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Book design Books
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Books and Printing; a Treasury for Typophiles
"Books and Printing; a Treasury for Typophiles" edited by Paul A. Bennett is a collection of essays written in the mid-20th century. This work explores the intricacies of typographic art, the history of printing, and the significant advancements in book production, appealing to collectors, printers, and typography enthusiasts alike. The collection aims to inform readers about the various aspects of books, their materiality, and the fascinating processes behind their creation. At the start of the book, the editor provides a comprehensive introduction that sets the stage for the ensuing essays. He emphasizes the breadth of topics covered, from the historical evolution of the alphabet to the role of modern typography. Notably, he highlights contributions from various authors, each presenting unique perspectives on the printing craft, such as Otto Ege's exploration of the alphabet's history and Lancelot Hogben's examination of printing's relationship with paper and playing cards. The opening establishes a framework that reflects on the interplay between typography, artistry, and the evolving nature of books, suggesting that further exploration of these themes awaits in the subsequent essays.
T. J. (Thomas James) Cobden-Sanderson
The ideal book or book beautiful : $b A tract on calligraphy printing and illustration & on the book beautiful as a whole
"The Ideal Book or Book Beautiful: A Tract on Calligraphy Printing and Illustration & on the Book Beautiful as a Whole" by T. J. Cobden-Sanderson is a theoretical exploration of the essence of beautifully crafted books, written in the early 20th century. This artistic and critical essay can be classified as a treatise that delves into the elements that constitute a 'Book Beautiful', emphasizing the significance of calligraphy, typography, and illustration while arguing for the harmonious integration of these elements in book design. In this work, Cobden-Sanderson argues that the beauty of a book arises from its various components—literary content, writing, printing, illustrations, and binding—and their collective interaction. He reflects on the historical progression of calligraphy and prints, suggesting that while individuality in artistic expression is vital, it mustn't overshadow the unified purpose of the book. The author stresses the responsibility of artists and craftsmen to collaborate under a common vision, creating a composite whole that serves to elevate the core message or idea of the book itself. Ultimately, he presents the ideal book as a profound artistic achievement, a seamless blend of all artistic forms that resonates with the beauty of life itself.
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