In today’s world of mass-market publishing, attention to good design of a book’s interior is easily overlooked. A typical book may by set in a bland font, with the text as small as it can be to be legible, and margins stretching as close to the edge of the page as the publisher dares. This is a very efficient way to lay out a book: it uses the least amount of time, and requires the fewest number of pages.
But is the book readable? Sadly, in many cases this casual, flippant approach to designing a book leaves the content less readable, and as such it dishonors the value of the words and diminishes the message of the writer. Most readers won’t notice this consciously, and even fewer will know to attribute it to the design—but the problem remains that poorly designed books hinder the author’s content, rather than advancing it.
Good interior design overcomes this, presenting the book as it ought to be: clear, readable, and without distraction from the content by the design itself. Again, few readers will notice; often, good design is, to paraphrase Buckminster Fuller, “99% invisible.” What they will experience, however, is content that is empowered to flow freely from the page and into their hearts and minds, as it was intended to do.