INSIDE RESEARCH INTO THREE MAIN COMPONENT LETTER, PICTURE AND PAGE. WORK AS ONE TEAM TO ASSURE THE IDEA OF THE WHOLE FOCUSING ON THE RELATIONSHIP BETWEEN EACH ONE OF THESE ELEMENTS. ALL OF THEM CONSIDER EACH ELEMENT TO BE THE PRIMARY ONE THAT HELP TO REVEAL THE INNER POWER OF THE WORK WHETHER IT IS A MATH EQUATION OR A PIECE OF PAINTING. WE CAN DRAW AMEDIA VERY CLEAR LINE BETWEEN ALL OF THESE STORY WHICH REVEALS THE FEELING AND HOW BEHIND IT MAKE ALL THE IDEA STRONGER AS A BEAUTY CONSTRUCTION AND IT IS ASPECT. THE CONSIDERATION OF EACH PART AS A LIVING BEING, THAT SHOULD BE EXPOSED BY IT IS OWN EXPRESSION. LETTER, PICTURE, PAGE
Marji, Hazar Taissier Eid
Marji, Hazar Taissier Eid MEDIA BEHIND Letter | Picture| Page Prof. Joachim Krausse Anhalt University of Applied Sciences Fachbereich Design MAID | Design Theory Class | 2015 Dessaue-Roblau
Presentation Day 7th January 2015
LETTER, PICTURE, PAGE
MEDIA BEHIND
Marji, Hazar Taissier Eid
INTRO
Inside research into three main component letter, picture and page. One team works togother to assure the idea of the whole focusing on the relationship between each one of them. Each element consider to be the primary one that help to reveal the inner power of the work whether it is a math equation or a piece of painting. We can draw a very clear line between all of these elements which reveals the feeling and how it make all the idea stronger as a beauty construction. The consideration of each part as a living being, that should be exposed by it’s own expression.
05 LETTER 11 PICTURE 17 PAGE 40 REFERENCE
SCRIBENDI, HOW TO WRITE A LETTER
05
“A LETTER IS THE MOST BASIC,YET THE MOST FLEXIBLE MODE OF CORRESPONDENCE, REGARDLESS OF ITS SUBJECT MATTER”
THE LETTER
Going back to the root, starting from the history of the first element “Letter” is a written character in the system of writing which at the end combine with other letter to create a meaningful world. We can find letter in the alphabet, the abjads and abugidas which has a lot to do with the vowel marking which can be secondary or absent, in addition the written sign system (syllabogarams). Letter is a phoneme in the spoken form of the language that give you the whole image and meaning about the whole story. The direction of writing these system has many variety from horizontally direction to vertical direction, from left to right to right to left, and going farther more have the combination. As previously mentioned there is different letter system each one has its own characteristic and appearance. • GRAPHEME
This referred to the Alphabet single character, the smallest unit distinguishing in the written language. Sometime it carries meaning and sometime it won’t, the graphemes include alphabetical letter, typographic ligatures, numerical digits, punctuation marks. The name Alphabet comes from merging the Alpha (A) and the Beta (B). • ABJADS
Another kind of writing system where each symbols always or usually stand for a consonant, leaving the writing system to apply the appropriate vowel. Here also the name derived from the letter order in the old Arabic set. The most important feature in this system that adding what called (Harakat) to have the write vowel and the right meaning of the world, it is second priority and not a mandatory requirement.
• ABUGIDA
In this writing system the unite form the base for consonant letter and vowel notation which is mandatory to be there. The Letters in this system are written as a linear sequence. Vowels are written through modification of these consonant letters by the mean of diacritics. The name for this system were taken from the Ge’ez Script. • LOGOGRAM
Known as the sign system for writing which represent the word or the metaphor with one complete unite which cannot be divided. The smallest unite known as ideograms. This ideograms represent the idea directly rather than the word. The new example of this system includes illustration, which help a lot for understanding without any knowledge or any need for the spoken language. These systems are used all around the world, but all of them have the same purpose to communicate the ideas and the thoughts. And to have the right arrangement we use the typography part to make the written language more appealing to learn and recognize. Typography is one of art that can represent the letter in the best way as craft by which the meaning of the text or the absence of meaning can be clarified, shared and knowingly hidden. In order to have the reading letter, one of the most important principles is the interest that some earned or unearned which help to give the living energy to the page. It takes various forms and goes by various forms and goes by various names, including serenity, liveliness, laughter, grace and joy.
Letterforms indicate the sight of the human being, and a well-chosen word has to do much with the well-chosen letters. Therefore writing system started with the sign which is the making of the footprint. When we trace the transformation of the letter we can say that the most important transformation between manuscript and letter has seldom changed, but copying was the main objective to use type as a save of time and have a mass production of a scribble which could take more time and effort just to finish one. Idealizing the writing system to correspond to the page and space, bad book have the lake of letter power and appealing approach in which letter mill and stand like a stale bread and mutton on the page, in contrast the “good letter design have the movement like they are dancing in their seat. Sometimes they exceed and move from their seat to the margins to complete the moment circle. The type is a musical performance where the page is playing the stage role�. Letterform has tone, timber, character like the word and the sentence.* Letterform builds the relationship between the text and other elements such as photography, caption, tables, diagrams, notes. They shape the page and frame the text block so it honors and revels each element. *  Brighurst, Robert. The Elements of Typographic Style. 2001.
ANSEL ADAMS
11
“A GREAT PHOTOGRAPH IS ONE THAT FULLY EXPRESSES WHAT ONE FEELS, IN THE DEEPEST SENSE, ABOUT WHAT IS BEING PHOTOGRAPHED”
THE PICTURE An artifact that records visual perception, the representation of time and human action and the evidence of human potential impact. One example to mention is the forefront of Moholy-Nagy’s graphics output which the Bauhaus book series from 1923 was. His advertising for the book incorporated Constructivist and De Stijl idea- the elements of the page such as rules, full points and blocks of text, color and white space are organized asymmetrically on modular grids (as opposed to traditional centering on linear grids) which was representing of Van Doesburg and Mondrian paintings. The covers, which worked as a series but had different arrangement, stripped down the design to elements that were purely typographic and arranged these so boldly as to be a statement at least as strong as the meaning of the words displayed. This starting is the stepping stone of relating the ideas to mass communication. Integrate both text and image within the new derived grid and the process of applying it to the visual information, the new fashionable qualities, and form the vintage point propagated new idea in the relationship of type and image. We can trace the idea of having design and get rid of the crafting concept of each element. Start to have the magazine design using large photographs and white space, and sought to represent content through typographic expression. Like Vogue Magazine and Harper’s Bazaar.
1. Marshell Mcluhan, The Meduiam is the massage. 1967.
2. Ines Kouidis, Iconic Collage Portraits, 2014.
Using photo technique and applying it to the newspaper and typesetting to have new revolutionary changes by exposure of type design on to photosensitive paper. The new transition in the way of communication made a cultural significance development. The war creates the demand for graphic design for governmental purpose in which the propaganda plays the main role. This led to the growth in the magazine and newspaper .The commercial work has the integration of image and type. Movie title began to integrate type and image into timebased experience related to the mood and a story suggestion. The international style (Swiss Design Style) which is grid based applied this rules to the elements. Ballmer and Max Bill, splitting the page or the poster into grid, modules were arrived at they could be used to articulate clearly proportion, balance and perspective. Bill search for a exact mathematical logic to graphic design, the process of deriving the grid and then applying it to order the information. The thinking approach of appreciation of the value of white space and formal rhythms in relation to the other element was stressed and the empty spaces were a crucial a part of the design as the printed areas and this control the selection of typeface weight and style, beside on the novelty and dynamic qualities in layout.* All of this creates the information revelation between the flat printed page and the painted picture to be the window by healing words and image from their physical strict job. The continuously change of time and space by the new industry led to the new era of modern history. The photography and telegraph invention led to have the printed page. Therefore photography brought not only the democratization of representation, it helps to influence the printing technology. It introduces the photogravure and halftone printing. The new media interruption helps the page of gray text to be transferred into colorful narrative and to be conceived as a whole, so that the individual page was part of a sequence and in the 1890s the first experimental artists’ book and magazine which have the advanced new development were published. * Grraver, Amy & Jura, Ben. Grids and Page Layouts best practices for graphic designers. 2012.
EL LISSIZKY
17
“THE PRINTED SHEET OVERCOMES SPACE AND TIME. THE PRINTED SHEET, THE INFINITY OF THE BOOK HAS TO BE OVERCOMES”
THE PAGE
A design unit, a frame for art and information, a medium of communication whether it is printed page or flickering surface of a computer screen. Starting from the printed page as it is the first media of having the text on paper which change a lot within the 20th century from expanding, shrinking, turning around, uprooting, deconstructing, and rebuilt along radically different lines, working in a different way depending of schools and movements and individual situations. And moving to the screen as Adel’s describe “The introduction of the printed page and the painted picture to the computer screen is the latest in a series of countless artistic and technological developments that advanced the ways in which pictures and texts are interconnected, produced, transmitted, and received. Originating in crossovers between the fields of art, science, and technology, these inventions were often deeply intertwined. Going back to the nineteenth century, and continuing through the twentieth, photography, the telegraph, the telephone, motion pictures, television, the fax, the computer, and the internet have depended on contributions made by artists, architects, film directors, and designers�. In both printed and screen, to make page matter is not the care of the signifying or meaning, but the demands of specific physical space, to approach a certain presence to have the significant embodied. Going through the meaning of the page we can find that the page itself considered as the safeguard for scholar and the artist achievement. It is the knowledge media sharing and the idea communication tool, a lot of what we learn and what we want to remember recorded on a plane page. It is the flexible platform which plays a powerful role between the designer and the reader; it plays important part of the transmission of thought.
3.Ol’ga Rozanova, A Duck’s Nest of Bad Words, 1913.
4. Jack Kerouac, On the Road: The Original Scroll.
• Appearance
The most familiar appearance of the page is a leaf of paper which is a thin sheet of different material in three dimensions, we bind it in books. Each sheet has a recto (front) and a verso (back). The amount of text combining with text are specified according to the height and the width, and it is thickness define the inscription on the edge. Looking back to the appearance of the page, it does not look like what we have nowadays. Starting the tracing from the Egyptian, Greek and Romans they tend to arrange the text and image into long column called Paginae on long role of papyrus. The mean purpose was to organize the ideas and let the reader build his own skill by observing the text and the visual of the scroll. Other approach was to fix the writing text to the dimension of the physical material used, and this development bring the rectangular frame of the wax tablet, then the folio of the codex which was the most preferable media. The codex was constructed of individual pieces of parchment which made out of the animal skin, bounded together on one side, in this way each page can be recognized as single page separated physically from the rest, and the cover is thicker than the inside sheet, sometimes the sheet continuo to be folded like the musical instrument style. This style was adapted in the Christian bible. This method was adopted thorough the medieval and the modern period. The alternative and the continuous development led to the important development in the writing technology.
Each page have it is unique personality which had been shaped by culture and time, thick, thin, smooth, or stained all of these can be changed according to the different reading community. The constructer role is to make decision of the size, shape, color and quality of the material to be used in which the reader should treat this piece of paper. The writing tool was made of papyrus plant. The paper sheet made also from the same fiber composed of two layer of strip, this fiber run horizontally on one side and vertically on the other. The old page proportion was smaller than the modern letter size because of the natural limitation of the papyrus plant so if they need longer page they stick the separated piece lined up, one slightly overlapping the next. The other type is the concertina which is the folded roll look like accordion in both ways the text was arranged in a series of column horizontally or vertically according to two aspects the transmitted text style and the quality of the product. The columns helped to structure the information order on the scroll. This creates the flexible interface that could be tailored in size, shape and layout according to the requirements. The paginae helped reader where they should read and indicates where they should stop. The column plays significant role in layout of the page. The Egyptian tends to write along line and wide column and this appear in the Roman writing template. In those time the writing was the most important than reading because it seen as instrument of power. The Hebrew scribes wrote in narrow column. The flexibility of how to read the page was the main approach until the codices (bound book) appear. The medieval Europe used the fifth and forth intervals for their page proportion, beside the 1:2 proportion and they move to the tall half octagon which used now in north American letter paper. Renaissance develops the narrow proportion with the tall hexagon and tall pentagon, yet the golden section was used in all the derived proportion.
5. The Codex Gigas, 13th century, Bohemia. 6, Wax tablet , the Roman stylus. 7. Dresden Codex (from the 1880 Fรถrstemann edition).
The function of these sizes and proportion verity for example the narrower page was best used for art and science works, while the wider page with double column was best used for legal ecclesiastical text. Alphabetic writing and learning the reading skill for beginner use the horizontal motion, while the vertical motion is specified for those who have the reading skill, it symbolizes the fluency. The narrow columns nowadays used for quick reading. More width gives the text it is presence and implies the importance to read again. Handel, Richard. Aspect of contemporary book design. USA, 2013..
• Page Visual Character
Starting from the text flow within the blank, black marbled page and the graphic devices give the idea that letters and words as well as lines and colors provide infinite potential of creating and constructing the meaning. The intersecting with the painting division of color and brushstrokes ending with the cinema invention, the liberation signs is the essence of modern visual vocabulary. One strong example about this combination is the poem of Mallarme’ in which he mix the horizontal and vertical movements and typefaces with different size and proportion, by doing this he give new alternative movement between verbal and visual signs. Gabriel de la Landelle in his book bring another concept to the visual appearance for the page, he combine the printed page in different colors or overprinted the page with the different typeface and size and colors. Furthermore, the geometric forms on the printed page start to assure itself which can be seen in The First Six Book of the Elements of Euclid combining colored diagrams with symbols to make it easier for learning purpose. In addition, “Le Petit Jornal De Refusees” work by Burgess brings the question to the traditional rectangular page because he use irregular format printed on wallpaper. He use strange way to apply to his layout, he cut and paste typographical fragment and ornaments and verse them into single words separated onto single lines.
8. Stephane Mallame, A Throw of Dice Will Never Abolish Chanel, 1914. 9, Gabriel dela Landelle, The Pieon File, Adventures in the Air: Aviation, 1866. 10. Gelett Burgess, The Little Journal of the Refused, 1896.
• New Media
Starting from the text flow within the blank, black marbled page and the graphic devices give the idea that letters and words as well as lines and colors provide infinite potential of creating and constructing the meaning. The intersecting with the painting division of color and brushstrokes ending with the cinema invention, the liberation signs is the essence of modern visual vocabulary. One strong example about this combination is the poem of Mallarme’ in which he mix the horizontal and vertical movements and typefaces with different size and proportion, by doing this he give new alternative movement between verbal and visual signs. Gabriel de la Landelle in his book bring another concept to the visual appearance for the page, he combine the printed page in different colors or overprinted the page with the different typeface and size and colors. Furthermore, the geometric forms on the printed page start to assure itself which can be seen in The First Six Book of the Elements of Euclid combining colored diagrams with symbols to make it easier for learning purpose.* In addition, “Le Petit Jornal De Refusees” work by Burgess brings the question to the traditional rectangular page because he use irregular format printed on wallpaper. He use strange way to apply to his layout, he cut and paste typographical fragment and ornaments and verse them into single words separated onto single lines. * Andel. Jaroslav. Avant Gard Page Design 1900-1950. 2002
11. El Lissitzky, Suprematist Story about Two Squares in Six Constructions, 1922.
• Construction
The new chapter affected by the World War I, The new machine productive era start to be the symbol of revolution and progress which correspond with the Communist vision. Creating the vision of a classless society based on social utopianism. The new roles of the artist start to appear to be as engineers, designers, and organizers on the industrial production. Lissitzky who was the pioneer of transforming these idea to the printed page through hi design for (Supermatist Story about Two Squares in six Constructions), in all of his work during this era he emphasizing on the technological progress and the visual elements. The new concept of function, organization and communication affected the page design were shown on all the propaganda media. With the reflected change in the directions for the page design, from the Russian civil war to the New Economic Policy (NEP) and emphasize on the Constructivism layout. (have Time go Back and add input.
12. Donato Bramante’ Santa Maria della Pace Cloister planing, 1500.
• Architecture on the Page
Reading, writing and production of text it is the physical platform in which the page create the relation in creative and dynamic tension. The page as a whole transform the idea, but at the same time it affect the whole meaning and image embodied in the text. The page construction is a complexity of platform, text, image, graphic markings, and blank space. This big host creates the vital tension for the page to remain persuasive through time. This platform suggested the difference between “printed page” and “printed culture”. Printed culture is the study that investigates the habit of reading and writing within a community, the printed book was the platform of exploration of the use and reception of a text. Separating text from image, form from content come from the traditional division of time, mode of production and the intellectual boundaries.
Looking deep into these divisions we can see the inner connection between the printed page and the architecture which provide the primary medium for idea since the Renaissance. The facades design provides the typographer and the illustrator the opportunities to stimulate the idea and apply it later. The Donato Bramante’s cloister of Santa Maria Della Pace in Rome illustrated a good example of how page design was influenced by architecture. This cloister design was influenced by the French Beaux- Arts system. Bramante arrived Rome in the holy1500 and was commissioned by the Cardinal to build the cloister of Santa Maria Della Pace church. Bramante adopted the complicated proportional system as the architects from the Renaissance who used the proportions as a tool to dispose and size the space, walls, openings and columns of the building. He was influenced also of the theory “a structure should be musical” where he used for the back wall of the cloister which contains the gallery with one to two proportions (an octave in the musical term). The exterior wall of the cloister was opened by two arcades with windows which has the proportion of three to four (musical third). The site of the cloister was approximately square. Bramante way of design was directed by dividing the site into sixteen equal, smaller squares with a small piece left over the occasioned because of the irregularity of the street on the west side. This cloister occupied nine of square which he subdivided into four parts to determine the width of the four arches that makeup the lower story of the arcades surrounding the open court. This grid was filled in with piers, column and cornices whose proportions were defined by the same square that governed the whole design.* The Renaissance sense of perspective and the use of classical order were found in the center of each side of the cloister which is blocked by a pier that supports the arched. Instead of relating the cloister to other space in the convent or the city outside, this blocked or interrupts the view creating an inward focus and detaching the cloister from the urban life. His classical order help to achieve the expression of the idea related to Virgin Maria, Mother of Peace “Pace” and the Mother of People to whom the church and the cloister was built. * Castex, Jean. Architecture of Italy. 2008
The link between what already mentioned and the page design goes in different direction. First the proportion concept as we can describe the page a room or a building, it can be in any size and any proportion. This can be illustrated in the difference between the folded brochure and formal letter. Shaping the visual space which can use some certain proportion because it is pleasurable, these proportions are taken from the simplest geometric figure (Triangle, square, regular pentagon, hexagon and octagon). This kind of reference is useful for first working and playing in developing a good layout approach, second they help in the analysis phase of the old design and take them farther to the new ones. As the number play a significant role in the building, it also play an important role in the page proportion, certain number appears in the human body and the other appear in the musical scale. Arrangement and spacing the whole element in the page is like performing music or playing paint in the canvas its concern with the intervals and differences. Building the overall dimension of the page is the most important part in which the harmony can achieved not to be enforced. This as Robert Bringhurst says” the page flex and turn; their proportion ebb and flow against the underlying form”. As a visible and tangible proportion the textbook rest upon the surface which must answer to the page, both produce the antiphonal geometry. This geometry play the role how the reader interact with the page (the book), is it the nervy felling or the sleepy one or the interesting one that the reader can’t leave. In addition, having Venice as the center of book trade and printing press Aluds Manutius was the first to change the direction of both typography and the format in which books were produced. In 1505 he printed an edition of the collected works of Vergil. He produced classical works in a new pocket-sized format (octavo format), that became known as ‘Aldine’ editions after their printer. The production of these books was made possible by the creation of a new style of typeface – italic. The invention of italic was due to the talent of Manutius’s punch cutter and type founder,
13. Bern, Burgerbibliothek, Cod. 234, th century and first third of the 9th century.
Francesco Griffo. The condensed size of the type allowed the page size to be reduced and smaller pages meant smaller books that were cheaper to print. The second is the development relationship of footnote and margin, the starting point which change and inverted as the same way of what happened with Bramante. The first historical footnote was a high form of literary art main example can be shown in the history of decline and fall of Roman Empire which has the religious and sexual irreverence. The main idea of the footnote was that it should examine all the sources relevant to the solution, and construct a new narrative or argument. The note was treat as a course that must be learned, starting from the idea that footnote should be seen not read. After that the craft industry style to act as a reference. Then this developed more to be placed on the bottom of the page, and include some scientific history and dramatize the central importance of the documents. The changing continues to be a fashionable trendy style in the eighth century. Regarding the page the old script has no margin or footnote as in the medieval both page and text block were the same were the same, after that the writer start to add some space around the main text not to leave it blank but in the purpose to add more clarification and note for the text. The crux of the footnote system is the presence of a symbol that connects the note to the relevant location in the text. Curiously, in medieval times it was quite common not to have such connections in place, perhaps especially in the earlier period. When few remarks were added to the page, a reader could deduce with relative ease to which passage a marginal note referred. It helped if a text was in popular use or known by heart, as many medieval works were. In such cases the note made sense instantly because the reader was familiar with the referenced literary context. Moreover, as long as notes were few and short, a reader could simply insert them—interlineally—above the relevant word or passage.
14. Cologny, Fondation Martin Bodmer, Cod. Bodmer 89, 12th century.
Cleverly, in this system the very position of the remark identified the word to which it referred. However, as the number and size of such comments increased, it became impossible to place them between the lines. The great blank space provided by the margins was now drafted into service. It is here that the absence of a proper reference system was felt. As the marginal body of remarks and critique began to accumulate, the page became a messy place, a labyrinth in which it became impossible for readers to find specific pieces of information. Then these note which was occupying the whole space around the text were inverted to the bottom leaving the white space again around the text. The balancing of the page within the text gives navigation sign for the reader, if it stay on the basic level it will only give the lest idea and mark. But breaking the boundary within the balance element gives the reader the direction sense and add life to the whole atmosphere. “Some space must be narrow so other space may be wide, and some space emptied so that other space maybe filled�. The difference between those two elements creates the energy and harmony to the page, combine with the margins space.
• Artist Page
The world experience has a hidden meaning of “shock” and “revelation”. This can be shown in the intense explorations of form in both work for Picasso and Georges Barque, which was the result of cubism. Creating the new concept of space constructed form with the connection between color, gray, black, and white tones. Previously as had been mentioned Mallarams changing size on the printed page has strong and parallel connection with the form changing of position and scale on the planes canvas in the Cubism movement. While Mallarme introduce visual elements into page design by emphasizing the optical dimension of the text, Cubists incorporated textual elements in pictorial space, first with stenciled letters, and later by pasting fragments of newspapers and other printed matter directly onto the canvas or paper. This method of pasting paper was called “Papier Colle” “Collage”, start to be the most influential art technique of the twentieth century, giving both writer and artist the tool to combine new language rules and having new media mix all. The continuously development of the different media from the painting and photography to the cinema on one side, and the development of the multimedia (hypermedia) on the other side can be seen in the collage of the cubism art.“Paint with words” as Apollinaire proclaimed who create his typographical poems which called ideogrammes or caligarms, which give the meaning from the form of rain on the page he design. Another approach from the artist dealing with the page design
15. Ol’ga Rozanova, Collage cover of Trans-Rational Book by Aleksei Kruchenykh and Aliagrov, 1916.
16. Marcel Duchamp, Cover of New York Dada, 1921. 17. Jindra Dvoracek, cover of Typography, no.5, 1913. 18. Guillaume Apollinaire, “Picasso” from SIC, 1917.
is the Czech artist who follows the Cubism but adding their own personality by highlighted diamond-shaped and triangular forms together with typographical sign and block letter. While the stenciled letter art can be perfectly seen in the work of Belgian Burssens who designed each page to be different in color and type style by the way of using letter overprinting Two different traditions and approaches appear in the twentieth century by two main artists Henri Matisse and Marcel Duchamp. Matisse approach were in producing illustrated artistic books, he represent the white space as primal space which allow him to achieve the harmony and the balance in the same time. As Matisse stressed on his book that “The lightness of the page can be developed by the general character of the thin, continuous line of the etching�. Matisse was half blind person but this issue encourages him to come up with the paper cutout technique in which color and line is easier to realize. One of his famous publication Jazz, he approached the page design as an art form. He reverses the relationship between painting and illustration instead of translating images from the canvas for the use on printed page. His sight issue becomes serous so he drives himself to new direction by creating important work of collaged cutouts.* On the other side, Maecel Duchamps work with the printed page he emphasize on the machine and sexuality, by imposing sexual powers onto the image of the machine. He create the readymade category of art object, which can be seen in his page designs and in addition he create new typeface. He reveled in plays on words, translating highly complex riddles and puns into visual language. He always uses the photomechanical reproduction to replace his readymade work. Duchamps explored different media forms, the changing status of the work in art and the changing way in which the meaning is encoded and transmitted. * Mak, Bonnie. How the Page Matter. 2011
REFERENCE 40
BOOK • Ambrose, Gavin & Harris, Paul. Basic design 07-Grid. 2008. • Andel. Jaroslav. Avant Gard Page Design 1900-1950. 2002 • ARS LIBRI LTD. Avant Garde-MODERN ART. 2009 • Blackwell, Lewis. 20th Century Type remix. 1998 • Brighurst, Robert. The Elements of Typographic Style. 2001 • Castex, Jean. Architecture of Italy. 2008 • Gullen, Kristian. Layout Workbook. 2005 • Grafton, Anthony. The Footnote A Curious History. 1997 • Grraver, Amy & Jura, Ben. Grids and Page Layouts best practices for graphic designers. 2012 • Handel, Richard. Aspect of contemporary book design. USA, 2013. • Mak, Bonnie. How the Page Matter. 2011 • Ott, Nicolaus & Stein, Bernard & Fried, Friedrich. Typography - when who how. 1998 • Samara, Timothy. Making and Breaking the Grid. 2002 • Spencer, Herbert. Pioneers Of Modern Typography. 1982 • Walton, Roger. Typographics - the art of typography from digital to dyeline.1995.
WEB • http://www.e-codices.unifr.ch/en • https://www.khanacademy.org/humanities/medieval-world/ medieval-book/using-medieval-book/a/the-medieval-origins-of-the-modern-footnote • http://en.wikipedia.org/wiki/Book_design#Page_spread • http://jwilson.coe.uga.edu/emat6680/parveen/gr_in_art. htm • http://thecharnelhouse.org/2014/09/07/hans-arp-and-ellissitzky-the-isms-of-art-1924/ • http://www.bobolinkbooks.com/BALLAST/AvantGardePage. html • http://www.creativepro.com/article/dot-font-avant-gardepage-design