% memman.tex edition 7 % Memoir class user manual % Author: Peter Wilson % Copyright 2001, 2002, 2003, 2004, 2008 Peter R. wilson %\listfiles \documentclass[10pt,letterpaper,extrafontsizes]{memoir} \listfiles \usepackage{comment} \usepackage{memsty} %%%%%%%%%%%%%%%%%%%%%%%%%%%% \usepackage{titlepages} % code of the example titlepages \usepackage{memlays} % extra layout diagrams \usepackage{dpfloat} % floats on facing pages %%%%%%%%%%%%%%%%%%%%%%%%%%%% %%%% Change section heading styles %%%\memmansecheads %%%% Use the built-in division styling \headstyles{memman} %%% ToC down to subsections \settocdepth{subsection} %%% Numbering down to subsections as well \setsecnumdepth{subsection} %%%% extra index for first lines \makeindex[lines] %% end preamble %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \begin{document} \tightlists %%%%\firmlists \midsloppy \raggedbottom \chapterstyle{demo3} %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \input{memnoidxnum} \frontmatter \pagestyle{empty} % half-title page \vspace*{\fill} \begin{adjustwidth}{1in}{1in} \begin{flushleft} \HUGE\sffamily The \end{flushleft} \begin{center} \HUGE\sffamily Memoir \end{center} \begin{flushright} \HUGE\sffamily Class \end{flushright} %%\begin{center} %%\sffamily (Draft Edition 7) %%\end{center} \end{adjustwidth} \vspace*{\fill} \cleardoublepage % title page \vspace*{\fill} \begin{center} \HUGE\textsf{The Memoir Class}\par \end{center} \begin{center} \LARGE\textsf{for}\par \end{center} \begin{center} \HUGE\textsf{Configurable Typesetting}\par \end{center} \begin{center} \Huge\textsf{User Guide}\par \end{center} \begin{center} \LARGE\textsf{Peter Wilson}\par \end{center} \vspace*{\fill} \def\THP{T\kern-0.2em H\kern-0.4em P}% OK for CMR \def\THP{T\kern-0.15em H\kern-0.3em P}% OK for Palatino \newcommand*{\THPress}{The Herries Press}% \begin{center} \settowidth{\droptitle}{\textsf{\THPress}}% \textrm{\normalsize \THP} \\ \textsf{\THPress} \\[0.2\baselineskip] \includegraphics[width=\droptitle]{anvil2.mps} \setlength{\droptitle}{0pt}% \end{center} \clearpage % copyright page \begingroup \footnotesize \setlength{\parindent}{0pt} \setlength{\parskip}{\baselineskip} %%\ttfamily \textcopyright{} 2001, 2002, 2003, 2004, 2008 Peter R. Wilson \\ All rights reserved The Herries Press, Normandy Park, WA. Printed in the World The paper used in this publication may meet the minimum requirements of the American National Standard for Information Sciences --- Permanence of Paper for Printed Library Materials, ANSI Z39.48--1984. \begin{center} 10 09 08 07 06 05 04 03 02 01\hspace{2em}17 16 15 14 13 12 11 \end{center} \begin{center} \begin{tabular}{ll} First edition: & 3 June 2001 \\ Second impression, with corrections: & 2 July 2001 \\ Second edition: & 14 July 2001 \\ Second impression, with corrections: & 3 August 2001 \\ Third impression, with minor additions: & 31 August 2001 \\ Third edition: & 17 November 2001 \\ Fourth edition: & 16 March 2002 \\ Fifth edition: & 10 August 2002 \\ Sixth edition: & 31 January 2004 \\ %%Draft Seventh edition: & 31 January 2008 \\ Seventh edition: & 10 May 2008 \\ Eighth impression, with very minor corrections: & 12 July 2008 \\ \end{tabular} \end{center} \endgroup \clearpage \vspace*{\fill} \begin{quote} \textbf{memoir,} \textit{n.} a written record set down as material for a history or biography: a biographical sketch: a record of some study investigated by the writer: (in \textit{pl.}) the transactions of a society. [Fr. \textit{m\'{e}moire} --- L. \textit{memoria,} memory --- \textit{memor}, mindful.] \\[0.5\baselineskip] \hspace*{\fill} \textit{Chambers Twentieth Century Dictionary, New Edition}, 1972. \end{quote} \vspace{2\baselineskip} \begin{quote} \textbf{memoir,} \textit{n.} [Fr. \textit{m\'{e}moire,} masc., a memorandum, memoir, fem., memory $<$ L. \textit{memoria,} \textsc{memory}] \hspace{1ex} \textbf{1.} a biography or biographical notice, usually written by a relative or personal friend of the subject \hspace{1ex} \textbf{2.} [\textit{pl.}] an autobiography, usually a full or highly personal account \hspace{1ex} \textbf{3.} [\textit{pl.}] a report or record of important events based on the writer's personal observation, special knowledge, etc. \hspace{1ex} \textbf{4.} a report or record of a scholarly investigation, scientific study, etc. \hspace{1ex} \textbf{5.} [\textit{pl.}] the record of the proceedings of a learned society \\[0.5\baselineskip] \hspace*{\fill} \textit{Webster's New World Dictionary, Second College Edition}. \end{quote} \vspace{2\baselineskip} \begin{quote} \textbf{memoir,} \textit{n.} a fiction designed to flatter the subject and to impress the reader. \\[0.5\baselineskip] \hspace*{\fill} With apologies to Ambrose Bierce % and Reuben Thomas \end{quote} \vspace*{\fill} \cleardoublepage % ToC, etc %%%\pagenumbering{roman} \pagestyle{headings} %%%%\pagestyle{Ruled} \setupshorttoc \tableofcontents \clearpage \setupparasubsecs \setupmaintoc \tableofcontents \setlength{\unitlength}{1pt} \clearpage \listoffigures \clearpage \listoftables \clearpage \listofegresults %\chapter{Foreword} \chapter{Preface} From personal experience and also from lurking on the \url{comp.text.tex} newsgroup the major problems with using LaTeX are related to document design. Some years ago most questions on \texttt{ctt} were answered by someone providing a piece of code that solved a particular problem, and again and again. More recently these questions are answered along the lines of `Use the ---------{} package', and again and again. I have used many of the more common of these packages but my filing system is not always well ordered and I tend to mislay the various user manuals, even for the packages I have written. The \Pclass{memoir} class is an attempt to integrate some of the more design-related packages with the LaTeX \Pclass{book} class. I chose the \Pclass{book} class as the \Pclass{report} class is virtually identical to \Pclass{book}, except that \Pclass{book} does not have an \Ie{abstract} environment while \Pclass{report} does; however it is easy to fake an \Ie{abstract} if it is needed. With a little bit of tweaking, \Pclass{book} class documents can be made to look just like \Pclass{article} class documents, and the \Pclass{memoir} class is designed with tweaking very much in mind. The \Pclass{memoir} class effectively incorporates the facilties that are usually accessed by using external packages. In most cases the class code is new code reimplementing package functionalities. The exceptions tend to be where I have cut and pasted code from some of my packages. I could not have written the \Pclass{memoir} class without the excellent work presented by the implementors of LaTeX and its many packages. Apart from packages that I happen to have written I have gained many ideas from the other packages listed in the \bibname. One way or another their authors have all contributed, albeit unknowingly. The participants in the \url{comp.text.tex} newsgroup have also provided valuable input, partly by questioning how to do something in LaTeX, and partly by providing answers. It is a friendly and educational forum. {\raggedleft{\scshape Peter Wilson} \\ Seattle, WA \\ June 2001\par} \begin{comment} \chapter{Introduction to the first edition} This is not a guide to the general use of LaTeX but rather concentrates on where the \index{class}\Lclass{memoir} class differs from the standard LaTeX \Lclass{book} and \Lclass{report} classes. There are other sources that deal with LaTeX in general, some of which are listed in the \bibname. Lamport~\cite{LAMPORT94} is of course the original user manual for LaTeX, while the Companion series, for example~\cite{COMPANION}, go into further details and auxiliary programs. The Comprehensive TeX Archive Network (CTAN) is a valuable source of free information and the LaTeX system itself. For general questions see the FAQ~\cite{FAQ} which also has pointers to information sources. Among these are \btitle{The Not So Short Introduction to LaTeX2e}~\cite{LSHORT}, Keith Reckdahl's \btitle{Using imported graphics in LaTeX2e}~\cite{EPSLATEX} and Piet van Oostrum's \btitle{Page layout in LaTeX}~\cite{FANCYHDR}. The question of how to use different fonts with LaTeX is left strictly alone; Alan Hoenig's book~\cite{HOENIG98} is the best guide to this that I know of although Philipp Lehman's \btitle{The Font Installation Guide}~\cite{FONTINST} has much information. The first part of the manual discusses briefly some aspects of book design and typography, independently of the means of typesetting. Among the several books on the subject listed in the \bibname{} I prefer Bringhurst's \btitle{The Elements of Typographic Style}~\cite{BRINGHURST99}. I have used the LaTeX \Lclass{book} design, which is the default \Lclass{memoir} class style, in typesetting Part~\ref{part:art}. The second part then goes into some detail on how the \Lclass{memoir} class can be used to implement a particular design. With two exceptions, the \Lclass{memoir} class has all the capabilities of the standard LaTeX \Lclass{book} class. These exceptions are: \begin{itemize} \item The old LaTeX v2.09 font commands --- \cmd{\rm} (roman), \cmd{\tt} (\texttt{typewriter}), \cmd{\sf} (\textsf{sans}), \cmd{\bf} (\textbf{bold}), \cmd{\sl} (\textsl{slanted}), \cmd{\it} (\textit{italic}), and \cmd{\sc} (\textsc{small caps}) --- are not supported and will give error messages if used. The \cmd{\em} (\emph{emphasis}) command is supported but gives a warning message if used. \item There are no commands for making titles. This is because title pages are usually designed individually for each book. The \index{package}\Lpack{titling} package~\cite{TITLING} can be used if you want the titling commands. The package provides extended titling facilities when compared to those in the standard LaTeX classes. \end{itemize} I hope that, apart from these, the class supports everything that the \Lclass{book} class provides. The major extra functions provided by the class include: \begin{itemize} \item Font sizes for the main text of 9, 10, 11, 12 and 14pt. \item A reasonably intuitive means of setting the page, text and margin sizes. \item Page trimming marks. \item If really required, typesetting as though in the olden typewriter days (double spaced, raggedright, no hyphenation, typewriter font). \item Configurable sectional headings, with several predefined styles for chapter headings and simple methods for defining new ones. \item `Anonymous' section breaks (e.g., a blank or decorated line or two). \item Configurable page headers and footers, with several predefined styles and simple methods for defining new ones. \item Configurable captions, with several predefined captioning styles and methods for defining new ones. \item Ability to define new `\listofx' and new floats with their accompanying captions and `\listofx'. \item Control over whether the `\listofx', bibliography, index, etc., appear in the Table of Contents. \item Support for epigraphs. \end{itemize} Also, along the way you will find other more minor but still useful things. As Part~\ref{part:practice} progresses I demonstrate some of the changes that the \Lclass{memoir} class lets you easily make to the normal LaTeX page and titling style. \section{Type conventions} The following conventions are used in the manual: \begin{itemize} \item \Pclass{The names of LaTeX classes\index{class} and packages\index{package} are typeset in this font, as are class and package options\index{option}.} \item \Ppstyle{The names of chapterstyles\index{chapterstyle} and pagestyles\index{pagestyle} are typeset in this font.} \item \texttt{LaTeX code is typeset in this font.} \end{itemize} \section{Caveats} At the moment both this manual and the class code are in a beta state. That is, they hopefully serve the purposes they are intended for, but it is probable that there are errors, poor explanations and missing elements. So, be warned that I'm sure that there will be further releases and these may not be entirely compatible with the current release. That said, I will be grateful for any constructive comments that anyone\footnote{I have received valuable comments from Javier Bezos (\url{jbezos@wanadoo.es}), Sven Bovin (\url{sven.bovin@chem.kuleuven.ac.be}), Scott Pakin (\url{pakin@uiuc.edu}), and Paul Stanley (\url{pstanley@essexcourt-chambers.co.uk}).} may have, especially regarding errors, mispeaking, and desireable enhancements. I can be reached by posting to \url{comp.text.tex}. TeX was designed principally for typesetting documents containing a lot of mathematics. In such works the mathematics breaks up the flow of the text on the page, and the vertical space required for displayed mathematics is arbitrary. Most non-technical books are typeset on a fixed grid as they do not have arbitrary insertions into the text. TeX is designed to handle arbitrary sized inserts in an elegant manner, and does this by allowing vertical spaces to stretch and shrink a little so that the actual height of the typeblock is constant. Therefore LaTeX, being built on top of TeX, does not typeset on a fixed grid, and it would be a very major task to try and make it do so; this has been tried but as far as I know nobody has been successful. Experimental work, though, is still ongoing. The manual includes many unbreakable names of LaTeX commands, some of which stick out into the margin. The way of getting rid of these is to rewrite the text so that they don't come at the end of a typeset line. This is tedious and I haven't done it because I expect the manual to be revised and that would throw off any hand tweaking done now. %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \begin{comment} \chapter{Introduction to the second edition} Since the first edition of the manual was published the \Lclass{memoir} class has undergone some changes and extensions. The changes, to remove some unfortunate errors, are upwards compatible. The extensions, by their nature, are not upward compatible. The main extensions and changes include: \begin{itemize} \item A \index{option}\Lopt{subfigure} option to counteract an unfortunate interplay\footnote{Discovered by Ignasi Furi\'{o} Caldentey (\url{ignasi@ipc4.uib.es}).} if the \Lpack{subfigure} package is used with the class. \item An \Lopt{article} option so that \Lclass{article} class typesetting may be simulated. \item Incorporation of the essential code from the \Lpack{titling} package~\cite{TITLING} (to support the \Lopt{article} option). \item Incorporation of the essential code from the \Lpack{abstract} package~\cite{ABSTRACT} (to support the \Lopt{article} option). \end{itemize} The description of how to modify the \prtoc, \prlof{} and \prlot{} headings in the first edition was completely wrong, as was the corresponding description of the \cmd{\newlistof} macro. No noticeable changes have been made to the class code but the descriptions now reflect reality. I must have been a few bricks short of a full load when I wrote the original. There are other more minor changes and extensions\footnote{With thanks to, among others, Kevin Lin (\url{kevinlin@runtop.com.tw}) and Adriano Pascoletti (\url{pascolet@dimi.uniud.it}).} which you may find if you recall the first edition. There was no mention of typesetting verse in the first edition, although the class does provide the normal LaTeX \Ie{verse} environment. A poem is usually individually typeset as the appearance often has an effect on the emotional response when reading it. The \Lpack{verse} package~\cite{VERSE} may be useful when typesetting poetry. \chapter{Introduction to the third edition} Since the second edition of the manual was published the \Lclass{memoir} class has been upgraded from beta code to a production release. Extensions have been made to both the class and this manual. The main extensions and changes include: \begin{itemize} \item An \Lopt{openleft} option to enable chapters to start on verso pages. \item Incorporation of the essential code from the \Lpack{verse} package~\cite{VERSE} for more flexibility when typesetting poetry. \item Replacement of the macro called \cmd{\makepshook} by \cmd{\makepsmarks}. Note that this is a non-upward compatible change. \item The first part of the manual has been reorganised and extended, principally by providing more typesetting examples. \item As usual, minor glitches have been removed from both the code and the manual; each revision, of course, eliminates the gap between advertisement and reality. \end{itemize} There are other more minor changes and extensions\footnote{With thanks to, among others, Ignasi Furi\'{o} Caldentey (\url{ignasi@ipc4.uib.es}), Daniel Richard G. (\url{skunk@mit.edu}) and Vladimir Ivanovic (\url{vladimir@acm.org}).} which you may find if you recall the second edition. \chapter{Introduction to the fourth edition} Since the third edition of the manual was published the \Lclass{memoir} class has been upgraded from version~1.0 to version~1.1. Modifications have been made to both the class and this manual. The main extensions and changes include: \begin{itemize} \item The \Lopt{subfigure} option is no longer required. \item Subfloats have been added to the class. Steve Cochran kindly gave permission for me to use some of his \Lpack{subfigure} package code for this. \item Some packages still use the old, deprecated LaTeX version~2.09 font commands. I have reluctantly introduced an option to enable the old, deprecated font commands to be used. \item The class now works harmoniously with the \Lpack{natbib} package~\cite{NATBIB}. \item As usual, minor glitches have been removed from both the code and the manual; each revision hopefully eliminates the gap between advertisement and reality. \end{itemize} There are other more minor changes and extensions\footnote{With thanks to, among others, William Adams (\url{WillAdams@aol.com}) Ignasi Furi\'{o} Caldentey (\url{ignasi@ipc4.uib.es}), Steven Douglas Cochran (\url{sdc+@cs.cmu.edu}), Henrik Holm (\url{henrik@tele.ntnu.no}), and Rolf Niepraschk (\url{niepraschk@ptb.de}). } which you may find if you have used earlier editions. \chapter{Introduction to the fifth edition} Since the fourth edition of the manual was published the \Lclass{memoir} class has been upgraded from version~1.1 to version~1.2. Modifications have been made to both the class and this manual. The main extensions and changes include: \begin{itemize} \item The size options have been extended\footnote{At the request of Vittorio De Martino whose children use LaTeX for their school projects.} to include a \Lopt{17pt} option. \item A few font sizes corresponding to the font size commands (e.g., \verb?\Large?) have been changed to give regular steps between sizes. \item Boxes that can break over pages and/or contain verbatim text. \item Several ways of dealing with verbatim text, including footnotes that can contain verbatim text. \item Some control over the typesetting of footnotes. Unfortunately this necessitated some changes in the methods for styling thanks notes. \item Comment environments. \item Convenient methods for file input and output. \item Additional \verb?\provide...? commands. \item The \Ie{description} environment has been modified to match the appearance of the standard environment. The original \Lclass{memoir} form is still available as the \Ie{blockdescription} environment. \item A new optional argument has been added to the \cmd{\chapter} and \cmd{\chapter*} commands for setting header texts. \end{itemize} As usual, minor glitches have been removed from both the code and the manual. Hopefully, new ones have not been introduced. \chapter{Introduction to the sixth edition} Since the fifth edition of the manual was published the \Lclass{memoir} class has been upgraded from version~1.2 to version~1.6. Many new functions have been added to the class and this manual has been updated to reflect all the additions. The main extensions and changes include: \begin{itemize} \item Major extensions for typesetting arrays and tabulars, including continuous tabulars and automatic tabulation. \item Major extensions to footnote styles and the ability to have multiple series of footnotes. \item Major extensions for indexing, including one column and multiple indexes. \item Major extensions to crop marks. \item \verb?\tableofcontents? and friends can be used multiple times. \item Section titles (as well as numbers) can be referenced. \item Sheet numbers and access to the numbers of the last sheet and last page. \item Various methods for formatting numbers. \item Better cooperation with the \Lpack{chapterbib} and \Lpack{natbib} packages. \end{itemize} There are many more minor additions. As usual, glitches have been removed from both the code and the manual. Hopefully, new ones have not been introduced. Many people have contributed to the \Lclass{memoir} class and this manual in the forms of code, solutions to problems, suggestions for new functions, bringing my attention to errors and infelicities in the code and manual, and last but not least in simply being encouraging. I am very grateful to the following for all they have done, whether they knew it or not: Paul Abrahams, William Adams, Donald Arseneau, Jens Berger, Karl Berry, Javier Bezos, Sven Bovin, Alan Budden, Ignasi Furi\'{o} Caldenty, Ezequiel Mart\'{\i}n C\'{a}mara, David Carlisle, Steven Douglas Cochran, Michael Downes, Victor Eijkhout, Danie Els, Robin Fairbairns, Simon Fear, Kai von Fintel, Daniel Richard G, Romano Giannetti, Kathryn Hargreaves, Sven Hartrumpf, Florence Henry, Cartsten Heinz, Peter Heslin, Morton H\o{}gholm, Henrik Holm, Vladimir Ivanovich, Stefan Kahrs, J\o{}gen Larsen, Kevin Lin, Matthew Lovell, Daniel Luecking, Lars Madsen, Vittorio De Martino, Frank Mittelbach, Rolf Niepraschk, Patrik Nyman, Heiko Oberdiek, Scott Pakin, Adriano Pascoletti, Robert, Chris Rowley, Bernd Raichle, Doug Schenck, Rainer Sch\"{o}pf, Paul Stanley, Reuben Thomas, Bastiaan Niels Veelo, Emanuele Vicentini, J\"{u}rgen Vollmer, and others. If I have inadvertently left anyone off the list I apologise, and please let me know so that I can correct the omisssion. Of course, none of this would have been possible without Donald Knuth's TeX system and the subsequent development of LaTeX by Leslie Lamport. \end{comment} %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \chapter{Introduction to the seventh edition} The \Lclass{memoir} class and this manual have seen many changes since they first saw the light of day. The major functions, and extensions to them, were listed in the various introductions to the previous editions of this manual and it would now be tedious to read them. The \Mname\ class was first released in 2001 and since then has proven to be reasonably popular. The class can be used as a replacement for the \Lclass{book} and \Lclass{report} classes, by default generating documents virtually indistinguisable from ones produced by those classes. The class includes some options to produce documents with other appearances; for example an \Lclass{article} class look or one that looks as though the document was produced on a typewriter with a single font, double spacing, no hyphenation, and so on. In the following I use the term `standard class'\index{standard class} to denote the \Lclass{book} and \Lclass{report} classes and, when appropriate, the \Lclass{article} class as well. The \Mname\ class includes the functionality of many packages, for instance the \Lpack{tocloft} package for controlling the table of contents or methods similar to the \Lpack{fancyhdr} package for designing your own headers. The built-in package functions are mainly related to document design and layout; \Mname\ does not touch upon areas like those that are covered by the \Lpack{babel} or \Lpack{hyperref} packages or any related to typesetting mathematics. On the other hand it is easy to configure a work produced with \Mname\ to meet a university's thesis layout requirements. \Mname\ has improved substantially since it was first released --- over 50 \ltx ers have provided code or suggestions for improvements. The class is included in the \TeXUG\ \tx\ distributions and the latest version of the class and its supporting documentation is always available from % \ctan\ at \url{latex/contrib/memoir}. This is not a guide to the general use of \ltx\ but rather concentrates on where the \index{class}\Lclass{memoir} class differs from the standard \ltx\ \Lclass{book} and \Lclass{report} classes. There are other sources that deal with \ltx\ in general, some of which are noted later. I assume that you have already used \ltx\ and therefore know how to prepare a \ltx\ manuscript, how to run \ltx\ and print the resulting document, and that you can also use auxiliary programs like \Lmakeindex\ and \Lbibtex. \begin{comment} listed in \the \bibname. Lamport~\cite{LAMPORT94} is of course the original user manual for LaTeX, while the Companion series, for example~\cite{COMPANION}, go into further details and auxiliary programs. The Comprehensive TeX Archive Network (CTAN) is a valuable source of free information and the LaTeX system itself. For general questions see the FAQ~\cite{FAQ} which also has pointers to information sources. Among these are \btitle{The Not So Short Introduction to LaTeX2e}~\cite{LSHORT}, Keith Reckdahl's \btitle{Using imported graphics in LaTeX2e}~\cite{EPSLATEX} and Piet van Oostrum's \btitle{Page layout in LaTeX}~\cite{FANCYHDR}. The question of how to use different fonts with LaTeX is left strictly alone; Alan Hoenig's book~\cite{HOENIG98} is the best guide to this that I know of although Philipp Lehman's \btitle{The Font Installation Guide}~\cite{FONTINST} has much information. \end{comment} \section{General considerations} The class is a large one consisting of about 10,000 lines of \ltx\ code documented in a 400 page report; there is no need for most users to look at this~\cite{MEMCODE}. However if you want to see exactly how some part, or all of, \Mname\ is defined it is there for you to peruse. The document you are now reading is the separate comprehensive User Manual~\cite{MEMMAN} which runs to about 500 pages, and from time to time an Addendum~\cite{MEMADD} is released noting extensions to the class. Again, if you want to see how something was done in this Manual, which of course was prepared using \Mname\ itself, the source is available for you to read. There is also the \Lpack{memexsupp} package by Lars Madsen~\cite{MEMEXSUPP} which provides some extra facilities for the class. The first part of this Manual discusses some aspects of book design and typography in general, something that I haven't come across in the usual \ltx\ books and manuals. This is intended to provide a little background for when you design your own printed documents. \begin{comment} \Mname\ provides slightly enhanced facilities for creating title pages but in my view it is better to create your own layout for a title page. To aid in this I have created some 25 examples of title pages that can be used as a starting point for your design~\cite{TITLEPAGES}. These were produced using regular \ltx\ facilities and are not dependent on \Mname. \end{comment} The second, and by far the longer part, describes the capabilities of \Mname\ and how to use them. This manual is not a \ltx\ tutorial; I assume that you already know the basics. If you don't then there are several free tutorials available. In some instances I show you the internal code for the class which may involve \ltx\ commands that you won't come across in the tutorials and also sometimes basic \tx\ commands. Information on these, if you want it, is obtained from reading the \ltx\ source itself and the \txbook, and perhaps one of the free \tx\ manuals such as \btitle{TeX for the Impatient}~\cite{IMPATIENT} or \btitle{TeX by Topic}~\cite{TEXBYTOPIC}. \section{Class options} The standard classes provide point options of 10, 11, or 12 points for the main body font. \Mname\ extends this by also providing a 9 point option, and options ranging from 14 to 60 points. The width of the text block is automatically adjusted according to the selected point size to try and keep within generally accepted typographical limits for line lengths; you can override this if you wish. The class also provides easy methods for specifying the page layout parameters such as the margins --- both the side margins and those at the top and bottom of the page; the methods are similar to those of the \Lpack{geometry} package. The page layout facilities also include methods, like those provided by the \Lpack{fancyhdr} package, for defining your own header and footer styles, and you can have as many different ones as you wish. In fact the class provides seven styles to choose from before having to create your own if none of the built-in styles suit you. Sometimes it is useful, or even required, to place trimming marks on each page showing the desired size of the final page with respect to the sheet of paper that is used in the printer. This is provided by the \Lopt{showtrims} option. A variety of trim marks are provided and you can define your own if you need some other kind. \section{Sectioning styles} Handles are provided for designing and using your own styles for chapter titles and such. The class comes with over 20 predefined chapter styles ranging from the default look to a style that mimics that used in the \emph{Companion} series of \ltx\ books. There are even a couple which use words instead of numerals for chapter numbers. % The Manual shows %examples of these styles and about 30 are shown in Lars %Madsen's collection~\cite{MEMCHAPS}. For those who like putting quotations near chapter titles the \Ie{epigraph} environment can be used. The options for changing \cs{section} and lower level titles are more constrained, but generally speaking document design, unless for advertisements or other eye-catching ephemera, should be constrained. The class does provide 9 integrated sets of sectional heading styles instead of the usual single set. Sometimes, but particularly in novels, a sectional division is indicated by just leaving a blank line or two between a pair of paragraphs, or there might be some decorative item like three or four asterisks, or a fleuron or two. (A \emph{fleuron}\index{fleuron} is a printers ornament looking like a leaf, such as \ding{166} or \ding{167}.) Commands are available for typesetting such anonymous divisions. In the standard classes the sectioning commands have an optional argument which can be used to put a short version of the section title into the table of contents and the page header. \Mname\ extends this with a second optional argument so you can specify one short version for the contents and an even shorter one for page headers where space is at a premium. \section{Captions} \Mname\ incorporates the code from my \Lpack{ccaption} package which lets you easily modify the appearance of figure and table captions; bilingual captions are available if required, as are captions placed at the side of a figure or table or continuation captions from, say, one illustration to another. Captioning can also be applied to `non-floating' illustrations or as legends (i.e., unnumbered captions) to the regular floats. The captioning system also supports subfigures and subtables along the lines of the \Lpack{subfig} package, plus letting you define your own new kinds of floats together with the corresponding `\listofx'. \section{Tables} Code from the \Lpack{array}, \Lpack{dcolumn}, \Lpack{delarray} and \Lpack{tabularx} packges is integrated within the class. To improve the appearance of rules in tabular material the \Lpack{booktabs} package is also included. Multipage tabulations are often set with the \Lpack{longtable} or \Lpack{xtab} packages, which can of course be used with the class. For simple tabulations that may continue from one page to the next, \Mname\ offers a `continuous tabular' environment. This doesn't have all the flexibility provided by the packages but can often serve instead of using them. More interestingly, but more limited, the class provides `automatic tabulars'. For these you provide a list of simple entries, like a set of names, and a number of columns and the entries are automatically put into the appropriate column. You choose whether the entries should be added row-by-row, like this with the \cs{autorows} command: \begin{lcode} \autorows{c}{5}{l}{one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen } \end{lcode} \showit{ {\centering \begin{tabular}{lllll} one & two & three & four & five \\ six & seven & eight & nine & ten \\ eleven & twelve & thirteen \\ \end{tabular} \par} } Or if you use the \cs{autocols} command the entries are listed column-by-column, like this : \begin{lcode} \autocols{c}{5}{l}{one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen } \end{lcode} \showit{ {\centering \begin{tabular}{lllll} one & four & seven & ten & thirteen \\ two & five & eight & eleven & \\ three & six & nine & twelve & \\ \end{tabular} \par} } \section{Verse} The standard classes provide a very simple \Ie{verse} environment for typesetting poetry. This is greatly extended in \Mname. For example in the standard classes the verse stanzas are at a fixed indentation from the left margin whereas \Mname\ lets you control the amount of indentation so that you can make a poem appear optically centered within the textwidth. Stanzas may be numbered, as can individual lines within a poem. There is a special environment for stanzas where lines are alternately indented. Also you can can define an indentation pattern for stanzas when this is not regular as, for example, in a limerick where the 3rd and 4th of the five lines are indented with respect to the other three as shown below. \begin{lcode} \indentpattern{00110} \begin{verse} \begin{patverse} There was a young man of Quebec \\ Who was frozen in snow to his neck. \\ When asked: `Are you friz?' \\ He replied: `Yes, I is, \\ But we don't call this cold in Quebec.' \end{patverse} \end{verse} \end{lcode} \showit{ \begin{verse} There was a young man of Quebec \\ Who was frozen in snow to his neck. \\ \hspace*{2em}When asked: `Are you friz?' \\ \hspace*{2em}He replied: `Yes, I is, \\ But we don't call this cold in Quebec.' \end{verse} } It is not always possible to fit a line into the available space and you can specify the particular indentation to be used when a `logical' verse line spills over the available textwidth, thus forming two or more typeset `physical' lines. On other occasions where there are two half lines the poet might want the second half line to start where the first one finished, like this: \begin{lcode} \begin{verse} Come away with me. \\ \vinphantom{Come away with me.} Impossible! \end{verse} \end{lcode} \showit{ \begin{verse} Come away with me. \\ \leavevmode\phantom{Come away with me.} Impossible! \end{verse} } \section{End matter} Normally appendices come after the main body of a book. The class provides various methods for introducing appendices at the end, or you can place one or more appendices at the end of selected chapters if that suits you better. \Mname\ also lets you have more than one index and an index can be set in either the normal double column style or as a single column which would be more appropriate, say, for an index of first lines in a book of poetry. The titles of any bibliography or indexes are added to the table of contents, but you can prevent this if you wish. The class provides a set of tools for making glossaries or lists of symbols, the appearance of which can, of course, be easily altered. The \Lmakeindex\ program is used to sort the entries. %An example is %shown in the current version of the Addendum. A recent addition Also, the class provides configurable end notes which can be used as well as, or instead of, footnotes. \section{Miscellaneous} % As already noted, the Manual for \Mname\ runs to some 300 pages and it %is impossible to cover everything in a short article. %Suffice it to say that Hooks and macros are provided for most aspects of document layout; for instance, footnotes can be as normal, typeset in two or three columns, or all run into a single paragraph. There is a \cs{sidenote} macro which is a non-floating \cs{marginpar} as well as the \cs{sidebar} macro for typesetting sidebars in the margin, starting at the top of the text block. You can create new verbatim-like environments, read and write information in external files, design your own style of \cs{maketitle}, convert numbers to words, reserve space at the bottom of a page, and so on and so forth. %% \appendix \section{Packages} Most packages work with the \Mname\ class, the main exception being the \Lpack{hyperref} package. This package modifies many of the internals of the standard classes but does not cater for all of the differences between \Mname\ and the standard ones. If you wish to use \Lpack{hyperref} with \Mname\ then you must use the \Lpack{memhfixc} package\footnote{\Lpack{memhfixc} is supplied as part of the \Mname\ distribution.} after using \Lpack{hyperref}. For example like: \begin{lcode} \documentclass[...]{memoir} ... \usepackage[...]{hyperref} \usepackage{memhfixc} ... \begin{document} \end{lcode} However, if you have a version of \Lpack{hyperref} dated 2006/11/15 or after, \Lpack{hyperref} will automatically call in \Lpack{memhfixc} so that you don't have to do anything. The \Mname\ class includes code either equivalent to, or extensions of, the following packages; that is, the set of commands and environments is at least the same as those in the packages: %\begin{itemize}%\item \begin{lineitems} \Lpack{abstract} \item \Lpack{appendix} \item \Lpack{array} \item \Lpack{booktabs} \item \Lpack{ccaption} \item \Lpack{chngcntr} \item \Lpack{chngpage} \item \Lpack{dcolumn} \item \Lpack{delarray} \item \Lpack{enumerate} \item \Lpack{epigraph} \item \Lpack{framed} \item \Lpack{ifmtarg} \item \Lpack{ifpdf} \item \Lpack{index} \item \Lpack{makeidx} \item \Lpack{moreverb} \item \Lpack{needspace} \item \Lpack{newfile} \item \Lpack{nextpage} \item \Lpack{parskip} \item \Lpack{patchcmd} \item \Lpack{setspace} \item \Lpack{shortvrb} \item \Lpack{showidx} \item \Lpack{tabularx} \item \Lpack{titleref} \item \Lpack{titling} \item \Lpack{tocbibind} \item \Lpack{tocloft} \item \Lpack{verbatim} \item \Lpack{verse}. \end{lineitems} %\end{itemize} The class automatically ignores any \verb?\usepackage? or \verb?\RequirePackage? related to these. However, if you want to specifically use one of these packages rather than the integrated version then you can do so. For arguments sake, assuming you really want to use the \Lpack{titling} the package you can do this: \begin{lcode} \documentclass[...]{memoir} \DisemulatePackage{titling} \usepackage{titling} \end{lcode} The \Mname\ class incorporates a version of the \Lpack{setspace} package, albeit using different names for the macros. The package enables documents to be set double spaced but leaves some document elements, like captions for example, single spaced. To do this it has to make some assumptions about how the document class works. I felt that this kind of capability should be part of the class and not depend on assumptions. In the particular case of the \Lpack{setspace} package, even with the standard classes, there can be some unexpected spacing around displayed material; this has not occured with \Mname's implementation. The class also provides functions similar to those provided by the following packages, although the commands are different: %\begin{itemize}%\item \begin{lineitems}%\item \Lpack{crop} \item \Lpack{fancyhdr} \item \Lpack{geometry} \item \Lpack{sidecap} \item \Lpack{subfigure} \item \Lpack{titlesec}. \end{lineitems} %\end{itemize} You can use these packages if you wish, or just use the capabilities of the \Mname\ class. \begin{comment} Sometimes a class or package may define a command that is also, differently, defined by a succeeding package. As an example, assume that you want to use the \Mname\ class together with the \Lpack{pack} package but they have both defined \cs{amacro}. There are several ways of dealing with this. \begin{enumerate} \item Discard the class's definition: \begin{verbatim}[\vopt] \documentclass[...]{memoir} % kill the class definition \let\amacro\undefined% or \relax \usepackage{pack} \end{verbatim} and \Lpack{pack}'s version of \cs{amacro} is used from now on. \item Discard the package's definition: \begin{verbatim}[\vopt] \documentclass[...]{memoir} % save the class definition \let\memamacro\amacro% \let\amacro\undefined \usepackage{pack} % restore the class definition \let\amacro\memamacro \end{verbatim} and \Mname's version of \cs{amacro} is used from now on. \item Keep both definitions: \begin{verbatim}[\vopt] \documentclass[...]{memoir} \let\memamacro\amacro \let\amacro\undefined \usepackage{pack} \end{verbatim} and after this use \cs{memamacro} when you need \Mname's version and \cs{amacro} when you want to use \Lpack{pack}'s definition. But this solution doesn't always work as you might not know when the particular versions must be used, or it is impossible to partition the uses. \end{enumerate} A last resort is to ask the authors that one or the other macro names be changed; however, for good reasons, neither may be willing to do this. \end{comment} \section{Resources} \label{sec:resources} Scattered throughout, but mainly in Part~\ref{part:art}, are comments about aspects of book design and typography, in some cases accompanied by examples of better and poorer practice. If you want more authorative remarks there are several books on the subject listed in the \bibname; I prefer Bringhurst's \textit{The Elements of Typographic Style}~\cite{BRINGHURST99}. \ltx\ is based on the \tx\ program which was designed principally for typesetting documents containing a lot of mathematics. In such works the mathematics breaks up the flow of the text on the page, and the vertical space required for displayed mathematics is highly dependent on the mathematical particularities. Most non-technical books are typeset on a fixed grid as they do not have arbitrary insertions into the text; it is these kinds of publications that typographers are most comfortable talking about. There are other sources that deal with \ltx\ in general, some of which are listed in the \bibname. Lamport~\cite{LAMPORT94} is of course the original user manual for \ltx, while the Companion series~\cite{COMPANION,GCOMPANION,WCOMPANION} go into further details and auxiliary programs. George Gr\"{a}tzer's \textit{Math into \ltx} is valuable if you typeset a lot of mathematics with excellent coverage of the American Mathematical Society's packages. The \cTeXan{} (\pixctan) is an invaluable source of free information and of the \ltx\ system itself. For general questions see the FAQ (Frequently Asked Questions, and answers) maintained by Robin Fairbairns~\cite{FAQ}, which also has pointers to many information sources. Among these are \textit{The Not So Short Introduction to \ltxe}~\cite{LSHORT}, Keith Reckdahl's \textit{Using imported graphics in \ltxe}~\cite{EPSLATEX} and Piet van Oostrum's \textit{Page layout in \ltx}~\cite{FANCYHDR}. Peter Flynn's \textit{Formatting information}~\cite{FLYNN02} is unique in that it describes how to install a \ltx\ system and editors for writing your documents as well as how to use \ltx. There are a myriad of packages and software tools freely available to enhance any \ltx\ system; the great majority of these are listed in Graham Williams' magnificent on line searchable catalogue~\cite{CATALOGUE}, which also links directly to \pixctan. This is just one of the services offered by the \TeXUG{} (\pixtug) and information on how to access it is available at \url{http://www.tug.org} which is the homepage for the \TeXUG. The most recent crops of messages on the \url{comp.text.tex} newsgroup (\pixctt) show an increasing interest in using a wider range of fonts with \ltx. This is a question that I have left alone. Alan Hoenig's book~\cite{HOENIG98} is the best guide to this that I know of. \pixctan\ hosts Philipp Lehman's font installation guide~\cite{FONTINST}; this is well worth looking at just as an example of fine typesetting. The source code for the \Lclass{memoir} class is, of course, freely available from \pixctan\ if you wish to see exactly what it does and how it does it. For a more interactive resource you can ask questions on the \url{comp.text.tex} newsgroup. If you are a newcomer to \pixctt\ please read the FAQ~\cite{FAQ} before asking a question, and also read a few day's worth of messages to check that your question hasn't just been answered. \section{Type conventions} The following conventions are used: \begin{itemize} \item \Pclass{The names of \ltx\ classes\index{class} and packages\index{package} are typeset in this font.} \item \Popt{Class options\index{option} are typeset in this font.} \item \Ppstyle{The names of chapterstyles\index{chapterstyle} and pagestyles\index{pagestyle} are typeset in this font.} \item \texttt{\ltx\ code is typeset in this font.} \item \Pprog{The names of programs are in this font.} \end{itemize} \begin{syntax} Macro command syntax is enclosed in a rectangular box.\\ For referential purposes, arguments are denoted by \meta{arg} \\ \end{syntax} \section{Acknowledgements} Many people have contributed to the \Lclass{memoir} class and this manual in the forms of code, solutions to problems, suggestions for new functions, bringing my attention to errors and infelicities in the code and manual, and last but not least in simply being encouraging. I am very grateful to the following for all they have done, whether they knew it or not: Paul Abrahams, % code William Adams, % typography Tim Arnold, % among other things, \leavespergathering in general Donald Arseneau, % code Stephan von Bechtolsheim, Jens Berger, Karl Berry, % code Ingo Beyritz, % bug report (tabularx in subtable) Javier Bezos, Stefano Bianchi, % chaptersytyle Sven Bovin, Alan Budden, Ignasi Furi\'{o} Caldenty, Ezequiel Mart\'{\i}n C\'{a}mara, David Carlisle, % code Gustafo Cevolani, Jean-C{\^o}me Charpentier, % memmanadd typo fix Michael A. Cleverly, % code Steven Douglas Cochran, % code Frederic Connes, % code \v{Z}arko F. \v{C}u\v{c}ej, % bug report (contcaption & hyperref) Christopher Culver, % chapterstyle Michael W. Daniels, % code Michael Downes, % code Christopher Dutchyn, Thomas Dye, % code Victor Eijkhout, % code Danie Els, % code Robin Fairbairns, % code Simon Fear, % code Kai von Fintel, Ivars Finvers, % bug report Ulrike Fischer, % general code ideas Matthew Ford, Musa Furber, Daniel Richard G, Ignacio Fern{\'a}ndez Galv{\'a}n, Gerardo Garcia, % chapterstyle Romano Giannetti, % code Donald Goodman, % manual typo (1/2 titke page should be in pagination) Gabriel Guernik, % bug report & suggested fix Matthias Haldiman, % bug report, fixed by Heiko Kathryn Hargreaves, % code Sven Hartrumpf, hazydirk, % code Carsten Heinz, % code Florence Henry, Peter Heslin, Morton H{\o}gholm, % code Henrik Holm, Vladimir Ivanovich, Martin J{\o}rgensen, % bug report Stefan Kahrs, Marcus Kohm, % algorithm Flavian Lambert, % float type bug J\o{}gen Larsen, % bug reports and fix Kevin Lin, Matthew Lovell, Daniel Luecking, % codef Anders Lyhne, % chapterstyle Lars Hendrik Gam Madsen, % extra space in Part title in ToC Lars Madsen, % code Vittorio De Martino, Ben McKay, % errors in pagenote instructions Frank Mittelbach, % code Vilar Camara Neto, Rolf Niepraschk, Patrik Nyman, Heiko Oberdiek, % code Scott Pakin, Adriano Pascoletti, Paul, % bug report Ted Pavlic, % typo report Troels Pedersen, % chapterstyle Steve Peter, Fran\c{c}ois Poulain, % typo in Magellan's voyage title Erik Quaeghebeur, % bug report Bernd Raichle, % code Aaron Rendahl, % bug report and fix Ren{\'e}, % correction (paper folding) Alan Ristow, % request for \leavespergathering Robert, Chris Rowley, Robert Schlicht, % code Doug Schenck, Dirk Schlimm, Arnaud Schmittbuhl, Rainer Sch\"{o}pf, % code Paul Stanley, Per Starb{\"a}ck, % boxedverbatim in narrow text bug, documentation James Szinger, % code Jens Taprogge, Ajit Thakkar, % reference to an appendix, typo Scott Thatcher, % chapterstyle Reuben Thomas, Bastiaan Niels Veelo, % code Guy Verville, % chapterstyle Emanuele Vicentini, J{\"o}rg Vogt, % suggestion re verse J\"{u}rgen Vollmer, M J Williams, % \input in tabular bug and David Wilson. If I have inadvertently left anyone off the list I apologise, and please let me know so that I can correct the omisssion.\footnote{I am currently occasionably reachable via email at \texttt{herries dot press (at) earthlink dot net}.} Along those lines, if you have any questions please direct them to the \url{comp.text.tex} newsgroup instead of directly to me as you are much more likely to get a satisfactory and timely response. Of course, none of this would have been possible without Donald Knuth's \tx\ system and the subsequent development of \ltx\ by Leslie Lamport. %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \chapter{Terminology} %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Like all professions and trades, typographers and printers have their specialised vocabulary. First there is the question of pages, leaves and sheets. The trimmed sheets of paper\index{paper} that make up a book are called \emph{leaves}\index{leaf}, and I will call the untrimmed sheets the \emph{stock}\index{stock} material. A leaf has two sides, and a \emph{page}\index{page} is one side of a leaf. If you think of a book being opened flat, then you can see two leaves. The front of the righthand leaf, is called the \emph{recto}\index{recto} page of that leaf, and the side of the lefthand leaf that you see is called the \emph{verso}\index{verso} page of that leaf. So, a leaf has a recto and a verso page. Recto pages are the odd-numbered pages and verso pages are even-numbered. Then there is the question of folios. The typographical term for the number of a page is \emph{folio}\index{folio}. This is not to be confused with the same term as used in `Shakespeare's First Folio' where the reference is to the height and width of the book, nor to its use in the phrase `\emph{folio} signature'\index{signature} where the term refers to the number of times a printed sheet is folded. Not every page in a book has a printed folio, and there may be pages that do not have a folio at all. Pages with folios, whether printed or not, form the \emph{pagination}\index{pagination} of the book. Pages that are not counted in the pagination have no folios. A \emph{font}\index{font} is a set of characters. In the days of metal type and hot lead a font meant a complete alphabet and auxiliary characters in a given size. More recently it is taken to mean a complete set of characters regardless of size. A font of roman type normally consists of CAPITAL LETTERS, \textsc{small capitals}, lowercase letters, numbers, punctuation marks, ligatures (such as `fi' and `ffi'), and a few special symbols like \&. A \emph{font family}\index{font!family} is a set of fonts designed to work harmoniously together, such as a pair of roman and italic fonts. The size of a font\index{font} is expressed in points\index{point} (72.27 points equals 1 inch equals 25.4 millimeters). The size is a rough indication of the height of the tallest character, but different fonts with the same size may have very different actual heights. Traditionally font sizes were referred to by names (see \tref{tab:fontsizes}) but nowadays just the number of points is used. \begin{table} \centering \caption{Traditional font size designations} \label{tab:fontsizes} \begin{tabular}{cl@{\hspace{2em}}cl} \toprule Points & Name & Points & Name \\ \midrule %%3 & Excelsior \\ \phantom{0}3 & Excelsior & 11 & Small Pica \\ \phantom{0}3\rlap{\slashfrac{1}{2}} & Brilliant & 12 & Pica \\ \phantom{0}4 & Diamond & 14 & English \\ \phantom{0}5 & Pearl & 18 & Great Primer \\ \phantom{0}5\rlap{\slashfrac{1}{2}} & Agate & 24 & Double (or Two Line) Pica \\ \phantom{0}6 & Nonpareil & 28 & Double (or Two Line) English \\ \phantom{0}6\rlap{\slashfrac{1}{2}} & Mignonette & 36 & Double (or Two Line) Great Primer \\ \phantom{0}7 & Minion & 48 & French Canon (or Four Line Pica) \\ \phantom{0}8 & Brevier & 60 & Five Line Pica \\ \phantom{0}9 & Bourgeois & 72 & Six line Pica \\ 10 & Long Primer & %%16 & Columbian \\ %%20 & Paragon \\ %%22 & Double Small Pica \\ %%32 & Four Line Brevier \\ %%40 & Double Paragon \\ %%44 & Meridian \\ 96 & Eight Line Pica \\ \bottomrule \end{tabular} \end{table} The typographers' and printers' term for the vertical space between the lines of normal text is \emph{leading}\index{leading}, which is also usually expressed in points and is usually larger than the font size. A convention for describing the font and leading is to give the font size and leading separated by a slash; for instance $10/12$ for a 10pt font set with a 12pt leading, or $12/14$ for a 12pt font set with a 14pt leading. The normal length of a line of text is often called the \emph{measure}\index{measure} and is normally specified in terms of picas\index{pica} where 1 pica equals 12 points (1pc = 12pt). Documents may be described as being typeset with a particular font with a particular size and a particular leading on a particular measure; this is normally given in a shorthand form. A 10pt font with 11pt leading on a 20pc measure is described as \abyb{10/11}{20}, and \abyb{14/16}{22} describes a 14pt font with 16pt leading set on a a 22pc measure. \section{Units of measurement} Typographers and printers use a mixed system of units, some of which we met above. The fundamental unit is the point; \tref{tab:units} lists the most common units employed. \begin{table} \centering \caption{Printers units} \label{tab:units} \begin{tabular}{ll} \hline Name (abbreviation) & Value \\ \hline point (pt)\index{point}\index{pt} & \\ pica (pc)\index{pica}\index{pc} & 1pc = 12pt \\ inch (in)\index{inch}\index{in} & 1in = 72.27pt \\ centimetre (cm)\index{centimetre}\index{cm} & 2.54cm = 1in \\ millimetre (mm)\index{millimetre}\index{mm} & 10mm = 1cm \\ big point (bp)\index{big point}\index{bp} & 72bp = 72.27pt \\ didot point (dd)\index{didot point}\index{dd} & 1157dd = 1238pt \\ cicero (cc)\index{cicero}\index{cc} & 1cc = 12dd \\ \hline \end{tabular} \end{table} Points\index{point} and picas\index{pica} are the traditional printers units used in English-speaking countries. The didot point\index{didot point} and cicero\index{cicero} are the corresponding units used in continental Europe. In Japan `kyus'\index{kyus} (a quarter of a millimetre) may be used as the unit of measurement. Inches\index{inch} and centimetres\index{centimetre} are the units that we are all, or should be, familiar with. The point system was invented by Pierre Fournier le jeune in 1737 with a length of 0.349mm. Later in the same century Fran\c{c}ois-Ambroise Didot introduced his point system with a length of 0.3759mm. This is the value still used in Europe. Much later, in 1886, the American Type Founders Association settled on 0.013837in as the standard size for the point, and the British followed in 1898. Conveniently for those who are not entirely metric in their thinking this means that six picas are approximately equal to one inch. The big point\index{big point} is somewhat of an anomaly in that it is a recent invention. It tends to be used in page markup languages, like \pscript\footnote{\pscript{} is a registered trademark of Adobe Systems Incorporated.\label{fn:ps}}, in order to make to make calculations quicker and easier. The above units are all constant in value. There are also some units whose value depends on the particular font\index{font} being used. The \textit{em}\index{em} is the nominal height of the current font; it is used as a width measure. An \textit{en}\index{en} is half an em. The \textit{ex}\index{ex} is nominally the height of the letter `x' in the current font. You may also come across the term \textit{quad}\index{quad}, often as in a phrase like `starts with a quad space'. It is a length defined in terms of an em, often a quad is 1em. \cleardoublepage \pagenumbering{arabic} % body \mainmatter \part{Art and Theory} \label{part:art} \chapter{The Parts of a Book} %\section{Introduction} This chapter describes the various parts of a book, the ordering of the parts, and the typical page numbering scheme used in books. \section{\prfrontmatter} There are three major divisions in a book: the \pixfrontmatter\ or preliminaries\index{preliminaries}, the \pixmainmatter\ or text, and the \pixbackmatter\ or references. The main differences as far as appearance goes is that in the \pixfrontmatter\ the folios\index{folio} are expressed as roman numerals and sectional divisions are not numbered. The folios\index{folio} are expressed as arabic numerals in the \pixmainmatter\ and \pixbackmatter. Sectional divisions are numbered in the \pixmainmatter\ but not in the \pixbackmatter. The \pixfrontmatter\ consists of such elements as the title of the book, a table of contents\ixtoc, and similar items. All pages are paginated\index{pagination} --- that is they are counted --- but the first few pages in the \pixfrontmatter, the title pages and such, do not usually have folios\index{folio}. The remainder of the pages in the \pixfrontmatter\ do have folios\index{folio} which are usually expressed as roman numerals. Not all books have all the elements described below. The first page is a recto \emph{half-title}\index{half-title page}\index{title page!half-title}, or \emph{bastard title}\index{bastard title page}\index{title page!bastard}, page with no folio\index{folio}. The page is very simple and displays just the main title of the book --- no subtitle, author, or other information. One purported purpose of this page is to protect the main title page. The first verso page, the back of the half-title page, may contain the series title, if the book is one in a series, a list of contributors, a frontispiece, or may be blank. The series title may instead be put on the half-title page or on the copyright page. The \emph{title page}\index{title page} is recto and contains the full title of the work, the names of the author(s) or editor(s), and often at the bottom of the page the name of the publisher, together with the publisher's logo if it has one. The title page(s) may be laid out in a simple manner or can have various fol-de-rols, depending on the impression the designer wants to give. In any event the style of this page should give an indication of the style used in the main body of the work. The verso of the title page is the copyright page\index{copyright page}. This contains the copyright notice, the publishing/printing history, the country where printed, ISBN and/or CIP information. The page is usually typeset in a smaller font\index{font!change} than the normal text. Following the copyright page may come a dedication or an epigraph\index{epigraph}, on a recto page, with the following verso page blank. This essentially completes the unfolioed pages. The headings\index{heading} and textual forms for the paginated pages should be the same as those for the \pixmainmatter, except that headings\index{heading} are usually unnumbered. The first folioed page, usually with roman numerals (e.g., this is folio iii), is recto with the Table of Contents (\toc). If the book contains figures\index{figure} (illustrations\index{illustration}) and/or tables\index{table}, the List of Figures (\lof) and/or List of Tables (\lot) come after the \toc, with no blank pages separating them. The \toc\ should contain an entry for each following major element. If there is a \lot, say, this should be listed in the \toc. The main chapters\index{chapter} must be listed, of course, and so should elements like a preface\index{preface}, bibliography\index{bibliography} or an index\index{index}. There may be a foreword\index{foreword} after the listings, with no blank separator. A foreword is usually written by someone other than the author, preferably an eminent person whose name will help increase the sales potential, and is signed by the writer. The writer's signature is often typeset in small caps after the end of the piece. A preface\index{preface} is normally written by the author, in which he includes reasons why he wrote the work in the first place, and perhaps to provide some more personal comments than would be justified in the body. A preface starts on the page immediately following a foreword, or the lists. If any acknowledgements are required that have not already appeared in the preface, these may come next in sequence. Following may be an introduction if this is not part of the main text. The last elements in the front material may be a list of abbreviations, list of symbols, a chronology of events, a family tree, or other information of a like sort depending on the particular work. Table~\ref{tab:front} summarises the potential elements in the \pixfrontmatter. \begin{table} \centering \caption{\prFrontmatter}\label{tab:front} \begin{tabular}{llcc} \hline Element & Page & Folio & Leaf \\ \hline Half-title page & recto & no & 1 \\ Frontispiece, etc., or blank & verso & no & 1 \\ Title page & recto & no & 2 \\ Copyright page & verso & no & 2 \\ Dedication & recto & no & 3 \\ Blank & verso & no & 3 \\ Table of Contents\ixtoc & recto & yes & 3 or 4 \\ List of Figures\ixlof & recto or verso & yes & 3 or 4 \\ List of Tables\ixlot & recto or verso & yes & etc. \\ Foreword & recto or verso & yes & etc. \\ Preface & recto or verso & yes & etc. \\ Acknowledgements & recto or verso & yes & etc. \\ Introduction & recto or verso & yes & etc. \\ Abbreviations, etc & recto or verso & yes & etc. \\ \hline \end{tabular} \end{table} Note that the titles Foreword, Preface and Introduction are somewhat interchangeable. In some books the title Introduction may be used for what is described here as the preface, and similar changes may be made among the other terms and titles in other books. \subsection{Copyright page} Most people are familiar with titles, \toc, prefaces, etc., but like me are probably less familiar with the contents of the copyright page\index{copyright page|(}. In any event this is usually laid out by the publishing house, but some authors may like to be, or are forced into being, their own publisher. The main point of the copyright page is to display the copyright\index{copyright} notice. The Berne Convention does not require that published works carry a copyright notice in order to secure copyright protection but most play it on the safe side and include a copyright\index{copyright} notice. This usually comes in three parts: the word \textit{Copyright} or more usually the symbol \textcopyright, the year of publication, and the name of the copyright owner. The copyright symbol matches the requirements of the Universal Copyright Convention to which the USA, the majority of European and many Asian countries belong. The phrase `All rights reserved' is often added to ensure protection under the Buenos Aires Convention, to which most of the Americas belong. A typical copyright notice may look like: \\ {\footnotesize \textcopyright{} 2035 by Frederick Jones. All rights reserved.} Somewhere on the page, but often near the copyright notice, is the name and location(s) of the publisher. Also on the copyright page is the publishing history, denoting the edition or editions\footnote{A second edition should be more valuable than a first edition as there are many fewer of them.} and their dates, and often where the book has been printed. One thing that has puzzled me in the past is the mysterious row of numbers you often see, looking like: \\ \centerline{\footnotesize\texttt{02 01 00 99 98 97\hspace{2em}10 9 8 7 6 5}} The set on the left, reading from right to left, are the last two digits of years starting with the original year of publication. The set on the right, and again reading from right to left, represents the potential number of new impressions (print runs). The lowest number in each group indicates the edition date and the current impression. So, the example indicates the fifth impression of a book first published in 1997. In the USA, the page often includes the Library of Congress Cataloging-in-Publication (CIP)\index{CIP} data, which has to be obtained from the Library of Congress. This provides some keywords about the book. The copyright page is also the place for the ISBN\index{ISBN} (International Standard Book Number) number. This uniquely identifies the book. For example: ISBN 0-NNN-NNNNN-2. The initial 0 means that the book was published in an English-speaking country, the next group of digits identify the publisher, the third group identifies the particular book by the publisher, and the final digit, 2 in the example, is a check digit. It is left as an exercise for the reader to garner more information about obtaining CIP and ISBN data.\index{copyright page|)} \section{\prMainmatter} The \pixmainmatter\ forms the heart of the book. Just as in all the other parts of a book the pages within the \pixmainmatter\ are included in the pagination, even though some folios\index{folio} may not be expressed. The folios\index{folio} are normally presented as arabic numerals, with the numbering starting at 1 on the first recto page of the \pixmainmatter. The \pixmainmatter\ is at least divided into \emph{chapters}\index{chapter}, unless it is something like a young child's book which consists of a single short story. When the material may be logically divided into sections larger than chapters, the chapters may be grouped into \emph{parts}\index{part} which would then be the highest level of division within the book. Frederic Connes\index{Connes, Frederic} has told me that in French typography there is often a division above the part level. This is also sometimes the case with English typography where it is typically called a \emph{book}\index{book} --- the \btitle{Chicago Manual of Style}~\cite[p. 21]{CMS} shows an example. A single physical book may thus be divided into levels from \emph{book} through \emph{part} and \emph{chapter} to further refinements. Typically all of books\index{book!number}, parts\index{part!number} and chapters\index{chapter!number} are numbered. Obviously, part numbering should be continuous throughout the book, but even with parts the chapter numbering is also continuous throughout the book. The title of a part\index{heading!part} is usually on a recto page which just contains the part title, and number if there is one. Book titles\index{heading!book} are usually treated the same way. Chapters\index{chapter} also start on recto pages but in this case the text of the chapter\index{chapter} starts on the same page as the chapter title. Where chapters\index{chapter} are long, or when the material is complicated, they may be divided into sections\index{section}, each introduced by a subhead\index{subhead}, either numbered or unnumbered, with the numbering scheme starting afresh within each chapter. Similarly sections may be partitioned into subsections by inserting sub-subheads, but except for more technical works this is usually as fine as the subdivisions need go to. Normally there are no required page breaks before the start of any subhead\index{subhead} within a chapter\index{chapter}. The title page of a part\index{part} or chapter\index{chapter} need not have the folio\index{folio} expressed, nor a possibly textless verso page before the start of a chapter\index{chapter}, but all other pages should display their folios\index{folio}. There may be a final chapter\index{chapter} in the \pixmainmatter\ called Conclusions, or similar, which may be a lengthy summary of the work presented, untouched areas, ideas for future work, and so on. If there are any numbered appendices\index{appendix} they logically come at the end of the \pixmainmatter. Appendices are often `numbered' alphabetically rather than numerically, so the first might be Appendix A, the second Appendix B, and so on. An epilogue\index{epilogue} or an afterword\index{afterword} is a relatively short piece that the author may include. These are not normally treated as prominently as the preceding chapters\index{chapter}, and may well be put into the \pixbackmatter\ if they are unnumbered. \section{\prBackmatter} The \pixbackmatter\ is optional but if present conveys information ancilliary to that in the \pixmainmatter. The elements are not normally numbered, so an unnumbered appendix\index{appendix} would normally come in the \pixbackmatter. Other elements include Notes, a Glossary\index{glossary} and/or lists of symbols\index{symbol} or abbreviations\index{abbreviation}, which could be in the \pixfrontmatter\ instead. These elements are normally unnumbered, as is any list of contributors\index{contributor}, Bibliography\index{bibliography} or Index\index{index}. In some instances appendices\index{appendix} and notes may be given at the end of each chapter\index{chapter} instead of being lumped at the back. The first element in the \pixbackmatter\ starts on a recto page but the remainder may start on either recto or verso pages. In older books it was often the custom to have a colophon\index{colophon} as the final element in a book. This is an inscription which includes information about the production and design of the book and nearly always indicates which fonts\index{font} were used. \section{Signatures and casting off} \index{signature|(} Professionally printed books have many pages printed per sheet of (large) paper\index{paper}, which is then folded and cut where necessary to produce a \emph{gathering}\index{gathering} or \emph{signature} of several smaller sheets. An unfolded sheet is called a \emph{broadside}\index{broadside}. Folding a sheet in half produces a one sheet \emph{folio}\index{folio} signature with two leaves and four pages. Folding it in half again and cutting along the original fold gives a two sheet \emph{quarto}\index{quarto} signature with four leaves and eight pages. Folding in half again, results in a four sheet \emph{octavo}\index{octavo} signature with eight leaves and 16 pages, and so on as listed in \tref{tab:signatures}. \begin{table} \centering \caption{Common signatures} \label{tab:signatures} \begin{tabular}{lcccrccrccrc} \hline Name & Folds & Size & \multicolumn{3}{c}{Sheets} & \multicolumn{3}{c}{Leaves} & \multicolumn{3}{c}{Pages} \\ \hline Broadside & 0 & $a \times b$ & & 1 & & & 1 & & & 2 & \\ Folio & 1 & $b/2 \times a$ & & 1 & & & 2 & & & 4 & \\ Quarto, \emph{4to} & 2 & $a/2 \times b/2$ & & 2 & & & 4 & & & 8 & \\ Octavo, \emph{8vo} & 3 & $b/4 \times a/2$ & & 4 & & & 8 & & & 16 & \\ \emph{16mo} & 4 & $a/4 \times b/4$ & & 8 & & & 16 & & & 32 & \\ \emph{32mo} & 5 & $b/8 \times a/4$ & & 16 & & & 32 & & & 64 & \\ \emph{64mo} & 6 & $a/8 \times b/8$ & & 32 & & & 64 & & & 128 & \\ \hline \end{tabular}% \index{broadside}\index{folio}\index{quarto}\index{4to}\index{octavo}% \index{8vo}\index{16mo}\index{32mo}\index{64mo}% \end{table} In \tref{tab:signatures} the Size column is the untrimmed size of a leaf\index{leaf} in the signature with respect to the size of the broadside. When made up into a book the leaves will be trimmed to a slightly smaller size, at the discretion of the designer and publisher; typically a minimum of 1/8 inch or 3 millimetres would be cut from the top, bottom and \foredge\ of a leaf. Other folds can produce other signatures. For example a \emph{sexto}\index{sexto}, obtained by folding in thirds and then folding in half, is a three sheet signature with six leaves and 12 pages. Paper has always been made in a wide range of sizes for a myriad of uses. Table~\ref{tab:uspapersizes} lists some common American paper sizes. \begin{table} \centering \caption[Some American paper sizes]{Some American paper sizes (in inches)}\label{tab:uspapersizes} \begin{tabular}{lll}\toprule `Dollar bill' & \abyb{7}{3} & Used for origami, not bills \\ Statement & \abyb{8.5}{5.5} & \\ Executive & \abyb{10.5}{7.25} & \\ Letter & \abyb{11}{8.5} & Also in double, half or quarter size \\ Old (untrimmed) & \abyb{12}{9} & Also called Architectural-A \\ Legal & \abyb{14}{8.5} & \\ Ledger & \abyb{17}{11} & Also called Tabloid \\ Broadsheet & \abyb{22}{17} & As used in newsprint \\ \bottomrule \end{tabular} \end{table} Traditionally the sizes are denoted by name but manufacturers did not necessarily make paper of the size that matched the name they gave it. Some common names and trimmed sizes for British book work are given in \tref{tab:britpapersizes}. \begin{table} \centering \caption[Some traditional British book paper sizes]{Some traditional British book paper sizes (in inches)}\label{tab:britpapersizes} \begin{tabular}{lll}\toprule Name & Quarto & Octavo \\ \midrule pott & \abyb{8}{6.5} & \abyb{6.25}{4}{in} \\ foolscap & \abyb{8.5}{6.75} & \abyb{6.75}{4.25} \\ crown & \abyb{10}{7.5} & \abyb{7.5}{5} \\ post & \abyb{10}{8} & \abyb{8}{5} \\ large crown & \abyb{10.5}{8} & \abyb{8}{5.25} \\ large post & \abyb{10.25}{8.25} & \abyb{8.25}{5.25} \\ small demy & \abyb{11.25}{8.5} & \abyb{8.5}{5.675} \\ demy & \abyb{11.25}{8.75} & \abyb{8.75}{5.675} \\ medium & \abyb{11.5}{9} & \abyb{9}{5.75} \\ small royal & \abyb{12.25}{9.25} & \abyb{9.25}{6.175} \\ royal & \abyb{12.5}{10} & \abyb{10}{6.25} \\ super royal & \abyb{13.5}{10.25} & \abyb{10.25}{6.75} \\ imperial & \abyb{15}{11} & \abyb{11}{7.5} \\ \bottomrule \end{tabular} \end{table} The metric sizes, given in \tref{tab:metricpapersizes}, are those now recommended for book production where the metric system holds sway, which includes the UK~\cite[p. 104]{MCLEAN80}. \begin{table} \centering \caption[Metric book paper sizes]{Metric book paper sizes (in mm)}\label{tab:metricpapersizes} \begin{tabular}{lll}\toprule & untrimmed & trimmed \\ \midrule metric crown octavo & \abyb{192}{126} & \abyb{186}{123} \\ metric large crown octavo & \abyb{205}{132} & \abyb{198}{129} \\ metric demy octavo & \abyb{222}{141} & \abyb{216}{138} \\ metric small royal octavo & \abyb{240}{158} & \abyb{234}{156} \\ A5 & & \abyb{210}{148} \\ \bottomrule \end{tabular} \end{table} In making up the book, the pages in each signature are first fastened together, usually by sewing through the folds. The signatures are then bound together and the covers, end papers\index{paper!end} and spine are attached to form the completed whole. \begin{table} \centering \caption[Common American commercial paper sizes]% {Common American commercial paper sizes (in inches)} \label{tab:adriansizes} \begin{tabular}{llll} \toprule Sheet size & Book trim size & Common use & Pages per sheet (max) \\ \midrule \abyb{45}{35} & \abyb{8.5}{5.5} & scholarly works & 32 pages \\ \abyb{50}{38} & \abyb{9.25}{6.125} & major nonfiction & 32 pages \\ \abyb{66}{44} & \abyb{8}{5.375} & fiction \& minor fiction & 64 pages \\ \abyb{68}{45} & \abyb{8.25}{5.5} & major fiction \& nonfiction & 64 pages \\ \abyb{45}{35} & \abyb{11}{8.5} & children's books, manuals & 16 pages \\ \abyb{50}{38} & \abyb{12.125}{9.25} & art monographs, children's books & 16 pages \\ \bottomrule \end{tabular} \end{table} Commercial printers use paper larger than shown in the previous tables; they print several (final) pages on a single sheet, then fold it and trim it down to the finished page size. Table~\ref{tab:adriansizes} is from \cite[p. 59]{ADRIANWILSON93}. He also says that other common trimmed sizes are \abybm{9.25}{6.125}{in} out of \abybm{50}{38}{in} sheets, \abybm{10.25}{8.25}{in} out of \abybm{45}{35}{in} sheets, and so on. Publishers like the final typeset book to be of a length that just fits within an integral number of signatures\index{signature}, with few if any blank pages required to make up the final signature. Casting off\index{casting off} is the process of determining how many lines a given text will make in a given size of type, and hence how many pages will be required. To cast off you need to know how many characters there will be in a line, and how many characters there are, or will be, in the text. For the purposes of casting off, `characters' includes punctuation as well as letters and digits. The first number can be easily obtained, either from copy fitting tables or by measurement; this is described in more detail in \S\ref{sec:tblock}. The second is more problematic, especially when the manuscript has yet to be written. A useful rule of thumb is that words in an English text average five letters plus one space (i.e., six characters); word length in technical texts might be greater than this. To determine the number of words it is probably easiest to type a representative portion of the manuscript, hand count the words and then divide that result by the proportion of the complete text that you have typed. For example, if you have typed 1/20\,th of the whole, then divide by 1/20, which is equivalent to multiplying by 20. To fully estimate the number of pages required it is also necessary to make allowance for chapter\index{chapter} titles, illustrations\index{illustration}, and so forth. If it turns out, say, that your work will require 3 signatures plus 2 pages then it will be more convenient to make it fit into 3 signatures, or 4 signatures minus a page or two. This can be done by expanding or cutting the text and/or by changing the font\index{font!change} and/or by changing the number or width of lines on a page. When I was editing a technical journal the authors were given a word limit. The primary reason was not that we were interested in the actual word count but rather so that we could estimate, and possibly limit, the number of pages allotted to each article; we used \emph{octavo}\index{octavo} signatures\index{signature} and no blank pages. I suspect that it is the same with most publishers --- it is the page count not the word count that is important to them. In some special cases, extra pages may be `tipped in'\index{tip in} to the body of the book. This is most likely to occur for illustrations\index{illustration} which require special paper\index{paper} for printing and it would be too costly to use that paper\index{paper} for the whole work. Another example is for a fold-out of some sort, a large map, say, or a triple spread illustration\index{illustration}. The tipped in pages are glued into place in the book and may or may not be paginated. For tipped in illustrations\index{illustration}, a List of Illustrations may well start with a phrase like: `Between pages 52 and 53'. \index{signature|)} \section{Paper} \index{paper|(} Paper, on which I assume your work will be printed, can be thought of in seven categories, six of which are used in the making of books. The categories are: \begin{description} \item[Special]\index{paper!special} is not used for books. It includes `wet strength tissues' and other sanitary, cosmetic and industrial papers. \item[Wrapping]\index{paper!wrapping} papers are for protective purposes. Of these kraft paper is made from unbleached chemical wood fibre sized with resin. The fibres are long and strong, hence the name `kraft' from the German word for `strength'. The usual colour is brown. Kraft paper is used in bookbinding for reinforcing endpapers and, strengthening and shaping spines. \item[Printing]\index{paper!printing} paper covers a wide range, from economical to expensive, in surface finish from rough to highly polished (for fine art four colour printing), and in colour. \item[Writing]\index{paper!writing} paper is suitable for all stationery requirements. Ledger paper is made from rag fibre, or a mixture of rag and wood pulp, and is strong, opaque and durable, with a smooth surface. It is used for visitor's and account books and registers, and for fine printing. Bank and bond papers are of good quality, strong, durable and nearly Ph neutral; they are made from fibres of chemical wood sized with resin. In books they are mainly used for strengthening damaged signatures. Artists' and designers' drawing papers usually have a rough surface --- cartridge paper, made from well sized chemical wood fibres, is often used for tipped on endpapers. \item[Decorative]\index{paper!decorative} papers used for the endpapers and sides of books are of an extensive variety of colours, textures, patterns, and quality. Any decorative paper used in a book should be strong with a good firm surface. \item[Ingres]\index{paper!Ingres} and similar papers are mould-made from linen and/or cotton with a little wood pulp. They come from Europe in a variety of quiet colours and are used in fine bindings for sides and endpapers. \item[Japanese]\index{paper!Japanese} papers and tissues are mould-made from good quality rag fibre. They are fine but strong and are extensively used for repairing documents, mending leaves, and replacing damaged or missing areas. I find Kozo\index{paper!Kozo} paper very useful for repairing documents and, for example, as hinges when bookbinding. Although not paper, there are some wonderful Japanese bookcloths for binding covers. \end{description} \index{paper!machine-made|(} Machine-made paper, which is the commonest, comes in a number of sometimes overlapping categories, of which the main ones are: \begin{description} \item[Antique]\index{paper!antique} papers are soft textured papers originally made for letterpress printing, but there are now surface sized ones for offset lithography. \item[Machine finish]\index{paper!machine finish} papers have varying degrees of surface smoothness. They are also known as super-calendered\index{paper!super-calendered} or English\index{paper!English finish}. \item[Coated]\index{paper!coated} paper has been flooded with fine clay and adhesive to make them particularly good for halftones. Finishes range from dull through matte to glossy. \item[Impregnated]\index{paper!impregnated} papers are also known as as pigmented\index{paper!pigmented}. They are surface sized, lightly coated and calendered and can take halftones, especially by lithography. \item[Text]\index{paper!text} papers are textured and coloured and are useful for limited editions, book jackets and end papers. They often have a deckle edge on the two long sides. \item[Cover]\index{paper!cover} papers are heavier varieties of text and other papers and are typically used for pamphlet binding and paperback covers. \item[Moldmade]\index{paper!moldmade} papers are made by machine to resemble handmade papers, with deckle edges. They come in a wide range of textures, colours, and weights. The available range includes papers suitable for binding sides, endpapers, book jackets, or the text block. \end{description} Handmade paper comes as single sheets but machine made paper can be obtained in either rolls or sheets. For some letterpress printing I recently bought some Strathmore 400 Drawing Paper as \abybm{3}{30}{feet} rolls at about 1/3 the price of the same quantity of paper in sheet form; the downside was that I had to slice it up into the sheet size I wanted to use, but in this case the upside was that I tore rather than cut and obtained sheets with deckle edges on all four sides so that it at the end it looked rather like handmade paper. \index{paper!machine-made|)} It is not often that books include information about the paper on which they are printed. If they do they are likely to be fine press books or limited editions, but even then most I have seen are silent on the matter. A few trade books do include details. Among the more popular papers\footnote{Meaning that I know that they have been used in more than one book.} I have come across are: Arches\index{paper!Arches}, of various kinds; Curtis Rag\index{paper!Curtis Rag}; Fabriano\index{paper!Fabriano}; Glatfelter\index{paper!Glatfelter}; Linweave Early American\index{paper!Linweave Early American}, which has been used by the University of California press; Mohawk Superfine\index{paper!Mohawk superfine}; Strathmore\index{paper!Strathmore},\footnote{At the time of writing I have nearly finished hand letterpress printing a small book of 35 printed pages on Strathmore 400 Drawing Paper.} of several kinds; and Warren's Old Style\index{paper!Warren's Old Style}, which has been used for several books published by the University of California. \index{paper|)} %%%\clearpage %%%\raggedbottom \chapter{The page} \label{chap:lpage} Authors usually want their works to be read by others than themselves, and this implies that their manuscript will be reproduced in some manner. It is to be hoped that the published version of their work will attract readers and there are two aspects to this. The major is the actual content of the work --- the thoughts of the author couched in an interesting manner --- if something is boring, then there are too many other interesting things for the reader to do than to plow on until the bitter end, assuming that he even started to read seriously after an initial scan. The other aspect is the manner in which the content is displayed. Or, in other words, the \emph{typography} of the book, which is the subject of this chapter. The essence of good typography is that it is not noticeable at first, or even second or later, glances to any without a trained eye. If your initial reaction when glancing through a book is to exclaim about its layout then it is most probably badly designed, if it was designed at all. Good typography is subtle, not strident. With the advent of desktop publishing many authors are tempted to design their own books. It is seemingly all too easy to do. Just pick a few of the thousands of fonts\index{font} that are available, use this one for headings\index{heading}, that one for the main text, another one for captions, decide how big the typeblock\index{typeblock} is to be, and there you are. However, just as writing is a skill that has to be learned, typography is also an art that has to be learned and practised. There are hundreds of years of experience embodied in the good design of a book. These are not to be cast aside lightly and many authors who design their own books do not know what some of the hard-earned lessons are, let alone that what they are doing may be the very antithesis of these. An expert can break the rules, but then he is aware that he has good reasons for breaking them. The author supplies the message and the typographer supplies the medium. Contrary to Marshall McLuhan, the medium is \emph{not} the message, and the typographer's job is not to intrude between the message and the audience, but to subtly increase the reader's enjoyment and involvement. If a book shouts `look at me!' then it is an advertisement, and a bad one at that, for the designer. \section{The shape of a book} Books come in many shapes and sizes, but over the centuries certain shapes have been found to be more pleasurable and convenient than others. Thus books, except for a very very few, are rectangular in shape. The exceptions on the whole are books for young children, although I do have a book edited by Fritz Spiegl and published by Pan Books entitled \textit{A Small Book of Grave Humour}, which is in the shape of a tombstone --- this is an anthology of epitaphs. Normally the height of a book, when closed, is greater than the width. Apart from any aesthetic reasons, a book of this shape is physically more comfortable to hold than one which is wider than it is high. It might appear that the designer has great freedom in choosing the size of the work, but for economic reasons this is not normally the case. Much typographical design is based upon the availabilty of certain standard industrial sizes of sheets of paper\index{paper!size}. A page size of \abybm{12}{8}{inches} will be much more expensive than one which fits on a standard US letter sheet\index{paper!size!letterpaper} of \abybm{11}{8\:\Mfrac{1}{2}}{inches}. Similarly, one of the standard sizes for a business envelope is \abybm{4\:\Mfrac{1}{8}}{9\:\Mfrac{1}{2}}{inches}. Brochures for mailing should be designed so that they can be inserted into the envelope with minimal folding. Thus a brochure size of \abybm{5}{10}{inches} will be highly inconvenient, no matter how good it looks visually. Over the years books have been produced in an almost infinite variety of proportions, where by \emph{proportion}\index{proportion} I mean the ratio of the height to the width of a rectangle. However, certain proportions occur time after time throughout the centuries and across many different countries and civilizations. This is because some proportions are inherently more pleasing to the eye than others are. These pleasing proportions are also commonly found in nature --- in physical, biological, and chemical systems and constructs. \index{proportion!page|(} Some examples of pleasing proportions can be seen in Japanese wood block prints, such as the \textit{Hoso-ye} size (\ratio{2}{1}) which is a double square, the \textit{Oban} (\ratio{3}{2}), %($3 : 2$), the \textit{Chuban} (\ratio{11}{8}) and the \textit{Koban} size (\ratio{{\sqrt{2}}}{1}). Sometimes these prints were made up into books, but were often published as stand-alone art work. Similarly Indian paintings, at least in the 16th to the 18th century, often come in the range \ratio{1.701}{1} to \ratio{13}{9}, thus being around \ratio{3}{2} in proportion. In medieval Europe page proportions were generally in the range \ratio{1.25}{1} to \ratio{1.5}{1}. Sheets of paper\index{paper} were typically produced in the proportion \ratio{4}{3} (\ratio{1.33}{1}) or \ratio{3}{2} (\ratio{1.5}{1}). All sheet proportions have the property that they are reproduced with each alternate folding of the sheet. For example, if a sheet starts at a size of \abyb{60}{40} (i.e., \ratio{3}{2}), then the first fold will make a double sheet of size \abyb{30}{40} (i.e., \ratio{3}{4}). The next fold will produce a quadrupled sheet of size \abyb{30}{20}, which is again \ratio{3}{2}, and so on. The Renaissance typographers tended to like taller books, and their proportions would go up to \ratio{1.87}{1} or so. The style nowadays has tended to go back towards the medieval proportions. The standard ISO page proportions are \ratio{{\sqrt{2}}}{1} (\ratio{1.414}{1}). These have a similar folding property to the other proportions, except in this case each fold reproduces the original page proportion. Thus halving an A0 sheet (size \abybm{1189}{841}{mm}) produces an A1 size sheet (\abyb{594}{841}), which in turn being halved produces the A2 sheet (\abyb{420}{594}), down through the A3, A4 (\abybm{210}{297}{mm}), A5, \ldots sheets. For many years it was thought that it was impossible to fold a sheet of paper\index{paper}, no matter how large and thin, more than six times altogether. This is not so as in 2002 a high school student, Britney Gallivan, managed to fold a sheet of paper in half twelve times (see, for example, \url{http://mathworld.wolfram.com/Folding.html}). There is no one perfect proportion for a page, although some are clearly better than others. For ordinary books both publishers and readers tend to prefer books whose proportions range from the light \ratio{9}{5} (\ratio{1.8}{1}) to the heavy \ratio{5}{4} (\ratio{1.25}{1}). Some examples are shown in \fref{flpage:prop}. Wider pages, those with proportions less than \ratio{{\sqrt{2}}}{1} (\ratio{1.414}{1}), are principally useful for documents that need extra width for tables\index{table}, marginal notes\index{marginalia}, or where multi-column\index{column!multiple} printing is preferred. \begin{figure} \centering \setlength{\unitlength}{1pc} \begin{picture}(24,38) \put(0,4){\begin{picture}(24,34) \put(0,0){\framebox(24,34){}} \thicklines \put(19.78,0){\line(0,1){34}} \thinlines \put(16,0){\line(0,1){34}} \put(17.78,0){\line(0,1){34}} \put(18.48,0){\line(0,1){34}} \put(19.2,0){\line(0,1){34}} \put(20.81,0){\line(0,1){34}} \put(21.33,0){\line(0,1){34}} \put(22.63,0){\line(0,1){34}} \put(0,-0.5){\begin{picture}(24,2) \put(16,0){\makebox(0,0){\textsc{a}}} \put(17.78,0){\makebox(0,0){\textsc{b}}} \put(18.48,0){\makebox(0,0){\textsc{c}}} \put(19.2,0){\makebox(0,0){\textsc{d}}} \put(19.78,0){\makebox(0,0){{$\varphi$}}} \put(20.81,0){\makebox(0,0){\textsc{e}}} \put(21.33,0){\makebox(0,0){\textsc{f}}} \put(22.63,0){\makebox(0,0){\textsc{g}}} \put(24,0){\makebox(0,0){\textsc{h}}} \end{picture}} \end{picture}} \put(0,0){\begin{picture}(24,4) \put(0,0){\begin{picture}(8,4) \put(0,2){\textsc{a} $2 : 1$} \put(0,1){\textsc{b} $9 : 5$} \put(0,0){\textsc{c} $1.732 : 1$ ($\sqrt{3}{} : 1$)} \end{picture}} \put(8,0){\begin{picture}(8,4) \put(0,2){\textsc{d} $5 : 3$} \put(0,1){{$\varphi$} $1.618 : 1$ ($\varphi{} : 1$)} \put(0,0){\textsc{e} $1.538 : 1$} \end{picture}} \put(16,0){\begin{picture}(8,4) \put(0,2){\textsc{f} $3 : 2$} \put(0,1){\textsc{g} $1.414 : 1$ ($\sqrt{2}{} : 1$)} \put(0,0){\textsc{h} $4 : 3$} \end{picture}} \end{picture}} \end{picture} \setlength{\unitlength}{1pt} \caption{Some page proportions} \label{flpage:prop} \end{figure} In books where the illustrations\index{illustration} are the primary concern, the shape of the illustrations\index{illustration} is generally the major influence on the page proportion. The page size should be somewhat higher than that of the average illustration\index{illustration}. The extra height is required for the insertion of captions\index{caption} describing the illustration\index{illustration}. A proportion of \ratio{{\pi}}{e} (\ratio{1.156}{1}), which is slightly higher than a perfect square, is good for square illustrations.\footnote{Both $e$ and $\pi$ are well known mathematical numbers. $e$ ($= 2.718 \ldots$) is the base of natural logarithms and $\pi$ ($= 3.141 \ldots$) is the ratio of the circumference of a circle to its diameter.} The \ratio{e}{{$\pi$}} (\ratio{0.864}{1}) proportion is useful for landscape photographs taken with a \abyb{4}{5} format camera, while those from a 35mm camera (which produces a negative with a \ratio{2}{3} proportion) are better accomodated on an \ratio{0.83}{1} page. \index{proportion!page|)} \subsection{The golden section and Fibonacci series} \index{golden section|(} Typographers need a modicum of mathematical ability, but no more than an average teenager can do --- basically simple arithmetic. You can skip this section if you wish as it just provides some background mathematical material which might be of interest. Since ancient Greek times or even before, the golden section, which is denoted by the Greek letter $\varphi$ (phi), has been considered to be a particularly harmonious proportion\index{proportion}. It should come as no surprise, then, that this also has applications in typography. The Greeks were interested in geometry (think of Euclid). They discovered that if you divide a straight line into two unequal parts then a certain division appeared to have an especially appealing aesthetic quality about it. Call the length of the line $l$ and the length of the two parts $a$ and $b$, where $a$ is the smaller and $b$ is the larger. The division in question is when the ratio of the larger to the smaller division ($b/a$) is the same as the ratio of the whole line to the larger division ($l/b$). More formally, two elements embody the golden section, symbolised by $\varphi$, when the ratio of the larger to the smaller is the same as the ratio of the sum of the two to the larger. If the two elements are $a$ and $b$, with $a < b$, then \begin{equation} \varphi = \frac{b}{a} = \frac{a+b}{b} = (1+\sqrt{5})/2 \end{equation} The golden section has been called by a number of different names during its history. Euclid\index{Euclid} called it the `extreme and mean ratio' while Renaissance writers called it the `divine proportion\index{proportion}'; now it is called either the `golden section' or the `golden ratio'. The symbol $\varphi$ is said to come from the name of the Greek artist Phidias\index{Phidias} (C5th \textsc{bc}) who often used the golden section in his sculpture. A rectangle whose sides are in the same proportion\index{proportion} as the golden section is often called a `golden rectangle'. The front of the Parthenon on the Acropolis in Athens is a golden rectangle, and such rectangles appear often in Greek architecture. The symbol of the Pythagoran school was the star pentagram, %%%%shown in \fref{flpage:spent}, where each line is divided in the golden section. The approximate decimal value for $\varphi$ is $1.61803$. The number has some unusual properties. If you add one to $\varphi$ you get its square, while subtracting one from $\varphi$ gives its reciprocal. \begin{eqnarray} \varphi + 1 & = & \varphi^{2} \\ \varphi - 1 & = & 1/\varphi \end{eqnarray} It also has a very simple definition as the continued fraction \begin{equation} \varphi = 1 + \frac{1}{\displaystyle 1 + \frac{1}{\displaystyle 1 + \frac{1}{\displaystyle 1 + \frac{1}{1 + \cdots}}}} \end{equation} In 1202 Leonardo Pisano, also known as Leonardo Fibonacci, wrote a book called \textit{Liber Abbaci.}\footnote{Book of the Abacus.} One of the topics he was interested in was population growth. The book included this exercise: \index{Fibonacci series|(} \begin{quote} How many pairs of rabbits\index{rabbit} can be produced from a single pair in a year? Assume that each pair produces a new pair of offspring every month, a rabbit becomes fertile at age one month, and no rabbits die during the year. \end{quote} After a month there will be two pairs. At the end of the next month the first pair will have produced another pair, so now there are three pairs. At the end of the following month the original pair will have produced a third pair of offspring and their firstborn will also have produced a pair, to make five pairs in all. And so on. If, like the rabbits, you are not too exhausted to continue, you can get the following series of numbers\footnote{The numbers at the start of the series depend on whether you consider the initial pair of rabbits to be adults or babies.\label{fn:rabbits}}: \begin{displaymath} 0,1,1,2,3,5,8,13,21,34, 55, 89 \ldots \end{displaymath} After the first two terms, each term in the series is the sum of the two preceding terms. Also, as one progresses along the series, the ratio of any adjacent pair of terms oscillates around $\varphi$ ($= 1.618 \ldots$), approaching it ever more closely. \begin{eqnarray*} 8/5 & = & 1.6 \\ 13/8 & = & 1.625 \\ 21/13 & = & 1.615 \\ 34/21 & = & 1.619 \\ 55/34 & = & 1.6176 \\ 89/55 & = & 1.6182 \end{eqnarray*} For the mathematically inclined there is another, to me, typographically striking relationship between $\varphi$ and the Fibonacci series. Define the Fibonacci numbers as $F_{n}$, where \begin{equation} \begin{array}{cccc} F_{0} = 0;\ \ & F_{1}=1;\ \ & F_{n+2}=F_{n+1} + F_{n}, & n \geq 0. \end{array} \end{equation} Then \begin{equation} F_{n} = \frac{1}{\sqrt{5}}(\varphi^{n} - (- \varphi)^{-n}) \end{equation} Both the Fibonacci series and the golden section appear in nature. The arrangement of seeds in a sunflower, the pattern on the surface of a pinecone, and the spacing of leaves around a stalk all exhibit Fibonacci paterns (for example see~\cite{CONWAY96}). Martin Gardener~\cite{GARDNER66} reports on a study of 65 women that claimed that the average ratio of a person's height to the height of the navel is $1.618+$ --- suspiciously close to $\varphi$. According to Dan Brown, the author of \btitle{The Da Vinci Code}, Mario Livio's \btitle{The Golden Ratio}~\cite{LIVIO02} `\ldots unveils the history and mystery of the remarkable number phi in such a way that \ldots you will never again look at a pyramid, pinecone, or Picasso in the same light'. \index{Fibonacci series|)} \index{golden section|)} %%%%%%%%%%%%%%%%%%%%%%%%%%% %%%%%%\endinput %%%%%%%%%%%%%%%%%%%%%%%%%%% \section{The spread} \label{sec:spread} \index{spread|(} \index{proportion!page|(} \index{proportion!typeblock|(} The typeblock\index{typeblock} is that part of the page which is normally covered with type. The same proportions that are useful for the shape of a page are also useful for the shape of the typeblock. This does not mean, though, that the proportions of the page and the typeblock should be the same. For instance, a square typeblock on a square page is inherently dull. When we first start to learn to read we scan horizontally along each line of text. As our skills improve we tend to scan vertically rather than horizontally. A tall column\index{column} of text helps in this process, provided that the column\index{column} is not too wide. A page in a book will typically contain several elements. Principal among these is the typeblock\index{typeblock}, but there are also items like the folio\index{folio} (that is, the page number), a running header\index{header} and/or footer\index{footer} which carries the chapter\index{chapter} and/or book title, and possibly marginalia\index{marginalia} and footnotes\index{footnote}. These latter elements, although essential to the content of the book, are minor visual elements compared to the typeblock\index{typeblock}. But even minor decoration can obscure or kill an otherwise good design. The major concern is the positioning of the typeblock on the page. The mere fact of positioning the typeblock\index{typeblock} also has the result of producing margins\index{margin} onto the page. Page design is a question of balancing the page proportions with the proportions of the typeblock and the proportions of the margins\index{margin} to create an interesting yet harmonious composition. A single page, except for a title page, is never the subject of a design but rather the design is in terms of the two pages that are on view when a book is opened --- the left and right hand pages are considered as a whole. More technically, the design is in terms of a \emph{double spread}. \begin{table} \caption{Some page designs} \label{tlpage:allp} \centering %%\DeleteShortVerb{\|} %\begin{tabular}{|l|l|l|c|} \hline \begin{tabular}{|r|r|rrrrr|l|} \hline \multicolumn{1}{|c|}{$P$} & \multicolumn{1}{c|}{$T$} & \multicolumn{5}{c|}{Margins \& Columns} & \multicolumn{1}{c|}{Figure} \\ & & \multicolumn{1}{c|}{$s$} & \multicolumn{1}{c|}{$t$} & \multicolumn{1}{c|}{$e$} & \multicolumn{1}{c|}{$f$} & \multicolumn{1}{c|}{$g$} & \\ \hline $\sqrt{3}$ & $2$ & $w/13$ & $8s/5$ & $16s/5$ & $16s/5$ & & \ref{fb:1} left \\ %Bringhurst $\sqrt{3}$ & $e/\varphi$ & $w/10$ & $2s$ & $2s$ & $3s$ & & \ref{fb:1} right \\ % Machie $12/7$ & $1.701$ & $w/7$ & $8s/5$ & $8s/5$ & $14s/5$ & & \ref{fb:2} left \\ % Grenfell $e/\varphi$ & $7/4$ & $w/10$ & $5s/4$ & $5s/3$ & $11s/8$ & & \ref{fb:2} right \\ % JKJ $\varphi$ & $1.866$ & $w/9$ & $s$ & $2s$ & $7s/3$ & & \ref{fb:3} left \\ %Paris $\varphi$ & $\varphi$ & $w/12$ & $2s$ & $5s/2$ & $4s$ & & \ref{fb:3} right \\ %Dowding $8/5$ & $1.634$ & $2w/15$ & $7s/5$ & $9s/5$ & $13s/5$ & & \ref{fb:4} left \\ %Rogers $19/12$ & $7/4$ & $2w/15$ & $s$ & $9s/8$ & $11s/8$ & & \ref{fb:4} right \\ %Anatomy $19/12$ & $\sqrt{3}$ & $w/7$ & $s$ & $5s/4$ & $1.84s$ & & \ref{fb:5} left \\ % Cornford $19/12$ & $8/5$ & $w/12$ & $7s/5$ & $8s/5$ & $2s$ & & \ref{fb:5} right \\ %Abeced $\pi/2$ & $9/5$ & $w/9$ & $3s/2$ & $5s/2$ & $3s$ & & \ref{fb:6} left \\ %Dwiggins $e/\sqrt{3}$ & $1.71$ & $w/10$ & $11s/8$ & $24s/11$ & $8s/3$ & & \ref{fb:6} right \\ %Two Men $1.553$ & $1.658$ & $w/11$ & $\varphi s$ & $\varphi s$ & $\varphi s$ & & \ref{fb:7} left \\ %Express $1.538$ & $\sqrt{7}$ & $w/10$ & $s$ & $23s/6$ & $3s/2$ & & \ref{fb:7} right \\ %T&H $3/2$ & $2$ & $w/5$ & $s/2$ & $s$ & $s$ & & \ref{fb:8} left \\ %Rome $3/2$ & $1.701$ & $w/9$ & $s$ & $2s$ & $7s/3$ & & \ref{fb:8} right \\ %Venice $3/2$ & $\pi/2$ & $w/13$ & $2s$ & $10s/3$ & $30s/7$ & & \ref{fb:9} left \\ %Magellan $3/2$ & $3/2$ & $w/9$ & $3s/2$ & $2s$ & $3s$ & & \ref{fb:9} right \\ %Gutenberg $3/2$ & $1.68$ & $w/23$ & $2s$ & $5s$ & $2s$ & & \ref{fb:10} left \\ % Pers Mss $3/2$ & $3/2$ & $w/10$ & $2s$ & $5s/2$ & $2.85s$ & & \ref{fb:10} right \\ % Pers Bk $1.48$ & $1.376$ & $w/12$ & $7s/4$ & $2s$ & $7s/2$ & & \ref{fb:11} left \\ %Goudy $13/9$ & $\sqrt{2}$ & $w/30$ & $2s$ & $9s/2$ & $4s$ & $s/2$ & \ref{fb:11} right \\ %Doomsday $\sqrt{2}$ & $\varphi$ & $w/9$ & $s$ & $2s$ & $2s$ & & \ref{fb:12} left \\ %Orig A4 $\sqrt{2}$ & $\varphi$ & $w/8$ & $s$ & $5s/3$ & $5s/3$ & & \ref{fb:12} right \\ %Mod A4 $7/5$ & $1.641$ & $w/7$ & $s$ & $8s/5$ & $8s/5$ & & \ref{fb:13} left \\ %Emery Walker %%%$1.294$ & $\varphi$ & $0.176w$ & $1.03s$ & $1.685s$ & $13s/9$ & & \ref{fb:13} right \\ %LaTeX $17/22$ & $1.594$ & $0.176w$ & $1.21s$ & $1.47s$ & $1.05s$ & & \ref{fb:13} right \\ %LaTeX $1.294$ & $13/9$ & $w/12$ & $s$ & $2s$ & $10s/7$ & $s/2$ & \ref{fb:14} left \\ %Wilson $9/7$ & $19/9$ & $2w/5$ & $5s/8$ & $5s/8$ & $5s/6$ & & \ref{fb:14} right \\ %Kuniyoshi $5/4$ & $13/11$ & $w/10$ & $3s/2$ & $2s$ & $8s/3$ & & \ref{fb:15} left \\ %Fens %%%$7/6$ & $17/15$ & $w/13$ & $s$ & $s$ & $7s/5$ & $.382$ & \ref{fb:15} right \\ %Durer $7/6$ & $55/48$ & $w/10$ & $9s/10$ & $8s/10$ & $13s/10$ & $1.05s$ & \ref{fb:15} right \\ %Durer %$1.176$ & $1.46$ & $0.107w$ & $5s/6$ & $2.41s$ & $3s/2$ & & \ref{fb:12} left \\ %Art $e/\pi$ & $0.951$ & $w/9$ & $s$ & $2s$ & $3s/2$ & & \ref{fb:16} left \\ %Hammer & Hand $5/7$ & $2/3$ & $w/9$ & $s/2$ & $2s/3$ & $s$ & $s/3$ & \ref{fb:16} right \\ \hline %Hokusai \end{tabular} %%\MakeShortVerb{\|} \end{table} Table~\ref{tlpage:allp} gives some examples of page designs. These are arranged in increasing order of fatness. In this table, and afterwards, I have just used a single number to represent the ratio of the page height to the width; that is, for example, $1.5$ instead of \ratio{1.5}{1} or $12/7$ instead of \ratio{12}{7}. The following symbols are used in the table: \begin{description} \item[Proportions]: \begin{itemize} \item[$P$] = page proportion = $h/w$ \item[$T$] = typeblock proportion = $d/m$ \end{itemize} \item[Page size]: \begin{itemize} \item[$w$] = width of page \item[$h$] = height of page \end{itemize} \item[Typeblock]: \begin{itemize} \item[$m$] = measure (i.e., width) of primary typeblock \item[$d$] = depth (excluding folios, running heads, etc.) %% \item[$n$] = measure of secondary column %% \item[$c$] = column width, when there are two columns \end{itemize} \item[Margins]: \begin{itemize} \item[$s$] = spine margin (back margin) \item[$t$] = top margin (head margin) \item[$e$] = \foredge\ (front margin) \item[$f$] = foot margin (bottom margin) \item[$g$] = internal gutter (on a multi-column page) \end{itemize} \end{description} Theoretically the following relationship holds among the several variables: \begin{displaymath} f + t - T(s + e) = w(P - T) \end{displaymath} However, due to measurement and other difficulties, the numbers given in the table do not always obey this rule but they are close enough to give a good idea of the relative values. In any event, page design is not a simple arithmetic exercise but requires aesthetic judgement. The designs are also shown in \figurerefname s~\ref{fb:1} to~\ref{fb:16}. Each of these shows a double page spread; the page width has been kept constant throughout the series to enable easier visual comparison --- it is the relative proportions, not the absolute size, that are important. I have only shown the pages and the typeblocks to avoid confusing the diagrams with headers\index{header}, footers\index{footer} or folios\index{folio}. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.732}{2}{.0769}{1.6}{3.2}{0} % Bringhurst \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.732}{1.684}{.1}{2}{2}{0} % Machiavelli \end{minipage} \caption[Two spreads: Canada, 1992 and England, 1970]% {Two spreads: (Left) Canada, 1992. % Bringhurst. (Right) England, 1970.} \label{fb:1} \end{figure} Shown in \fref{fb:1} are two modern books. On the left is the layout for Robert Bringhurst's\index{Bringhurst, Robert} \btitle{The Elements of Typographical Style} published by Hartley \& Marks in 1992, and designed by Bringhurst. The text face is Minion\index{Minion} set with $12$pt leading on a $21$pc measure. The captions are set in Scala Sans\index{Scala Sans}. The original size is \abybm{227}{132}{mm} and is printed on Glatfelter laid \index{paper!Glatfelter}paper. I highly recommend this book if you are interested in typography. The layout on the right is The Folio Society's\index{Folio Society} 1970 edition of \btitle{The Prince} by Niccol\`{o} Machiavelli. The original size is \abybm{216}{125}{mm} and is set in \abyb{12/13}{22} Centaur\index{Centaur}. Chapter titles\index{chapter!design} are set as raggedright block paragraphs using Roman numbers and small caps for the text; not all chapters start a new page. There are no running headers and the folios\index{folio} are set at the center of the footer\index{footer!design} The ToC is typeset like the standard \ltx\ ToC\index{ToC!design} but with the chapter titles in small caps. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.714}{1.701}{.143}{1.6}{1.6}{0} % Grenfell \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.68}{1.75}{.1}{1.25}{1.667}{0} % JKJ \end{minipage} \caption[Two spreads: USA, 1909 and England, 1964.]% {Two spreads: (Left) USA, 1909. (Right) England, 1964.} \label{fb:2} \end{figure} Figure~\ref{fb:2} (left) illustrates a small book by Wilfred T.~Grenfell entitled \btitle{Adrift on an Ice-Pan} published in 1909 by the Riverside Press\index{Riverside Press} of Boston. The text is set with a leading of $16$pt on a $16$pc measure. The large leading and small measure combine to give a very open appearance. The original size is \abybm{184}{107}{mm}. The half-title\index{half-title}\index{page!half-title} is set in bold uppercase about 1/3 of the way down the page. Uppercase is used for chapter\index{chapter!design} headings which are centered. Captions for the photographs\index{illustration} are also uppercase and are listed on an illustrations page. The folios\index{folio} are centered in the footer\index{footer!design} and enclosed in square brackets (e.g., [17]), and the headers\index{header!design} contain the book title, centered, and in uppercase. On the right is another book from the Folio Society\index{Folio Society} --- \btitle{Three Men in a Boat} by Jerome K.~Jerome printed in 1964. The original size is \abybm{215}{128}{mm} and is typeset with Ehrhardt\index{Ehrhardt} at \abyb{11/12}{22}. Chapter\index{chapter!design} titles are centered and simply consist of the word `CHAPTER' followed by the number. There are no headers and the folio\index{folio} is set between square brackets (like [27]) in the center of the footer\index{footer!design}. The ToC\index{ToC!design} title is centered, and the chapter entries are like standard \ltx\ except that the numbers are set in a roman font while the texts, which give a summary of the chapter contents, are typeset in italic. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.618}{1.87}{.111}{1}{2}{0} % Paris \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.618}{1.618}{.0833}{2}{2.5}{0} % Dowding \end{minipage} \caption[Two spreads: France, 1559 and Canada, 1995]% {Two spreads: (Left) France, 1559. (Right) Canada, 1995.} \label{fb:3} \end{figure} Jean de Tourmes\index{de Tourmes, Jean}, a Parisian publisher, printed \btitle{Histoire et Chronique} by Jean Froissart in 1559. This is a history book with the main text in roman and sidenotes in italic at roughly 80\% of the size of the main text. The layout is shown in \fref{fb:3} (left). The gutter (not shown) between the main text and the sidenote\index{sidenote} column\index{column} is very small, but the change in fonts and sizes enables the book to be read with no confusion. Another Hartley \& Marks typography book --- \btitle{Finer Points in the Spacing \& Arrangement of Type} by Geoffrey Dowding\index{Dowding, Geoffrey} --- is shown at the right of \fref{fb:3}. This is typeset in Ehrhardt\index{Ehrhardt} at \abyb{10.5/14}{23} on a page size of \abybm{231}{143}{mm} on Glatfelter\index{paper!Glatfelter} Laid Offset paper. The half-title\index{half-title} is uppercased, centered, and in the upper quarter of the page. On the title page\index{title page} the title is typeset with a large bold italic font while the author's is set using normal uppercase and the publisher is set in small caps. Dowding uses `part' instead of `chapter'. Chapter\index{chapter!design} heads are centered with the number written out, like `PART ONE', and below this is the title set in large italics. Section\index{section!design} heads are in uppercase and subsection heads in small caps, both centered. Folios\index{folio} are in the center of the footer\index{footer!design}; verso running heads\index{header!design} consist of the book title in small caps and centered, and recto heads contain the chapter title in italics and centered. On the contents\index{ToC!design} page the part (chapter) numbers and titles are centered, using small caps and large italics respectively (and no page numbers). Section titles are in small caps, left justified with the page numbers right justified. Titles from the \pixfrontmatter\ and \pixbackmatter, for example the Foreword and Bibliography, are typeset in italics. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.6}{1.634}{.1333}{1.4}{1.8}{0} % Rogers \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.583}{1.75}{.1333}{1}{1.125}{0} % Anatonomy \end{minipage} \caption[Two spreads: USA, 1949 and 1990]% {Two spreads: (Left) USA, 1949. (Right) USA, 1990.} \label{fb:4} \end{figure} Bruce Rogers\index{Rogers, Bruce} (1870--1957) described how he came to design his Centaur\index{Centaur} typeface in \btitle{Centaur Types}, a privately published book by his studio October House in 1949. The layout of this book, which of course was typeset in Centaur, is shown at the left of \fref{fb:4}. Centaur is an upright seriffed type based on Nicolas Jenson's\index{Jenson, Nicolas} type as used in \btitle{Eusebius} published in 1470. \btitle{Centaur Types} demonstrates typefaces other than Centaur, and also includes exact size reproductions of the engraver's patterns. It is set at \abyb{14/16}{22} on a page size of \abybm{240}{150}{mm}. Figure~\ref{fb:4} (right) is the layout of another book on typefaces. It is \btitle{The Anatomy of a Typeface} by Alexander Lawson published by David R.~Godine in 1990. This is set in Galliard\index{Galliard} with $13$pt leading and a measure of $24$pc on a page size of \abybm{227.5}{150}{mm} on Glatfelter\index{paper!Glatfelter} Offset Smooth Eggshell paper. The half-title\index{half-title}\index{page!half-title} is set in uppercase in the upper quarter of the page. On the title\index{page!title} page the title is in uppercase in a large outline font, with a double rule above and a short single rule below. The author is set in small caps (both upper- and lowercase like \textsc{Lawson}) and the publisher is in regular lowercase small caps. Chapter\index{chapter!design} heads are centered with the number set between a pair of fleurons\index{fleuron}, followed by the title in large uppercase, and with a short rule between the title and the start of the text. The folios\index{folio} are in the center of the footer\index{footer!design} with a short rule above them; there are no running headers. The contents\index{ToC!design} page is set with the body type; chapter numbers are flushleft with a following period and the page numbers are flushright. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.583}{1.731}{.143}{1}{1.25}{0} % Cornford \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.583}{1.6}{.0833}{1.4}{1.6}{0} % Abecedarium \end{minipage} \caption[Two spreads: England, 1908 and USA, 1993]% {Two spreads: (Left) England, 1908. (Right) USA, 1993.} \label{fb:5} \end{figure} \btitle{Microcosmographica Academia} by F. M. Cornford is shown in \fref{fb:5}. Despite its title, it is written in English and was published by Bowes \& Bowes, London, in 1908. It is a dryly humourous look at academic politics as practised in Cambridge University at the turn of the nineteenth century (probably in the twentieth and twenty-first as well). It is set with $14$pt leading on $22$pc. The original page size is \abybm{216}{136}{mm}. The half-title\index{half-title}\index{page!half-title} is in normal uppercase in the upper sixth of the page; the title\index{page!title} page is all uppercase in various sizes. Chapter\index{chapter!design} heads are centered with first the number in Roman numerals and below the title in uppercase. Folios\index{folio} are centered in the footer\index{footer!design} and there are no running heads. There is no table of contents. The right of this figure illustrates a book with another unusual title --- \btitle{The Alphabet Abecedarium} by Richard A.~Firmage and published by David R.~Godine in 1993. It is set in Adobe Garamond\index{Adobe Garamond}\index{Garamond!Adobe} on a $27$pc measure with $14$pt leading. The original page size is \abybm{227.5}{150}{mm}. The book gives a history of each letter of the Latin alphabet. Chapter\index{chapter!design} heads are centered and consist of an ornamental version of the letter in question. One unusual feature is that there is a deep footer\index{footer!design} on each page showing many examples of typefaces of the letter being described. Verso running headers\index{header!design} consist of the book title in mixed small caps and centered with the folio\index{folio} flushleft. Recto headers have the folio\index{folio} flushright, and centered is the alphabet, typeset in small caps except for the current letter which is enlarged. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.571}{1.8}{.111}{1.5}{2.5}{0} % Dwiggins \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.562}{1.709}{.1}{1.375}{2.182}{0} % Two Men \end{minipage} \caption[Two spreads: USA, 1931 and England, 1968]% {Two spreads: (Left) USA, 1931. (Right) England, 1968.} \label{fb:6} \end{figure} W.~A.~Dwiggins was, among many other things, an American book designer. Figure~\ref{fb:6} (left) shows his layout of H.~G.~Wells' \btitle{The Time Machine} for Random House in 1931. The page size is \abyb{231}{147}{mm}. The right of the figure illustrates the layout of a book called \btitle{Two Men --- Walter Lewis and Stanley Morrison at Cambridge} by Brooke Crutchley\index{Crutchley, Brooke} and published by Cambridge University Press\index{Cambridge University Press} in 1968. This is typeset in Monotype Barbon\index{Monotype Barbon}\index{Barbon!Monotype} with $17.5$ leading on a $26$pc measure on a \abybm{253}{162}{mm} page. Crutchley was the Cambridge University Printer\index{Cambridge University Press!Crutchley, Brooke} and each year would produce a limited edition of a book about Cambridge or typography, and preferably both together, for presentation to friends of the Press. The tradition of the Printer's Christmas Book\index{Cambridge University Press!Christmas Book} was started by Stanley Morison\index{Morison, Stanley}\index{Cambridge University Press!Morison, Stanley} in 1930 and continued until 1974. The books usually consisted of a short essay on a particular topic, so they did not have chapter heads, tables of contents, or other appurtenances, apart from a Preface. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.553}{1.685}{.0909}{1.618}{1.618}{0} % Express \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.538}{2.647}{.1}{1}{3.833}{0} % Thames & Hudson \end{minipage} \caption[Two spreads: USA, 1994 and England, 1988]% {Two spreads: (Left) USA, 1994. (Right) England 1988.} \label{fb:7} \end{figure} A modern technical book layout is given in \fref{fb:7}. The book is \btitle{Information Modeling the EXPRESS Way} by Douglas Schenck and Peter Wilson, published by Oxford University Press (New York) in 1994. This is set in Computer Modern Roman\index{Computer Modern Roman} at \abyb{10/12}{27} on a page \abybm{233}{150}{mm}. It has the typical \ltx\ appearance with perhaps the exception of the epigraphs\index{epigraph} after each chapter\index{chapter!design} heading. Ruari McLean's\index{McLean, Ruari} \btitle{The Thames and Hudson Manual of Typography} (1988) is at the right in \fref{fb:7}. This is typeset in \abyb{10/11}{20} Monophoto Garamond\index{Monophoto Garamond}\index{Garamond!Monophoto} on a \abybm{240}{156}{mm} page. The wide \foredge{} is used for small illustrations\index{illustration}. Notes are also set in this margin\index{margin} rather than at the foot of the page. The half-title\index{half-title}\index{page!half-title} is in a bold font, flushright, in the upper quarter of the page; there is a wood engraving of a galleon at the bottom, also flushright. The title\index{page!title} uses a mixture of fonts and is set flushright; an example title page based on this design is shown in \fref{fig:titleTH}. Chapter\index{chapter!design} are on recto pages and consist of the number and title in a bold font, flushleft and near the top of the page, and an engraving of some kind is at the bottom right of the page; there is no other text on this page, the body of the chapter starting at the top of the following verso page. Folios\index{folio} are in the footers\index{footer!design} at the outer edge of the page. Running headers\index{header!design} contain the chapter title in small caps flushright in the outer margin. \begin{figure} \centering \begin{showtitle} \titleTH \end{showtitle} \caption{Title page design based on \btitle{The Thames and Hudson Manual of Typography} (1988)} \label{fig:titleTH} \end{figure} \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.5}{2}{.2}{.5}{1}{0} % Rome \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.5}{1.7}{.111}{1}{2}{0} % Venice \end{minipage} \caption[Two spreads: Italy, 1523 and 1499]% {Two spreads: (Left) Italy, 1523. (Right) Italy 1499.} \label{fb:8} \end{figure} Many page layouts in earlier days were constructed by drawing with compass and ruler, usually based on regular geometric figures; the use of squares, pentagons and hexagons being particularly prevelant. Unusually, the typeblock\index{typeblock} in \fref{fb:8} (left) is centered on the page. The typeblock\index{typeblock} is based on a square, the depth being twice the measure. The book, \btitle{Canzone} by Giangiorgio Trissino, is a volume of poems and was published in Rome about 1523 by Ludovico degli Arrighi\index{Arrighi, Ludovico degli}. Prose works from the same typographer followed the normal style of having the \foredge\ wider than the spine margin\index{margin!spine}\index{margin!inner}. The page proportion in \fref{fb:8} (right) is also a simple \ratio{3}{2} ratio. The proportions of the typeblock, being \ratio{1.7}{1}, are based upon a pentagon. The book is \btitle{Hypnerotomachia Poliphili} by Francesco Colonna and was published by Aldus Manutius\index{Manutius, Aldus} in Venice in 1499. The story of this, including some reproductions from the original, is told by Helen Barolini~\cite{BAROLINI92}. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.5}{1.571}{.0769}{2}{3.333}{0} % Magellan \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.5}{1.5}{.111}{1.5}{2}{0} % Gutenberg \end{minipage} \caption[Two spreads: France/Portugal, 1530 and Gutenberg, C15th]% {Two spreads: (Left) France/Portugal, 1530. (Right) Gutenberg, C15th.} \label{fb:9} \end{figure} In 1519 the Portugese explorer Ferdinand Magellan set sail from Sanl\'{u}car de Barramada, near C\'{a}diz in Spain, with five ships and about 270 men. Three years later one ship and 18 men returned, having made the first circumnavigation. Among the few survivors was Antonio Pigafetta who recorded the adventure. A very few manuscripts of his report are in existence. The layout of one of these manuscripts which is in the Beinecke Rare Book and Manuscript Library at Yale is shown at the left of \fref{fb:9}. The manuscript, which is written in French, is called \btitle{Navigation et descouurement de la Inde superieure et isles de Malueque ou naissent les cloux de Girofle} (Navigation and discovery of Upper India and the Isles of Molucca where the cloves grow) is written in a beautiful humanistic minuscule\index{minuscule!humanist}. There are 27 lines to a page, which is \abybm{286}{190}{mm} and made of vellum. The text measure is $29.5$ and the `leading' is $21$pt. The wide outer (\foredge) margin\index{margin!outer} is used for sidenotes\index{sidenote} indicating highlights of the story. The manuscript was probably prepared soon before 1530; the scribe and where he worked is unknown. Many of the books produced by Johannes Gutenberg\index{Gutenberg, Johannes} (1398--1468) and his early successors followed the form shown in \fref{fb:9} (right). This set of proportions was also often used in medieval incunabula\index{incunabula}\footnote{Early books, especially those printed before 1500.} and manuscripts. The page and typeblock proportions are the same (\ratio{3}{2}). The margins\index{margin} are in the proportions $2 : 3 : 4 : 6$. A graphical method for constructing this, and similar designs, is shown later in \fref{flpage:lgut}. \begin{figure} \centering \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.5}{1.68}{.043}{2}{5}{0} % Persian Mss \end{minipage} \hfill \begin{minipage}[b]{\pwlayi} \drawaspread{\pwlayii}{1.5}{1.5}{.1}{2}{2.5}{0} % Persian book \end{minipage} \caption[Two spreads: Persia, 1525 and USA, 1975]% {Two spreads: (Left) Persia, 1525. (Right) USA, 1975.} \label{fb:10} \end{figure} Two versions of the same publication are shown in \fref{fb:10}. On the left is a Persian manuscript \btitle{Khamsch