This thesis examines the book in the nineteenth century by way of an unusual corpus: movable and novelty books for children, drawn from the Opie Collection of Children’s Literature at the Bodleian Library. It argues that these items, which have been either ignored or actively dismissed by scholars of children’s literature, are of two-fold significance for the history of the book: they encourage a sense of the book as a constitutively (rather than an incidentally) material object, and they demand an understanding of reading as not just a mental activity, but a physical one as well. Each of the first five chapters of the thesis centres on a different format. The opening chapter discusses the Regency-era paper doll books produced by Samuel and Joseph Fuller, exposing the tension between form and content in these works. The second chapter looks at Victorian panorama books for children, showing how the panorama format affects space, time, and the structure of any text accompanying the image. The third chapter reads the pop-up book’s key tension—the tension between surface and depth in the pursuit of an illusion of three dimensions—in terms of flat, theatrical, and stereoscopic picture-making, three other nineteenth-century pictorial modes in which an illusion of three-dimensionality is important. The fourth chapter traces self-reflexive accounts of printing, publishing, and the material book in dissolving-view books produced by the German publisher and printer Ernest Nister at the end of the nineteenth century. The fifth chapter positions the late nineteenth-century mechanical books designed and illustrated by Lothar Meggendorfer in terms of two material analogies, the puppet and the mechanical toy or automaton. The final chapter synthesizes evidence as to how the movable book could and should be read from across formats, foregrounding in particular the ways in which the movable embodies reading.

Narrative, often considered synonymous with “story,” can be viewed from a structuralist perspective and analyzed independent of any particular content. Breaking narrative into categories of story and discourse, this autonomous structure makes possible a translation of content from one form to another. The various media and form types common in graphic design can serve as both recipient and translator of narratives, converting content into a framework that includes the concept of craftsmanship, aesthetic components and specifications, legibility and composition, and the physical form of the designed object. To examine how this framework functions in practice, I have developed a series of three volumes in which cinematic tropes are represented in book form based on a morphology of traits.

Esta pesquisa analisa o design do livro-objeto infantil e seus instrumentos lúdicos, categoria relacionada às produções recentes, e associada aos crescentes investimentos do setor editorial, principalmente, infantil, a partir de 1950. O livro-objeto é, aqui, compreendido como um produto de expressão artística passível de reprodução cuja narrativa é explorada por meio da manipulação. A relação do projeto gráfico com a estrutura lúdica tem como objetivo entender o processo de produção do livro-objeto. Os estudos de caso investigam essa relação nas obras de Pacovská e Munari, autores consagrados pelo uso da linguagem experimental. O estudo do livro-objeto ainda carece de bibliografia específica, por isso a construção teórica parte da junção de autores de áreas de conhecimento distintas. Esta dissertação está estruturada em quatro capítulos, abordando os temas de forma semelhante às encontradas em Perrot e Linden. O trabalho prático investiga possibilidades de projeto, ligando a teoria à produção. / This work aims to analyse both the design of book-object for children and its respective ludic instrument. This type of book has being recently published, and there is an increasing interest by the editorial sector, mainly after the 50\'s. The book-object is understood as a product of artistic expression and susceptible of to be reproduced. The narrative results from the interaction between the book and who is handling it. The relationship of graphic design with the ludic structure has the objective to understand the production process of the book-object. Books written by the famous authors Pacovská and Munari were chosen for the development of the case studies. These authors are quite well-known by their experimental books. This monograph contains four chapters, describing themes which are similar structured to the books written by Perrot and Linden. There is also included in this work a chapter about graphic experiments which search new possibilities for designing books.

Submitted by William Justo Figueiro (williamjf) on 2015-07-03T13:02:37Z No. of bitstreams: 1 29.pdf: 18768349 bytes, checksum: 41eb1b8e28f87b9e86fd5101246c79ee (MD5) / Made available in DSpace on 2015-07-03T13:02:37Z (GMT). No. of bitstreams: 1 29.pdf: 18768349 bytes, checksum: 41eb1b8e28f87b9e86fd5101246c79ee (MD5) Previous issue date: 2013-04-08 / Nenhuma / O processo de projeto de design editorial de livro modificou-se, nos últimos anos, para dar conta da complexidade do mundo pós-moderno e da centralidade estabelecida sobre o consumo. Porém, sua metodologia de trabalho ficou restrita a um processo lógicolinear, carecendo de um estudo capaz de observar as mudanças acontecidas. Esta dissertação investiga os insumos do design estratégico para a inovação no processo de projeto do design de livro para a configuração de uma metodologia híbrida de projeto. O estudo foi dividido em duas partes, sendo a primeira composta de uma pesquisa bibliográfica correspondente a uma revisão teórica acerca do design estratégico e sua metodologia, observando, sobre essa base, o design de livro e a sua metodologia. Na segunda parte, foi realizado um estudo de cunho prático aplicado, quando, no exercício de projeto de livro, pode-se analisar, na prática, a contribuição do metaprojeto. A análise dos dados obtidos no estudo da prática aplicada e o cruzamento dessas informações com a fundamentação teórica possibilitaram o entendimento do processo de projeto do design de livro no contexto atual. A relação estabelecida entre os métodos de projeto desenvolvidos no design editorial e design estratégico propiciou a identificação dos princípios teórico-metodológicos complementares ao processo de design de livro. A partir do estudo realizado, foi possível propor, então, uma metodologia híbrida para o processo de projeto de livro, adequada ao projetar na complexidade da atualidade. / The editorial design process project of a book has changed in recent years in order to meet the complexity of the postmodern world’s demand and the established focus on consumption. However, its work methodology was restricted to a logical-linear process, lacking a study to observe the changes that were taking place. This dissertation investigates the inputs of strategic design for innovation in the editorial design process project of a book to establish a hybrid methodology of project. The study was divided into two parts: the first includes a bibliographic survey, i.e. a theoretical review about the strategic design and its methodology, observing the book design and its methodology. The second part is a practical study whereby exercising a book project, the contribution of metadesign can be analyzed in practice. The data analysis obtained in the study of the practice and the crossing of information along with the theoretical study paved the way for an understanding of the design process project of a book in the current context. The relationship between the design methods developed in editorial design and the strategic design enabled the identification of theoretical and methodological principles complementary to the process of book design. A hybrid methodology for the book project, aligned with the complexity of modern design was proposed after the study was carried out.

Os livros destinados à leitura contínua, como romances, apresentam, em sua maioria, leiautes simples. São livros funcionais, destinados basicamente à leitura e que raramente chamam atenção para seu design. Obras simples como essas poderiam, em uma primeira análise, ser concebidas como \"invisíveis\", de acordo com os conceitos apresentados no ensaio The Crystal Goblet or Printing Should be Invisible, de Beatrice Warde, de 1930. O ideal da invisibilidade se refere ao design transparente, que não oculta o conteúdo (texto) e é baseado em etiquetas de composição que asseguram sua qualidade. Em oposição a essa abordagem \"invisível\", observa-se, tanto hoje como desde o início da produção de livros impressos, livros de literatura com uma abordagem \"visível\", isto é, que apresentam vinhetas, capitulares, ornamentações, ilustrações e até experimentos tipográficos. Esta tese, a partir de exemplos encontrados em bibliotecas especializadas em edições raras, contempla estas duas abordagens em cinco séculos do livro impresso. A pesquisa privilegia o estudo de dois momentos históricos em que essas duas abordagens são evidentes: as primeiras décadas do século XX, em que ao mesmo tempo em que se defendia o livro \"invisível\" eram produzidos diversos livros especiais e ilustrados na Europa e nos Estados Unidos, e o segundo momento, o atual, em que se observa que a maioria das obras são simples e produzidas a partir de templates e em que, como alternativa \"visível\", temos o surgimento de editoras como Cosac Naify (Brasil), Visual Editions (Inglaterra), Almadía (México) e Libros del Zorro Rojo (Argentina e Espanha), que trazem elementos visuais para seus livros. A presente pesquisa busca investigar a \"invisibilidade\" e a \"visibilidade\" no design do livro impresso de literatura (prosa), de forma a promover o debate sobre estas duas categorias e testar a hipótese de que a visibilidade dos livros contemporâneos é resultado de uma integração entre projeto gráfico e texto literário, cujo resultado são livros que apresentam tanto uma função estética quanto semântica, além da funcional, que é a da leitura. / Books intended for continuous reading as novels present mainly simple layouts. They are functional but aimed basically to reading and rarely drawing attention to its design. Simple projects like these, in a first analysis could be conceived as \"invisible\", accordingly to the concepts presented in Beatrice Warde\'s essay \"The Crystal Goblet\" or \"Printing Should Be Invisible\" from 1930. The idea of invisibility refers to the transparent design that doesn\'t hide the content (text) and it is based in composition labels that ensure quality. In opposition to this \"invisible\" approach, we see, nowadays and also in the beginning of the production of print books, literature books with a \"visible\" approach, that is, that present vignettes, capitulars, ornamentations, illustrations and also typographic experiments. This thesis, starting from examples found in specialized libraries, discuss these two approaches in five centuries of print books. The research privileges the study of two historical moments, in which these approaches are evident: The first decades of the 20th century, in which at the same time the \"invisible\" book was defended and there was also a production of many special and illustrated books in Europe and United States. The second moment, nowadays, in which we see most part of the works produced starting from templates and in which, as a \"visible\" alternative, we see the appearance of publishing houses like Cosac Naify (Brazil), Visual Editions (England), Almadía (Mexico) and Libros del Zorro Rojo (Argentina and Spain), which bring visual elements to their books. This research focuses on how to investigate the \"invisibility\" and the \"visibility\" at the design of press book literature (prose) as a way to promote the debate of these two categories and test the hypothesis that visibility in contemporary books is the result of an integration between graphic project and the literary text, what results in books that present an aesthetics function and also a semantical one, beyond the functional reading.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

This thesis is a preliminary investigation into graphic design in 1920s and 1930s Shanghai. I will look at creations of designs on the covers of books and periodicals most closely linked to new literary groups, for that was where a distinctive new idiom of design emerged. I will concentrate on a few figures, including Lu Xun, Tao Yuanqing, Chen Zhifo, and Qian Juntao. Biographical information for each is given, followed by preliminary analysis on some cover designs. Topics covered include artistic characters, the principles of tu'an (a particular understanding of design), and influences from Japan and the West.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

Petra Bolková will be examining in her thesis the evolution of photography used on book covers in the 1960s; the period marked with certain political and cultural liberation. This study will attempt describing systematically in what ways certain artists and writers collaborated and what the difficulties of these collaborations were. It will also be examined how the author of a book and the artist delegated to design the book cover; the initial advertisement for a book, were influencing each other. What is more, the extent to which the graphic art reflects the content of the written word will be studied. Book covers became a covert space for experimenting with or even establishing new trends in the 1960s. Books covers became a new, independent fine art discipline which, essentially, was censored or criticized only occasionally. The goal of this thesis will also be gradually finding the numerous common grounds between photography, book typography and the final design, as photography and photomontage were used on book covers more frequently then classic original illustrations. Last but not least, this thesis will be looking at what emphasis was put on the visual side and how it was conditioned culturally or politically ect.