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    The making of the Book of Letters From Аа to Яя by Yuri Gordon, Second Edition

    Overview   Process  

    Materials obtained from the author for a new book.

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    In the book, each letter gets a whole new section called the “Form Cloud.” Looking for a place to put it. First, we try to implement the cloud and the letter, which it is made up of, in one double-page spread. The story about each letter begins with the cloud.

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    The historical examples are moved over to the odd page, before the double-spread with the cloud.

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    We also try to combine a large sample from Artemius and the cloud on the same page.

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    Then go back to the the same pattern as in the first edition: historical examples and the large letter from Artemius together on a single spread.

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    The following double-page spread is allocated to the clouds if it’s a lower case letter (in this case we have to describe cursive letters in detail), or a single page, if we’re dealing with a capital letter.

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    We regularly scan through similar spreads in order to understand whether the book’s rhythm is consistently maintained throughout.

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    First we come up with a draft, while requesting additional materials from the author in order to fill the gaps and make the book more solid.

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    Author sends us the materials, comments, and missing signatures.

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    Then we come up with a clean copy of the main part of the book.

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    The author sends us additions to the historic part. History becomes more consistent and almost doubles in volume.

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    Working on the introduction.

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    Implementing new chapters.

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    Just before sending the book out to the proofreader, the author sends us a whole new chapter.

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    Repainting the letters so that their colors in clouds were especially diverse.

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    Each typeface is assigned a unique color.

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    Preparing a color proof. Thinking how to print the clouds. When twenty colored letters are overlaid with Multiply, the sum of colors reaches 360 percent, which is much higher than normal.

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    Working on the endpapers pattern.

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    Art director: I want less curliness, more repetitiveness, and different colors.

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    Art director: OK.

    Drawing and coming up with new color options.

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    This is the one we make at the last moment.

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    We get a sketch of the dust jacket from the author.

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    The work on the layout begins.

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    Trying other options.

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    With the title enlarged, we arrange the notes and ask the author to write more of them.

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