A framework for graphic description in book design

This project is concerned with the way that illustrations, photographs, diagrams and graphs, and typographic elements interact to convey ideas on the book page. A framework for graphic description is proposed to elucidate this graphic language of ‘complex texts’. The model is built up from three main areas of study, with reference to a corpus of contemporary children’s science books. First, a historical survey puts the subjects for study in context. Then a multidisciplinary discussion of graphic communication provides a theoretical underpinning for the model; this leads to various proposals, such as the central importance of ratios and relationships among parts in creating meaning in graphic communication. Lastly a series of trials in description contribute to the structure of the model itself. At the heart of the framework is an organising principle that integrates descriptive models from fields of design, literary criticism, art history, and linguistics, among others, as well as novel categories designed specifically for book design. Broadly, design features are described in terms of elemental component parts (micro-level), larger groupings of these (macro-level), and finally in terms of overarching, ‘whole book’ qualities (meta-level). Various features of book design emerge at different levels; for instance, the presence of nested discursive structures, a form of graphic recursion in editorial design, is proposed at the macro-level. Across these three levels are the intersecting categories of ‘rule’ and ‘context’, offering different perspectives with which to describe graphic characteristics. Contextbased features are contingent on social and cultural environment, the reader’s previous knowledge, and the actual conditions of reading; rule-based features relate to the systematic or codified aspects of graphic language. The model aims to be a frame of reference for graphic description, of use in different forms of qualitative or quantitative research and as a heuristic tool in practice and teaching.

The Poems of T. S. Eliot [Book design by Paul Luna]

Book design, consisting of typographic design and composition formatting, and commissioning of custom scripting and custom typeface design to implement the book's typography.

Design (provisional chapter title)

The move of parts of OUP's publishing operation from London to Oxford in the 1970s allowed the creation of a centralised art and design department. Drawing on material in the OUP archives this chapter traces the kinds of work that this department undertook and the subsequent devolution of design activities to publishing divisions. Book design at Oxford is considered both stylistically and in response to technological changes. The relationship with the Printing House and its design standards, the search for standardisation and the need for economy, and the specialist design skills demanded by OUP's publications are recurring themes. Innovations in using overseas suppliers and in the introduction of desktop publishing technology are located in relation the the organization of the design function at OUP and its relationship to editorial policies.The chapter concludes with a consideration of the corporate identity system introduced in 1998, and its relationship to previous manifestations of 'Oxford style'.

Letterforms for handwriting and reading: print script and sanserifs in early twentieth-century England

This essay is about letterforms and typography in reading books for young children and how they were influenced by the teaching of handwriting in the early decades of the twentieth century. I examine the contributions made by infant teachers to typography and book design and draw particular attention to the print script movement and the gradual introduction of sanserif typefaces in reading books. I suggest that the use of sanserifs in reading books for young children is one of their first appearances for continuous text. Although the influence of print script on the teaching of handwriting may have had some undesirable effects, I suggest that it indirectly contributed to some innovations in book design.

Early modern Oxford bindings in twenty-first century markup

Purpose – The Bodleian Binders Book contains nearly 150 pages of seventeenth century library records, revealing information about the binders used by the library and the thousands of bindings they produced. The purpose of this paper is to explore a pilot project to survey and record bindings information contained in the Binders Book. Design/methodology/approach – A sample size of seven pages (91 works, 65 identifiable bindings) to develop a methodology for surveying and recording bindings listed in the manuscript. To create a successful product that would be useful to bindings researchers, it addressed questions of bindings terminology and the role of the library in the knowledge creation process within the context that text encoding is changing the landscape of library functions. Text encoding formats were examined, and a basic TEI (Text Encoding Initiative) transcription was produced. This facilitates tagging of names and titles and the display of transcriptions with text images. Findings – Encoding was found not only to make the manuscript content more accessible, but to allow for the construction of new knowledge: characteristic Oxford binding traits were revealed and bindings were matched to binders. Plans for added functionality were formed. Originality/value – This research presents a “big picture” analysis of Oxford bindings as a result of text encoding and the foundation for qualitative and statistical analysis. It exemplifies the benefits of interdisciplinary methods – in this case from Digital Humanities – to enhance access to and interpretation of specialist materials and the library's provenance record.

The role of sketches in supporting near-synchronous remote communication in computer supported collaborative design

This paper presents recent research into the functions and value of sketch outputs during computer supported collaborative design. Sketches made primarily exploiting whiteboard technology are shown to support subjects engaged in remote collaborative design, particularly when constructed in ‘nearsynchronous’ communication. The authors define near-synchronous communication and speculate that it is compatible with the reflective and iterative nature of design activity. There appears to be significant similarities between the making of sketches in near-synchronous remote collaborative design and those made on paper in more traditional face-to-face settings With the current increase in the use of computer supported collaborative working (CSCW) in undergraduate and postgraduate design education it is proposed that sketches and sketching can make important contributions to design learning in this context