Tag: design history

  • Origins of the book

    Origins of the book Edit
    The binding of a Chinese bamboo book (Sun Tzu’s The Art of War)
    The craft of bookbinding probably originated in India, where religious sutras were copied on to palm leaves (cut into two, lengthwise) with a metal stylus. The leaf was then dried and rubbed with ink, which would form a stain in the wound. The finished leaves were given numbers, and two long twines were threaded through each end through wooden boards, making a palm-leaf book. When the book was closed, the excess twine would be wrapped around the boards to protect the manuscript leaves. Buddhist monks took the idea through Afghanistan to China in the first century BC.

    Similar techniques can also be found in ancient Egypt where priestly texts were compiled on scrolls and books of papyrus. Another version of bookmaking can be seen through the ancient Mayan codex; only four are known to have survived the Spanish invasion of Latin America.

    Writers in the Hellenistic-Roman culture wrote longer texts as scrolls; these were stored in boxes or shelving with small cubbyholes, similar to a modern winerack. Court records and notes were written on wax tablets, while important documents were written on papyrus or parchment. The modern English word book comes from the Proto-Germanic *bokiz, referring to the beechwood on which early written works were recorded.[4]

    The book was not needed in ancient times, as many early Greek texts—scrolls—were 30 pages long, which were customarily folded accordion-fashion to fit into the hand. Roman works were often longer, running to hundreds of pages. The Greeks used to call their books tome, meaning “to cut”. The Egyptian Book of the Dead was a massive 200 pages long and was used in funerary services for the deceased. Torah scrolls, editions of the Jewish holy book, were—and still are—also held in special holders when read.

    Scrolls can be rolled in one of two ways. The first method is to wrap the scroll around a single core, similar to a modern roll of paper towels. While simple to construct, a single core scroll has a major disadvantage: in order to read text at the end of the scroll, the entire scroll must be unwound. This is partially overcome in the second method, which is to wrap the scroll around two cores, as in a Torah. With a double scroll, the text can be accessed from both beginning and end, and the portions of the scroll not being read can remain wound. This still leaves the scroll a sequential-access medium: to reach a given page, one generally has to unroll and re-roll many other pages.

    Early book formats Edit

    In addition to the scroll, wax tablets were commonly used in Antiquity as a writing surface. Diptychs and later polyptych formats were often hinged together along one edge, analogous to the spine of modern books, as well as a folding concertina format. Such a set of simple wooden boards sewn together was called by the Romans a codex (pl. codices)—from the Latin word caudex, meaning ‘the trunk’ of a tree, around the first century AD. Two ancient polyptychs, a pentaptych and octoptych, excavated at Herculaneum employed a unique connecting system that presages later sewing on thongs or cords.[5]

    At the turn of the first century, a kind of folded parchment notebook called pugillares membranei in Latin, became commonly used for writing in the Roman Empire.[6] This term was used by both the pagan poet Martial and Christian apostle Paul the Apostle. Martial used the term with reference to gifts of literature exchanged by Romans during the festival of Saturnalia. According to T. C. Skeat, “…in at least three cases and probably in all, in the form of codices” and he theorized that this form of notebook was invented in Rome and then “…must have spread rapidly to the Near East…”[7] In his discussion of one of the earliest pagan parchment codices to survive from Oxyrhynchus in Egypt, Eric Turner seems to challenge Skeat’s notion when stating “…its mere existence is evidence that this book form had a prehistory” and that “early experiments with this book form may well have taken place outside of Egypt.”[8]

    Early intact codices were discovered at Nag Hammadi in Egypt. Consisting of primarily Gnostic texts in Coptic, the books were mostly written on papyrus, and while many are single-quire, a few are multi-quire. Codices were a significant improvement over papyrus or vellum scrolls in that they were easier to handle. However, despite allowing writing on both sides of the leaves, they were still foliated—numbered on the leaves, like the Indian books. The idea spread quickly through the early churches, and the word Bible comes from the town where the Byzantine monks established their first scriptorium, Byblos, in modern Lebanon. The idea of numbering each side of the page—Latin pagina, “to fasten”—appeared when the text of the individual testaments of the Bible were combined and text had to be searched through more quickly. This book format became the preferred way of preserving manuscript or printed material.

  • History of book design

    Origins

    The earliest forms of books were scrolls produced by Egyptian scribes over 4,000 years ago.

    • Images and vertical text were hand-drawn onto palm leaves, then later onto papyrus scrolls.
    • Papyrus was made from the pith of the papyrus plant and was rather like thick paper. It was used throughout the ancient world until the development of parchment.
    • Parchment was a superior material to papyrus. Made from dried, treated animal skin, parchment could be written on on both sides and was more pliable than papyrus, which meant that it could be folded.
    • Folding a large parchment sheet in half created two folios – a word we still use today to number pages. Folding the sheet in half again created a quarto (4to) and folding that in half again made eight pages – an octavo (8vo).The development of parchment created a break with the scroll form. Folded pages were now piled together and bound along one edge to create a codex, a manuscript text bound in book form.

    Paper, invented in China, spread through the Islamic world to reach medieval Europe in the 13th century, where the first paper mills were built. See ‘Paper’ full post.

    Skilled hand-lettering was laborious and time-consuming and a world apart from the printing methods of today.

    Illuminated manuscripts

    The term manuscript comes from the Latin for hand ‘manus’ and writing ‘scriptum’. Illuminated manuscripts, often containing religious, historical or instructive texts, were coloured with rich and delicate pigments, often with the addition of gold leaf. These were objects of rare beauty. Bound manuscripts were produced in Britain from around 600 to 1600.

    The advent of movable type

    Movable type brought about a massive revolution in the way books were designed, produced and perceived.
    Sandcast type was used in Korean book design from around 1230 and woodblocks were used to print paper money and cards in China from the seventh century.
    Johann Gutenberg produced the first western book printed using movable type in 1454. This was the Gutenberg Bible or ‘42-line Bible’. This led the way for a revolution in the way books were designed and printed. Having set the metal type, the printer could then produce multiple copies. The printing process made books much more widely available to a larger audience. By 1500, printing presses in Western Europe had produced more than twenty million books.

    Arts and Crafts movement

    Private English presses such as Doves Press and the Ashendene Press typified the publishing industry in the early part of the twentieth century. The influential designer, craftsman, artist and writer William Morris (1834–96) founded the Kelmscott Press in 1891; this was dedicated to publishing limited edition, illuminated style books. The designer Eric Gill (1882–1940), a
    fellow member of the Arts and Crafts movement, designed books for both English and German publishers. Gill also produced The Canterbury Tales (1931) for Golden Cockerel Press, which was one of the last English presses still going strong after 1925.

    While English and German publishers were known for the quality and craftsmanship of their typography and overall book design, French publishers such as Ambroise Vollard (1866–1939) focused on the illustrative elements of book design. ‘Livres de luxe’ were expensive editions of books illustrated by contemporary artists such as Bonnard, Chagall, Degas, Dufy and Picasso.

    20th Century

    Artistic movements had a real and direct impact on book design in the twentieth century, with the Fauvists, Futurists, Dadaists, Constructivists and Bauhaus feeding into a febrile pot of manifestos, ideas and approaches to typography and book design.
    Allen Lane founded Penguin Books in England in 1935, with the aim of producing affordable books for the masses. The books were characterised by strong typographic and design principles. In the early 1950s designers Jan Tschichold and Ruari McLean created modernist iconographic cover designs for Penguin books.
    Advancing print technologies, letterpress, offset lithography and the development of graphic design, gave rise to a plethora of colour printed material, making book design one of the earliest and best examples of mass communication.

    Fanzines

    The digital era

    The 1980s and 1990s saw the burgeoning of desktop publishing (DTP). Book design was no longer bound by the constraints of metal typesetting. Apple Macintosh computer systems enabled book designers to integrate text and images into multiple pages digitally, on-screen. This move away from traditional design and printing processes created massive upheaval in the publishing industry, and many long-established forms of working were usurped by the new digital technology.

    In new wave of graphic and book designers emerged who embraced the new technology and, like the Futurists and Dadaists before them, questioned and experimented with some of the conventional approaches to typography and book design. Designers such as Neville Brody (Fuse magazine) and David Carson (The End of Print) captured the experimental mood of the time.

    The revolution in printing processes continues apace today, but the book in its traditional form remains a pervasive presence alongside its digital counterparts – the e-book is a good example. The internet has revolutionised the way book designers work, making distance book design work a  commonplace reality. In addition, a huge and often overwhelming range of fonts, images and resources is immediately available online. The word ‘font’ has entered everyday vocabulary – even for schoolchildren – and choosing the best font for the job is now something that many of us do almost without thinking. DTP means that everyone can potentially access what they need to design a book. From a purist perspective, the inherent danger with this creative freedom is that poor design choices result from uninformed ‘quick-fix’ solutions. The positive aspect is that the designer has never before had so many options to choose from, in terms of typography, design and production values.