Book aesthetics Quotes

I have to admit that I am really partial to the look and feel of a book. I have been that way my entire life.

I still love books. Nothing a computer can do can compare to a book. You can't really put a book on the Internet. Three companies have offered to put books by me on the Net, and I said, 'If you can make something that has a nice jacket, nice paper with that nice smell, then we'll talk.' All the computer can give you is a manuscript. People don't want to read manuscripts. They want to read books. Books smell good. They look good. You can press it to your bosom. You can carry it in your pocket.

He loved a book because it was a book; he loved its odor, its form, its title. What he loved in a manuscript was its old illegible date, the bizarre and strange Gothic characters, the heavy gilding which loaded its drawings. It was its pages covered with dust — dust of which he breathed the sweet and tender perfume with delight.

When I was a child, I loved 'The Marble Faun' by Nathaniel Hawthorne. The reason I liked it was because it had a beautiful binding. When you're a kid, you like books because they're pretty to look at, and this one had a white calfskin cover and gold edges. That was enough to make me love it.

Raised in a house filled with old books, I'm drawn to them: the dust jackets that call out a historical moment, the marbled boards, the words pressed into the page with movable type.

They will be given as gifts; books that are especially pretty or visual will be bought as hard copies; books that are collectible will continue to be collected; people with lots of bookshelves will keep stocking them; and anyone who likes to make notes in books will keep buying books with margins to fill.

..books look as if they contain knowledge, while e-readers look as if they contain information.

I love everything about books. I love the content, the way they look and even the lovely way they smell. I think a book collection says something about you as a person, and certainly my books are something I'd want to pass on for future generations.

From the time I began to read, as a child, I loved to feel their heft in my hand and the warm spot caused by their intimate weight in my lap; I loved the crisp whisper of a page turning, the musky odor of old paper and the sharp inky whiff of new pages. Leather bindings sent me into ecstasy. I even loved to gaze at a closed book and daydream about the possibilities inside.

I don't own a Kindle, no. I love books, they are beautiful objects.

I have to admit that I am really partial to the look and feel of a book. I have been that way my entire life. I like the weight, look, and feel of a book. I enjoy turning the pages, and frequently scan the spines of my many books on the wall, each title a reminder of the stored information and creative thoughts contained therein.

I cannot remember a time when I was not in love with them--with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself.

There is no denying the aesthetics of a well-made, well-loved book.

I like small books. I like durable books. I like plain books. I like small type and thin pages.

I always try to treat the book itself as the artwork. I don't want you to stop while you're reading one of my books and say, 'Oh! What a gorgeous illustration!' I want you to stop at the end of the book and say, 'This is a good book.

I'm a very visual person, and I love opening beautiful books on art or design and looking through them.

Digital books are still painfully ugly and weirdly irritating to interact with. They look like copies of paper, but they can't be designed or typeset in the same way as paper, and however splendid the cover images may look on a hi-res screen, they're still images rather than physical things.

I love the look of books published by the firm of Rupert Hart-Davis: They strike me as handsome, elegant, and inviting. I'll pick up almost anything with that imprint, especially if it's in a jacket or priced low.

At different times and in different places I have come to expect certain books to look a certain way, and, as in all fashions, these changing features fix a precise quality onto a book's definition. I judge a book by its cover; I judge a book by its shape.

No matter how beautiful the paper, artwork, printing, and binding, I'm seldom drawn to a book unless it's by a writer I care about or on a subject that appeals to me.

I love bookshelves, and stacks of books, spines, typography, and the feel of pages between my fingertips. I love bookmarks, and old bindings, and stars in margins next to beautiful passages. I love exuberant underlinings that recall to me a swoon of language-love from a long-ago reading, something I hoped to remember. I love book plates, and inscriptions in gifts from loved ones, I love author signatures, and I love books sitting around reminding me of them, being present in my life, being. I love books.

Why wouldn't - how couldn't - an author care about how his or her books look?

A book on cheap paper does not convince. It is not prized, it is like a wheezy doctor with pigtail tobacco breath, who needs a manicure.

There is nothing on earth more exquisite than a bonny book, with well-placed columns of rich black writing in beautiful borders, and illuminated pictures cunningly inset. But nowadays, instead of looking at books, people read them. A book might as well be one of those orders for bacon and bran.

Readers always seem to think that the author has some control over the design of their books.