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1. #ISTUDIO PUBLISHER BLACK HOW TO#
2. #ISTUDIO PUBLISHER BLACK SOFTWARE#
3. #ISTUDIO PUBLISHER BLACK DOWNLOAD#

Missing Characters and Font VariantĪs my travel guide is about Turkey, there are some different characters I needed to use in order to spell destinations correctly. It’s less overwhelming to do this at the chapter level, as it makes you focus on a small chunk of content at a time. My design process is to paste each chapter from Scrivener in at a time, and check the H1, H2, and H3 headings, and the bullet lists and call-our boxes are all adhere to the Style Guide. So rather than opt for two complimentary fonts on my travel guide interior, I decided to stick with different weights of the same sans serif font, to create harmony and differentiation. I like the modern, unconventional feel to a sans serif font, it seems more design oriented, and less distracting to read. The closest travel guide to hand when I started my design process was a Lonely Planet travel guide, and they use a simple serif font for their core text, but a sans serif font for the content in their feature/call-out boxes. Sometimes it’s not instantly evident what draws you to a font choice, but the more you look at it, the more comfortable it feels, and you get a sense that a reader will be drawn to it to. Sans zerif fonts are popular with nonfiction, so it was an easy choice to make. I was drawn to the round easy feel to the font, and how easy it was to read. The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century.

#ISTUDIO PUBLISHER BLACK DOWNLOAD#

(You do have the option to download new fonts into this software, but they have a good supply already available).

#ISTUDIO PUBLISHER BLACK SOFTWARE#

When I started designing my paperback, I chose the Monserrat font because of the ten different variations available to choose from in iStudio Publisher, the software I use for internal and cover design. There is so much you can do with just one font. But when it comes to internal and cover design – less is more. With so many fonts available it’s too easy to get distracted by the beauty and novelty of a newly discovered font. Choosing a font for your paperbackĪ rookie mistake is to use too many fonts, that conflict with primary fonts used for your core content. I’ve designed other nonfiction book interiors, and I love the process of road-testing specific page elements to help balance the content. Tiny tweaks can dramatically change the look and feel of a book, and the right design choices can help your readers navigate your content. Page layout design decisions can become all consuming.

This will be the first time I’ve released this travel guide as a paperback, and so there is a lot of work to be done to finalize the internal layout and design, over and above the actual content. I plan to bring an updated version out in time for the 2019 tourist season, which means I need to be able to hit the ground running when all the content has been reviewed and updated.

I’m in the process of refreshing the 2016 content on my Bodrum Peninsula Travel Guide. If you’re on the fence about which approach is right for you, I thought I’d share my formatting book diary to show you what’s involved when you start designing your own book interior. You can design it yourself or outsource to a freelancer.

#ISTUDIO PUBLISHER BLACK HOW TO#

In my How to Write and Self-Publish a travel guide book #3 I’ve written extensively about the different options open to indie authors to format the interior of their book.