While the design of YULMTL is in some ways very straightforward. There are some distinct elements, or pieces of furniture, that help guide the reader through the book and distinguish different sections of the text.
First, each chapter begins with display text in the same typeface as the title on the cover. Besides the typeface used, the size and placement of the text indicates the beginning of something new. This is also signaled in conjunction with a change of color for each chapter.
The beginning of a chapter is also signaled by bolded text, the same motif that is used in various section headings throughout each chapter. I like that change is signaled consistency by one element (a bold typeface), rather than with different sizes, overly complicated lines or large gaps of space.
However, I do like the way a line is used to subtly separate the footnotes from the body text in the book. This is done is combination with the use of extra white space, as well as a change in the size of the text. It follows the conventions of most books, as the footnote is a smaller point size than the body copy.
The captions are also consistent throughout the text. The caption — which begins with bold typeface to label the image and then uses a regular weight — is contained within a colored box, which calls visual weight to the caption. In this book, I really like this choice, because the captions are placed on large, compelling images, and could be easily missed otherwise.
The pull quotes also have a unique design, but one that is consistent with the design of the rest of the book. The quotes use a colored triangle (the color depends on the chapter) and a larger-sized type in order to distinguish it. I like that the triangle is used, as it mimics the shape used throughout the rest of the back.
The design of furniture feels especially important in this book, as the different architectural figures and diagrams used create a lot of inconsistencies in the design. However, the furniture creates consistent, guiding elements for the text.