Information about Canons Of Page Construction
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In the field of book design, proportions of pages, type areas (print spaces), and margins of medieval books have been analyzed by scholars, and several principles known as canons of page construction have been described by them to represent the ways in which these books may have been designed.
The notion of canons, or laws of form, of book page construction was popularized by Jan Tschichold in the mid to late twentieth century, based on the work of J. A. van de Graaf and Raúl M. Rosarivo, Hans Kayser, and others.[1] Kayser's 1946 Ein harmonikaler Teilungskanon[2] had earlier used the term canon in this connection.
| Though largely forgotten today, methods and rules upon which it is impossible to improve have been developed for centuries. To produce perfect books these rules have to be brought to life and applied. | ||
—Jan Tschichold [3] | ||
Typographers and book designers apply these principles to this very day, with variations related to the availabilty of standardized paper sizes, and the diverse types of commercially printed books.[4]
Van de Graaf canon
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Van de Graaf devised this construction to show how Gutenberg and others may have divided their page to achieve margins of one-ninth and two-ninths and a type area in the same proportions at the page.
The Van de Graaf canon is a historical reconstruction of a method that may have been used in book design to divide a page in pleasing proportions.[5] This canon is also known as the "secret canon" used in many medieval manuscripts and incunabula.
The geometrical solution of the construction of van de Graaf's canon, which works for any page width:height ratio, enables the book designer to position the text body in a specific area of the page. Using the canon, the proportions are maintained while creating pleasing and functional margins of size 1/9 and 2/9 of the page size.[6] The resulting inside margin is one-half of the outside margin, and of proportions 2:3:4:6 (inner:top:outer:bottom) when the page proportion is 2:3 (more generally 1:R:2:2R for page proportion 1:R). This method was discovered by van de Graaf, and used by Tschichold and other contemporary designers; they speculate that it may be older.[7]
The page proportions vary, but most commonly used is the 2:3 proportion. Tschichold writes "For purposes of better comparison I have based his figure on a page proportion of 2:3, which van de Graaf does not use."[8] In this canon the text area and page size are of same proportions, and the height of the text area equals the page width.
This canon was popularized by Jan Tschichold in his book The Form of the Book.
Golden canon
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Tschichold's "golden canon of page construction" here illustrated by a synthesis of Tschichold's figure thereof, with the diagonals and circle, combined with Rosarivo's construction by division of the page into ninths. These two constructions rely on the 2:3 page ratio to give a type area height equal to page width as demonstrated by the circle, and result in margin proportions 2:3:4:6. For other page ratios, Rosarivo's method of ninths is equivalent to van de Graaf's canon, as Tschichold observed.
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Medieval manuscript framework according to Tschichold, in which a text area proportioned near the golden ratio is constructed. "Page proportion is 2:3, text area proportioned in the Golden Section."[9]
Tschichold's "golden canon of page construction"[1] is based on simple integer ratios, equivalent to Rosarivo's "typographical divine proportion."[10]
Interpretation of Rosarivo
According to Fabián Carreras, Raúl Rosarivo, in his Divina proporción tipográfica ("Typographical Divine Proportion"), first published in 1947, analyzed Renaissance books with the help of compass and ruler and concluded that Gutenberg, Peter Schoeffer, Nicolaus Jenson, and others, applied the golden canon of page construction in their works.[11] According to Rosarivo himself, his work and assertion that Gutenberg used the "golden number" 2:3, or "secret number" as he called it, to establish the harmonic relationships between the diverse parts of a work,[12] was analyzed by experts at the Gutenberg Museum and re-published in the Gutenberg Jahrbuch, its official magazine.[13] Ros Vicente points out that Rosarivo "demonstrates that Gutenberg had a module different from the well-known one of Luca Paccioli" (the golden ratio).[13]Tschichold also interprets Rosarivo's golden number as 2:3, saying:
| In figure 5 the height of the type area equals the width of the page: using a page proportion of 2:3, a condition for this canon, we get one-ninth of the paper width for the inner margin, two-ninths for the outer or fore-edge margin, one-ninth of the paper height for the top, and two-ninths for the bottom margin. Type area and paper size are of equal proportions. ... What I uncovered as the canon of the manuscript writers, Raul Rosarivo proved to have been Gutenberg's canon as well. He finds the size and position of the type area by dividing the page diagonal into ninths. [14] |
The figures he refers to are reproduced in combination here.
John Man's interpretation of Gutenberg
Historian John Man suggests that Gutenberg's Bible page was based on the golden ratio (commonly approximated as the decimal 0.618 or the ratio 5:8), and that the printed area also had that shape.[15] He quotes the dimensions of Gutenberg's half-folio Bible page as 30.7 x 44.5 cm, a ratio of 1:1.45, close to Rosarivo's golden 2:3 (1.5).Tschichold and the golden section
Building on Rosarivo's work, contemporary experts in book design such as Jan Tschichold and Richard Hendel, assert as well that the page proportion of the golden section (21:34), has been used in book design, in manuscripts, and incunabula, mostly in those produced between 1550 and 1770. Hendel writes that since Gutenberg's time, books have been most often printed in an upright position, that conform loosely, if not precisely, to the golden ratio.[16])
Tschichold's drawing of an octavo-format page proportioned in the golden ratio or golden section "34:21". The text area and margin proportions are determined by the starting page proportions.
These page proportions based on the golden section or golden ratio, are usually described through its convergents such as 2:3, 5:8, and 21:34.
Tschichold says that common ratios for page proportion used in book design include as 2:3, 1:√3, and the golden section. The image with circular arcs depicts the proportions in a medieval manuscript, that according to Tschichold feature a "Page proportion 2:3. Margin proportions 1:1:2:3. Text area in accord with the Golden Section. The lower outer corner of the text area is fixed by a diagonal as well."[17] By accord with the golden section, he does not mean exactly equal to, which would conflict with the stated proportions.
Tschichold refers to a construction equivalent to van de Graaf's or Rosarivo's with a 2:3 page ratio as "the Golden Canon of book page construction as it was used during late Gothic times by the finest of scribes." For the canon with the arc construction, which yields a text area ratio closer to the golden ratio, he says "I abstracted from manuscripts that are older yet. While beautiful, it would hardly be useful today."[18]
Of the different page proportions that such a canon can be applied to, he says "Book pages come in many proportions, i.e. relationships between width and height. Everybody knows, at least from hearsay, the proportion of the Golden Section, exactly 1:1.618. A ratio of 5:8 is no more than an approximation of the Golden Section. It would be difficult to maintain the same opinion about a ratio of 2:3." [19]
And he expresses a preference for certain ratios over others: "The geometrically definable irrational page proportions like 1:1.618 (Golden Section), 1:√2, 1:√3, 1:√5, 1:1.538, and the simple rational proportions of 1:2, 2:3, 5:8 and 5:9 I call clear, intentional and definite. All others are unclear and accidental ratios. The difference between a clear and an unclear ratio, though frequently slight, is noticeable. ... Many books show none of the clear proportions, but accidental ones."[20]
John Man's quoted Gutenberg page sizes are in a proportion not very close to the golden ratio,[20] but Rosarivo's or van de Graaf's construction is applied by Tschichold to make a pleasing text area on pages of arbitrary proportions, even such accidental ones.
Current applications
Richard Hendel, associate director of the University of North Carolina Press, describes book design as craft with its own traditions and a relative small body of accepted rules.[21] The dust cover of his book, On Book Design, features the Van de Graaf canon.German typographer Paul Renner, creator of the Futura typeface, described his views about page proportions, according to Christopher Burke:[22]
| Renner still championed the traditional proportions of margins, with the largest at the bottom of a page, 'because we hold the book by the lower margin when we take it in the hand and read it'. This indicates that he envisioned a small book, perhaps a novel, as his imagined model. Yet he struck a pragmatic note by adding that the traditional rule for margin proportions cannot be followed as a doctrine: for example, wide margins for pocket books would be counter-productive. Similarly, he refuted the notion that the type area must have the same proportions as the page: he preferred to trust visual judgment in assessing the placement of the type area on the page, instead of following a pre-determined doctrine. |
Footnotes
1. ^ Tschichold, Jan, The Form of the Book. pp.46, Hartley & Marks (1991), ISBN 0-88179-116-4.excerpt online at [1].
2. ^ Hans Kayser, Ein harmonikaler Teilungskanon: Analyse einer geometrischen Figur im Bauhüttenbuch Villard de Honnecourt (A canon for harmonious page division: analysis of a geometric figure in Bauhaus book of Villard de Honnecourt). Zurich: Occident-Verlag, 1946. cited by web page loaded 2006-09-11 Writings on Villard de Honnecourt, 1900-1949 "An article-length (32 pp.) attempt to demonstrate the use of Pythagorian musical proportion as the basis for the geometry in three of Villard's figures: fol. 18r, two figures at the bottom; and fol. 19r, rightmost figure in the second row from the top. While the geometric design itself is unquestionably that generated from the Pythagorian monochord, Kayser does not convince the reader that Villard understood its musical basis. Kayser apparently worked from photographs of the original folios, and the significance of Kayser's claim may be summarized in his own admission (p. 30) that Villard's geometry does not match that of the Pythagorean design when correctly drawn."
3. ^ As cited in Hendel, Richard. On book Design, pp.7
4. ^ Egger, Willi. Help! The Typesetting Area. De Nederlandstalige TeX Gebruikersgroep.
5. ^ Van de Graaf, J. A. , Nieuwe berekening voor de vormgeving. (1946) (as cited by Tschichold and others; original not examined)
6. ^ Tschichold, Jan, The Form of the Book. pp.28,37,48,51,58,61,138,167,174, Hartley & Marks (1991), ISBN 0-88179-116-4.
7. ^ Hurlburt, Allen, Grid: A Modular System for the Design and Production of Newspapers, Magazines, and Books, pp.71, John Wiley and Sons (1982) ISBN 0-471-28923-X
8. ^ Tschichold , The Form of the Book pp.45
9. ^ Tschichold , The Form of the Book pp.45
10. ^ Rosarivo, Raúl M., Divina proporción tipográfica, La Plata, Argentina (1953). Previous editions: 1948 and 1947. Brief discussion about his work, is available online in Spanish [2]
11. ^ Carreras, Fabián, Rosarivo Available online
12. ^ Rosarivo, Raúl M., Divina proporción tipográfica, La Plata, Argentina, "[...] el número de oro o número clave en que Gutenberg se basó para establecer las relaciones armónicas que guardan las diversas partes de una obra"
13. ^ Ros, Vicente, Infodiversidad. Ral Mario Rosarivo o el amor al libro, Sociedad de Investigaciones Bibilotecológicas, Argentina Vol. 7 (2004) Available online (Spanish)
14. ^ Tschichold , The Form of the Book pp.45
15. ^ Man, John, Gutenberg: How One Man Remade the World with Word (2002) pp.166-7, Wiley, ISBN 0-471-21823-5. "The half-folio page (30.7 x 44.5 cm) was made up of two rectangles — the whole page and its text area — based on the so called 'golden section', which specifies a crucial relationship between short and long sides, and produces an irrational number, as pi is, but is a ratio of about 5:8 (footnote: The ratio is 0.618.... ad inf commonly rounded to 0.625)"
16. ^ Hendel, Richard, On Book Design, pp.34, Tale University Press (1998), ISBN 0-300-07570-7
17. ^ Tschichold , The Form of the Book, pp.43 Fig 4. "Framework of ideal proportions in a medieval manuscript without multiple columns. Determined by Jan Tschichold 1953. Page proportion 2:3. margin proportions 1:1:2:3, Text area proportioned in the Golden Section. The lower outer corner of the text area is fixed by a diagonal as well." (in the Dutch version, "letterveld volgens de Gulden Snede" — text area in accord with the Golden Section)
18. ^ Tschichold , The Form of the Book pp.44
19. ^ Tschichold , The Form of the Book, pp.37
20. ^ Tschichold , The Form of the Book pp.37-38
21. ^ Hendel, Richard, On Book Designpp.1-5
22. ^ Christopher, Burke, Paul Renner: The Art of Typography, Princeton Architectural Press, 1999, ISBN 1-56898-158-9
2. ^ Hans Kayser, Ein harmonikaler Teilungskanon: Analyse einer geometrischen Figur im Bauhüttenbuch Villard de Honnecourt (A canon for harmonious page division: analysis of a geometric figure in Bauhaus book of Villard de Honnecourt). Zurich: Occident-Verlag, 1946. cited by web page loaded 2006-09-11 Writings on Villard de Honnecourt, 1900-1949 "An article-length (32 pp.) attempt to demonstrate the use of Pythagorian musical proportion as the basis for the geometry in three of Villard's figures: fol. 18r, two figures at the bottom; and fol. 19r, rightmost figure in the second row from the top. While the geometric design itself is unquestionably that generated from the Pythagorian monochord, Kayser does not convince the reader that Villard understood its musical basis. Kayser apparently worked from photographs of the original folios, and the significance of Kayser's claim may be summarized in his own admission (p. 30) that Villard's geometry does not match that of the Pythagorean design when correctly drawn."
3. ^ As cited in Hendel, Richard. On book Design, pp.7
4. ^ Egger, Willi. Help! The Typesetting Area. De Nederlandstalige TeX Gebruikersgroep.
5. ^ Van de Graaf, J. A. , Nieuwe berekening voor de vormgeving. (1946) (as cited by Tschichold and others; original not examined)
6. ^ Tschichold, Jan, The Form of the Book. pp.28,37,48,51,58,61,138,167,174, Hartley & Marks (1991), ISBN 0-88179-116-4.
7. ^ Hurlburt, Allen, Grid: A Modular System for the Design and Production of Newspapers, Magazines, and Books, pp.71, John Wiley and Sons (1982) ISBN 0-471-28923-X
8. ^ Tschichold , The Form of the Book pp.45
9. ^ Tschichold , The Form of the Book pp.45
10. ^ Rosarivo, Raúl M., Divina proporción tipográfica, La Plata, Argentina (1953). Previous editions: 1948 and 1947. Brief discussion about his work, is available online in Spanish [2]
11. ^ Carreras, Fabián, Rosarivo Available online
12. ^ Rosarivo, Raúl M., Divina proporción tipográfica, La Plata, Argentina, "[...] el número de oro o número clave en que Gutenberg se basó para establecer las relaciones armónicas que guardan las diversas partes de una obra"
13. ^ Ros, Vicente, Infodiversidad. Ral Mario Rosarivo o el amor al libro, Sociedad de Investigaciones Bibilotecológicas, Argentina Vol. 7 (2004) Available online (Spanish)
14. ^ Tschichold , The Form of the Book pp.45
15. ^ Man, John, Gutenberg: How One Man Remade the World with Word (2002) pp.166-7, Wiley, ISBN 0-471-21823-5. "The half-folio page (30.7 x 44.5 cm) was made up of two rectangles — the whole page and its text area — based on the so called 'golden section', which specifies a crucial relationship between short and long sides, and produces an irrational number, as pi is, but is a ratio of about 5:8 (footnote: The ratio is 0.618.... ad inf commonly rounded to 0.625)"
16. ^ Hendel, Richard, On Book Design, pp.34, Tale University Press (1998), ISBN 0-300-07570-7
17. ^ Tschichold , The Form of the Book, pp.43 Fig 4. "Framework of ideal proportions in a medieval manuscript without multiple columns. Determined by Jan Tschichold 1953. Page proportion 2:3. margin proportions 1:1:2:3, Text area proportioned in the Golden Section. The lower outer corner of the text area is fixed by a diagonal as well." (in the Dutch version, "letterveld volgens de Gulden Snede" — text area in accord with the Golden Section)
18. ^ Tschichold , The Form of the Book pp.44
19. ^ Tschichold , The Form of the Book, pp.37
20. ^ Tschichold , The Form of the Book pp.37-38
21. ^ Hendel, Richard, On Book Designpp.1-5
22. ^ Christopher, Burke, Paul Renner: The Art of Typography, Princeton Architectural Press, 1999, ISBN 1-56898-158-9
References
- Burke, Christopher, Paul Renner: The Art of Typography, Princeton Architectural Press, (1999) ISBN 1-56898-158-9
- Egger, Willi, Help! The Typesetting Area (shows the Van de Graaf canon and a variant that divides the page into twelfths)
- Hendel, Richard, On Book Design, pp.34, Tale University Press (1998), ISBN 0-300-07570-7
- Infodiversidad. Ral Mario Rosarivo o el amor al libro, Sociedad de Investigaciones Bibilotecológicas, Argentina Vol. 7 (2004)
- Hurlburt, Allen, Grid: A Modular System for the Design and Production of Newspapers, Magazines, and Books, John Wiley and Sons (1982) ISBN 0-471-28923-X
- Rosarivo, Raúl M., Divina proporción tipográfica, La Plata, Argentina (1953). Previous editions: 1948 and 1947
- Tschichold, Jan, The Form of the Book Hartley & Marks (1991), ISBN 0-88179-116-4
Further reading
- Luca Pacioli, De Divina Proportione (1509) (the originator of the excitement over the golden ratio)
- Lehmann-Haupt, Hellmut, Five Centuries of Book Design: A Survey of Styles in the Columbia Library, Columbia University, (1931)
See also
External links
- Tschichold excerpt chapter "Consistent Correlation Between Book Page and Type Area" from The Form of the Book
- (Spanish) Rosarivo summary
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Book design is the art of incorporating the content, , format, design, and sequence of the various components of a book into a coherent whole.
In the words of Jan Tschichold, book design "[...
..... Click the link for more information.
In the words of Jan Tschichold, book design "[...
..... Click the link for more information.
Book design is the art of incorporating the content, , format, design, and sequence of the various components of a book into a coherent whole.
In the words of Jan Tschichold, book design "[...
..... Click the link for more information.
In the words of Jan Tschichold, book design "[...
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Jan Tschichold (April 2 1902 Leipzig, Germany – August 11 1974 Locarno, Switzerland) was a typographer, book designer, teacher and writer.
..... Click the link for more information.
Life
Tschichold was the son of a provincial signwriter, and he was trained in calligraphy...... Click the link for more information.
Raúl Mario Rosarivo (1903-1966), born in Buenos Aires, Argentina, was a typographer, researcher, designer, poet, painter and illustrator, known for his work in the analysis of the Gutenberg Bibles.
..... Click the link for more information.
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sizes of paper at different times and in different countries, but today there are two major systems in use: the international standard (A4 and its siblings), and the North American sizes.
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Book design is the art of incorporating the content, , format, design, and sequence of the various components of a book into a coherent whole.
In the words of Jan Tschichold, book design "[...
..... Click the link for more information.
In the words of Jan Tschichold, book design "[...
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Middle Ages form the middle period in a traditional schematic division of European history into three "ages": the classical civilization of Antiquity, the Middle Ages and Modern Times.
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incunabulum is a book, single sheet, or image that was printed — not handwritten — before the year 1501 in Europe. These are very rare and valuable items. The origin of the word is the Latin incunabula
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Jan Tschichold (April 2 1902 Leipzig, Germany – August 11 1974 Locarno, Switzerland) was a typographer, book designer, teacher and writer.
..... Click the link for more information.
Life
Tschichold was the son of a provincial signwriter, and he was trained in calligraphy...... Click the link for more information.
Raúl Mario Rosarivo (1903-1966), born in Buenos Aires, Argentina, was a typographer, researcher, designer, poet, painter and illustrator, known for his work in the analysis of the Gutenberg Bibles.
..... Click the link for more information.
..... Click the link for more information.
Johannes Gensfleisch zur Laden zum Gutenberg (c. 1400 – February 3, 1468) was a German goldsmith and printer, who is credited with inventing movable type printing in Europe (c. 1439) and mechanical printing globally.
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Peter Schoeffer (c. 1425-1502 or 1503), working for Johann Fust, was the principal workman of Johannes Gutenberg, inventor of Western typography, whose 42-Line Bible was completed in 1455.
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Nicolas Jenson (1420 - 1480) was a French engraver, pioneer printer and typographer who did most of his work in Venice.
His name is also written as Nicolas Janson, Nicholas Jenson, or Nicolaus Jenson.
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His name is also written as Nicolas Janson, Nicholas Jenson, or Nicolaus Jenson.
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golden section is a line segment sectioned into two according to the golden ratio. The total length a+b is to the longer segment a as a
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golden section is a line segment sectioned into two according to the golden ratio. The total length a+b is to the longer segment a as a
..... Click the link for more information.
..... Click the link for more information.
Jan Tschichold (April 2 1902 Leipzig, Germany – August 11 1974 Locarno, Switzerland) was a typographer, book designer, teacher and writer.
..... Click the link for more information.
Life
Tschichold was the son of a provincial signwriter, and he was trained in calligraphy...... Click the link for more information.
golden section is a line segment sectioned into two according to the golden ratio. The total length a+b is to the longer segment a as a
..... Click the link for more information.
..... Click the link for more information.
Book design is the art of incorporating the content, , format, design, and sequence of the various components of a book into a coherent whole.
In the words of Jan Tschichold, book design "[...
..... Click the link for more information.
In the words of Jan Tschichold, book design "[...
..... Click the link for more information.
incunabulum is a book, single sheet, or image that was printed — not handwritten — before the year 1501 in Europe. These are very rare and valuable items. The origin of the word is the Latin incunabula
..... Click the link for more information.
..... Click the link for more information.
A convergent is one of a sequence of values obtained by evaluating successive truncations of a continued fraction. The nth convergent is also known as the nth approximant of a continued fraction.
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The University of North Carolina Press (or UNC Press), founded in 1922, is a university press that is part of the University of North Carolina.
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External link
- University of North Carolina Press
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Paul Renner (August 9 1878 – April 25 1956) was a typeface designer, most notably of Futura. He was born in Wernigerode, Germany and died in Hödingen.
He was born in Prussia and had a strict Protestant upbringing, being educated in 19th century Gymnasium.
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He was born in Prussia and had a strict Protestant upbringing, being educated in 19th century Gymnasium.
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Futura <nowiki /> Category Sans-serif
Classifications Geometric Sans-Serif <nowiki />
Designer(s) Paul Renner <nowiki /> <nowiki />
Foundry Bauer Type Foundry
Neufville Digital <nowiki /> <nowiki />
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Classifications Geometric Sans-Serif <nowiki />
Designer(s) Paul Renner <nowiki /> <nowiki />
Foundry Bauer Type Foundry
Neufville Digital <nowiki /> <nowiki />
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Villard de Honnecourt lived in 13th century France and may have been an itinerant master-builder of Picardy in northern France. His fame rests entirely on his surviving portfolio of 33 sheets containing about 250 drawings from about the 1230s, which is in the Bibliothèque
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Fra Luca Bartolomeo de Pacioli (sometimes Paciolo) (1445–1514 or 1517) was an Italian mathematician and Franciscan friar, collaborator with Leonardo da Vinci, and seminal contributor to the field now known as accounting.
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A book is a set or collection of written, printed, illustrated, or blank sheets, made of paper, parchment, or other material, usually fastened together to hinge at one side. A single sheet within a book is called a leaf, and each side of a sheet is called a page.
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Page layout is the part of graphic design that deals in the arrangement and style treatment of elements (content) on a page. Beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern magazine and catalog layouts, proper
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A typographic grid is a two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to structure content. The grid serves as an armature on which a designer can organize text and images in a rational, easy to absorb manner.
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Typography is the art and techniques of type design, modifying type glyphs, and arranging type. Type glyphs (characters) are created and modified using a variety of illustration techniques.
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page is one side of a leaf of paper. It can be used as a measurement of documenting or recording quantity ("that topic covers twelve pages").
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The page in typography
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