I spent a decade as an art director myself within the largest commercial printer in Albuquerque. I learned typesetting and graphic design at the hands of a masterful art director in the late 1970s.
I began as a fine artist in the 1960s and early 1970s. I have been uniquely positioned to take advantage of the new workflow. One of the trials of this new paradigm is the incredible amount of knowledge required and the various skills necessary to do all of this. We can easily adjust content, layout, and the entire presentation of our books in response to emails, FaceBook friends, tweets, and the whole host of contemporary social interactions online. The content and design remain fluid as we shape the book while we learn and grow. The modern book is released in multiple sizes, versions, and formats-in print, online, and as e-books. One of the wonderful things about the new publishing paradigm is the control we get as artists, authors, and designers over the entire package. She couldn’t find anyone else even talking about it. She was desiring to do the same thing-work creatively within Adobe InDesign to produce completed books almost as a fine art exercise. Here’s his story:Ī recent email conversation with a new friend (who is working on her book) made it obvious that what I am doing is nearly unique. David has a unique method for writing and designing his books and a passionate reason for it too. I’m very pleased to present you today with a guest article by author, teacher and graphic designer David Bergsland. Writing in InDesign gives you typographic power.You must learn to produce your own books.These specialists commonly do not understand your content.Let’s talk about some simple examples of this lack of concern for the reader.
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