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upload file permanent link page information cite this page get shortened url switch to legacy parser print export download as pdf printable version in other projects wikidata item appearance move to sidebar hide from wikipedia the free encyclopedia principles of page layout for the part of modern graphic design that deals in the arrangement of visual elements on a page see page layout recto page from a rare blackletter bible 1497 the canons of page construction are historical reconstructions based on careful measurement of extant books and what is known of the mathematics and engineering methods of the time of manuscript framework methods that may have been used in medieval or renaissance era book design to divide a page into pleasing proportions since their popularization in the 20th century these canons have influenced modern day book design in the ways that page proportions margins and type areas print spaces of books are constructed the notion of canons or laws of form of book page construction was popularized by jan tschichold in the mid to late twentieth century based on the work of j a van de graaf raúl rosarivo hans kayser and others 1 tschichold wrote though largely forgotten today methods and rules upon which it is impossible to improve have been developed for centuries to produce perfect books these rules have to be brought to life and applied 2 kayser s 1946 ein harmonikaler teilungskanon 3 4 had earlier used the term canon in this context typographers and book designers are influenced by these principles to this day in page layout with variations related to the availability of standardized paper sizes and the diverse types of commercially printed books 5 van de graaf canon edit van de graaf devised this construction to show how gutenberg and others may have divided their page to achieve margins of one ninth and two ninths and a type area in the same proportions as the page the van de graaf canon is a historical reconstruction of a method that may have been used in book design to divide a page in pleasing proportions 6 this canon is also known as the secret canon used in many medieval manuscripts and incunabula the geometrical solution of the construction of van de graaf s canon which works for any page width height ratio enables the book designer to position the type area in a specific area of the page using the canon the proportions are maintained while creating pleasing and functional margins of size 1 9 and 2 9 of the page size 7 the resulting inner margin is one half of the outer margin and of proportions 2 3 4 6 inner top outer bottom when the page proportion is 2 3 more generally 1 r 2 2r for page proportion 1 r 8 this method was discovered by van de graaf and used by tschichold and other contemporary designers they speculate that it may be older 9 the page proportions vary but most commonly used is the 2 3 proportion tschichold writes for purposes of better comparison i have based his figure on a page proportion of 2 3 which van de graaf does not use 10 in this canon the type area and page size are of same proportions and the height of the type area equals the page width this canon was popularized by jan tschichold in his book the form of the book 11 robert bringhurst in his the elements of typographic style asserts that the proportions that are useful for the shapes of pages are equally useful in shaping and positioning the textblock this was often the case in medieval books although later on in the renaissance typographers preferred to apply a more polyphonic page in which the proportions of page and textblock would differ 12 golden canon edit tschichold s golden canon of page construction here illustrated by a synthesis of tschichold s figure thereof with the diagonals and circle combined with rosarivo s construction by division of the page into ninths these two constructions rely on the 2 3 page ratio to give a type area height equal to page width as demonstrated by the circle and result in margin proportions 2 3 4 6 inner top outer bottom for other page ratios rosarivo s method of ninths is equivalent to van de graaf s canon as tschichold observed medieval manuscript framework according to tschichold in which a type area proportioned near the golden ratio is constructed page proportion is 2 3 type area proportioned in the golden section 10 tschichold s golden canon of page construction 11 is based on simple integer ratios equivalent to rosarivo s typographical divine proportion 13 interpretation of rosarivo edit raúl rosarivo analyzed renaissance era books with the help of a drafting compass and a ruler and concluded in his divina proporción tipográfica typographical divine proportion first published in 1947 that gutenberg peter schöffer nicolaus jenson and others had applied the golden canon of page construction in their works 14 according to rosarivo his work and assertion that gutenberg used the golden number 2 3 or secret number as he called it to establish the harmonic relationships between the diverse parts of a work 15 was analyzed by experts at the gutenberg museum and re published in the gutenberg jahrbuch its official magazine 16 ros vicente points out that rosarivo demonstrates that gutenberg had a module different from the well known one of luca pacioli the golden ratio 16 tschichold also interprets rosarivo s golden number as 2 3 saying in figure 5 the height of the type area equals the width of the page using a page proportion of 2 3 a condition for this canon we get one ninth of the paper width for the inner margin two ninths for the outer or fore edge margin one ninth of the paper height for the top and two ninths for the bottom margin type area and paper size are of equal proportions what i uncovered as the canon of the manuscript writers raul rosarivo proved to have been gutenberg s canon as well he finds the size and position of the type area by dividing the page diagonal into ninths 10 the figures he refers to are reproduced in combination here john man s interpretation of gutenberg edit historian john man suggests that both the gutenberg bible s pages and printed area were based on the golden ratio commonly approximated as the decimal 0 618 or the ratio 5 8 17 he quotes the dimensions of gutenberg s half folio bible page as 30 7 x 44 5 cm a ratio of 0 690 which is closer to rosarivo s golden 2 3 0 667 than to the golden ratio 0 618 tschichold and the golden ratio edit building on rosarivo s work contemporary experts in book design such as jan tschichold and richard hendel assert as well that the page proportion of the golden ratio has been used in book design in manuscripts and incunabula mostly in those produced between 1550 and 1770 hendel writes that since gutenberg s time books have been most often printed in an upright position that conform loosely if not precisely to the golden ratio 18 tschichold s drawing of an octavo format page proportioned in the golden ratio the type area and margin proportions are determined by the starting page proportions these page proportions based on the golden ratio are usually described through its convergents such as 2 3 3 5 5 8 8 13 13 21 21 34 etc tschichold says that common ratios for page proportion used in book design include as 2 3 1 3 and the golden ratio the image with circular arcs depicts the proportions in a medieval manuscript that according to tschichold feature a page proportion 2 3 margin proportions 1 1 2 3 type area in accord with the golden section the lower outer corner of the type area is fixed by a diagonal as well 19 by accord with the golden ratio he does not mean exactly equal to which would conflict with the stated proportions tschichold refers to a construction equivalent to van de graaf s or rosarivo s with a 2 3 page ratio as the golden canon of book page construction as it was used during late gothic times by the finest of scribes for the canon with the arc construction which yields a type area ratio closer to the golden ratio he says i abstracted from manuscripts that are older yet while beautiful it would hardly be useful today 20 of the different page proportions that such a canon can be applied to he says book pages come in many proportions i e relationships between width and height everybody knows at least from hearsay the proportion of the golden section exactly 1 1 618 a ratio of 5 8 is no more than an approximation of the golden section it would be difficult to maintain the same opinion about a ratio of 2 3 21 tschichold also expresses a preference for certain ratios over others the geometrically definable irrational page proportions like 1 1 618 golden section 1 2 1 3 1 5 1 1 538 and the simple rational proportions of 1 2 2 3 5 8 and 5 9 i call clear intentional and definite all others are unclear and accidental ratios the difference between a clear and an unclear ratio though frequently slight is noticeable many books show none of the clear proportions but accidental ones 22 john man s quoted gutenberg page sizes are in a proportion not very close to the golden ratio 23 but rosarivo s or van de graaf s construction is applied by tschichold to make a pleasing type area on pages of arbitrary proportions even such accidental ones current applications edit richard hendel associate director of the university of north carolina press describes book design as a craft with its own traditions and a relatively small body of accepted rules 24 the dust cover of his book on book design 25 features the van de graaf canon christopher burke in his book on german typographer paul renner creator of the futura typeface described his views about page proportions renner still championed the traditional proportions of margins with the largest at the bottom of a page because we hold the book by the lower margin when we take it in the hand and read it this indicates that he envisioned a small book perhaps a novel as his imagined model yet he struck a pragmatic note by adding that the traditional rule for margin proportions cannot be followed as a doctrine for example wide margins for pocket books would be counter productive similarly he refuted the notion that the type area must have the same proportions as the page he preferred to trust visual judgment in assessing the placement of the type area on the page instead of following a pre determined doctrine 26 bringhurst describes a book page as a tangible proportion which together with the textblock produce an antiphonal geometry which has the capability to bind the reader to the book or conversely put the reader s nerve on edge or drive the reader away 27 see also edit book grid page layout references edit tschichold 1991 p 46 hendel 1998 p 7 kayser 1946 anon n d egger 2004 p 52 graaf van de 1946 as cited by tschichold and others original not examined tschichold 1991 pp 28 37 48 51 58 61 138 167 174 max 2010 pp 137 141 hurlburt 1982 p 71 1 2 3 tschichold 1991 p 45 1 2 tschichold 1991 bringhurst 1999 p 163 rosarivo 1953 p 1 carreras rosarivo 1953 el número de oro o número clave en que gutenberg se basó para establecer las relaciones armónicas que guardan las diversas partes de una obra 1 2 vicente 2004 p 41 61 man 2002 pp 166 67 the half folio page 30 7 x 44 5 cm was made up of two rectangles the whole page and its type area based on the so called golden section which specifies a crucial relationship between short and long sides and produces an irrational number as pi is but is a ratio of about 5 8 footnote the ratio is 0 618 ad inf commonly rounded to 0 625 hendel 1998 p 34 tschichold 1991 p 43 fig 4 framework of ideal proportions in a medieval manuscript without multiple columns determined by jan tschichold 1953 page proportion 2 3 margin proportions 1 1 2 3 type area proportioned in the golden section the lower outer corner of the type area is fixed by a diagonal as well in the dutch version letterveld volgens de gulden snede type area in accord with the golden section tschichold 1991 p 44 tschichold 1991 p 37 tschichold 1991 pp 37 38 man 2002 hendel 1998 pp 1 5 hendel 1998 burke 1998 bringhurst 1999 p 145 sources edit anon n d writings on villard de honnecourt 1900 1949 archived from the original on 2006 09 27 an article length p 32 attempt to demonstrate the use of pythagorian musical proportion as the basis for the geometry in three of villard s figures fol 18r two figures at the bottom and fol 19r rightmost figure in the second row from the top while the geometric design itself is unquestionably that generated from the pythagorian monochord kayser does not convince the reader that villard understood its musical basis kayser apparently worked from photographs of the original folios and the significance of kayser s claim may be summarized in his own admission p 30 that villard s geometry does not match that of the pythagorean design when correctly drawn bringhurst robert 1999 the elements of typographic style point roberts wa hartley marks isbn 978 0 88179 132 7 burke christopher 1998 paul renner the art of typography new york princeton architectural press isbn 978 1 56898 158 1 carreras fabián rosarivo 1903 2003 archived from the original on 2007 10 21 retrieved 2008 03 16 egger willi 2004 help the typesetting area pdf maps 30 de nederlandstalige tex gebruikersgroep shows the van de graaf canon and a variant that divides the page into twelfths graaf van de j a november 1946 nieuwe berekening voor de vormgeving a new calculation for giving form tété technisch tijdschrift voor de grafische industrie in dutch amsterdam 95 100 hendel richard 1998 on book design yale university press isbn 978 0 300 07570 0 hurlburt allen 1982 grid a modular system for the design and production of newspapers magazines and books new york wiley isbn 978 0 471 28923 4 kayser hans 1946 ein harmonikaler teilungskanon analyse einer geometrischen figur im bauhüttenbuch villard de honnecourt a canon for harmonious page division analysis of a geometric figure in bauhaus book of villard de honnecourt in german zurich occident verlag man john 2002 gutenberg how one man remade the world with words wiley isbn 978 0 471 21823 4 max stanley m 2010 the golden canon of book page construction proving the proportions geometrically journal of mathematics and the arts 4 3 137 141 doi 10 1080 17513470903458205 issn 1751 3472 s2cid 123606086 rosarivo raúl m 1953 divina proporción tipográfica divine typographic proportions in spanish la plata argentina ministry of education of the province of buenos aires tschichold jan 1991 the form of the book essays on the morality of good design hartley marks isbn 978 0 88179 116 7 vicente ros 2004 raúl mario rosarivo o el amor al libro pdf infodiversidad in spanish 7 argentina sociedad de investigaciones bibilotecológicas issn 1514 514x archived pdf from the original on 2008 03 07 further reading edit elam kimberly 2001 geometry of design studies in proportion and composition princeton architectural press isbn 978 1 56898 249 6 luca pacioli de divina proportione 1509 ...