《立体和可移动书籍的简明历史》外文翻译资料

《A Concise History of Pop-up and Movable Books》

by Ann Montanaro lt;Against the Graingt;,2010

'Mechanical books should look like ordinary books. Their success is to be measured by the ingenuity with which their bookish format conceals unbookish characteristics.'

Because books are by design two-dimensional, it might seem impossible for a page to add motion or depth other than through illustrations with perspective and illusion. And yet, for more than 700 years, artists, philosophers, scientists, and book designers have tried to challenge the books bibliographic boundaries. They have added flaps, revolving parts, and other movable pieces to enhance the text.

It is not known who invented the first mechanical device in a book, but one of the earliest examples was produced in the 13th century by Catalan mystic and poet Ramon Llull of Majorca who used a revolving disc or volvelle to illustrate his theories. Throughout the centuries volvelles have been used for such diverse purposes as teaching anatomy, making astronomical predictions, creating secret code, and telling fortunes.
Yet, while it can be documented that movable parts had been used for centuries, they were almost always used in scholarly works. It was not until the 18th century that these techniques were applied to books designed for entertainment, particularly for children.

F. J. Harvey Darton, English authority on childrens books, wrote that before 1770 there were virtually no books 'produced ostensibly to give children spontaneous pleasure, and not primarily to teach them, not solely to make them good, nor to keep them profitably quiet.' London book publisher Robert Sayer changed that with the production of 'metamorphoses' books. These books, which were also called 'turn-up' books or 'harlequinades,' afforded amusement, not so much through their printed contents, but through their illustrations that changed and kept pace with the story. 'Metamorphoses' books were composed of single, printed sheets folded perpendicularly into four. Hinged at the top and bottom of each fold, the picture was cut through horizontally across the center to make two flaps that could be opened up or down. When raised, the pages disclosed another hidden picture underneath, each having a few lines of verse.

Other early examples of movable books were the Paper Doll Books produced by London publisher S. amp; J. Fuller beginning in 1810; the 'toilet book,' and an early example of a lift-the-flap book, first illustrated and published by the artist William Grimaldi in the 1820s; and peep-show books. Little or nothing is known of the origin of the peep-shows but they appear to have evolved from the traveling exhibits that showmen featured at fairs and festivals. They were often quite elaborate constructions depicting scenes from famous stories or topical events and were viewed through a small hole in the cover.

The first true movable books published in any large quantity were those produced by Dean amp; Son, a publishing firm founded in London before 1800. By the 1860s the company claimed to be the 'originator of childrens movable books in which characters can be made to move and act in accordance with the incidents described in each story.' From the mid-19th century Dean turned its attention to the production of movable books and between the 1860s and 1900 they produced about fifty titles.

To construct movable books, Dean established a special department of skilled craftsmen who prepared the hand-made mechanicals. The designers used the peep-show principle of cut-out scenes aligned one behind the other to give a three-dimensional effect. Each layer was fixed to the next by a piece of ribbon that emerged behind the uppermost portion, and when this was pulled, the whole scene sprang up into perspective.

Dean also introduced movable books with transformational plates based on the jalousie or venetian blind principle. The illustrations in these books had either a square or an oblong picture divided into four or five equal sections by corresponding horizontal or vertical slits. When a tab at the side or bottom of the illustration was pulled, the picture 'transformed' into another picture.

Read and Ward amp; Lock, Darton were two other London publishers of movable books, but Raphael Tuck was the first publisher to seriously challenge Dean amp; Son. In 1870 Tuck and his sons founded a publishing business in London that produced luxury paper items including scrapbook pictures, valentines, puzzles, paper dolls, and decorated papers. In the genre of movable books, Tuck published 'Father Tucks Mechanical Series.' The series included stand-up items with three-dimensional effects as well as movable books. To produce these books, Tuck, like Dean, formed editorial and design studios in London where volumes of high pictorial quality were produced. All of the printing, however, was done in Germany. The Germans developed a mastery of color printing in the second half of the 19th century and their equipment and techniques superbly reproduced the finest art work.

Another 19th century publisher who specialized in movable books was Ernest Nister. His printing business, begun in 1877, was capable of producing works by all of the major processes of the time. However, despite his wide range of publishing endeavors, he is best known for his movable books that were published from 1890. Nisters works were similar to those produced by his contemporaries but Nisters illustrations stood up automatically. The books had figures that were die-cut and mounted within a three-dimensional peepshow framework. The figures were connected by paper guides so that as the pages were turned, the figures lifted away from the page within the perspective-like setting. Nister also produced movable books with dissolving and revolving transformational slats.

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《立体和可移动书籍的简明历史》

“机械书应该看起来像普通的书籍，他们的成功是通过他们的书法格式隐藏不成体的特征的聪明才智来衡量的。”

由于书籍是设计为二维的，除了通过插图与视角和幻觉之外，页面似乎不可能添加动作或深度。然而，700多年来，艺术家，哲学家，科学家和书籍设计师都试图挑战这本书的书目界限。他们已经添加了襟翼，旋转部件和其他可动件，以增强文字。

不知道谁在一本书中发明了第一台机械装置，但是最早的例子之一是在十三世纪由加泰罗尼亚神秘主义者和马略卡岛的诗人拉蒙·利尔（Ramon Llull）制作，他们用旋转的光盘或电子显示他的理论。整个世纪以来，Volvelles已被用于教学解剖学，天文预测，创建秘密密码以及告诉财富等多种目的。

然而，尽管可以记录，活动部件已经使用了几个世纪，但它们几乎总是用于学术着作。直到18世纪，这些技术才适用于专为娱乐而设计的书籍，特别是儿童书籍。

英国儿童读物权威机构哈维·达顿（Harvey Darton）写道，1770年以前几乎没有任何书籍“表面上表现出来，给孩子们自发的乐趣，而不是主要教导他们，而不仅仅是为了使他们做得好，也不要使他们有利可图。 “伦敦图书出版社罗伯特·萨耶（Robert Sayer）改编为“变态”书籍的制作。这些书也被称为“翻开书”或“丑角色”，这些书籍通过其印刷内容而不是太多的娱乐性，而是通过改变和跟上故事的插图。 “变形”书籍是由单张打印的纸张组成，垂直折叠成四张。在每个折叠的顶部和底部均被折叠，图像横切中心被切割成两个可以向上或向下打开的襟翼。提起时，这些页面披露了另一个隐藏的图片，每个都有几行诗。

活动书籍的其他早期例子是伦敦出版商S.＆J. Fuller于1810年开始制作的纸娃娃图书; “厕所书”，以及早期的例子，是18世纪20年代由William Grimaldi先生首次展示和出版的电梯折叠书。和窥视图书。窥视表演的起源很少或没有任何知道，但它们似乎是从展会和节日特色的旅行展览演变而来。他们通常是非常精细的建筑，描绘着名故事或主题事件的场景，并通过封面上的一个小洞观察。

第一批真正发行的真实可移植书籍是由1800年以前在伦敦创立的出版公司Dean＆Son生产的。到1860年代，该公司声称是“儿童可移动书籍的创始人，其中可以制作人物按照每个故事中描述的事件采取行动和行动。“从19世纪中叶，Dean将注意力转移到活动书籍的制作上，而在1860年至1900年间，他们制作了约五十种书籍。

建立活动书籍时，院长成立了专门的手工制作机械专业部门。设计人员使用了一个相互对齐的切割场景的窥视显示原理来给出三维效果。每层通过一块出现在最上面部分的丝带固定到下一层，当被拉动时，整个场景变成透视。

Dean还根据百叶窗或百叶窗原则引进了具有转换板的活动书籍。这些书中的插图都有一个方形或长方形的图片，分为四个或五个相同的部分，相应的水平或垂直狭缝。当插图的侧面或底部的标签被拉动时，图片“变换”成另一张照片。

阅读和Ward＆Lock，Darton是另外两家伦敦出版社的可移动书籍，但是Raphael Tuck是第一个认真挑战Dean＆Son的出版商。在1870年，Tuck和他的儿子在伦敦创立了一家出版业务，制作了包括剪贴簿图片，情人节，拼图，纸娃娃和装饰纸等奢侈品。在可移动书籍的类型中，塔克发表了“父亲塔克的”机械系列“。该系列包括具有立体效果的立体物品和活动书籍。为了生产这些书，塔克像院长一样，在伦敦组建了一个高画质的编辑和设计工作室。然而，所有的印刷都是在德国完成的。德国人在19世纪下半叶开发出了彩色打印技术，他们的设备和技术精湛地重现了最好的艺术作品。

专门从事活动书籍的另一个19世纪的出版商是Ernest Nister。他的印刷业务于1877年开始，能够在当时的所有主要过程中制作作品。然而，尽管出版范围广泛，但他以1890年出版的可移动书籍而闻名于世.Nister的作品与他同时代的作品相似，但Nister的插图自动站起来。这些书籍的数字已经被切割，并被安装在三维窥视框​​架中。这些数字通过纸张指南连接，以便在页面转动时，数字在透视状态下从页面上抬起。尼斯特还制作了可移动的书籍，装有溶解和旋转的变形板条。

Nister标题的分发不仅限于欧洲市场，纽约E.杜顿与欧内斯特·尼斯特（Ernest Nister）合作，在美国推广和出售出版商的头衔。

19世纪最原始的可移动图画书由Lothar Meggendorfer设计。慕尼黑艺术家有一个罕见的漫画视觉，通过他的艺术和巧妙的机械设备传播。与他的同时代人相比，Meggendorfer对每个页面上只有一个动作不满意。他经常有五个部分的插图移动同时和不同的方向。 Meggendorfer设计了复杂的杠杆，隐藏在页面之间，给了他的角色巨大的运动的可能性。他使用细小的金属铆钉，实际上紧紧卷曲的细铜线，以附加杠杆，使得单个拉片可以激活所有这些，通常有几个延迟的动作，因为标签被拉出。一些插图使用了十几个铆钉。

纽约麦克劳林兄弟（McLoughlin）生产了美国第一本可移动书籍。印刷技术的创新者，麦克劳林在1880年发行了两个独立的“小明星系列”，每个都包含三维场景。这些大型彩色板展开成多层显示器。

一旦第一次世界大战开始，几本可移动书籍就被出版了。活动书的制作是劳动密集型的。大概在1914年之后，德国印刷作品中的劳动力就要求较少的轻率任务。

然而，在1929年，发起了一系列新的活动书籍。英国图书出版商S. Louis Giraud构思，设计和制作了可移动插图描述为“生活模特”的书籍。虽然这个词还没有被使用，但这些是真实的“弹出”书。每个标题包含至少五个双页面，当书被打开时自动竖立，并且可以从四面看到插图。

与德国的前身不同，吉拉的书籍价格适中。它们采用粗糙的吸水纸，采用粗光刻印刷和色彩还原技术，并以廉价的盖子和结合完成。在1929年至1949年间，吉拉德制作了一系列16年历史，首先是“每日快报”，后来作为独立出版商使用“Strand Publications”和“Bookano Stories”的商业名称。每年包括的故事，经文和插图以及五个或更多的弹出窗口。 Giraud的书籍广受欢迎，非常受欢迎。

随着大萧条时期的深入，美国图书出版商寻求重新启动图书购买的方法。在20世纪30年代，纽约蓝丝带出版公司打了一个证明是成功的组合。他们用沃尔特·迪斯尼人物和带有弹出窗口的传统童话来动画。蓝丝带是第一个使用“弹出”一词来描述他们的可移动插图的出版商。

McLoughlin兄弟在1939年重新进入了可移动书市场，出版了他们的第一个快乐跳跃冠军头衔。商业上成功的Jolly Jump-up系列包括Geraldine Clyne演示的十个标题。

一批新的艺术家和出版商在二十世纪四十年代进入了动书市场。 Finnie的提琴手令人兴奋的冒险是一系列以Julian Wehr为动力的剧本。 Wehr的插图印在轻便纸上，并具有制表机构。通过移动延伸穿过所示页面的侧边缘或下边缘的突片，动画的各个部分被移动。该动作被传送到图片的多达五个不同部分。

从20世纪50年代末开始，Artia在捷克斯洛伐克布拉格，国营进出口代理公司制作了一系列非常创新的弹出书。 Voitech Kubasta是他们杰出的艺术家和数十种弹出式书籍的创作者。伦敦的Bancroft＆Co.（出版社）出售了捷克斯洛伐克的标题。

20世纪60年代中期，位于洛杉矶的印刷经纪公司Graphics International总裁美国人Waldo Hunt正在创建尺寸弹出式杂志插页和保费。受到捷克斯洛伐克作品的启发，为了企图在美国出售他们，他开始制作自己的弹出书。这个决定导致了我们现在知道的弹出书的复兴。图形国际公司于1964年搬到纽约，1965年出版了Bennett Cerf的弹出窗口，开始为“随机屋”编写书籍。

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