When not designing books I can be found either cooking, reading fiction, drinking wine, biking in the forest or failing to catch trout.
I left University with a Masters degree in English Language and Literature. My first exposure to design was when I wrote book, restaurant and movie reviews for a London-based magazine. I would watch with the utmost fascination as my words appeared on screen during the process which had been loftily named ‘Desk Top Publishing’. I was hooked.
Over the next few years I taught myself to use first Pagemaker, then the ubiquitous Quark Xpress and even the terrifying Photoshop. I spent several years in a firm of architects producing their promotional material on a Mac Classic and branching out into CAD. I worked variously at design studios, packaging companies and advertising agencies where I discovered that it is almost impossible to produce good design for things you really don’t care about.
By accident I found myself back working on magazines, this time as a designer, and loving it. I continued working in magazines when I moved to New Zealand in 1995, including a stint at Cuisine, and then another accident led me to the Art Director’s position at Hodder Moa Beckett (now Hachette Livre) where I learnt to design books — lot’s of them.
My twin passions for design and books had finally met. I left in 2003 to start my own book design company, redinc. I work with individuals and publishers, both here and abroad, and have recently returned to writing with the publication of my first book, How to Eat a Huhu Grub, illustrated by my son Conrad.
I have received several awards for my work, including BPANZ design awards for cover, internal design and typography.
What People Say . . .
'Nick Turzynski completed the full design on my book The Best Leaders Don’t Shout. Firstly, he was fantastic to work with. Nick was user friendly, understanding of my ‘control freak’ nature and highly responsive. Secondly, this was a difficult design project. With every page of the book requiring a different format, it was far more complex than traditional book layouts. Nick took it all in his stride and managed the challenge professionally and artfully. Thirdly, the final product is outstanding, and I am already getting numerous comments about the layout and design of what would have been a rather typical looking business book if it weren’t for his involvement. I have no hesitation in recommending Nick, and in fact, I insist that you engage him for your publishing project.
'Determined to write a book on my life, because my daughter wished to know more about her father, I was advised by a trusted friend to contact Nick Turzynski. I did so and less than a year later my book Deadline, of 288 pages and with 130 photographs, has exceeded all expectations. It immediately received high praise in the media, including the NZ Listener, the national Seven Sharp TV programme and the Rodney Times, all largely due to Nick’s skill, guidance and enthusiasm. Working with this perfectionist has been a delightful, relaxed experience and one of the wisest decisions I ever made.'
'When Nick Turzynski took on my own manuscript for Footballers Don't Cry, and led me through the process of turning it into the book it has become, I was taken aback by how much creative effort was still needed. Nick has a love of books, a sense of colour and vast experience in all aspects of turning those typewritten pages into something that a printer can take to fruition. He is patient, friendly and diplomatic with expectant authors and the best supporting evidence I can quote for these glowing tributes is the frequent comment from all sorts of people, including the judges at a literary prize-giving in England, 'How good looking this book is'. Working with Nick has taught me how much someone like him can add to the visual impact of any writer's work when it is translated into book form.'
'Nick's energetic and creative efforts on Bambina turned out an appealing book which exceeded my hopes and which sold well both in New Zealand and overseas.'
'The book, inside and out, looks stunning thanks to the creative design talents of Nick Turzynsky. For the cover of The Spaces Between I suggested a still from a 1950s noir movie. Nick diplomatically presented me with alternative images and he succeeded in obtaining permission to use a section of a Shane Cotton painting. I’m grateful to both Nick and the artist for one of the best cover designs I have ever had. Nick also produced the E-book version and I applaud his unflagging efforts in keeping me in constant touch with the process and liaisoning with Kobo.'