Page Layout.
For most calligraphers, but particularly for anyone who wants to
embark on bookwork, it is important to know how to design a page. In
the 13th century, Villard de Honnecourt, an architect from Picardy in France,
devised an ingenious method of finding the so-called "golden rule," the optimum
proportions for margins, text area, and decorations on a book page.
This method is applicable to any page size. The sketch below shows
how it works:
1.
Draw the long diagonals AD, CB.
2. Draw the short diagonals CE, DE.
3. Draw the vertical FG.
4. Draw the line GH.
5. You now have the vital point Q. Draw horizontals
lines to cut CB and vertical lines to cut ED to get perfect text margins. |
As a result of his research into the methods of work of medieval
illuminators, Edward Johnston established the following formulae for well-proportioned
pages, ready for illumination and lettering.
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Here
is a double-page spread for a book with spaces left for illustrations a
little over half-way up the page. Although this can be judged by eye,
work out exactly where your lines of text begin and end, then allocate space
for illustrations. |
If a book is to be bound, remember to allow extra space in the
spine (gutter margin) to allow for the stitching. The binder may wish
to trim the pagaes after binding and you should also add a minimum of ¼
inch (5mm) around the other margins to allow for this.
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This
is a typical layout for an illuminated double-page spread, allowing for
borders on three sides of the block of text. When considering a layout,
always look upon the double-page spread as an entity. The two pages
may be different in their decoration, of course, but they should always harmonize
with each other. |
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This
layout incorporates a decorated initial, text, and decorative borders at
the foot of the pages. |
In the same way as you must carefully work
out the elements of illustration and gilding, so must your text be carefully
planned. Always rule lines on which to position the text (or use an
under sheet and a light table). These can be lightly pencilled in.
These lines should be just visible, otherwise you may damage the surface
of the paper or soil the vellum when you have to erase them after the lettering
is completed. The Medieval illuminators would prick through several
layers of parchment to ensure that the text would "back," that means that
the lines of calligraphy would fall at exactly the same spot on both sides
of the page on every page throughout the book. Look carefully at Medieval
manuscripts: the discreet ruling out of the text is frequently still visible,
but it is also so faint that it does not mar the beauty of the work.
Back to Coptic Book
Instructions
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