Looking Good in Print
Review from Bill Coan Microsoft Word MVP
Sixth Edition
by Roger C. Parker
Published by Paraglyph Press
ISBN 1-933097-06-X
US$29.99, CAN$41.99
When a book remains in print for 15 years through six editions, you know the author has been doing something right.
In the case of Looking Good in Print, what Roger C. Parker has been doing right is explaining the fundamentals of graphic design in terms that non-designers can understand. (The book is unabashedly aimed at the “Novice to Intermediate” level.)
Parker’s premise is that, no matter what kind of word processing or desktop publishing software you’re using, you can’t exercise control over your publications unless you grasp the principles of good design. Furthermore, Parker argues that this truism applies to letters, business cards, and reports as much as it does to catalogs, brochures, and newsletters.
Parker’s common-sense approach to design starts with consideration of the way a page can be divided into grids or columns, with gutters and margins. Next he examines the typographical elements that can be arranged on a page, including headers and footers, headlines, “kickers,” subheads, captions, pull quotes, sidebars, lists, and “jumplines,” as well as ordinary text.
He shows how a reader’s attention can be directed and focused through strategic use of white space, borders, boxes, drop shadows, screens, and bleeds. He also devotes one entire chapter to effective use of illustrations and another to photographs.
The second half of the book describes how the basic principles of design can be applied to specific types of publications, such as newsletters, advertisements, brochures, catalogs, product sheets, and business stationery, and to response devices such as forms, surveys, and coupons. A chapter is also devoted to the special problems of navigation in large documents and publications.
Two of the most valuable chapters are situated near the end of the book. The chapter entitled “Common Pitfalls” shows examples of more than two dozen problems in design that can occur in any publication, ranging from misaligned elements and irregular spacing to lack of contrast between text and other elements. The chapter entitled “Redesign” shows additional examples of problems and then shows how those problems can be solved through simple changes in design.
One weakness of the book is that it doesn’t discuss or even acknowledge the sorts of templates that today are routinely packaged with word processing and desktop publishing software. The reason for this is probably that Parker didn’t want to limit the book’s audience to users of a particular software package. That’s understandable, but it seems silly to assume that every document starts with a blank page when 99% of users today start their documents from a template of some kind.
It seems even sillier to recommend, as Parker does, that users start a new document by sketching its layout on a piece of paper, rather than using their preferred software package to explore layout possibilities. The good news is that Parker’s explanation of design principles might help users select the most suitable template from among those available to them.
The final chapter of the book, devoted to designing documents for Web distribution, seems less carefully considered than the rest of the book, and it wasn’t wise for Parker to presume that its topic could be adequately covered in a single chapter.
Parker’s basic concepts have proven themselves over a long period of time, and his plain, down-to-earth style is ideally suited to his target audience of non-designers. If you lack knowledge of design, or if you’re wondering why some publications succeed while others fail, Looking Good in Print might be just what you need. On the other hand, if you’re looking for pointers on how to harness the power of your favorite word processor or desktop publishing program, the book won’t be of immediate help to you.