The Makecookbook Bundle Make a Cookbook Using L ATEX

Total Page:16

File Type:pdf, Size:1020Kb

The Makecookbook Bundle Make a Cookbook Using L ATEX The MakeCookbook Bundle Make a Cookbook Using LATEX Terrence P. Murphy Rosalie A. D’Amico December 2, 2018 Contents I Introduction 4 1 About 4 2 Preliminaries 4 2.1 Requirements ............................................. 4 2.1.1 Compiler ........................................... 4 2.1.2 Fonts ............................................. 4 2.2 License ................................................. 4 2.3 Contact Information / Feedback .................................. 5 2.4 Version Information / Change History ............................... 5 2.5 The LATEX Community / StackExchange .............................. 5 3 Installing makecookbook 5 4 How This Document is Organized 6 II Managing/Organizing Your Cookbook Files 7 III Elements of a Book/Cookbook 8 1 Elements of a Book 8 2 Elements of a Cookbook 8 IV Elements of a Book – the Details 9 1 Terminology 9 2 Trim Size and Margins 9 3 Headers and Footers 10 4 Chapter Title Formatting 11 1 5 Odds and Ends 12 5.1 Color .................................................. 12 5.2 Drop Cap ............................................... 12 5.3 Images/Photos ............................................ 13 6 Front Matter, Main Matter and Back Matter 14 6.1 Introduction .............................................. 14 6.2 Front Matter ............................................. 14 6.2.1 Title Page ........................................... 14 6.2.2 Copyright Page ........................................ 14 6.2.3 Dedication .......................................... 14 6.2.4 Table of Contents ...................................... 14 6.2.5 Other ............................................. 14 6.3 Main Matter ............................................. 14 6.4 Back Matter .............................................. 14 V Elements of a Book – the Details (Fonts) 16 1 Introduction 16 1.1 Fonts .................................................. 16 2 Line Length and Font Size 16 3 Our Selected Fonts 17 3.1 Serif Font ............................................... 17 3.2 Sans Serif Font ............................................ 18 3.3 Script ................................................. 18 4 Code to Implement our Font Usage 18 4.1 Load Our Fonts ............................................ 18 4.2 Handle Special Font Faces ...................................... 20 4.3 Commands to Select Our Fonts ................................... 20 4.4 Special Handling of Fractions .................................... 20 4.5 Commands for Certain Glyphs ................................... 21 4.6 Point Size of Default Roman and Sans Fonts ........................... 21 VI Elements of a Cookbook – the Details 22 1 Chapter Introduction 22 2 Recipe Name and Yield 22 3 Recipe Story 23 4 Ingredients and Steps 23 4.1 The IngredientsAndSteps Environment ............................. 24 4.2 The \ListIngredientsAndSteps Command ............................ 24 5 Attribution 25 6 Additional Comments/Advice 25 7 Odds and Ends 26 7.1 Various Simple but Useful Commands/Defines .......................... 26 7.2 \BakeUntil .............................................. 27 7.3 A Few Other Commands ....................................... 28 2 8 Handling of Long Recipes 28 8.1 The “Real” \RecipeStory Command ................................ 29 8.2 The “Real” IngredientsAndSteps Environment ......................... 29 9 Adding Images in the Chapter Intro 31 9.1 The “Real” \ChapterIntro Command ............................... 31 VII The PDF File 32 1 The Digital Cookbook 32 2 The Print-On-Demand Cookbook 32 2.1 Embedded Fonts ........................................... 33 2.2 Bookmarks, Annotations, and Comments ............................. 33 2.3 Trim Size, Crop Marks and Other Printer’s Marks ........................ 33 2.4 PDF/X ................................................ 34 2.5 Other Print-on-Demand Issues ................................... 34 VIII Examples 35 1 \RecipeNameAndYield Command 35 1.1 Recipe A ............................................... 35 1.2 Recipe B ................................................ 35 1.3 Recipe C ............................................... 35 1.4 Recipe D ............................................... 35 2 \RecipeStory Command 36 2.1 Recipe A ............................................... 36 2.2 Recipe E ................................................ 36 3 IngredientsAndSteps Environment 36 3.1 Recipe A ............................................... 36 3.2 Recipe F ................................................ 36 4 \ListIngredientsAndSteps Command 36 4.1 Recipe A ............................................... 36 4.2 Recipe F ................................................ 37 4.3 Recipe I ................................................ 37 4.4 Recipes B, C and G ......................................... 38 5 \ChapterIntro Command 38 5.1 Chapter One ............................................. 38 5.2 Chapter Two ............................................. 38 3 Part I Introduction 1 About The makecookbook bundle contains the files needed to create a nice quality family cookbook in a form ready to submit to most print-on-demand companies. Modifiable choices have been made regarding standard book features such as trim size, margins, headers/footers, chapter heading formatting, front matter (copyright page, table of contents, etc.) and back matter (index). Commands and environments have been created to format the food stories and recipes. The user will need to: (1) supply their own food stories and recipes(!), and (2) select (install if necessary) the needed fonts. The design, layout and typography for cookbooks varies substantially, so we necessarily take a “point of view” on the desired look of the cookbook. However, even if your goal is a significantly different layout, you may find this work helpful in thinking through and implementing your design. Please note that no new document class or package is included here. Rather, we provide a modifiable preamble and a small number of other files that, together, fully support creation of all ofthe internal pages of a cookbook (i.e., everything except the cover art). We may refer to the makecookbook “package” in this documentation – by that we mean package in a broader sense and do not mean an actual .sty style package. 2 Preliminaries 2.1 Requirements 2.1.1 Compiler The makecookbook bundle uses the fontspec package. That means it must be compiled with either LuaTEX or XeTEX. We have only tested with LuaTEX. However, we have not used Lua code, so we expect you should be successful (after a possible tweak or two) with an XeTEX compile. 2.1.2 Fonts The makecookbook bundle assumes you have installed the three fonts listed below. (All are licensed under the SIL Open Font License, Version 1.1). To have a successful compile “out of the box”, these fonts must be installed on your system: Serif EB Garamond TrueType Version from Google Fonts Sans Serif Lato TrueType Version from www.latofonts.com Script Italianno OpenType Version from Google Fonts Please note: we assume that the EB Garamond and Italianno fonts were obtained from Google Fonts, and that the Lato font was obtained from http://www.latofonts.com. These fonts do not required installation of any font-related packgages other than fontspec. Beginning on page 16, we discuss how you can easily substitute your own favorite OpenType (including TrueType flavored) fonts, subject only to certain requirements regarding feature set. 2.2 License Copyright © 2018 Terrence P. Murphy and Rosalie A. D’Amico. This work may be distributed and/or modified under the conditions ofA theLTEX Project Public License (“LPPL”), either version 1.3c of this license or (at your option) any later version. The latest version of this license is at: http://www.latex-project.org/lppl.txt. This work is author-maintained and consists of the files listed in the FILES section of the README file. The makecookbook bundle includes an example cookbook with seven recipes. Those recipes are courtesy of Rosalie D’Amico1. You are, of course, welcome to try them! They are included in the bundle to provide 1D’Amico, Rosalie A. Mama, How Do You Make.... (self-published, 2018). 4 real-world examples of using LATEX code to enter recipes. We only ask that you consider those recipes as for you personal use and not (without attribution) for further food-related publication (further publication OK in a LATEX context). 2.3 Contact Information / Feedback No doubt, this documents contains typos, poorly explained (or unexplained) items, and other errors. It is equally likely the makecookbook package includes coding errors. We value your feedback. Please report problems or make other suggestions to Terry Murphy: [email protected]. 2.4 Version Information / Change History Version 0.85 dated December 2, 2018. This is the initial version of the makecookbook bundle. 2.5 The LATEX Community / StackExchange In this makecookbook package, much of the code (except for the mistakes!) is not original. When we ran into difficulties, we usually turned to tex.stackexchange.com for help. We often found solutions in previous questions and answers, but sometimes had to ask our own questions. The LATEX community is amazingly generous with their time. You may see in the text or in the comments to the code something like “See Q 59619”. That is a reference to a specific question and answer on tex.stackexchange.com. You can often track it down by a Google search of “latex 59619”; if that doesn’t work, try “tex.stackexchange.com
Recommended publications
  • No. 25 a Secret Index—
    a secret index— division leap no. 25 a secret index— Booksellers, publishers and researchers of the history of print culture. Collections purchased. Books found. Appraisals performed. Libraries built. divisionleap.com no. 25 83. 35. 59. 39. 39. 27. 30. 25. 21. 65. 48. 72. 6. contents a. Walter Benjamin—German Expressionism—Raubdrucke 17 b. Reproduction—Computing—Classification—Architecture 23 c. The Body—Tattooing—Incarceration—Crime—Sexuality 33 d. Social Movements—1968—Feminism—The SI & After 47 e. Music 57 f. Literature—Poetry—Periodicals 63 g. Film—Chris Marker 77 h. Art 85 i. Punk Zines 91 Additional images of all items available at divisionleap.com or by request. a. Walter Benjamin—German Expressionism—Raubdrucke 17 2. 1. 18 a. The Birth of Walter Benjamin’s Theory Heuber so messianically feels is near … ” of the Messianic McCole, analyzing this same letter, notes that this appears to be Benjamin’s first use of the term 1. [Victor Hueber] Die Organisierung der “Messianic” in his writings [McCole, p. 61]. The Intelligenz. Ein Aufruf. Zweite, erweiterte Auflage. idea would haunt Benjamin’s subsequent works Als Manuskript gedruckt. on history, and reach its conclusion in the second [Prague]: Druck H. Mercy, [1910]. 8vo, thesis in On the Concept of History, written just 107 pp, stab-stapled and glue bound into violet before his march into the mountains. “The past printed wraps. Front and back panels of wraps carries with it a secret index, by which it is referred detached but present, with the paper covering to its resurrection. There is an agreement and an the spine mostly perished.
    [Show full text]
  • First Line of Title
    HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2014 © 2014 Alexander Lawrence Ames All Rights Reserved HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames Approved: __________________________________________________________ Consuela Metzger, M.L.I.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Whom does one thank first for assistance toward completion of an academic project only brought to fruition by the support of dozens of scholars, professionals, colleagues, family members, and friends? I must first express gratitude to my relations, especially my mother Dr. Candice M. Ames and my brother Andrew J. Ames and his family, without whose support I surely never could have undertaken the journey from Minnesota to the Winterthur Program in American Material Culture nearly two years ago. At Winterthur, I found mentors who extended every effort to encourage my academic growth. Rosemary Krill, Brock Jobe, J. Ritchie Garrison, and Greg Landrey did much to help me explore new fields. I owe a particular debt to Winterthur’s art conservators. In one, Consuela Metzger, I found a thesis advisor willing to devote countless hours to guiding my intellectual exploration.
    [Show full text]
  • Autumn 2020 2020-11-07 View This Catalogue (.Pdf)
    Susanne Schulz-Falster RARE BOOKS A AUTUMN A A 2020 A A A A A A A A A A A A A A 4 Harrison’s Lane Woodstock OX20 1SS A A www.schulz-falster.com A +44 (0)1993811100 A [email protected] A Susanne Schulz-Falster RARE BOOKS ECONOMICS Green Vellum Publishing Pirated Editions [AMSTERDAM.] D'Erve der Wed. C. Stichters Almanach, voor 't jaar 1792. BAUDRY. Libraire pour les Langues with: 1)Naamwyzer waar in vertoond Etrangeres. Receipt & Catalogue. Paris, worden de namen en woonplaatsen van Baudry, 1829. £400 [...] regeerders der stad Amstelredam, 2)Het edel mogende collegie ter Handbill (260 x 205mm), printed on recto and verso in two columns, to the left ‘extrait des catalogues’, admiraliteit, 3)Hollands en Utrechts with manuscript invoice on recto a detailing 16 titles hoogheemraadschap van den Zeeburg en supplied. Diemerdyk, 4)Naamen en woonplaatsen van de heeren professoren, 5)Naam- An interesting and informative receipt for register van al de predikanten, 6)Lyste van books supplied by the publisher/bookseller de capiteinen, luitenants en officieren, Baudry to fellow bookseller Pichon & Didier. 7)Naamregister van alle de kooplieden, Louis-Claude Baudry (1793-1853) opened his 8)Naamen en woonplaatsen van de heeren first bookshop in Paris in 1815. He specialised assuradeurs, 9)Lyste der naamen en in foreign language books under the name woonplaatsen van de makelaars, ‘Librairie pour les Langues Etrangères’, which 10)Naamen en woonplaatsen van de later, probably by 1831, turned into the solliciteurs, 11)Verbetert specie-boek. Librairie Européenne, also known as Baudry’s Amsterdam, Josiah Schouten, 1792.
    [Show full text]
  • Submission-Guidelines.Pdf
    Submission Guidelines Please use this section as a guideline for preparing your manuscript. This set of guidelines (updated November 2007) replaces all previously issued guidelines. Please ensure that you take into consideration each of the points in the following sections. These instructions should, wherever there is doubt about the standard to be used in issues not considered here, be supplemented by the Chicago Manual of Style, 15th Edition. Once you have prepared the manuscript, please mail the disks to Cambridge Scholars Publishing Ltd. PO Box 302, Newcastle-upon-Tyne NE6 1WR, United Kingdom, or email the files to your editor. Key Formatting Issues 1. Software: This guide is intended primarily for those working with Microsoft Word 2003 or earlier. This software should be adequate for preparing the manuscript according to CSP guidelines, although there may be exceptions where the author intends to make use of images or illustrations in the text which need to be especially positioned. If Word cannot deal with such requirements, it is recommended that a desktop publishing software such as Pagemaker or Indesign be used. However, if Word or Rich Text Format files are not supplied, then the final submission must be in the Portable Document Format (pdf) and must constitute a single file to include any front matter supplied by us, i.e. any merging of files must be undertaken before the submission to CSP. In the case of photographs or portraits that need to be placed in a separate section please include these in a separate file, ensuring that images are labelled with captions that are consistently positioned and formatted.
    [Show full text]
  • Issues) and Begin with the Summer Issue
    B L KE AN ILLUSTRATED QUARTERLY Shop till You Drop: Blake in the Marketplace, 2009 Review of William Blake's World at the Morgan VOLUME43 NUMBER4 SPRING 2010 .......______ -· · ·· - - AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME43 NUMBER4 SPRING 2010 c 0 N T E N T s Article Remembrance Blake in the Marketplace, 2009 Karl Kroeber, 1926-2009 151 By Robert N. Essick 116 Newsletter Review Upcoming Conferences 151 William Blake's World: ''A New Heaven Is Begun;' Morgan Library and Museum, 11 September 2009-3 January 2010 Reviewed by Morton D. Paley 149 A D V I s 0 R y B 0 A R D G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles DetlefW Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Esterhammer, University of Zurich CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NG 11 SNS UK Email: [email protected] ROBERT N. ESSICK is a coeditor, with Morris Eaves and Joseph Viscomi, of the online William Blake Archive. MORTON D. PALEY's most recent book is Samuel Taylor INFORMATION Coleridge and th e Fine Arts. He is currently working on a study of Blake and George Romney. BLAKE/AN ILLUSTRATED QUARTERLY is published under the sponsorship of the Department ofEnglish, University of Roch­ ester. Subscriptions are $60 for institutions, $30 for individu­ als. All subscriptions are by the volume (1 year, 4 issues) and begin with the summer issue.
    [Show full text]
  • Books About Music in Renaissance Print Culture: Authors, Printers, and Readers
    BOOKS ABOUT MUSIC IN RENAISSANCE PRINT CULTURE: AUTHORS, PRINTERS, AND READERS Samuel J. Brannon A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Anne MacNeil Mark Evan Bonds Tim Carter John L. Nádas Philip Vandermeer © 2016 Samuel J. Brannon ALL RIGHTS RESERVED ii ABSTRACT Samuel J. Brannon: Books about Music in Renaissance Print Culture: Authors, Printers, and Readers (Under the direction of Anne MacNeil) This study examines the ways that printing technology affected the relationship between Renaissance authors of books about music and their readers. I argue that the proliferation of books by past and then-present authors and emerging expectations of textual and logical coherence led to the coalescence and formalization of music theory as a field of inquiry. By comparing multiple copies of single books about music, I show how readers employed a wide range of strategies to understand the often confusing subject of music. Similarly, I show how their authors and printers responded in turn, making their books more readable and user-friendly while attempting to profit from the enterprise. In exploring the complex negotiations among authors of books about music, their printers, and their readers, I seek to demonstrate how printing technology enabled authors and readers to engage with one another in unprecedented and meaningful ways. I aim to bring studies of Renaissance music into greater dialogue with the history of the book.
    [Show full text]
  • Master Database Introduction
    Database of Selected Characters from Guodian and Mawangdui Manuscripts Introduction by Matthias L. Richter, February 2006 The database is a small-scale example of a collection of data for the purpose of investigating and describing early Chinese manuscripts in detail. It is intended to demonstrate that such data can serve as a useful tool for students of these manuscripts. The database allows the user to sort and extract a variety of physical data of the manuscripts and thus enables him or her to look at comparable features (especially all instances of characters used to write a certain word) simultaneously, which is otherwise not possible. This allows to judge the degree of variation vis-à-vis standardisation on the levels of writing support, text layout, orthography and handwriting more easily and more objectively than by looking at the objects of comparison one by one. For a study based on this collection of data, see my article “Towards a Profile of Graphic Variation: On the Distribution of Graphic Variants within the Mawangdui Laozi Manuscripts” in: Asiatische Studien / Études Asiatiques LIX.1, pp. 169–207. Further studies based on the same data will be published later this year and will be announced on this website. The intention of presenting this collection of data on the internet is chiefly to offer an example as a stimulus and basis for discussion among students of early Chinese manuscripts about the question of how future databases should be designed. Everyone is welcome to use the data I have collected and adapt them according to their own judgement that may of course differ from my interpretation of details.
    [Show full text]
  • BOOK PRODUCTION CHECKLIST Modified from the Self-Publishing Boot Camp Guide for Authors, 4Th Edition, 2018
    SELF-PUBLISHING BOOT CAMP BOOK PRODUCTION CHECKLIST Modified from the Self-Publishing Boot Camp Guide for Authors, 4th Edition, 2018 CARLA KING Are you ready to upload your book for sale to the online retailers? Got all your front and back matter, images, fonts, and ISBNs? Use this checklist to make sure you’ve done everything you can to create a quality book that competes with books produced in the traditional publishing houses. SELF PUB BOOT CAMP BOOK PRODUCTION CHECKLIST Let’s start with a quick overview of the entire book production process. It begins with an unedited manuscript and ends with a check of the final proof before distribution. √ Receipt of manuscript. √ Editing! Editing! Editing! Then final proofreading. √ Gather all of the images, logos, and fonts used in your book in both 300 and 72 dpi. √ Assign ISBNs (plus an LCCN and a CIP block if you are marketing to libraries), to include on your copyright page. √ Format a beautifully designed interior to export to distributors and retailers in PDF for print, a doc/docx file for Smashwords and KDP, or an EPUB for IngramSpark distribution. √ Create an impactful book cover and export it to PDF for print and TIFF or JPG for the ebook. √ Sign up to sell direct to the online retailers. Possibilities are Smashwords, Pronoun, Amazon CreateSpace and Amazon KDP. Or use IngramSpark to distribute. (Centralized, but steeper learning curve.) √ Alternatively, let a publishing service do formatting and cover design for you (BookBaby, Gatekeeper Press). √ Create carefully thought-out metadata—book description, author bio, and keywords.
    [Show full text]
  • Enhanced Bleedthrough Correction for Early Music Documents with Recto-Verso Registration
    ISMIR 2008 – Session 3c – OMR, Alignment and Annotation ENHANCED BLEEDTHROUGH CORRECTION FOR EARLY MUSIC DOCUMENTS WITH RECTO-VERSO REGISTRATION John Ashley Burgoyne Johanna Devaney Laurent Pugin Ichiro Fujinaga Centre for Interdisciplinary Research in Music and Media Technology Schulich School of Music of McGill University Montreal´ (Quebec)´ Canada {ashley,devaney,laurent,ich}@music.mcgill.ca ABSTRACT physical access, making it difficult to engage in large-scale comparative research. Ink bleedthrough is common problem in early music doc- Entering musical sources into such databases by hand uments. Even when such bleedthrough does not pose prob- is highly labor-intensive, which renders music digitization lems for human perception, it can inhibit the performance projects prohibitively costly for most institutions [3]. Opti- of optical music recognition (OMR). One way to reduce cal music recognition (OMR), the musical analog to optical the amount of bleedthrough is to take into account what is character recognition (OCR), is the most practical means by printed on the reverse of the page. In order to do so, the which to create such databases. The potential for optical reverse of the page must be registered to match the front of recognition to transform research approaches has already the page on a pixel-by-pixel basis. This paper describes our been demonstrated by the recent explosion in the number approach to registering scanned early music scores as well of searchable electronic texts available for older books and as our modifications to two robust binarization approaches journal articles, (e.g., JSTOR 1 ). When treating historical to take into account bleedthrough and the information avail- documents, however, OMR and OCR systems struggle with able from the registration process.
    [Show full text]
  • Guercino: Mind to Paper/Julian Brooks with the Assistance of Nathaniel E
    GUERCINO MIND TO PAPER GUERCINO MIND TO PAPER Julian Brooks with the assistance of Nathaniel E. Silver The J. Paul Getty Museum, Los Angeles Front and back covers: Guercino. Details from The Assassination © 2006 J. Paul Getty Trust ofAmnon (cat. no. 14), 1628. London, Courtauld Institute of Art Gallery This catalogue was published to accompany the exhibition Guercino:Mind to Paper, held at the J. Paul Getty Museum, Los Angeles, October 17,2006, to January 21,2007, and at the Courtauld Institute of Art Gallery, London, February 22 Frontispiece: Guercino. Detail from Study of a Seated Young Man to May 13,2007. (cat. no. 2), ca. 1619. Los Angeles, J. Paul Getty Museum Pages 18—ic>: Guercino. Detail from Landscape with a View of a Getty Publications Fortified Port (cat. no. 22), ca. 1635. Los Angeles, J. Paul 1200 Getty Center Drive, Suite 500 Getty Museum Los Angeles, California 90049-1682 www.getty.edu Mark Greenberg, Editor in Chief Patrick E. Pardo, Project Editor Tobi Levenberg Kaplan, Copy Editor Catherine Lorenz, Designer Suzanne Watson, Production Coordinator Typesetting by Diane Franco Printed by The Studley Press, Dalton, Massachusetts All works are reproduced (and photographs provided) courtesy of the owners, unless otherwise indicated. Library of Congress Cataloging-in-Publication Data Brooks, Julian, 1969- Guercino: mind to paper/Julian Brooks with the assistance of Nathaniel E. Silver, p. cm. "This catalogue was published to accompany the exhibition 'Guercino: mind to paper' held at the J. Paul Getty Museum, Los Angeles, October 17,2006, to January 21,2007." Includes bibliographical references and index. ISBN-13: 978-0-89236-862-4 (pbk.) ISBN-io: 0-89236-862-4 (pbk.) i.
    [Show full text]
  • Glossary of Terms for Pre-Industrial Book History
    Utah State University DigitalCommons@USU Library Faculty & Staff Publications Libraries 7-2009 Glossary of terms for pre-industrial book history Richard W. Clement Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/lib_pubs Part of the Library and Information Science Commons Recommended Citation Clement, Richard W., "Glossary of terms for pre-industrial book history" (2009). Library Faculty & Staff Publications. Paper 11. https://digitalcommons.usu.edu/lib_pubs/11 This Other is brought to you for free and open access by the Libraries at DigitalCommons@USU. It has been accepted for inclusion in Library Faculty & Staff Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Glossary 7/6/09 10:48 AM GLOSSARY OF TERMS FOR PRE-INDUSTRIAL BOOK HISTORY Richard W. Clement Utah State University Addendum / Addenda - addition / additions to the book after it has been printed. Bifolium - two conjugate leaves; a sheet prepared for writing or having been written on. Biting - the fusion of two strokes in two different letters, woven together in textura. Black-letter type - gothic or textura type. Boards - the wood, paste-board, straw-board, or other base for the sides of any bound or cased book, i.e. any book in hard covers. Body of the type - the height of the letter (or point size). Boss - metal knobs used to protect the surface of the leather sides of the binding. Bound - A book in which the gatherings are sewn onto horizontal cords, the free ends of which are then drawn through holes in the board and firmly attached so that leaves and binding become a structural entity.
    [Show full text]
  • Medieval and Renaissance Manuscripts,Published in 19373
    THE JOURNAL OF THE RUTGERS UNIVERSITY LIBRARIES 1 OTTO EGE: HIS MANUSCRIPT FRAGMENT COLLECTION AND THE OPPORTUNITIES PRESENTED BY ELECTRONIC TECHNOLOGY1 BY BARBARA A. SHAILOR Barbara Shailor is the director of the Beinecke Rare Book and Manuscript Library at Yale University What do the following institutions with special collections of rare books and manuscripts have in common: Rutgers University Libraries, The Boston University School of Theology Library, Columbia University Libraries, the Houghton Library of Harvard University, and the Beinecke Rare Book and Manuscript Library of Yale University? They all have individual leaves of manuscripts formerly in the proud possession of one man named Otto Ege. And, indeed, it is possible to expand upon this list by adding the names of at least twenty other museums, college and university libraries, and private collections.2 Otto Ege lived from 1888 to 1951 and served professionally as the dean of the Cleveland Institute of Art and personally collected manuscripts (that is, handwritten books) from the Middle Ages and Renaissance. No one knows precisely how many complete volumes or fragmentary leaves Ege owned in his lifetime. But we can determine from Seymour de Ricci’s Census of Medieval and Renaissance Manuscripts, published in 19373 and other personal reflections of Otto Ege himself the following useful bits of information. Ege began acquiring manuscripts as a young man in 1911, primarily in various parts of Europe and in the United States. He vividly recounts his first auction in Philadelphia, at which he competed successfully against the well-known bibliophile Dr. A. S. W. Rosenbach: As soon as I saw the book, I knew that I must have it at all costs.
    [Show full text]