can be used to improve clarity. Trapping involves creating a slight outline or buffer around the white text to prevent the background ink from encroaching. This is not possible with coloured backgrounds, which increases the risk of the white text becoming distorted.
Cover Design and Specialty Finishes
When designing book covers, especially those that include foil stamping, embossing, or debossing, font selection becomes even more critical. The material used for the cover can either support or hinder the effectiveness of these finishes. Smooth, paper-based covers allow for finer fonts with crisp edges. In contrast, textured materials like cloth can interfere with the application of foil, causing fonts to break up or fill in.
To mitigate these issues, designers should opt for larger fonts with wider strokes and consider using sans-serif styles. Fonts with small holes or intricate details…such as engraved or distressed styles…are particularly vulnerable. These small pockets can fill in during foil stamping, diminishing the intended design. Similarly, thin fonts limit the depth and clarity of embossing or debossing. Characters like ‘a’, ‘e’, ‘p’, and ‘b’ are especially prone to filling in due to their enclosed shapes.
Typography is more than just a visual choice; it’s a technical decision that affects every stage of book production. From readability to print clarity and decorative finishes, font selection must be approached with both creativity and practicality. By considering the audience, printing method, and finishing techniques, designers can ensure their books are not only beautiful but also functional and professional.
