Complex Texts · Rima Qarmash

This project examines the typographic design of classic texts for general readers. The chosen texts are complex because they support continuous, immersive reading through elements like introductions, notes, annotations, illustrations, and bibliographies.

The design process focused on establishing a format and typographic system that supports readability and creates a thoughtful reading experience. I selected a standard B-format (129 × 198 mm) for its comfortable line length and elegant proportions. To complement this format, I chose Freight as the primary typeface due to its superfamily structure, which offers a wide range of weights alongside both serif and sans serif styles. The main text was set at 10 pt with 14.5 pt leading, helping to enhance readability and support a comfortable reading experience.

The finished product consists of 5 books printed as folded booklets in 16-page signatures on 100 gsm cream paper, bound with a Coptic stitch. The collection is housed in a sleeve made from a heavier textured brown stock, chosen for its leather-like appearance and tactile qualities.

A key challenge in typesetting Henry V was accommodating notes and collations while keeping them visible on the same page as the play text. These elements are dense and space-consuming, so achieving a clear balance was difficult. To address this, I used the sans serif version of Freight, which reduced page density. This allowed for tighter leading and more lines of text without compromising legibility.

A key challenge in typesetting Alice in Wonderland was maintaining a close relationship between the images and the accompanying text. Images disrupt text flow and create awkward page breaks. As the illustrations play an important role in supporting comprehension and reinforcing the narrative, layouts must keep visual and textual content closely connected.

The Gospels is particularly interesting as it draws together typographic treatments developed across several earlier projects. It was at this stage that the series identity began to feel more cohesive and fully established, with visual and structural elements from Treasure Island, War and Peace, and Henry V beginning to converge into a unified system. For example I carried forward the same rules developed in Henry V for the notes. I also adopted the same system established for the headings in War and Peace.