![]() ![]() ![]() We can also speculate here that the myriad of Russian patronymics were too much for me, but that didn’t bother me at all when I read a more modern, better-conceived edition of “The Idiot” that lived on the bottom of that same shelf. Today I’m sure I never finished the copy of “Doctor Zhivago” that sat on my parents’ bookshelf because the font was so tiny and poorly chosen that it created a dense, unpleasant block of text. ![]() I still didn’t know that, no matter how well a narrative arc is resolved and how enthralling the characters are, if the book’s layout isn’t good, the reader may be tempted to put it down in the first chapter. When I first learned to read I did not realize that part of the ease with which I turned page after page of my first “grown-up” books, the ones with flowing text and no images, was due to the quality of the typesetting-a light grid with nice leading and kerning, well-planned margins and, above all, good typography. ![]() “Books were my favorite objects long before I dreamed that one day I would design them.” In fact, I loved books even before I could read them (that smell of ink and paper!), but it was the discovery of reading-that alchemy of letters coming together to reveal words, unravel sentences and tell stories-that transformed THE BOOK into the holy of holies for me. Books were my favorite objects long before I dreamed that one day I would design them. I did not know the secrets of good typography, but I was aware of the mysterious power of a good story. Before I was a designer I was already a reader. ![]()
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