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The visual identity of the book : from the Renaissance to the Digital Age /

The Visual Identity of the Book: From the Renaissance to the Digital Age provides a framework that considers the 'materiality' of the book (from printed to digital/electronic), the aspects of the stakeholders in the publishing chain, the traditional and ongoing promotion strategies, reader...

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Bibliographic Details
Main Author: Banou, Christina (Author)
Corporate Author: ScienceDirect (Online service)
Format: eBook
Language:English
Published: Cambridge, MA : Chandos Publishing is an imprint of Elsevier, 2025.
Series:Chandos Information Professional Series
Subjects:
Publishers and publishing > History.
Publishers and publishing > Philosophy.
Books > History.
Livres > Histoire.
Electronic books.
Online Access:Connect to the full text of this electronic book
Table of Contents:
  • Front Cover
  • The Visual Identity of the Book
  • Copyright Page
  • Dedication
  • Contents
  • Foreword
  • Preface and Acknowledgments
  • A life in books
  • Acknowledgments
  • 1 Introduction: The visual identity of the book
  • 1.1 The visual evolution and information mechanisms of the book
  • 1.2 Redefining the book: Quests and questions
  • 1.3 Understanding the publishing industry: A history of innovations and challenges
  • 1.4 The aesthetic capital of the publishing industry
  • 1.5 The structure of the book
  • 2 Through the page: The evolution of the visual identity
  • 2.1 The "horseless carriage" period: The early printed books
  • 2.1.1 Notes on bibliography
  • 2.1.2 In this chapter
  • 2.1.3 Setting the scene of books
  • 2.2 The visual order of the page
  • 2.2.1 Headlines and running titles
  • 2.2.2 Chapter heads and subheads
  • 2.2.3 Margins, marginal notes, marginal heads
  • 2.2.4 The manicule
  • 2.2.5 Foliation, pagination, catchwords, signatures
  • 2.2.6 Decoration
  • 2.2.7 Headpieces
  • 2.2.8 Initials
  • 2.2.9 Fleurons-small ornaments
  • 2.2.10 Tailpieces
  • 2.2.11 Printing in red
  • 2.2.12 Printing in gold
  • 2.2.13 Printing in color and colored prints
  • 2.2.14 Technopaignia (carmina figurate)
  • 2.2.15 Volvelles and movable parts: Interactivity, reader engagement, and convergence of media
  • 2.2.16 Children's book publishing: novelty or toy books
  • 2.2.17 The case of almanacs, calendars, manuals, and other practical books
  • 2.2.18 Illustration
  • 2.2.19 Folding pages
  • 2.2.20 The edges of the book
  • 2.3 Information mechanisms of the book: Parts of the book
  • 2.3.1 The opening of the book-frontmatter
  • 2.3.2 Title-page
  • 2.3.3 The frontispiece
  • 2.3.4 The portrait of the author and the rise of authorship
  • 2.3.5 The end of the book, back matter
  • 2.3.6 Colophon
  • 2.3.7 Cover and dust jacket (or book jacket or cover jacket).
  • 2.3.8 Slipcases
  • 2.4 The democratization of taste and visual expectations
  • 2.4.1 The democratization of taste
  • 2.4.2 The visual expectations of the readers
  • 2.4.3 Information, discoverability and visual dialogs
  • 2.5 Establishing everyday book culture from Aldus Manutius to Allen Lane
  • 2.6 Conclusions of the chapter: Defining the page, maturing the book
  • 3 Converged aesthetics: Personalized publishing services
  • 3.1 Converged aesthetics: The evolution of "luxury" copies and deluxe editions
  • 3.1.1 Defining luxury copies and editions
  • 3.1.2 Categorization of luxury copies: questions and quests during the early period of printing
  • 3.2 The systemization of deluxe and limited editions from the Renaissance to nowadays
  • 3.2.1 Deluxe, limited, collectable, exclusive editions
  • 3.2.2 Commemorative editions
  • 3.2.3 Signed books-dedications
  • 3.2.4 Facsimiles
  • 3.2.5 (Numbered) prints that accompany the edition
  • 3.3 The post-luxury copy: Customized copies, personalized publishing services and reader engagement
  • 3.3.1 Cut-and-paste books
  • 3.3.2 Extra-illustration and reader engagement
  • 3.3.3 Customized copies
  • 3.3.4 Personalized publishing services nowadays
  • 3.3.5 Reader creativity. The case of coloring books
  • 3.4 The uses of the book
  • 4 Conclusions: Challenges and opportunities
  • 4.1 Reframing the world: Visual structures, strategies, and uses of the book
  • 4.1.1 Books as desirable, complex devices
  • 4.1.2 From reader engagement to reader creativity
  • 4.1.3 The customized book and personalized publishing services
  • 4.1.4 The complex uses and the "future" of the book
  • 4.1.5 The printed word and the virtual word. Convergence of media
  • 4.1.6 Waiting for the unexpected: Visual expectations and adventures
  • 4.1.7 Discoverability, promotion, and visual identity.
  • 4.1.8 Short forms, multipaged books and the reintroduction of classics
  • 4.1.9 Publishing industry and democracy
  • 4.2 Constant challenges for the book and the publishing industry. Future research
  • Bibliography
  • References
  • Further reading
  • Appendix A: List of illustrations
  • Index of names
  • Index of Terms
  • Back Cover.