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The meander is a fundamental design motif in regions far from a Hellenic orbit: labyrinthine meanders ("thunder" pattern [3]) appear in bands and as infill on Shang bronzes (c. 1600 BC – c. 1045 BC), and many traditional buildings in and around China still bear geometric designs almost identical to meanders.
The use in modern graphic design is derived from book publishing techniques dating back to the Middle Ages Analytical Bibliography (ca. 1450 to 1800) when a vignette referred to an engraved design printed using a copper-plate press, on a page that has already been printed on using a letter press (Printing press).
Their design marked the emergence of elaborate alentour borders in tapestries. In total, the series contains 28 scenes from the novel. The cartoons (full-scale paintings to copy for the weaving) for each scene were painted by Charles Antoine Coypel, who also arranged the design for the large, surrounding decorative alentour border. [1]
Christ as Intercessor, title page border by Hans Holbein the Younger, metalcut by Jacob Faber, 1523, signed "IF" at right edge, halfway up.. The earliest known metalcut produced in Basel is from a book printed by Froben in 1518, when Faber had already been working for Froben for two years; this is very likely to be by Faber, who in any case soon became Froben's main cutter in metal. [15]
The design of each individual page, on the other hand, is governed by the canons of page construction. The possible layout of the sets of letters of the alphabet, or words, on a page is determined by the so-called print space, and is also an element in the design of the page of the book.
Thirty forms of fleuron have code points in Unicode.The Dingbats and Miscellaneous Symbols blocks have three fleurons that the standard calls "floral hearts" (also called "aldus leaf", "ivy leaf", "hedera" and "vine leaf"); [7] twenty-four fleurons (from the pre-Unicode Wingdings and Wingdings 2 fonts) in the Ornamental Dingbats block and three more fleurons used in archaic languages are also ...
The success of decorative tapestry can be partially explained by its portability (Le Corbusier once called tapestries "nomadic murals"). [18] The fully hand-woven tapestry form is more suitable for creating new figurative designs than other types of woven textile, and the looms could be much larger. [19]
Antique Greek border designs of key patterns and other ornaments from The Practical Decorator and Ornamentist by G.A & M.A. Audsley Variations in decorative key patterns from the Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use (1900)
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