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4 July, 2018 12:07:55
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Not only were the new types of book-covers cheaper to produce, they were also printable, using multi-colour lithography, and later, halftone illustration processes. Techniques borrowed from the nineteenth-century poster-artists gradually infiltrated the book industry, as did the professional practice of graphic design. The book cover became more than just a protection for the pages, taking on the function of advertising, and communicating information about the text inside.
Before the early nineteenth century, books were hand-bound, in the case of luxury medieval manuscripts using materials such as gold, silver and jewels. For hundreds of years, book bindings had functioned as a protective device for the expensively printed or hand-made pages, and as a decorative tribute to their cultural authority. In the 1820s great changes began to occur in how a book might be covered, with the gradual introduction of techniques for mechanical book-binding. Cloth, and then paper, became the staple materials used when books became so cheap—thanks to the introduction of steam-powered presses and mechanically produced paper—that to have them hand-bound became disproportionate to the cost of the book itself.
The Arts and Crafts and Art Nouveau movements at the turn of the twentieth century stimulated a modern renaissance in book cover design that soon began to infiltrate the growing mass book industry through the more progressive publishers in Europe, London and New York. Some of the first radically modern cover designs were produced in the Soviet Union during the 1920s by avant-gardists such as Alexander Rodchenko and El Lissitzky. Another highly influential early book cover designer was Aubrey Beardsley, thanks to his striking covers for the first four volumes of The Yellow Book (1894–5).
This can differ from country to country because of other tastes of the markets. So translated books can also have different book-accessories such as toys belonging to childrens books, for example Harry Potter.