History Of Book Quiz 2

Front 1

conscribere

Back 1

to write with; scribes copy but is also a coauthor of the book

Front 2

Plaigerism

Back 2

"kidnapper" in Latin; stealing a body of words or ideas

Front 3

Guild of Printers

Back 3

Stationers Company divide up books and say that this printer calls certain works and other printers in the guild abide by the rules to not print it, or else the printer would be shunned by the guild and thrown out

Front 4

Royal Priveledges

Back 4

monopoly grant that the king gives to a particular printer so no one else can print it

Front 5

Royal Stationers Company

Back 5

Established monopoly is questioned by Parliament

Front 6

Statue of Anne

Back 6

First copyright sttue in the world passed in 1709

Front 7

Woodcut

Back 7

White spaces are carved away, ink lays on top; can be locked in with type; no tone/gradation, limited perspective, not realistic

Front 8

Engraving/Copperplate

Back 8

18th/early 19th CE; ncising a design on to a hard, usually flat surface, by cutting grooves into it. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper as prints or illustrations; these images are also called engravings; CAN SEE A CLEAR PLATE MARK

Front 9

Intaglio

Back 9

the image is incised into a surface, known as the matrix or plate. Normally, copper or zinc plates are used as a surface, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collographs may also be printed as intaglio plates. To print an intaglio plate, ink is applied to the surface and then rubbed with tarlatan cloth to remove most of the excess. The final smooth wipe is often done with newspaper or old public phone book pages, leaving ink only in the incisions. A damp piece of paper is placed on top and the plate and paper are run through a printing press that, through pressure, transfers the ink from the recesses of the plate to the paper.

Front 10

Diderot's Encyclopedia

Back 10

engravings; very expenseive

Front 11

Collagraph

Back 11

large stamp made from found materials. This includes cardboard, paper, plastic bags etc. The plate is made for the relief printing processes. To achieve tone one has to think about paper thin materials that will hold the ink for printing.

Front 12

Rolling Press

Back 12

copper plate is on top of a press that puts lots of pressure on the image

Front 13

Etching

Back 13

process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal plate which is covered with a waxy ground which is resistant to acid that must be scratched off the ground with a pointed etching needle where he wants a line to appear in the finished piece, so exposing the bare metal.

Front 14

Mezzotint

Back 14

process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a metal tool with small teeth, called a "rocker." In printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean. A high level of quality and richness in the print can be achieved.

Front 15

Aquatint

Back 15

The plate is then heated; if the plate is covered with powder, the resin melts forming a fine and even coat; if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even and fine level of corrosion (the "bite") sufficient to hold ink. At this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, the paper would display a gray color more or less directly in between white (no ink) and black (full ink).

Front 16

1839

Back 16

Invention of Photography

Front 17

Lithography

Back 17

used an image drawn in wax or other oily substance applied to a lithographic stone as the medium to transfer ink to the printed sheet; looks like watercolor laid on print/ flat; negative relief

Front 18

Photolithography

Back 18

uses light to catalyze the separation of grease and water

Front 19

Chromolithography

Back 19

ink leaves the stone in multile colors; hard/bright/glossy/garish look, flat plane of color, not subtle shading, enabled AFFORADABLE COLOR PRINT

Front 20

Wood Engraving

Back 20

NOT AN ENGRAVING; utilizes the end grain of wood as a medium for engraving, thus differing from the older technique of woodcut, where the softer side grain is used; USED FOR BOOKS

Front 21

ink squash

Back 21

ink is not in a straight line because it bleads; in INTAGLIO

Front 22

Half Tone Screen

Back 22

has ink squash, has dots to make up pictures; is used in letterpress process

Front 23

3 Volume Sets

Back 23

paid by volume; expensive; 80% of all novels were printed in this form; exerts power over publishers because 3 volume format allowed 3 people to read at a time (rising literacy rates with Industrial Revolution)

Front 24

Circulating Library

Back 24

not free libraries; [ay subscription fee to rent fiction

Front 25

Muddy Select Library

Back 25

Largest circulating library of its time; the labels were considered less because they were flaws and people attempted to scrape them off

Front 26

Publishing In Parts

Back 26

(1830s-1850s) comes out once a month for 1 shilling per pamphlet; undermines tyranny of 3 volume set; not expensive; ex. Nicholas NIckelby

Front 27

Fiction in Magazines

Back 27

replaced publishing in parts; much more afforadable

Front 28

Yellowbacks/ Railway Novels

Back 28

various/colorful/cheap novels, can read on long journeys, romances & tales of adventures; can rent for a low fee and drop off at a destination station

Front 29

Remainder Novel

Back 29

3 part novel published from unbound sheets into one form; from a warehouse; cheaper/uses paper

Front 30

Plain Boards

Back 30

Showed literary seriousness; ex. Bronte's Jane Eyre

Front 31

Split Spray

Back 31

Apply multiple colors to press

Front 32

Gift Annuals

Back 32

1820s-1860s; given from woman to woman at Christmas/birthdays; mezzotint steel engraving; demonastrate fine taste in literature because it appeared appropriate for reading to family; colorful gilt bindings

Front 33

Extra Illustration

Back 33

Late 19th ce; paste in extra pictures and articles in a well known text

Front 34

Edition Bindings

Back 34

When publisher binds the edition themselves instead of selling them just as sheets; the bindings become UNIFORM as well

Front 35

Sturdy Paper

Back 35

uncut/deckeled edges that are temporary gathered into a volume

Front 36

1830-1840s

Back 36

Ribbon Embossed Cloth

Front 37

Publisher's cloth

Back 37

1830s; plain muslim

Front 38

Stamping in Guilt

Back 38

like tooled in gilt but on cloth

Front 39

Striped Bindings

Back 39

1840s ONLY, never seen again

Front 40

Gold Stamping

Back 40

1850s- 1860s; dye cast stamps beginning to represent content inside for pictoral intent; CHOICE

Front 41

High Victorian

Back 41

Found in varaint colors because of spray ink jet; can spray on bindings

Front 42

1890s

Back 42

Highly pictoral, white bindings were popular; multiple colors

Front 43

White Color Bindings

Back 43

1890s; looks yellow; has aesthetic movement in binding design

Front 44

Giant Blue Medievalesque Book

Back 44

concieved by William Morris

Front 45

Dust Wrappers

Back 45

Invented in 1890s; to protect the ornamentation of dust wrapper; temporary and ment to be discarded

Front 46

Photographic Inlay

Back 46

1890s, Asian influenced?