tag:blogger.com,1999:blog-654754338632526091.post3119765199348297322..comments2024-03-27T00:32:29.877-07:00Comments on Photos and Stuff: Sequencing: Spreads and Guttersamolitorhttp://www.blogger.com/profile/15743439184763617516noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-654754338632526091.post-45031867309624155482017-07-19T06:45:43.064-07:002017-07-19T06:45:43.064-07:00Printing both sides does create this weird problem...Printing both sides does create this weird problem in that the recto side appears first, and then the verso, as you page through it.<br /><br />Also, of course, you have to do more work to make spreads ;)<br /><br />I understand the recto-only style, but it really really turns the book into nothing more than a sort of sarcophagus for some pictures, or, more charitably, a book form of a gallery showing.<br />amolitorhttps://www.blogger.com/profile/15743439184763617516noreply@blogger.comtag:blogger.com,1999:blog-654754338632526091.post-82423987225239802922017-07-19T02:54:02.660-07:002017-07-19T02:54:02.660-07:00I've seen quite a lot of photo books which hav...I've seen quite a lot of photo books which have pictures only <i>recto</i>, <i>verso</i> always blank. I understand that a blank <i>verso</i> page every now and then can create a visual rhythm. On the other hand, if you look at spread with two cleverly matched pictures, you can sense that something is going on, some resonance, such that the whole becomes more than the sum of the parts. I wonder why some book designers forego this powerful effect? I think it somehow reduces the book to a collection of pictures.<br /><br />Best, ThomasThomas Rinkhttp://www.picturesfromthezone.com/noreply@blogger.com