Academic literature on the topic 'Book history design'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Book history design.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Book history design"
1
Lister, Kenneth R. "Book Review: Eastern Arctic Kayaks: History, Design, Technique." International Journal of Maritime History 17, no. 2 (2005): 413–14. http://dx.doi.org/10.1177/084387140501700249.
Full text
2
Abdulkhakova, Aislu R. "From the History of the Tatar Soviet Children’s Book Art." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (May 24, 2010): 56–60. http://dx.doi.org/10.25281/0869-608x-2010-0-3-56-60.
Full textAbstract:
In this article the national origins of Tatar children’s book art formation and the influence of Russian traditions of book design are considered. The history of Tatar children’s book design art development in the Soviet period covers the field briefly. The author succeeded in eliciting some facts in the field of children’s book design in the local archival and printed sources, and these facts are produced in the article. The names of some graphic artists are mentioned.
3
Willis, Frances. "Innovative cover design: an exploration of 19th- and early 20th-century publishers’ cloth bindings designs." Art Libraries Journal 38, no. 1 (2013): 5–11. http://dx.doi.org/10.1017/s0307472200017818.
Full textAbstract:
The Victoria and Albert Museum’s Renier Collection of Children’s Books provides a rich resource for research into book production as well as social history. Publishers’ cloth bindings have developed in a visually vibrant way that provides clues to the production dates of the books, as well as encouraging reflections on how they were marketed across the Victorian era and early 20th century. Questions also arise, such as, what was the relationship between the reader and cover? How did the cover designs reflect the times in which they were created? And, how different are our paperback era designs to those of the period when cloth was used?
4
Pettegree, Andrew. "Print and the Reformation: A Drama in Three Acts." Church History 86, no. 4 (2017): 980–97. http://dx.doi.org/10.1017/s0009640717002116.
Full textAbstract:
Throughout the history of printing, questions of design have been crucial to the development of the book industry. This is especially the case with the development of the title page, the most crucial design feature for which there was no obvious model inherited from the manuscript book world. The Reformation both revolutionized the market for books and stimulated crucial innovations in the design and selling of books. This began in Wittenberg, where the partnership of Martin Luther and Lucas Cranach played a critical role in shaping the Reformation pamphlet. In lands more hostile to the Reformation, the design task was more complex, since design features intended to facilitate identification could place the seller or owner in deadly danger. This essay concludes with an examination of the market for devotional literature in the Dutch Republic, the home to Europe's most buoyant center of book production.
5
Naderi, Jody R., Allan B. Jacobs, Elizabeth MacDonald, and Yodan Rofe. "The Boulevard Book: History, Evolution, Design of Multiway Boulevards." APT Bulletin 33, no. 2/3 (2002): 77. http://dx.doi.org/10.2307/1504762.
Full text
6
Leonard, Bill J. "Book Review: The Methodist Societies: History, Nature, and Design." Review & Expositor 90, no. 1 (1993): 150–51. http://dx.doi.org/10.1177/003463739309000133.
Full text
7
Vũ, Văn Ngân. "Bước đầu nghiên cứu bộ sách An Nam sơ học sử lược安南初學史略". SCIENTIFIC JOURNAL OF TAN TRAO UNIVERSITY 3, № 6 (2021): 27–29. http://dx.doi.org/10.51453/2354-1431/2017/164.
Full textAbstract:
The history book “An Nam so hoc su luoc” was edited by French scholars in the period when the colonial government reformed the education system in Vietnam with the purpose to split Vietnam from Chinese influences, and for a long term to make Vietnam to become a dependent country of France. This was the first time, the history subject was introduced into curriculum of general education for Vietnamese learners, and this was totally different from traditional examination for thousand years ago. In addition, with the Western modern design and edition, Vietnamese historical books had significant changes in terms of contents that was foundation for later book design. Apart from negative contents which serve exploiting and dominating of colonial government, the book "An Nam so hoc su luoc" as well as other Vietnamese historical books at that time were valuable document for scientific research.
8
Broadbent, Geoffrey. "Rapoport, Amos, "History and Precedent in Urban Design" (Book Review)." Town Planning Review 62, no. 3 (1991): 380. http://dx.doi.org/10.3828/tpr.62.3.h555277376x44qj8.
Full text
9
Rouse, Rebecca, and Lissa Holloway-Attaway. "A prehistory of the interactive reader and design principles for storytelling in postdigital culture." Book 2.0 10, no. 1 (2020): 7–42. http://dx.doi.org/10.1386/btwo_00018_1.
Full textAbstract:
This article examines historical examples to illuminate a prehistory of the interactive reader in analogue media, tracing a rich genealogy that is helpful for understanding and designing current works such as augmented reality (AR) books. In addition, a set of generative design strategies to help shape current practice are discussed, based both on formal qualities and characteristics of historical examples and the authors’ own experiences as designers working in mixed reality over many years. Theoretical framing is provided to persuasively make the case for the relevance of historical works for designers today. From medieval manuscripts, to Renaissance medical texts, to seventeenth, eighteenth and nineteenth century movable books, to the elaborate paper engineering of twentieth century and contemporary pop-up books, the history of the active reader and interactive book design is long and fascinating, and is presented here as an important and direct source of inspiration for digital designers today. Finally, recent interactive book projects designed by the authors are discussed and analyzed for both continuities and disruptions of historical interactive book design strategies, and a framework is presented for conceptualizing the postdigital interactive reader today.
10
Dolgodrova, Tatiana A. "Inspired by Rubens: Antwerp Baroque Books Stored in the Russian State Library." Observatory of Culture 17, no. 6 (2021): 648–56. http://dx.doi.org/10.25281/2072-3156-2020-17-6-648-656.
Full textAbstract:
The article is devoted to the history of Antwerp printed books, which, in the first half of the 17th century, underwent a profound transformation caused by the influence of the Baroque style emerging in the Netherlands, with its characteristic contrast, dynamism and intensity of images, and combination of reality and illusion. The author demonstrates the Baroque book development by the example of the sources that she first introduces into scientific circulation: books stored in the Research Department of Rare Books (Book Museum) of the Russian State Library (RSL). The article gives examples of the formation of a new allegorical thinking of the Baroque, in which allegory became the norm of artistic vocabulary. The new allegorical imagery is noted in the title pages and illustrations of books that characterize the printing of that period. The Antwerp printer Balthazar Moretus (1574—1641) was an excellent master of this new Baroque book. By using leading artists to design his books, he took an important step in the development of book design. There are well known publications by B. Moretus featuring beautiful title pages designed by his friend Peter Paul Rubens (1577—1640). The typical appearance of text sheets is also the result of the use of elegant fonts, rich design and abundance of decorative elements. The article analyzes the influence of Rubens on the Baroque book formation in Antwerp.
Dissertations / Theses on the topic "Book history design"
1
Camargo, Iara Pierro de. "O livro de literatura: entre o design visível e o invisível." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-01092016-174539/.
Full textAbstract:
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.<br>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.
2
Field, Hannah C. "Toying with the book : children's literature, novelty formats, and the material book, 1810-1914." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:02077b56-4e3e-4bf3-92b0-6c59fce771df.
Full textAbstract:
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.
3
Santos, Cátia Susana Amaral dos. "Book cover trends in American young adult literature." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12888.
Full textAbstract:
Mestrado em Estudos Editoriais<br>Although teenagers are taught to never judge a book by its cover, studies have
shown that many teens do in fact make their reading decisions based on a
book’s cover art (Jones, 2007; Yampbell, 2009). In this context, I considered it
important to conduct a visual analysis of young adult book covers to determine
trends in terms of imagery, colours and typography. To do so, I analyzed a
selection of 50 books drawn from the list put out in 2014 by the Young Adult
Library Services Association (YALSA) naming the Best Fiction for Young
Adults, and I reached some interesting conclusions. In terms of imagery, the
human body is the most predominant motif, in particular the fragmented body
with the focus on the upper part of body, such as the face and the eyes.
Including body pictures in a book cover is an effective marketing strategy since
teenagers tend to create a personal relationship with protagonists. However,
this practice can also objectify the human body and strengthen the idea that it
can be manipulated (as it is, both by the designer and the reader). In terms of
colours, it was hard to establish a trend since colour seems to be used at
random in the book covers analyzed. However, it was possible to determine
that black is by far the most used colour. Black can make a cover appear sleek
and sophisticated and also makes the book appealing to both male and female
readers because black is liked by both sexes. Lastly, in terms of typography, I
determined that sans serif typefaces are the most used. Although decorative
typefaces are the ones generally used in book covers, the cleanness, simplicity
and apparent neutrality of a sans serif type proves to be the best choice for
these covers as it creates a balance with the emotionalizing nature of its
images and colours.<br>Desde crianças que ouvimos dizer que não devemos julgar um livro pela capa,
mas a verdade é que muitos adolescentes fazem as suas escolhas de leitura
com base nas capas dos livros (Jones, 2007; Yampbell, 2009). Neste contexto,
considerei importante levar a cabo uma análise visual de capas de livros para
adolescentes com o objetivo de encontrar tendências em termos de imagens,
cores e tipografia. Para tal, analisei uma seleção de 50 livros da lista “Best
Fiction For Young Adults” lançada em 2014 pela Young Adult Library Services
Association (YALSA). Em termos de imagens, conclui que o corpo humano é o
símbolo mais prevalente, em particular o corpo fragmentado focado na parte
superior do corpo, isto é, a cara e os olhos. A inclusão de imagens corporais
na capa de um livro é uma estratégia de marketing bastante efetiva, uma vez
que os adolescentes tendem a criar uma relação pessoal com os
protagonistas. Contudo, esta prática pode também transformar o corpo
humano num objeto e fortalecer a ideia de que este pode ser manipulado,
tanto pelo designer como pelo leitor. Em termos de cores, foi difícil estabelecer
uma tendência, já que nas capas analisadas, a cor parece ser utilizada de
forma aleatória. No entanto, foi possível concluir que o preto é sem dúvida a
cor mais utilizada. O preto torna a capa mais elegante e sofisticada e torna o
livro apelativo tanto para homens como para mulheres, uma vez que o preto é
uma cor apreciada por ambos os sexos. Por último, em termos de tipografia,
conclui que as fontes sem serifa são as mais utilizadas. Embora as fontes
decorativas sejam geralmente as mais usadas em capas de livros, a
simplicidade e aparente neutralidade de um tipo de letra sem serifa torna-se na
melhor escolha para estas capas, uma vez que cria um balanço com a
natureza mais emocional das suas imagens e cores.
4
Sehn, Thaís Cristina Martino. "As possíveis configurações do livro nos suportes digitais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/97246.
Full textAbstract:
Esta pesquisa foi efetivada com a finalidade de mapear os artefatos que são atualmente denominados 'livros digitais', caracterizando-os a partir do cruzamento dos recursos próprios do meio digital com as principais especificidades dos livros impressos. A metodologia utilizada abrangeu revisão bibliográfica e observação do objeto de estudo. Para alcançar o objetivo proposto, realizou-se um resgate histórico, identificando as características associadas à noção de 'livro', levando em consideração as modificações ocorridas a partir de sua materialidade. Após esse estudo, foi possível compreender a remediação dos livros impressos nos e-books, principalmente naqueles que podem ser acessados através de e-readers e tablets. Outro recorte abordado por esta pesquisa focaliza a identificação e o registro dos recursos que vêm sendo explorados nas produções que estão sendo chamadas de livros digitais. Efetuada a revisão bibliográfica, foram estudadas as potencialidades do hipertexto, da multimídia e da interatividade dentro do livro eletrônico. Ademais, foram comentadas diferentes maneiras de o leitor se aproximar e interagir com o conteúdo da obra, através da utilização dos recursos citados. Antes de se realizar a análise dos artefatos em questão, foi necessário, ainda, aprender mais sobre a materialidade dos mesmos, percebendo como o hardware, o software e o conteúdo interagem entre si, restringindo, assim, as possibilidades que podem ser ofertadas ao leitor. Na tabela final de análise foram avaliadas as particularidades das seguintes macrocategorias: Identificação, Acesso, Funcionalidades, Potencialidades do meio digital, Aproximação da ideia de livro impresso (remediação) e Projeto gráfico. A partir do estudo teórico e empírico realizado, percebeu-se que o livro é um artefato com propriedades flexíveis, decidindo-se, por isto, propor uma série de princípios que, juntos, possam ser utilizados para caracterizar esse tipo de publicação, independente de ela ser digital ou impressa. Logo, chegou-se a conclusão de que o e-book é um conteúdo digital com as mesmas características de um livro e que pode explorar, além do texto e da imagem, recursos da mídia digital, tais como interatividade, som, vídeo e animação. Através das características predominantes dos artefatos analisados, foram identificados os seguintes tipos de livros digitais: customizável, PDF, digitalizado, multimídia e interativo.<br>This research has as its purpose to map out the artifacts so-called ‘digital books’ nowadays. They were characterized from a crossing between printed books main specificities and those related to digital environment very own resources. The research methodology applied to it was of two kinds: literature review and an observational study of the object of study. A historical overview was unearthed in order to achieve the intended purpose, identifying the characteristics linked to the notion of ‘book’, taking into account changes that have taken place stemming from its materiality. Given this perception it was possible to understand the remediation of the print book proposed in e-books, the ones accessed through e-readers and tablets mainly. Identification and registration of the latest developments in digital books resources were another point covered in this work. From a literature review standpoint, interactivity, multimedia and hypertext potentialities were crossexamined. Moreover, there had been discussed some of the alternatives to offer readers proximity and different ways to interact with the work content through the use of cited resources. Still, before realizing the artifact analysis, a more in-depth study of e-book materiality was needed. That is, to perceive how hardware, content and software interact among themselves restricting the possibilities that might be made available to the reader. The singularities of the following macro categories: Identification, Access, Functionalities, Potentialities of the digital environment and the approach of the printed book concept (remediation) to graphic project were evaluated in the table analysis. After an empirical and theoretical study, it was realized that book is an artifact with flexible properties, thus, a definition was set forth based upon a series of principles that together characterize this type of publication, regardless of being in printed or digital form. Therefore, we came to the conclusion the e-book is a digital content with the same features of a printed book and the former can exploit digital media resources such as sound, video, animation and interactivity besides virtually text and image. We were also able to identify through the artifacts primary features that were under analysis the following types of digital books: customized, PDF, digitized, multimedia and interactive.
5
Sá, Inês Soares Seabra. "Como se cria um livro." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/16505.
Full textAbstract:
Dissertação de Mestrado em Design, com a especialização em Comunicação apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.<br>necessário pensá-lo enquanto objecto. Qual deverá ser o seu formato? E o seu tamanho? Como deverá ser estruturada e sequenciada a informação? E para responder a estas perguntas percebemos que há outras que as antecedem: quem são os futuros potenciais leitores, como é que este livro lhes será útil? O que faz perguntar ainda, que livro é este, o que é que diz, para que é que serve.
É precisamente esse o objecto de estudo desta dissertação: o livro e o seu processo de criação, desde o momento em que um grupo de autores decide que há uma série de informações que podem ser fixadas em livro, até ao momento da execução. Para tal foi feito o acompanhamento de um grupo de investigação do CIAUD, destinado ao desenvolvimento de um projecto real: a criação de um livro de história sobre o design Português. Ao integrar este processo desde o início pretende-se responder à questão ‘como se cria um livro?’ e explorar os vários métodos que podem ser utilizados na criação de um projecto de design editorial. O objecto livro não é necessariamente um grupo de folhas cortadas e aparadas, juntas e protegidas por uma capa. Há vários modelos de livros e o próprio objecto é posto em questão nesta tese bem como a forma que a informação assumirá nesse objecto. O livro onde se pretende chegar é uma história do design em Portugal, sendo que, nesta área, não assume nenhum modelo pré-definido, procurando antes, criar uma abordagem inovadora ao livro. Assim estamos a trabalhar no livro antes do livro, ou seja, no que é que o livro deverá ser.
Fomos conhecer diferente abordagens, algumas delas que nem sequer encadernam as folhas (Terragni, Fitzpatrick, Roff, & Thackara, 2012), ou que usam um modelo enciclopédico (Margolin, 2015) e muitas outras. Aquilo que esta investigação começa por questionar é: qual será o modelo que melhor responde a uma história do design em Portugal, feita por estes autores.
Espera-se que deste projecto resultem não só as características finais do livro a ser paginado – formato, tamanho, identidade visual, estrutura e produção gráfica – mas também uma reflexão sobre o processo criativo, que possa servir de base a outros projectos de design editorial. A autora acompanhará o processo deste projecto editorial e procurará dar-lhe forma, assumindo o seu papel de designer, o que lhe permitirá também introduzir dados novos na estruturação dos autores.<br>ABSTRACT: A book is a design project. And as such, before the pagination takes place, one needs to think of it as an object. What format should it have? What size? How should it be structured and how should the information be sequenced? And when we think of these questions, we realize that there are others that come before: who are the future potential readers, how will this book be useful to them? Which makes us ask further: what kind of book is this, what does it say and what is it for?
That’s precisely the focus of this dissertation: the book and it’s creative process, from the moment a group of authors decides there is a series of information which can be fixed in a book, to the moment of it’s execution. In order to do so, there was a follow-up on a research group from CIAUD, destined to the development of a real project: the creation of a Portuguese design history book. The goal we want to achieve by integrating this process from the beginning, is to answer the question ‘how do we create a book?’ and explore the different methods which can be used in an editorial design project. The book is not necessarily a group of sheets of paper, cut, trimmed together and protected by a cover. There are many different book models, and the object itself is questioned in this thesis, as well as the shape that the information will assume in that object. The book we want to reach is a Portuguese Design History and there are no predefined models in this area. As such, we are working on the book before the book: on what the book should be.
We know different approaches, some which don’t even bind the pages (Terragni et al., 2012), others which use an encyclopedic model (Margolin, 2015) and many others. What this research starts by questioning is: what model best suits the needs of a Portuguese Design History, made by these authors.
The expected results are not only the final characteristics of the published book to be – format, size, visual identity, structure, and graphic production – but also a reflection on the creative proccess, on which other editorial design projects can be based upon. The author will accompany the process of this editorial design project and seek to shape it, assuming her desing role, which will allow her to introduce new data in the authors’ structuring.<br>N/A
6
Azevedo, Carolina Noury da Silva. "O design de Victor Burton." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6740.
Full textAbstract:
Victor Burton é um designer que dedicou a maior parte do seu trabalho ao livro. A fascinação por este objeto começou ainda na infância devido ao contato com as obras raras da biblioteca da família, o que aguçou o desejo de se tornar designer exclusivamente para projetar livros. Sua atuação no mercado editorial brasileiro começou no final dos anos 1970, na editora Confraria dos Amigos do Livro. Como o maior interesse de Victor no livro é a relação entre texto e imagem, os livros iconográficos se tornaram seu principal objetivo e são nos livros desta natureza onde melhor conseguimos visualizar seu estilo. Victor desenvolveu uma linguagem gráfica própria que redefiniu o padrão do mercado editorial brasileiro. Numa época em que o projeto gráfico, principalmente a capa do livro, entre tantas cores e atrativos disputam a atenção do consumidor nas prateleiras das livrarias, já não é tão fácil identificar nem a editora nem a autoria do projeto gráfico e da capa. Entretanto, os livros de Victor Burton possuem um estilo que nos permite reconhecer sua assinatura. Desta forma, a questão que norteou este trabalho foi por que conseguimos identificar os livros do designer Victor Burton? Sendo assim, o objetivo deste trabalho foi enumerar e identificar os aspectos gráficos que caracterizam o estilo deste designer nos livros iconográficos. Para isso, nos
baseamos no método descritivo desenvolvido por Guilherme Cunha Lima, em O Gráfico Amador. A partir das características levantadas, pudemos identificar os principais elementos que nos permite reconhecer a autoria dos trabalhos desenvolvidos por Victor Burton. O uso desses aspectos gráficos reflete o trabalho meticuloso do designer Victor Burton que consegue criar uma narrativa visual auxiliando a leitura do texto através de uma nova leitura gráfica, sobretudo nos livros iconográficos<br>The designer Victor Burton has dedicated the most part of his work to the book. The interest for this object begun in childhood due the contact with rares books that are part of his
familys collection, which increased the desire to become designer only to design books. When Victor started to work in the Brazilian editorial market at the end of the 1970s, at the
Confraria dos Amigos do Livro house publisher. As the Victors main interest is the relationship between text and image, the iconographic books became his main goal and are in
books of this nature that we can better visualize his style. Victor developed his own graphic language that has redefined the standard of the Brazilian editorial market. At a time when
graphic design, especially the book cover, among many colors and attractive vie for consumer attention on the shelves of bookstores, is not so easy to identify neither the publisher nor the author of the graphic design and cover. However, the books of Victor Burton have a style that allows us to recognize your signature. Thus, the question that guided this study was why we can identify books of Victor Burton? Thus, the aim of this study was to enumerate and identify graphic aspects that characterize the style of this designer in iconographic books. For
this, we based on descriptive method developed by Guilherme Cunha Lima in O Gráfico Amador. From the characteristics raised, we could identify the major elements that allow us
to recognize the authorship of the work of Victor Burton. The use of these graphic aspects reflects the meticulous work of the designer Victor Burton who can create a visual narrative
aiding reading the text through a new graphic reading, especially in iconographic books.
7
Neves, Alexandre Esteves. "Monteiro Lobato: editor gráfico (1918-1925)." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4579.
Full textAbstract:
O objetivo desta dissertação é mostrar como se deu o envolvimento de Monteiro Lobato com o design gráfico enquanto editor e gestor de suas editoras: a Edições da Revista do Brasil,
a Monteiro Lobato e Cia. e a Cia. Graphico-Editora Monteiro Lobato, no período de 1918 a 1925. A análise gráfica das publicações editadas por Lobato, neste intervalo, serviu como fio
condutor da pesquisa. Por fim, foi feita uma descrição gráfica dos exemplares coletados, que foram produzidos no mesmo período.<br>This dissertation aims to show how was the involvement of Monteiro Lobato with graphic design as editor and manager of their publishers: Edições da Revista do Brasil, Monteiro
Lobato e Cia. and Cia. Graphico-Editora Monteiro Lobato, from 1918 to 1925. The graphical analysis of publications issued by Lobato, meanwhile, served as guiding the research. Finally,
there was a graphic description of the collected specimens, which were produced in the same period.
8
Allen, Gretchen. "William Morris and the Kelmscott Chaucer: Design, Production, and Conservation Analysis." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/503.
Full textAbstract:
William Morris’s Kelmscott Press was founded specifically for the purpose of producing handmade printed works in a rapidly industrializing age. The techniques he and his confederates employed to make the Kelmscott books resulted in beautiful publications with remarkable material fortitude, as exemplified in the Press’s masterwork, “The Works of Geoffrey Chaucer Now Newly Imprinted”. This thesis examines the condition of the copy of the Kelmscott Chaucer in the Scripps rare book collection from a book conservator’s perspective to analyze the connection between William Morris’s personal philosophies, his resulting artistic decisions, and the longevity of the book as an art object.
9
Nycander, Olga. "Deconstructing Thought Forms : Ett bokformgivningsprojekt om ett färg- och formsystem över hur tankar och känslor ser ut." Thesis, Konstfack, Grafisk design & illustration, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7992.
Full textAbstract:
Ett bokformgivningsprojekt som visar färg- och formteorierna i boken Thought Forms (1905) som ett tidigt konst- och designteoretiskt verk. Boken Thought Forms (1905) av Annie Besant and C. W. Leadbeater är en teosofisk bok som presenterar ”tankeformer” som visar hur tankar och känslor ser ut för den klärvoajanta. Boken tros ha inspirerat abstrakta konstnärer som till exempel Vasilij Kandinski och Hilma af Klint som båda var medlemmar i det teosofiska samfundet. Genom en serie på tre böcker presenterar jag färg- och formsystemen i Thought Forms som ett tidigt konst- och designteoretisk verk. Projektet är lika delar en undersökning av känslor och andliga idéers påverkan på formgivning som ett ut utforskande av bokformens påverkan på läsningen av ett innehåll. Projektet består av tre handgjorda böcker som presenterar bilderna, förgläran och formerna ur Thought Forms: Deconstructing Thought Forms: The Figures Deconstructing Thought Forms: The Colours Deconstructing Thought Forms: The Shapes<br>A book design project that shows the theories of color and form in the book Thought Forms from 1905 as an early of art- and design theoretical work. The book Thought Forms by Annie Besant and C. W. Leadbeater is a theosophical book that shows "thought forms". Colourful shapes formed by thoughts and feelings, only visible for the clairvoyant. The book is believed to have inspired abstract artists such as Wassily Kandinsky and Hilma af Klint, who were both members of the Theosophical Society. Through a series of three books, I present the color and shape systems from Thought Forms as an early art and design theoretical work. This project is both an investigation of the influence of emotions and spiritual ideas on design as an exploration of the book designs effect on how we receive a content. The result is a series of three books: Deconstructing Thought Forms: The Figures Deconstructing Thought Forms: The Colors Deconstructing Thought Forms: The Shapes
10
Nogueira, Julio Cesar Giacomelli. "Letra e imagem : a tipografia nas capas de livros desenhadas por Eugenio Hirsch." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284076.
Full textAbstract:
Orientador: Anna Paula Silva Gouveia<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T17:41:14Z (GMT). No. of bitstreams: 1
Nogueira_JulioCesarGiacomelli_D.pdf: 6716028 bytes, checksum: 95f6712016a187afca3bf990f315211e (MD5)
Previous issue date: 2009<br>Resumo: Eugênio Hirsch (Viena, 1923 - Rio de Janeiro, 2001) é mais conhecido por seu trabalho na editora Civilização Brasileira na primeira metade da década de 1960. Sua atuação na editora do Rio de Janeiro foi marcada pela versatilidade de recursos visuais e pela ampla liberdade concedida pelo editor Ênio Silveira. No mesmo período produziu capas para a editora Globo, de Porto Alegre, em quantidade muito inferior, mas com a mesma liberdade e qualidade. Após passagem pelos EUA, Hirsch foi contratado pela editora madrilenha Codex como diretor de arte da Coleção Museus do Mundo, e retornou ao Brasil no final dos anos 1960, passando a trabalhar para a Livraria José Olympio Editora. Esta dissertação tem como tema central a relação entre o lettering e as imagens no trabalho de Hirsch. Essa relação é estudada a partir da análise das capas de livros produzidas por Hirsch entre 1959 e 1976. Dentro dessa amostragem abrangente são identificadas as características mais marcantes e recorrentes do desenho de letras nas capas do designer austríaco. Também é apresentada uma pequena amostra da produção de alguns capistas que atuaram no Brasil nas décadas de 1930, 1940 e 1950, fornecendo uma visão mais acurada da importância do trabalho de Eugênio Hirsch.<br>Abstract: Eugênio Hirsch (Vienna, 1923 - Rio de Janeiro, 2001) is best known by his work for the publishing house Civilização Brasileira in the first half of the 1960s, wich was marked by a large range of visual resources used with great freedom granted to him by editor Ênio Silveira. In the same period he made book covers for Globo, a publishing house based on the city of Porto Alegre. Although less expressive in number, these covers kept the same quality and freedom. After a short period in the USA, Hirsch was hired by Madri based publishing house Codex as art director, being responsible for El Mundo de los Museus collection. When returning to Brazil in the end of the 1960s, he begun to work for Livraria José Olympio Editora, in Rio de Janeiro. This research is centered in the relation between letters and images in Hirsch's book covers. This relation is studied by analizing the book covers made by Hirsch between 1959 and 1976. In this wide sampling, the most relevant and recurring caractheristics related to lettering and type in Hirsch's work are identified. Also presented is a sample of the graphic work done by some cover artists that had worked in Brazil during the 1930s, 1940s and 1950s, allowing a more accurate perception of the importance of Eugênio Hirsch's work.<br>Doutorado<br>Artes<br>Doutor em Artes
Books on the topic "Book history design"
5
McDermott, Catherine. Design Museum book of 20th century design. Overlook Press, Peter Mayer Publishers, 1998.
Find full text
7
Harold, Koda, and Stroud Marion Boulton, eds. Design: Takaaki Matsumoto. Acadia Summer Arts Program, 2010.
Find full textBook chapters on the topic "Book history design"
1
Nishikawa, Kinohi. "From Poet to Publisher: Reading Gwendolyn Brooks by Design." In New Directions in Book History. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48784-3_3.
Full text
2
Vervliet, Hendrik D. L. "Calligraphy, Type Design, Typefounding." In Annual Bibliography of the History of the Printed Book and Libraries. Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4450-3_3.
Full text
3
Vervliet, Hendrik D. L. "Calligraphy, Type Design, Typefounding." In ABHB Annual Bibliography of the History of the Printed Book and Libraries. Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2430-7_3.
Full text
4
Vervliet, Hendrik D. L. "Calligraphy, Type Design, Typefounding." In ABHB Annual Bibliography of the History of the Printed Book and Libraries. Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-3689-8_4.
Full text
5
Vervliet, Hendrik D. L. "Calligraphy, Type Design, Typefounding." In ABHB Annual Bibliography of the History of the Printed Book and Libraries. Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-2784-1_4.
Full text
6
Vervliet, Hendrik D. L. "Calligraphy, Type Design, Typefounding." In ABHB Annual Bibliography of the History of the Printed Book and Libraries. Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2039-2_3.
Full text
7
Vervliet, Hendrik D. L. "Calligraphy, Type Design, Typefounding." In ABHB Annual Bibliography of the History of the Printed Book and Libraries. Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-009-5135-8_4.
Full text
8
Marwedel, Peter. "Introduction." In Embedded Systems. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-60910-8_1.
Full textAbstract:
AbstractThis chapter presents terms used in the context of embedded systems together with their history as well as opportunities, challenges, and common characteristics of embedded and cyber-physical systems. Furthermore, educational aspects, design flows, and the structure of this book are introduced.
9
Fisher, Kenn. "Co-creating Innovative Learning Environments: LEaRN’s Decade of Discovery." In Teacher Transition into Innovative Learning Environments. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7497-9_2.
Full textAbstract:
AbstractThis forward provides an overview of earlier LEaRN work carried out leading up to this book. It also explores some of the pedagogy and spatial tropes which have emerged over past decades. Whilst there have been many explorative innovations over that time, very few have been scalable and sufficiently resilient to dislodge the primordial hold that the Industrial Age classroom has taken in school design for over a century. Many attempts have been made to align pedagogy and space, but the classical classroom learning container remains in large part due to teacher mindsets. The Transitions suggested in these chapters may well be a seminal moment in the history of school design as the ILETC project nears its final stages of discovery.
10
Ewert, Alan W., Denise S. Mitten, and Jillisa R. Overholt. "Conclusions and desired future: take a park, not a pill." In Health and natural landscapes: concepts and applications. CABI, 2021. http://dx.doi.org/10.1079/9781789245400.0008.
Full textAbstract:
Abstract This book chapter seeks to answer questions from: research and evidence, developing a sustainable and desired future, health needs and aspirations, the role of natural landscapes. Premised on the chapters of this book, these guiding principles highlight the importance of natural landscapes to human and planetary health: (1) humans modify landscapes, or our surroundings, and there is a reciprocal influence between human health and landscape health (2) worldviews are not fixed and are influential in the ways societies interact with landscapes. Current dominant worldviews represent a small sliver of history; we can make other choices. (3) Human induced environmental devastation negatively influences wellbeing, especially among the most disenfranchised. Attending to relationships and reciprocity as well as feelings of loss and grief are part of the solution. (4) Healthy intact landscapes can promote wellbeing through restorative, preventive, and therapeutic mechanisms. (5) An extensive body of research exists, but further research and systematic investigation is needed to more fully understand the effects of interactions between humans and their landscapes. (6) Intentional practices and programs through education, recreation, socialisation, and lifestyle can help us develop healthy relationships with our landscapes. Ancient beneficial practices can be recovered and relearned. and (7) Intentional design choices can enhance the places where we live and work promoting the health benefits of nature in urban areas also supports human wellbeing.
Conference papers on the topic "Book history design"
1
ATZMON, Leslie. "The evolving terrain of the book: Ariel Malka’s Javascriptorium." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-065.
Full text
2
NAUFEL, Carina. "The Design of book bovers in Brazil during the sixties through the covers by Marius Lauritzen Bern." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-100.
Full text
3
Novita, Karunia Dwi, Media A. Ayu, and Maria J. R. B. Wahyuni. "Increasing the Interest in Learning the History of Indonesian National Heroes through an Augmented Reality Book." In 2020 6th International Conference on Computing Engineering and Design (ICCED). IEEE, 2020. http://dx.doi.org/10.1109/icced51276.2020.9415785.
Full text
4
Softaoğlu, Hidayet. "Unhuman Entities that Shaped a Century: Non- Anthropocentric Analysis of the Case of Great Stink and Pandemic, Victorian London." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021268n5.
Full textAbstract:
The history of architectural and urban design has expanded its scope and started adopting new philosophical approaches from other disciplines to explore the built environment. Theorist discusses whether we still live in a humanist world where a human being has more priority over the unhuman things or not to answer that; should we design architecture and urban within an anthropocentric approach. As a recent pandemic show, things that are not human, like animals or viruses, could control and navigate a new style of living. This research will introduce Bruno Latour's ANT and Graham Harman's Object-Oriented Ontology (OOO) as a new constructive method to analyse how human and unhuman bodies are equally the affective actors of daily practices in the urban realm. 19th-century Great Stink and epidemic in Victorian London will be a case study to picture urban dwellers of London that shaped determined the destiny of health and hygiene of London in 1858.
5
Camargo, Iara Pierro de. "Text and Design Relationship on Literature Books." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0097.
Full text
6
Gümüşay, Mehtap, and Sevgül Limoncu. "Vernacular: Emergence to Disasters." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021271n8.
Full textAbstract:
Nowadays, as some buildings differ from the others, known as local or traditional architecture; creates proximity to the modern building systems, we are used to today are called, vernacular architecture. We also called the similar style of building design, architecture without architects or rural architecture. Modern architectural buildings have changed the way of life, have aimed to a better living condition. In the recent history, we have experienced disasters like earthquakes, flooding, tsunamis, landslides. The ruins have emerged health and safety regulation changes in the policies. The emergence of the health and safety in the building life as the prime aim, closeness to the environment degradation have created theoretical concepts of ecological building styles and how local traditions have answered the emergency. In this study, it is studied the differences between countries how the cultural practices juxtaposed or override the modern technologies.
7
Falcão, Gonçalo. "Who are our “Freuds”? A review of images in the history books of graphic design and their role in constructing a common vision about what graphic design is." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0067.
Full text
8
| estudi d’arquitectura, Nomarq. "ISH03. Benissa, Alicante. España." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7401.
Full textAbstract:
Un remanso desde el que contemplar la naturaleza en un paisaje que tiene como telón de fondo al Mar Mediterráneo… se concibe la totalidad del territorio como materia de proyecto. Respetar al máximo el lugar, la naturaleza y potenciar al máximo la contemplación y disfrute de este entorno natural son los factores que determinan los puntos de partida en el diseño de esta vivienda. La idea de este proyecto nace de la propia morfología del lugar, proyectando desde y para el entorno. Bajo esta premisa se lleva a cabo la construcción de este edificio, supeditando el uso y la ubicación de la vivienda a la geometría de la parcela y adaptándose tanto a la orientación como a las vistas del solar. Proponemos una arquitectura de territorio, que la presencia de nuestra construcción impulse a imaginarse el lugar donde se erige. Un edificio que parezca estar fuertemente enraizado en el suelo, que de la impresión de ser una parte natural de su entorno. Como dice Peter Zumthor en su libro Pensar la Arquitectura: “Despierta toda mi pasión poder proyectar edificios que, con el correr del tiempo, queden soldados de esta manera natural con la forma y la historia del lugar donde se ubican.***A haven in which one can contemplate nature in a landscape with the Mediterranean Sea as backdrop... the entire territory is conceived as an additional material in the project. The respect to the settings and the surrounding nature, as well as maximizing both contemplation and enjoyment of this natural environment, are the key factors that determine the starting points in the design of this dwelling. The idea of this project arises from the own morphology of the site, designing from and for its setting. Under this premise, the construction of a detached house is carried out, subjecting the use and location of the house to the plot’s geometry and adapting it both to the site’s orientation and the views. We propose architecture of territory, that the presence of our construction impels us to imagine the place where it is erected. A building that seems to be strongly rooted in the ground, that give us the impression of being a natural part of its environment. As Peter Zumthor says in his book Thinking Architecture: “It awakens all my passion to project buildings that, with the passage of time, remain anchored in this natural way with the form and history of the place where they are located
9
Vybornov, A., E. Kolpakov, and E. Tkach. "Neolithic Dwellings." In Neolithic Dwellings. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-18-1.
Full textAbstract:
Collection of works of the International Symposium “Neolithic Dwellings” includes the works of the participants of the symposium held on May 17–18, 2021, in Saint-Petersburg, at the Institute for the History of Material Culture RAS. Reports cover the different questions, connected with identification and interpretation of the dwelling constructions during Mesolithic and Neolithic. Geographically, the studies presented in the collection comprise an expensive territory 3⁄4 from Baltic Coast to Kamchatka. The book is designed for a wide range of researchers in the humanities (archaeologists, historians, ethnographers) and experts in allied subjects, humanities degree students, and all readers interested in humanitarian knowledge in general.
10
Sugahara, Ryo, and Akio Kuroyanagi. "Trend of Utilization of Ocean Space According to Structural Form of Oceanic Architectures." In ASME 2019 38th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/omae2019-96453.
Full textAbstract:
Abstract The aims of this research are to understand the construction history, subsequent refurbishment, and use of existing oceanic architectures and to clarify the establishment cause, location, and facility use of oceanic architectures, from which the current state of the oceanic buildings and propose new ways of using maritime areas in the future may be recognized. First, a wide variety of facilities of oceanic architectures have been built all over Japan in line with economic growth since 1960. However, in the 2000s as public interest in oceanic architectures become sluggish, many facilities have been forced to close. After these circumstances, the use of marine areas has been recognized again in recent years, and the interest in oceanic architectures has been reintroduced. For the survey method, existing examples using aerial photographs are confirmed and the operation status of the facilities are clarified. Based on this, we selected ten study subjects. We carried out on-site survey at the target facilities and conducted interview survey to local governments, facility owners, and other concerned parties. In addition, relevant design books and materials are collected, and facility outline, construction history, usage trends, and the surrounding locations are studied. As a result, it was confirmed that oceanic architectures are closely related to the surrounding seas. In addition, it was confirmed that oceanic architectures have a certain base as regional entities, and increasing the usefulness of facilities can be achieved by acquiring new added values through continuous use of the maritime area.