ne of the most beguiling aspects of Alasdair Gray's books is his imaginative and unique use of illustration and typography. Indeed, other than William Blake, it is difficult to think of any other writer in recent times to have exercised such direct control over the visual aspects of his work, as well as the literary.

Viewed purely as objects, Gray's books are lustrous items, richly illustrated, with extensive block-work in gold on both the spine, and also often on the boards of the books themselves.

His often startling typographical capriciousness uniquely seems to at once reflect and enhance his narrative, while simultaneously undermining the readers suspension of disbelief, by constantly reminding the reader that what they hold in their hands is an object constructed primarily to delight and entertain.

Similarly, the many detailed illustrations which enhance Gray's texts tend to reinforce the fantastical element that appears in much of his writing.

As a book designer, Gray's predilection for wider than average margins, bold and creative use of type, and richly detailed illustrations have graced many titles other than his own — including novels by Agnes Owens, and many of the books published by the Dog & Bone imprint.