Scale

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Ladybird books were designed to be easily and cheaply printed. Indeed, one of the principal aims of the publisher was to make books that were both accessible and affordable. As a result, the books were made to a standard size and format, enabling them to be quickly and cheaply produced with little or no material wasted in the process. They were, in effect, a kind of twentieth century equivalent to that mainstay of nineteenth century popular publishing, the chap book. One knock-on effect of this economical approach to book production is that the resultant volumes themselves aren’t very big.

All this means that it would be hard to place an actual (680 mm x 440 mm) printed copy of the page on which this exhibition centres at the heart of the display and expect it to have much of a ‘wow factor’ to exhibition-goers. There will, of course, be original copies of the What to Look for in Autumn book on display but to achieve more of a visual impact we decided to scale the books up and make large versions of the key volume, based directly on the very first edition held in the Ladybird Collection itself.

Our own Morryce Maddams (Gallery Assistant) carefully measured the original book, before we had it digitally copied, scaled-up in image-editing software, and large paper surrogates were produced to order by the University’s dedicated in-house Design and Print Studio, which is closely interwoven with the Department of Typography and Graphic Communication. We deliberately based these images on the printed volume and not on the original artwork as we wanted the largescale versions to echo the dot-printed finish of the actual books.

Gallery Assistant Morryce Maddams working on a scaled-up book

This image shows MERL Gallery Assistant Morryce Maddams working on one of two scaled-up copies of the ‘What to Look For in Autumn’ book. One of these will be shown to display the cover and the other to show the double-page spread of the huntsman image and text on which the exhibition centres.

With the exception of one small deletion, the digital images used in these largescale versions were not altered in any way, so the massive dustjacket of the scaled-up book model designed to display the cover retains the abrasions and crayon marks of the copy on which it is based. The small piece of editing work was undertaken to digitally remove the name and address of a previous owner of this copy of the book. I’ll write a ‘Book Biographies’ blog post about this volume and its history in due course…

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