Report: Reading Classics by annalena Weber

Complex Text TYMPBP | Project Report

Annalena Weber Student number 22847265 Autumn term 2014 University of Reading

Contents BRIEF

DISCOVER

Research: Layout and format 7

Format and typeface 9

TRANSFORM

Treasure Island 11

Page examples, Autumn Term 12

Page examples, Final Display 14

MAKE

Format, Notes and Titles 16

Rules 19

Running text 21

Grid 22

Logotype 25

Title, Cover and endpaper 27

Blad 33

brie f

Brief Reading classics OBJECTIVES • to discover typographic conventions for academic and annotated texts • to discover approaches to series identity through series design • to discover efficient formatting techniques • to transform the texts supplied into a coherent series design • to make a convincing set of visuals/dummies to demonstrate your design proposal • to make an efficient InDesign template for the series TASK Reading Classics are a new series of annotated classics aimed at the general reader. While they share many of titles with paperback series such as Penguin Classics, Oneworld Classics, and Oxford World’s Classics, Reading Classics are seeking a distinctive market position. The task is to propose a series design including format (page size), text and cover design. During the Autumn Term project the student develops and proposes the format and text design; the presentation for the final display includes binding and cover proposals to make a complete package. Each title contains an introduction (with footnotes), other prelim items, and explanatory notes to the text.

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The Bible: first page of The Gospels according to Matthew

Henry the Fifth: text page

Treasure Island: content page (2)

War and Peace: Content page 6

RilkeÂ´s poems: page with poems

Treasure Island: first chapter

War and Peace: Footnotes

d iscove r

Discover Research: Page design and format During the first week of this project I visited a bookshop to draw inspiration from the covers, formats and typographic treatment of different existing series. I focused on the books that we were briefed to design. I did not have the opportunity of a direct comparison as the shop did not sell the Oxfords Classics, on which the project was based. While it was good to see different approaches of equal texts, it would have been helpful to examine all the individual details of the Oxford Classics. Since I had not started working on the project yet, I was not sure what exactly to look for. This first visit did however give me a vast overview of how the different texts were treated. Some weeks later I returned to the shop and looked at some books to find out how specific problems were handled in other books.

Pushkin Press 195 x 135 mm

Vintage Classics 173 x 139 mm

Vintage Classics 181 x 111 mm

Perspephone Books 205 x 121 mm

Fischer Taschenbuchverlag 145 x 94 mm

Fischer Taschenbuchverlag 7

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tests for

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Vivastant. Ebefatio, et? Nihiliae dum ego consci pritili sum poenamquam, quam

combinations of sans serif and serif

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d iscove r

Discover Format The unusually squarish format of my first designs for the Reading Classics were inspired by book-series like Persephone Classics and Vintage Classics. The very wide format of those series give them an appealing while at the same time clumsy look. As some of the texts are very difficult to read I found it important to make the first visual impact of the Reading Classics to be easily approachable. The first format measured 149 x 197 mm. That is the width of an A5 format. The hight is a 3:4 proportion to it.

Typeface This idea of a friendly atmosphere also influenced my choice of the typeface. Initially I wanted to use Dolly Pro TM. Dolly Pro is a book typeface with a flourishing flavour. It is suitable for classical book type setting as well as for more contemporary magazine designs. Dolly Pro TM is a very wide typeface with thick strokes that make the page look very dark. This darkness can be a disadvantage but worked as a stabilising factor of the page-appearance in my design. However, I noticed that the italic of Dolly Pro TM is very bold and draws to much attention. So I changed the typeface to Plantin ÂŠ by Monotype. This traditional book-font has similar characteristics regarding the x-height and the darkness of the page. Its main advantage was that it included more styles and was therefore much more suitable for a book-series. The reason why I finally decided for Apollo MT was that the version of Plantin ÂŠ I used was not the professional-version. Every time I wanted to use small-caps in combination with upper case letters I had to insert them manually.

t ransf orm

Transform Treasure Island

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t h e c o m p l e x t e x t s p ro j e c t

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CHAPTER I T he old sea-dog aT The ‘admiral BenBow’ *

squire trelawney,* Dr Livesey, and the rest of these gentlemen having asked me to write down the whole particulars about Treasure Island, from the beginning to the end, keeping nothing back but the bearings of the island, and that only because there is still treasure not yet lifted, I take up my pen in the year of grace 17—, and go back to the time when my father kept the ‘Admiral Benbow’ inn, and the brown old seaman, with the sabre cut, first took up his lodging under our roof.* I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a handbarrow; a tall, strong, heavy, nut-brown man; his tarry pigtail* falling over the shoulders of his soiled blue coat; his hands ragged and scarred, with black, broken nails; and the sabre cut across one cheek, a dirty, livid white.* I remember him looking round the cove and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards:— ‘Fifteen men on the dead man’s chest— Yo-ho-ho, and a bottle of rum!’* in the high, old tottering voice that seemed to have been tuned and broken at the capstan bars. Then he rapped on the door with a bit of stick like a handspike that he carried, and when my father appeared, called roughly for a glass of rum. This, when it was brought to him, he drank slowly, like a connoisseur, lingering on the taste, and still looking about him at the cliffs and up at our signboard. ‘This is a handy cove,’ says he, at length; ‘and a pleasant sittyated grogshop.* Much company, mate?’ My father told him no, very little company, the more was the pity.

CHAPTER I The old sea-dog aT The ‘admiral BenBow’ *

squire trelawney,* Dr Livesey, and the rest of these gentlemen having asked me to write down the whole particulars about Treasure Island, from the beginning to the end, keeping nothing back but the bearings of the island, and that only because there is still treasure not yet lifted, I take up my pen in the year of grace 17…, and go back to the time when my father kept the ‘Admiral Benbow’ inn, and the brown old seaman, with the sabre cut, first took up his lodging under our roof.* I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a handbarrow; a tall, strong, heavy, nut-brown man; his tarry pigtail* falling over the shoulders of his soiled blue coat; his hands ragged and scarred, with black, broken nails; and the sabre cut across one cheek, a dirty, livid white.* I remember him looking round the cove and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards: ‘Fifteen men on the dead man’s chest Yo-ho-ho, and a bottle of rum!’* in the high, old tottering voice that seemed to have been tuned and broken at the capstan bars. Then he rapped on the door with a bit of stick like a handspike that he carried, and when my father appeared, called roughly for a glass of rum. This, when it was brought to him, he drank slowly, like a connoisseur, lingering on the taste, and still looking about him at the cliffs and up at our signboard. ‘This is a handy cove,’ says he, at length; ‘and a pleasant sittyated grog-shop.* Much company, mate?’

–2–

148 x 197 mm, Dolly, 2nd week

148 x 197 mm, Dolly, 3rd week

C hap t e r I

The old sea-dog at the ‘Admiral Benbow’ * Squire Trelawney,* Dr. Livesey, and the rest of these gentlemen having asked me to write down the whole particulars about Treasure Island, from the beginning to the end, keeping nothing back but the bearings of the island, and that only because there is still treasure not yet lifted, I take up my pen in the year of grace 17, and go back to the time when my father kept the ‘Admiral Benbow’ inn, and the brown old seaman, with the sabre cut, first took up his lodging under our roof.* I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a handbarrow; a tall, strong, heavy, nut-brown man; his tarry pigtail* falling over the shoulders of his soiled blue coat; his hands ragged and scarred, with black, broken nails; and the sabre cut across one cheek, a dirty, livid white.* I remember him looking round the cove and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards: ‘Fifteen men on the dead man’s chest Yo-ho-ho, and a bottle of rum!’* in the high, old tottering voice that seemed to have been tuned and broken at the capstan bars. Then he rapped on the door with a bit of stick like a handspike that he carried, and when my father appeared, called roughly for a glass of rum. This, when it was brought to him, he drank slowly, like a connoisseur, lingering on the taste, and still looking about him at the cliffs and up at our signboard. ‘This is a handy cove,’ says he, at length; ‘and a pleasant sittyated grog-shop.* Much company, mate?’ My father told him no, very little company, the more was the pity.

Chapte r I

The old sea-dog at the ‘Admiral Benbow’ * Squire Trelawney,* Dr. Livesey, and the rest of these gentlemen having asked me to write down the whole particulars about Treasure Island, from the beginning to the end, keeping nothing back but the bearings of the island, and that only because there is still treasure not yet lifted, I take up my pen in the year of grace 17, and go back to the time when my father kept the ‘Admiral Benbow’ inn, and the brown old seaman, with the sabre cut, first took up his lodging under our roof.* I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a handbarrow; a tall, strong, heavy, nut-brown man; his tarry pigtail* falling over the shoulders of his soiled blue coat; his hands ragged and scarred, with black, broken nails; and the sabre cut across one cheek, a dirty, livid white.* I remember him looking round the cove and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards: ‘Fifteen men on the dead man’s chest Yo-ho-ho, and a bottle of rum!’* in the high, old tottering voice that seemed to have been tuned and broken at the capstan bars. Then he rapped on the door with a bit of stick like a handspike that he carried, and when my father appeared, called roughly for a glass of rum. This, when it was brought to him, he drank slowly, like a connoisseur, lingering on the taste, and still looking about him at the cliffs and up at our signboard. ‘This is a handy cove,’ says he, at length; ‘and a pleasant sittuated grog-shop.* Much company, mate?’ My father told him no, very little company, the more was the pity.

148 x 197 mm, Apollo, 4th week 140 x 210 mm, Apollo, 5th week

t r ansform

Transform Page examples (submitted in autumn term)

Duino Elegies From the Castle of Princess Marie von Thurn und Taxis-Hohenlohe* (1911/1922)

The First Elegy Who, if I cried out, would hear me among the orders of Angels?* and even if one should suddenly hold me to his heart I would fade back, touching his intenser existence. For beauty* is nothing but the beginning edge of the dread* we may barely endure, object of our awe because it serenely disdains to annihilate us. Every Angel is dread. And so, curbing myself, I choke back the dark sobbed call to them. Ah, whom to summon here, to our need? Not Angels, not men; and the animals canny, are well aware we are not reliably one with the interpreted world.* Perhaps growing upon the hill there is some tree left us, so that we see it daily. Perhaps there is yesterday’s street still left us, and the loyalty of habit that, once moved in with us, found our life to its liking and so stayed on, not leaving again. Oh and the night* – the night, where the outer-space-filled wind gnaws at the face – with whom should it not stay, longed for, gently disillusioning, painful to meet

Duineser Elegien Aus dem Besitz der Fürstin Marie von Thurn und Taxis-Hohenlohe (1911/1922)

Die erste Elegie Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen? und gesetzt selbst, es nähme einer mich plötzlich ans Herz: ich verginge von seinem stärkeren Dasein. Denn das Schöne ist nichts als des Schrecklichen Anfang, den wir noch grade ertragen, und wir bewundern es so, weil es gelassen verschmäht, uns zu zerstören. Ein jeder Engel ist schrecklich. Und so verhalt ich mich denn und verschlucke den Lockruf dunkelen Schluchzens. Ach, wen vermögen wir denn zu brauchen? Engel nicht, Menschen nicht, und die findigen Tiere merken es schon, daß wir nicht sehr verläßlich zu Haus sind in der gedeuteten Welt. Es bleibt uns vielleicht irgend ein Baum an dem Abhang, daß wir ihn täglich wiedersähen; es bleibt uns die Straße von gestern und das verzogene Treusein einer Gewohnheit, der es bei uns gefiel, und so blieb sie und ging nicht. O und die Nacht, die Nacht, wenn der Wind voller Weltraum uns am Angesicht zehrt – , wem bliebe sie nicht, die ersehnte, sanft enttäuschende, welche dem einzelnen Herzen

page spread: beginning of Duino Elegies, Rilke

Th e Go spe ls

Saint Mathew i.18 – ii.20

Now the birth of Jesus Christ was on this wise: when as his mother Mary was espoused to Joseph, before they came together, she was found with child of the Holy Ghost. 19 Then Joseph her husband, being a just man, and not willing to make her a public example, was minded to put her away privily. 20 But while he thought on these things, behold, the angel of the Lord appeared unto him in a dream, saying, ‘Joseph thou son of David, fear not to take unto thee Mary thy wife; for that which is conceived in her, is of the Holy Ghost. 21 And she shall bring forth a son, and thou shalt call his name Jesus: for he shall save his people from their sins.’ 22 Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, 23 ‘Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel,’ which being interpreted, is, God with us. 24 Then Joseph, being raised from sleep, did as the angel of the Lord had bidden him, and took unto him his wife: 25 and knew her not, till she had brought forth her first born son, and he called his name Jesus.

thou Bethlehem, in the land of Juda, art not the least among the princes of Juda: for out of thee shall come a Governor, that shall rule my people Israel’’. 7 Then Herod, when he had privily called the wise men, enquired of them diligently what time the star appeared. 8 And he sent them to Bethlehem, and said, ‘Go, and search diligently for the young child, and when ye have found him, bring me word again, that I may come and worship him also.’ 9 When they had heard the king, they departed; and lo, the star which they saw in the east, went before them, till it came and stood over where the young child was. 10 When they saw the star, they rejoiced with exceeding great joy. 11 And when they were come into the house, they saw the young child with Mary his mother, and fell down, and worshipped him: and when they had opened their treasures, they presented unto him gifts; gold, and frankincense, and myrrh. 12 And being warned of God in a dream, that they should not return to Herod, they departed into their own country another way. 13 And when they were departed, behold, the angel of the Lord appeareth to Joseph in a dream, saying, ‘Arise and take the young child, and his mother, and flee into Egypt, and be thou there until I bring thee word: for Herod will seek the young child, to destroy him.’ 14 When he arose, he took the young child and his mother by night, and departed into Egypt: 15 and was there until the death of Herod, that it might be fulfilled which was spoken of the Lord by the prophet, saying, ‘Out of Egypt have I called my son.’ 16 Then Herod, when he saw that he was mocked of the wise men, was exceeding wroth, and sent forth, and slew all the children that were in Bethlehem, and in all the coasts thereof, from two years old and under, according to the time, which he had diligently enquired of the wise men. 17 Then was fulfilled that which was spoken by Jeremy the prophet, saying, 18 ‘In Rama was there a voice heard, lamentation, and weeping, and great mourning, Rachel weeping for her children, and would not be comforted, because they are not.’ 19 But when Herod was dead, behold, an angel of the Lord appeareth in a dream to Joseph in Egypt, 20 saying, ‘Arise, and take

8 18

C hapte r 2 1 The wise men out of the east are directed to Christ by a star. 11 They worship him, and offer their presents. 14 Joseph fleeth into Egypt, with Jesus and his mother. 16 Herod slayeth the children; 20 himself dieth. 23 Christ is brought back again into Galilee to Nazareth. Now when Jesus was born in Bethlehem of Judaea, in the days of Herod the king, behold, there came wise men from the east to Jerusalem, 2 saying, ‘Where is he that is born King of the Jews? for we have seen his star in the east, and are come to worship him.’ 3 When Herod the king had heard these things, he was troubled, and all Jerusalem with him. 4 And when he had gathered all the chief priests and scribes of the people together, he demanded of them where Christ should be born. 5 And they said unto him, ‘In Bethlehem of Judaea: for thus it is written by the prophet, 6 ‘And

page spread: The Gospels according to Mathew 12

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Part iv The Stockade

Contents

XVI. Narrative Continued By The Doctor: How The Ship Was Abandoned XVII. Narrative Continued By The Doctor: The Jolly-Boat’s Last Trip XVIII. Narrative Continued By The Doctor: End Of The First Day’s Fighting XIX. Narrative Resumed By Jim Hawkins: The Garrison In The Stockade XX. Silver’s Embassy XXI. The Attack

part i The Old Buccaneer I. II. III. IV. V. VI.

The Old Sea-Dog At The ‘Admiral Benbow’ Black Dog Appears And Disappears The Black Spot The Sea Chest The Last Of The Blind Man The Captain’s Papers

1 7 13 19 25 30

I Go To Bristol At The Sign Of The ‘Spy-Glass’ Powder And Arms The Voyage What I Heard In The Apple Barrel Council Of War

XXII. XXIII. XXIV. XXV. XXVI. XXVII.

36 42 47 52 57 63

93 98 104 109

How My Shore Adventure Began The First Blow The Man Of The Island

How My Sea Adventure Began The Ebb-Tide Runs The Cruise Of The Coracle I Strike The Jolly Roger Israel Hands ‘Pieces Of Eight’

115 121 126 131 136 143

Part vi Captain Silver

Part iii My Shore Adventure XIII. XIV. XV.

Part v My Sea Adventure

Part ii The Sea Cook VII. VIII. IX. X. XI. XII.

XXVIII. XXIX. XXX. XXXI. XXXII.

In The Enemy’s Camp The Black Spot Again On Parole The Treasure Hunt—Flint’s Pointer The Treasure Hunt— The Voice Among The Trees XXXIII. The Fall Of A Chieftain XXXIV. And Last

68 73 78

149 157 163 169 175 181 187

page spread: content page, Treasure Island

2.1.1 – 2.1.4 9

Ensign Pistol and his wife. Good corporal, be patient here. nim How now, mine host Pistol?

Act 2 Sce ne 1

nim Good morrow, Lieutenant Bardolph. bardolph What, are Ensign Pistol and you friends yet?

1 2

bardolph I will bestow a breakfast to make you friends, and we’ll be all three sworn brothers to France. Let’t be so, good Corporal Nim. 11 nim Faith, I will live so long as I may, that’s the certain of it, and when I cannot live any longer, I will do as I may. That is my rest, that is the rendezvous of it. 14 bardolph It is certain, corporal, that he is married to Nell Quickly, and certainly she did you wrong, for you were trothplight to her. 17 nim I cannot tell. Things must be as they may. Men may sleep, and they may have their throats about them at that time, and some say knives have edges. It must be as it may. Patience be a tired mare, yet she will plod. There must be conclusions. Well, I cannot tell. 22 Enter Ensign, Pistol and Hostess quickly

hostess No, by my troth, not long, for we cannot lodge and board a dozen or fourteen gentlewomen that live honestly by the prick of their needles, but it will be thought we keep a bawdyhouse straight. 31 Nim draws his sword

nim For my part, I care not. I say little, but what time shall serve, there shall be smiles – but that shall be as it may. I dare not fight, but I will wink and hold out mine iron. It is a simple one, but what though? It will toast cheese, and it will endure cold, as another man’s sword will – and there’s an end. 8

bardolph Good morrow, Ensign Pistol. (To Nim) Here comes

pistol Base tick, call’st thou me host? Now by Gad’s lugs I swear I scorn the term. Nor shall Nell keep lodgers.

Enter Corporal Nim and Lieutenant Bardolph bardolph Well met, Corporal Nim.

11 24

Oh well-a-day. Lady! If he be not hewn now, we shall see wilful adultery and murder committed. 33 Pistol draws his sword bardolph Good Lieutenant, good corporal, offer nothing here. nim Pish.

pistol

Pish for thee, Iceland dog. Thou prick-eared cur of Iceland. 37

hostess

Good Corporal Nim, show thy valour, and put up your sword. 39 They sheathe their swords

nim Will you shog off? I will have you solus. pistol ‘Solus,’ egregious dog? O viper vile! The solus in thy most marvellous face, The solus in thy teeth, and in thy throat, And in thy hateful lungs, yea, in thy maw pardie – And which is worse, within thy nasty mouth. I do retort the solus in thy bowels, For I can take, and Pistol’s cock is up, And flashing fire will follow.

nim I am not Barbason, you cannot conjure me. I have an

page spread: Henry the Fifth

t r ansform

Transform Page examples (submitted for Final Display)

Duino Elegies

Duineser Elegien

From the Castle of Princess Marie von Thurn und Taxis-Hohenlohe* (1911/1922)

Aus dem Besitz der Fürstin Marie von Thurn und Taxis-Hohenlohe (1911/1922)

Die Erste Elegie Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen? und gesetzt selbst, es nähme einer mich plötzlich ans Herz: ich verginge von seinem stärkeren Dasein. Denn das Schöne ist nichts als des Schrecklichen Anfang, den wir noch grade ertragen, und wir bewundern es so, weil es gelassen verschmäht, uns zu zerstören. Ein jeder Engel ist schrecklich. Und so verhalt ich mich denn und verschlucke den Lockruf dunkelen Schluchzens. Ach, wen vermögen wir denn zu brauchen? Engel nicht, Menschen nicht, und die findigen Tiere merken es schon, daß wir nicht sehr verläßlich zu Haus sind in der gedeuteten Welt. Es bleibt uns vielleicht irgend ein Baum an dem Abhang, daß wir ihn täglich wiedersähen; es bleibt uns die Straße von gestern und das verzogene Treusein einer Gewohnheit, der es bei uns gefiel, und so blieb sie und ging nicht. O und die Nacht, die Nacht, wenn der Wind voller Weltraum

page spread: beginning of Duino Elegies, Rilke – What changed? drop cahnged to 7th line, titles all start with Upper case

the go spe ls

saint mathew i.18 – ii.16

all the generations from Abraham to David, are fourteen generations; and from David until the carrying away into Babylon, are fourteen generations; and from the carrying away into Babylon unto Christ, are fourteen generations. 18 Now the birth of Jesus Christ was on this wise: when as his mother Mary was espoused to Joseph, before they came together, she was found with child of the Holy Ghost. 19 Then Joseph her husband, being a just man, and not willing to make her a public example, was minded to put her away privily. 20 But while he thought on these things, behold, the angel of the Lord appeared unto him in a dream, saying, ‘Joseph thou son of David, fear not to take unto thee Mary thy wife; for that which is conceived in her, is of the Holy Ghost. 21 And she shall bring forth a son, and thou shalt call his name Jesus: for he shall save his people from their sins.’ 22 Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, 23 ‘Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel,’ which being interpreted, is, God with us. 24 Then Joseph, being raised from sleep, did as the angel of the Lord had bidden him, and took unto him his wife: 25 and knew her not, till she had brought forth her first born son, and he called his name Jesus.

we have seen his star in the east, and are come to worship him.’ 3 When Herod the king had heard these things, he was troubled, and all Jerusalem with him. 4 And when he had gathered all the chief priests and scribes of the people together, he demanded of them where Christ should be born. 5 And they said unto him, ‘In Bethlehem of Judaea: for thus it is written by the prophet, 6 ‘And thou Bethlehem, in the land of Juda, art not the least among the princes of Juda: for out of thee shall come a Governor, that shall rule my people Israel’’. 7 Then Herod, when he had privily called the wise men, enquired of them diligently what time the star appeared. 8 And he sent them to Bethlehem, and said, ‘Go, and search diligently for the young child, and when ye have found him, bring me word again, that I may come and worship him also.’ 9 When they had heard the king, they departed; and lo, the star which they saw in the east, went before them, till it came and stood over where the young child was. 10 When they saw the star, they rejoiced with exceeding great joy. 11 And when they were come into the house, they saw the young child with Mary his mother, and fell down, and worshipped him: and when they had opened their treasures, they presented unto him gifts; gold, and frankincense, and myrrh. 12 And being warned of God in a dream, that they should not return to Herod, they departed into their own country another way. 13 And when they were departed, behold, the angel of the Lord appeareth to Joseph in a dream, saying, ‘Arise and take the young child, and his mother, and flee into Egypt, and be thou there until I bring thee word: for Herod will seek the young child, to destroy him.’ 14 When he arose, he took the young child and his mother by night, and departed into Egypt: 15 and was there until the death of Herod, that it might be fulfilled which was spoken of the Lord by the prophet, saying, ‘Out of Egypt have I called my son.’ 16 Then Herod, when he saw that he was mocked of the wise men, was exceeding wroth, and sent forth, and slew all the chil-

17 So

page spread: The Gospels according to Matthew – What changed? almost no changes, but because of change of tyoesize and interlinear spacing (10 / 12.5 to 10.5 to 13) the text takes more space

t rans f orm

Contents

Part I The Old Buccaneer I II III IV V VI

The Old Sea-Dog At The ‘Admiral Benbow’ Black Dog Appears And Disappears The Black Spot The Sea Chest The Last Of The Blind Man The Captain’s Papers

1 7 13 19 25 30

Part ii The Sea Cook vii viii ix x xi xii

I Go To Bristol At The Sign Of The ‘Spy-Glass’ Powder And Arms The Voyage What I Heard In The Apple Barrel Council Of War

36 42 47 52 57 63

Part iii My Shore Adventure xiii xiv xv

How My Shore Adventure Began The First Blow The Man Of The Island

68 73 78

page spread: content page, Treasure Island – What changed? different width, roman numerals as small caps, blanc verso

2 .1 .1 – 2 .1 .5 2

bardolph Good morrow, Ensign Pistol. (To Nim) Here comes Ensign, Pistol and his wife. Good corporal, be patient here

Act 2 Scene 1

pistol Base tick, call’st thou me host? Now by Gad’s lugs I swear I scorn the term. Nor shall Nell keep lodgers. hostess No, by my troth, not long, for we cannot lodge and. board a dozen or fourteen gentlewomen that live honestly by the prick of their needles, but it will be thought we keep a bawdy-house straight.

bardolph Well met, Corporal Nim. nim Good morrow, Lieutenant Bardolph. bardolph What, are Ensign Pistol and you friends yet?

bardolph I will bestow a breakfast to make you friends, and we’ll be all three sworn brothers to France. Let’t be so, good Corporal Nim. nim Faith, I will live so long as I may, that’s the certain of it, and when I cannot live any longer, I will do as I may. That is my rest, that is the rendezvous of it.

Nim draws his sword 10

Oh well-a-day. Lady! If he be not hewn now, we shall see wilful adultery and murder committed.

Pistol draws his sword bardolph Good Lieutenant, good corporal, offer nothing here. 15

nim Pish. pistol Pish for thee, Iceland dog. Thou prick-eared cur of Iceland.

hostess Good Corporal Nim, show thy valour, and put up your sword. 20

bardolph It is certain, corporal, that he is married to Nell Quickly, and certainly she did you wrong, for you were trothplight to her. nim I cannot tell. Things must be as they may. Men may sleep, and they may have their throats about them at that time, and some say knives have edges. It must be as it may. Patience be a tired mare, yet she will plod. There must be conclusions. Well, I cannot tell.

nim How now, mine host Pistol?

Enter Corporal Nim and Lieutenant Bardolph

They sheathe their swords nim Will you shog off? I will have you solus

Enter Ensign, Pistol and Hostess quickly

pistol ‘Solus,’ egregious dog? O viper vile!. The solus in thy most marvellous face, The solus in thy teeth, and in thy throat, And in thy hateful lungs, yea, in thy maw pardie – And which is worse, within thy nasty mouth. I do retort the solus in thy bowels, For I can take, and Pistol’s cock is up, And flashing fire will follow.

page spread: Henry the Fifth – What changed? different indents

m ak e

During the work on the project I created several paragraph-styles. I used much time standardizing them for every document.

make

Make Format Throughout the initial part of the project I kept the wide format. But even though I liked the appearance of the combination of text and format, the design was very uneconomical and hard to handle for thick books like War and Peace. So I changed the format to a narrower version (140 x 210 mm) that also fitted more text on one page.

Notes I decided to avoid notes on the text-pages as much as possible. I did that out of the same reason that I have chosen a friendly looking typeface and format. As the brief did not state clearly if the books should be designed for studying or rather for pleasure-reading; I inclined for the latter. Most of the texts are very difficult to read: a page that is dominated by notes of the author, editor or translator makes that more then clear. Therefore, I decided to send most of the notes to the end of the book. This way even texts like the Gospels look like a novel, which makes it more approachable and easier to read.

Titles (see: table and chapter: Rules) TITLE SYSTEM Every text seemed to ask for a different treatment of the titles. I tried to adhere to the rules that I had set, but still changed them a lot during the process. I solved the problem by writing down these rules and applying them to all the texts. I made several exceptions in particular cases. A & B TITLES The leading visual characteristic of the whole series are the 足 A and B-titles with their rule-devices. They normally stand alone on the recto of two otherwise blanc pages. The decision to use them was a decision for a centred layout and made any following decisions much easier. E TITLE The Explanatory Notes-pages looked quite heavy and dark, because of the intensive use of E-titles (bold 8pt) So I eliminated the E-titles and replaced them with the italic or regular version

title page, beginning of text

for important categories like book (1, 2, 3...), parts or notes

for chapter titles etc

for subhapters etc subhead for C

for subcategories in explanatory pages

Title A

Title B

Title C

Title D

Title E

Function

Title E

Title D Subhead to C

Title C

Title B

Title A

how it looks like

left ragged

50 spacing

Apollo MT: Small Caps 9 pt typesize 11.25 interlinear space

first on page after D title, half line above, no space below

first on page: sitting on 1st line, no space below

in text: after C titel: 1 1/2 to D, half line below

first on page (subhead to C) 1 1/2 to C, sitting on 7th line

before C title: sitting on 3rd line, half line below

0 spacing centered

after C: hanging under 5th line, 1/2 lines below, text below on 7th line

firston page: hanging under 1st line

in text, D following: 2 lines above, 1 1/2 lines below to D

first on page (D as subhead following) sitting on 3rd line

first on page: after D: hanging under 4th line text below on 7th (1 1/2 lines between)

first on page (D following) sitting on 3rd line, 1 1/2 line below

first on page: hanging under 4th line, 1 1/2 line below, text below on 7th line

on page: sitting on 7th line, 3 1/2 line below

in contents: sitting on 2nd line, text below on 7th line

alone on page: sitting on 7th line

Position in text panel

Apollo MT Semi Oldstyle Figures: bold 10.5 pt typesize 13 interlinear space

centered

Apollo MT: regular 14 pt typesize 13 interlinear space

line above 7mm line below 5 mm lines 7pt shorter to each side centered

Apollo MT Semi Oldstyle: bold 14 pt typesize 13 interlinear space

line above 9mm line below 5.5 mm lines 10pt shorter to each side centered

Apollo MT: bold 20 pt typesize 13 interlinear space

size and type

1 line above (13 pt)

1 1/2 lines

2 lines

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1.75 pt

1/2 lines

1 line

Space below in text

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Make Rules • Text: begins on 7th line, where a text starts but there is no title • Italic text: when whole paragraph in italic: half line above and below • Asterisk: always with half line above and below • Notes: text in notes can end two line above, to avoid orphans and widows • Running head: no running head if D Title is first on page • Explanatory notes: • 3 figure space between number and explanation • m-space (or double m-space) between word and explanation • italics for names and book titles

‘Dieu, quelle virulente sortie!’1 replied the prince, not in the least disconcerted by this reception. He had just entered, wearing an embroidered court uniform, knee-breeches and shoes, and had stars on his breast and a serene expression on his flat face. He spoke in that refined French in which our grandfathers not only spoke but thought, and with the gentle, patronizing intonation natural to a man of importance who had grown old in society and at court. He went up to Anna Pavlovna, kissed her hand, presenting to her his bald, scented and shining head, and complacently seated himself on the sofa. ‘Avant tout dites-moi, comment vous allez, chère amie? 2 Set my mind at ease,’ said he without altering his tone, beneath the politeness and affected sympathy of which indifference and even irony could be discerned. ‘Can one be well while suffering morally? Can one be calm in times like these if one has any feeling?’ said Anna Pavlovna. ‘You are staying the whole evening, I hope?’ ‘And the fête at the English ambassador’s? Today is Wednesday. I must put in an appearance there,’ said the prince. ‘My daughter is coming for me to take me there.’ ‘I thought today’s fête had been cancelled. Je vous avoue que toutes ces fêtes et tous ces feux d’artifice commencement à devinir insipides.’3

1 2 3

‘Heavens! what a virulent attack!’ ‘First of all, dear friend, tell me how you are.’ ‘I confess all these parties are becoming tiresome.’

three main levels of running text

make

Make Running text I first used Apollo MT 10pt / 12.5 pt and later changed to Apollo MT 10.5pt / 13 pt as 10pt seemed to be fairly small. The text panel is 35 lines deep with an average line-length of 70 charac1 ters. That makes an average of 4500 ‘Dieu, quelle virulente sortie!’ replied the prince, notcharacters in the leasta page.

disconcerted by There this reception. hadofjust entered, an text, explanatory and are three He levels running text:wearing continious embroidered court uniform, knee-breeches and shoes, and had end-notes and footnotes. The relation between typesize and interlinear stars on his breast andis aequal serene on his flat face. He space in expression all three types. spoke in that refined French in which our grandfathers not only spoke but thought, intonationtext 10.5and pt with 13 ptthe gentle, 13 pt patronizing > continious natural to a man of1 pt importance who had grown old in society 1.238 pt > proportion and at court. 9 pt 11.142 pt 11.25 pt > notes He went up to Anna kissed herpt hand,>presenting 8 pt Pavlovna, 9.904 pt 9.904 footnotes to her his bald, scented and shining head, and complacently seated on the sofa. ‘Dieu,himself quelle virulente sortie!’1 replied the prince, not in the least disconcerted by this reception. He had just entered, wearing an 2 ‘Avant tout uniform, dites-moi, comment vous allez, Set my ‘Dieu, quelle virulente sortie!’1knee-breeches replied the prince, not inamie? the embroidered court and chère shoes, andleast had mind at ease,’ said he without altering his tone, beneath the politedisconcerted by thisand reception. hadTEXT just entered, wearing stars on his breast a sereneHeexpression on his flat face. an He CONTINIOUS ness and affected sympathy of which indifference and even irony embroidered uniform, knee-breeches and shoes, and had spoke incould thatcourt refined French in which our grandfathers not only be discerned. • a Apollo MT regular stars his breast and serene expression onCan hisone flat face. He spokeonbut thought, and with the gentle, patronizing intonation ‘Can one be well while suffering morally? be calm in times • 10.5pt on 13 pt spoke inlike that refined French in which our grandfathers not only natural to athese man of importance who had grown old in society if one has any feeling?’ said Anna Pavlovna. ‘You are stayspoke withI hope?’ the gentle, patronizing intonation and atbut court. ingthought, the wholeand evening, natural to ‘Aand man of importance who hadher grown old society He went up to Anna Pavlovna, kissed hand, presenting to I the fête at the English ambassador’s? Today isinWednesday. must put in an appearance there,’ said the prince. ‘My daughter and her at hiscourt. bald, scented and shining head, and complacently seated is coming for me to Pavlovna, take me there.’ He went Anna kissed her hand, presenting to himself on up theto sofa. ‘I thought today’s fête had beenand cancelled. Je vous seated avoue que her his bald, scented and shining head, complacently 2 toutes ces fêtes et tous ces feux d’artifice commencement devinir ‘Avant toutsofa. dites-moi, comment vous allez, amie? Set àmy himself on the EXPLANATORY ANDchère END-NOTES 3 mind insipides.’ at ease,’ said he without altering his tone, beneath the politeness andtout affected sympathy of which indifference 2 • comment Apollo MT ‘Avant dites-moi, vousregular allez, chère and amie?even Setirony my couldatbeease,’ discerned. 9pt on 11.25 his pt tone, beneath the politemind said he • without altering be wellsympathy while morally? besides calm times ness‘Can andone affected of which indifference and eveninirony • suffering indented 10.5 ptCan on one both like these if one has any feeling?’ said Anna Pavlovna. ‘You are staycould be discerned. indent on left depends on type of text ing theone whole evening, Isuffering hope?’ morally? Can one be calm in times ‘Can be well while • 1.75 pt space above where paragraph starts nd the fête has at the ambassador’s? Today is ‘You Wednesday. like‘Athese if one anyEnglish feeling?’ said Anna Pavlovna. are stay-I must in an appearance there,’ said the prince. ‘My daughter is ing theput whole evening, I hope?’ coming forfête me to me there.’ ‘And the at take the English ambassador’s? Today is Wednesday. I ‘I thought today’s fête had been Je ‘My vousdaughter avoue que must put in an appearance there,’ saidcancelled. the prince. is FOOTNOTES toutes ces fêtes et tous ces feux d’artifice commencement à devinir coming for me towhat takeame there.’ 1 ‘Heavens! virulent attack!’ 3 • Apollo MT you italics insipides.’ ‘I2 thought had ‘First oftoday’s all, dear fête friend, tell been me howcancelled. are.’ Je vous avoue que • 8pt on 10 pt toutes fêtes all et these tousparties ces feux d’artificetiresome.’ commencement à devinir 3 ces ‘I confess are becoming • 3 figure-spaces between number and text insipides.’3

1 ‘Heavens! what a virulent attack!’ 2 ‘First of all, dear friend, tell me how you are.’ 3 ‘I confess what all these partiesattack!’ are becoming tiresome.’ 1 ‘Heavens! a virulent 2 ‘First of all, dear friend, tell me how you are.’ 3 ‘I confess all these parties are becoming tiresome.’

23.5 mm

20 mm

m ak e

part / b o o k

Title A

Title B

18 mm 26 mm

26 mm

make

c hapt e r

1 2 3 4 5

Title C

Title D (subhead)

in most cases when there

is a chapter-opening text

Title D

begins here

9 10

Title E

11 12 13 14 15 16 159.5 mm

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

96 mm title system, original size

210 mm

140 mm

make

Make Logotype The logotype is a slightly abstracted symbol of an opened book.

m ak e

Washington Square

Washington Sqaure

In his Introduction Adrian Poole reflects on the book’s gestation and influences, the significance of place, and the insight with which the four prinicipal players are drawn. The edition includes an account of the real-life tale that sparked James’s imaginative genius.

henry james

Catherine Sloper is heiress to a fortune and the social eminence associated with Washington Square. She attracts the attention of a good-looking but penniless young man, Morris Townsend. His suit is encouraged by Catherine’s romantically-minded aunt, Mrs Penniman, but her father, a clever physician, is convinced that his motives are merely mercenary. He will not consent to the marriage, regardless of the cost to his daughter. Out of this classic confrontation Henry James fashioned one of his most deftly searching shorter fictions. First published in 1880 but set some forty years earlier in a pre-Civil War New York, the novel reflects ironically on the restricted world in which its heroine is marooned, seating herself at its close ‘for life, as it were’.

t h e o ld bucane e r

Edited with an Introduction and Notes by Adrian Poole

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Unselected Poems Gedichte

This bilingual edition fully reflects Rilke’s poetic development. It contains the full text of the Duino Elegies and the Sonnets to Orpheus, selected poems from The Book of Images, New Poems, and earlier volumes, and from the uncollected poetry 1906-26. The translations are accurate, sensitive, and nuanced, and are accompanied by an introduction and notes that elucidate Rilke’s poetic practice and his central role in modern poetry.

rainer maria Rilke

Rainer Maria Rilke (1875-1926) is one of the leading poets of European Modernism, and one of the greatest twentieth- century lyric poets in German. From The Book of Hours in 1905 to the Sonnets of Orpheus written in 1922, his poetry explores themes of death, love, and loss. He strives constantly to interrogate the relationship between his art and the world around him, moving from the neoromantic and the mystic towards the precise craft of expressing the everyday in poetry.

t h e o l d bucane e r

rainer maria rilke

Unselected Poems Gedichte

1912-1922

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Make Title, cover and endpaper I used the rule-device as the main element of the design. The colourpalette is rather dark, so the general look of the series appears serious.

henry james

Washington Square

Edited with an Introduction and Notes by Adrian Poole

READING CLASSICS

rainer maria rilke

Unselected Poems Gedichte 1912-1922

READING CLASSICS

m ak e

The Gospels

The Gospels are presented here in the words of the Authorized Version, or King James Bible, first published in 1611. This is the most widely-read translation of the Bible ever made, famous for the beauty and power of its language. The spelling of the original has been modernized, and the text is laid out in paragraphs for ease of reading. The Introduction guides the reader through the four Gospels in turn, highlighting how each offers its own distinctive and memorable portrait of Jesus.

saint matthew

Jesus Christ is the central figure in Western culture, and one of the most influential in all human history. Almost everything we know about him is contained in the four narratives of his life, death, and resur-rection known as the Gospels of Matthew, Mark, Luke, and John. These form the first four books of the New Testament in the Bible, and are regarded by Christians as their most precious and sacred writings.

t he ol d bucane e r

isbn 978-0-7334-2609-4

read ing clas s ics

Introducing this brilliantly innovative edition, Gary Taylor shows how Shakespeare shaped his historical material, examines controversial critical interpretations, discusses the play’s fluctuating fortunes in performance, and analyses the range and variety of Shakespeare’s characterization. The first Folio text is radically rethought, making original use of the First Quarto (1600).

william shakespeare

Henry V, the climax of Shakespeare’s sequence of English history plays, is an inspiring, often comic celebration of a young warrior-king. But it is also a study of the costly exhilarations of war, and of the penalties as well as the glories of human greatness.

the old bucane e r

williams skakespeare

Henry the Fifth

Henry the Fifth readi ng classi cs

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saint mathew

The Gospels

READING CLASSICS

wi lliam shakespeare

Henry the Fifth

READING CLASSICS

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leo tolstoy

War and Peace

In this revised and updated version of the definitive and highly acclaimed Maude translation, Tolstoy’s genius and the power of his prose are made newly available to the contemporary reader.

leo tolstoy

Tolstoy’s epic masterpiece intertwines the lives of private and public individuals during the time of the Napoleonic wars and the French invasion of Russia. The fortunes of the Rostovs and the Bolkonskys, of Pierre, Natasha, and Andrei, are intimately connected with the national history that is played out in parallel with their lives. Balls and soirées alternate with councils of war and the machinations of statesmen and generals, scenes of violent battles with everyday human passions in a work whose extraordinary imaginative power has never been surpassed. The prodigious cast of characters, both great and small, seem to act and move as if connected by threads of destiny as the novel relentlessly questions ideas of free will, fate, and providence. Yet Tolstoy’s portrayal of marital relations and scenes of domesticity is as truthful and poignant as the grand themes that underlie them.

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War and Peace Translated with Notes by Louise & Aylmer Maude Revised and Edited with an Introduction by Amy Mandelker

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robert louis stevenson

Treasure Island

Stevenson reinvented the genre with Treasure Island, a boys‘ story that appeals as much to adults as to children, and whose moral ambiguities turned the Victorian universe on its head. This edition celebrates the ultimate book of pirates and high adventure, and also examines how its tale of greed, murder, treachery, and evil has acquired its classic status.

robert luois stevenson

When a mysterious seafarer puts up at the Admiral Benbow, young Jim Hawkins is haunted by his frightening tales; the sailor‘s sudden death is the beginning of one of the most exciting adventure stories in literature. The discovery of a treasure map sets Jim and his companions in search of buried gold,and they are soon on board the Hispaniola with a crew of buccaneers recruited by the one-legged sea cook known as Long John Silver. As they near their desti-nation, and the lure of Captain Flint‘s treasure grows ever stronger, Jim‘s courage and wits are tested to the full.

the old bucane e r

readi ng classi cs

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leo tolstoy

War and Peace

Translated with Notes by Louise & Aylmer Maude Revised and Edited with an Introduction by Amy Mandelker

READING CLASSICS

robert louis stevenson

Treasure Island

READING CLASSICS

make

Make Blad The blad presents different parts of the series. This flat-plan shows how they will be distributed.

01 – 05 Reading series

Title page

06 – 11 imprint

content

Treasure Island

title

endpaper

12 – 17 Treasure Island

Treasure Island

18 – 23

m ak e

24 – 29 Treasure Island

Treasure Island

30 – 35 Treasure Island

Treasure Island

Henry

title

endpaper

Henry

36 – 41

42 – 47

Gospels title

48 – 53

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54 – 59 Gospels

Gospels

endpaper

Gospels

Washington

endpaper

60 – 65

66 – 71

72 – 77

Washington

title

Washington

78 – 83 Washington

Washington

m ak e

84 – 89 Washington

Washington

Rilke

endpaper

Rilke

title

90 – 95

96 – 101 Rilke

Rilke

102 – 107

War & Peace

title

108 – 113

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114 – 119 War & Peace

War & Peace

endpaper

War & Peace

Typographic Rules

table

120 – 125

126 – 131

132 – 137 War & Peace

138 – 140 table

table