Second Round: The Tale of Sinuhe, tr. R. B. Parkinson. With/without illustrations.
KeskusteluConsensus Press
Liity LibraryThingin jäseneksi, niin voit kirjoittaa viestin.
1consensuspress
The Tale of Sinuhe, tr. R. B. Parkinson. With/without illustrations.
The Tale of Sinuhe is considered one of the finest works of ancient Egyptian literature; composed around 1875 BC, today largely considered a work of fiction. Fiction or fact, the universal nature of the themes explored in Sinuhe, including divine providence and mercy, make it a classic. Its anonymous author has been described as the “Egyptian Shakespeare.” The text could lend itself to a few illustrations. Include an intro by Mr. Parkinson, who also holds the rights. Binding: leather spine, cloth sides w/printed papyrus label of title in hieroglyphics, spine w/title in English; slipcase.
This proposal received 54 yes votes in the first round.
The proposer has been notified of this discussion thread, and may receive help or advice in expanding the proposal.
The Tale of Sinuhe is considered one of the finest works of ancient Egyptian literature; composed around 1875 BC, today largely considered a work of fiction. Fiction or fact, the universal nature of the themes explored in Sinuhe, including divine providence and mercy, make it a classic. Its anonymous author has been described as the “Egyptian Shakespeare.” The text could lend itself to a few illustrations. Include an intro by Mr. Parkinson, who also holds the rights. Binding: leather spine, cloth sides w/printed papyrus label of title in hieroglyphics, spine w/title in English; slipcase.
This proposal received 54 yes votes in the first round.
The proposer has been notified of this discussion thread, and may receive help or advice in expanding the proposal.
2Glacierman
Well, color me happy! Here is my initial expanded proposal:
Contents
"The Tale of Sinuhe us a tale of adventure in foreign lands, but one which encourages reflection on the nature of Egyptian life, particularly on an individual's relationship to the king." (from Introduction to the Oxford edition.
The Tale of Sinuhe is considered one of the finest works of ancient Egyptian literature; composed around 1875 BC, today largely considered a work of fiction. Fiction or fact, the universal nature of the themes explored in Sinuhe, including divine providence and mercy, make it a classic. Its anonymous author has been described as the “Egyptian Shakespeare.”
The translation of R. B. Parkinson is in copyright, but the permissions should not be too hard to obtain. The text as published by Oxford (1998) includes a 6 page introduction, which might either be reprinted or perhaps he would be willing to write a new one for this particular edition. The Oxford printing is accompanied by copious endnotes (11 pp.) which may be included either in toto or as a selection made by the translator. Whichever is used, the notes are essential to full understanding of the text.
Printing
Paper: I leave the final choice to the printer, but would suggest Zerkall Text 145 gsm, vellum finish, cream (if you can get it), St. Armand Canal color #2 (cream), or Johannot white, 125 gsm.
Type: Golden Cockerel for the text with GC Titling Caps on the t. p. and drop caps. Digital versions are available, or lacking that, either Goudy Old Style with its accompanying italic or Kennerly.
Other typographic considerations
Simple two-color title page (black & red); justified margins; judicious use of the second color in the text block, primarily in drop-caps.
Layout: Apply the elsewhere-mentioned J. A. Van De Graaf Canon but with the Tschichold page ratio of 2:3. This layout results in a very beautiful two-page spread.
Illustrations
A reproduction of the hieratic script of the tale as found on the Papyrus R (Berlin 10499), if feasible, would make a nice illus to go with the introduction. No text illustrations at all.
Binding
Hand-sewn headbands of ultramarine (lapis) and gold threads; signatures hand sewn on linen tapes; spine rounded and backed.
Attach the boards using a Harrison groove (supported French groove) which requires split boards.
Smooth spine, regardless of board attachment method.
Wheat yellow buckram spine, sides of blue marbled paper with gold highlights – see TALAS French P marbled paper, color #924 for an example.
Front board with “Sinuhe” in hieroglyphics (obtained from the translator) printed on an inset papyrus label, spine stamped in blue with title (“Sinuhe”) and at bottom of spine, “CP”.
Chemise/slipcase combo covered with the spine cloth.
Contents
"The Tale of Sinuhe us a tale of adventure in foreign lands, but one which encourages reflection on the nature of Egyptian life, particularly on an individual's relationship to the king." (from Introduction to the Oxford edition.
The Tale of Sinuhe is considered one of the finest works of ancient Egyptian literature; composed around 1875 BC, today largely considered a work of fiction. Fiction or fact, the universal nature of the themes explored in Sinuhe, including divine providence and mercy, make it a classic. Its anonymous author has been described as the “Egyptian Shakespeare.”
The translation of R. B. Parkinson is in copyright, but the permissions should not be too hard to obtain. The text as published by Oxford (1998) includes a 6 page introduction, which might either be reprinted or perhaps he would be willing to write a new one for this particular edition. The Oxford printing is accompanied by copious endnotes (11 pp.) which may be included either in toto or as a selection made by the translator. Whichever is used, the notes are essential to full understanding of the text.
Printing
Paper: I leave the final choice to the printer, but would suggest Zerkall Text 145 gsm, vellum finish, cream (if you can get it), St. Armand Canal color #2 (cream), or Johannot white, 125 gsm.
Type: Golden Cockerel for the text with GC Titling Caps on the t. p. and drop caps. Digital versions are available, or lacking that, either Goudy Old Style with its accompanying italic or Kennerly.
Other typographic considerations
Simple two-color title page (black & red); justified margins; judicious use of the second color in the text block, primarily in drop-caps.
Layout: Apply the elsewhere-mentioned J. A. Van De Graaf Canon but with the Tschichold page ratio of 2:3. This layout results in a very beautiful two-page spread.
Illustrations
A reproduction of the hieratic script of the tale as found on the Papyrus R (Berlin 10499), if feasible, would make a nice illus to go with the introduction. No text illustrations at all.
Binding
Hand-sewn headbands of ultramarine (lapis) and gold threads; signatures hand sewn on linen tapes; spine rounded and backed.
Attach the boards using a Harrison groove (supported French groove) which requires split boards.
Smooth spine, regardless of board attachment method.
Wheat yellow buckram spine, sides of blue marbled paper with gold highlights – see TALAS French P marbled paper, color #924 for an example.
Front board with “Sinuhe” in hieroglyphics (obtained from the translator) printed on an inset papyrus label, spine stamped in blue with title (“Sinuhe”) and at bottom of spine, “CP”.
Chemise/slipcase combo covered with the spine cloth.
3ambyrglow
I will admit I'm still not really sold on this as a text of interest to me, but I like your design vision.
4NathanOv
>3 ambyrglow: I second that. This sounds to be a beautiful binding design, and very well thought out!
5elladan0891
>2 Glacierman: Sold! I really like the proposal.
I guess I'd pick linen for the spine, but buckram is fine with me, particularly if it's a more textured buckram than some of the slick modern plasticky ones.
I guess I'd pick linen for the spine, but buckram is fine with me, particularly if it's a more textured buckram than some of the slick modern plasticky ones.
6Glacierman
The buckram I was looking at seems very nice, but without having a sample in hand, it is hard to be sure. A high quality linen of similar color would work, too.
Gold and lapis lazuli were both precious to the ancient Egyptians, and so those were the colors I decided to go with.
Gold and lapis lazuli were both precious to the ancient Egyptians, and so those were the colors I decided to go with.
7Shadekeep
Thrilled that this one made it, it was one of the proposals I was most looking forward to. You've well thought out the details and they are by-and-large spot on. (And kudos for specifying the Tschichold ratio on the Van de Graaf canon, I need to make an emendation to that effect as well!)
No suggestions from me at the moment, though I do agree that linen could have a place in the final design. It's evocative of the Western Lands.
No suggestions from me at the moment, though I do agree that linen could have a place in the final design. It's evocative of the Western Lands.
8Glacierman
As an aside, another color scheme for the binding design could have been red and black to reflect the dichotomy of ancient Egypt, aka "Red Land and Black Land" (Desher-Kemi) wherein the 'Black' refers to the fertile area along the Nile and the 'Red' refers to the deserts. Interestingly, the term 'kemi' which refers to the rich, mineral-laden soils along the Nile, is the term from which our word 'chemistry' is derived, as it originally referred to mineral science.
I went with lapis and gold, however, as that is a more pleasing combination.
I went with lapis and gold, however, as that is a more pleasing combination.
9Shadekeep
>8 Glacierman: Interestingly enough, a book I backed on ancient Egyptian mythology recently posted an update in which they are incorporating a gold-and-lapis motif into the book design because the gods were believed to have "golden skin and lapis hair". So you've made a rather divine choice.
10NathanOv
>8 Glacierman: I think "Sahara Red" and "Nile Soil Black" could be a really stunning color scheme if you use the natural colors rather than simple "red" and "black." Perhaps even a concept for the title page colors!
Obviously they are not as attractive flattened and textureless in a screenshot, but here's the result of quickly grabbing colors from images of red desert sand and river soil:
Obviously they are not as attractive flattened and textureless in a screenshot, but here's the result of quickly grabbing colors from images of red desert sand and river soil:
11grifgon
>10 NathanOv: Unfortunately, Pantone recently put their color finder behind a paywall... Huge resource loss for the general public. The Pantone mixing guides are like $100 a pop, too. For proposers making specific color suggestions, I highly recommend providing a Pantone number if you can find it, or in lieu of that, a Hex / CMYK / RGB.
12NathanOv
>11 grifgon: That really is too bad. Fortunately, there are free alternatives (I'll admit, of varying quality) for most of the online features, but those mixing guide prices sound ridiculous.
13Glacierman
The binding colors are fixed by the materials used, but for the second text color, RGB 200, 54, 66 (CMYK 0, 146, 134, 55) would about do it.
14Glacierman
Proposal, slightly revised:
Contents
The Tale of Sinuhe is considered one of the finest works of ancient Egyptian literature, a true classic. Composed around 1875 BC in Middle Egyptian, it is today largely considered a work of fiction. Fiction or fact, the universal nature of the themes explored in Sinuhe, including divine providence and mercy, make it a classic. Parallels have been drawn between the Biblical story of Joseph and other Biblical tales. Its anonymous author has been described as the “Egyptian Shakespeare.” This nearly 4000 year old literary work is truly deserving of a fine press edition.
The translation of R. B. Parkinson is in copyright, but the permissions should not be too hard to obtain. The text as published by Oxford (1998) includes a 6 page introduction, which might either be reprinted or perhaps he would be willing to write a new one for this particular edition. The Oxford printing is accompanied by copious endnotes (11 pp.) which may be included either in toto or as a selection made by the translator. Whichever is used, the notes are essential to full understanding of the text.
Printing
Paper: I leave the final choice to the printer, but would suggest Zerkall Book, 145 gsm, vellum finish, cream (if you can get it); Johannot, white, 125 gsm (Legion); or Fabriano Roma, cream, 130 gsm. Choice of paper will determine final actual dimensions of book, but generally, 8vo.
Type: 14 pt Golden Cockerel for the text with GC Titling Caps on the t. p. and drop caps. Digital versions are available, or lacking that, either Goudy Old Style with its accompanying italic or Kennerly.
Other typographic considerations
Simple two-color title page; justified margins (I hate ragged margins); judicious use of the second color in the text block, primarily in drop-caps. For the second color, use RGB 200, 54, 66 (CMYK 0, 146, 134, 55).
Layout: Apply the elsewhere-mentioned J. A. Van De Graaf Canon but with the Tschichold page ratio of 2:3. This layout results in a very beautiful two-page spread.
Illustrations
A reproduction of the hieratic script of the tale as found on the Papyrus R (Berlin 10499), if feasible, would make a nice illus to go with the introduction. No text illustrations at all.
Binding
Hand-sewn endbands of ultramarine (TALAS Headband silk thread, blueberry) and gold (TALAS Headband silk thread, gold); signatures hand sewn on linen tapes; spine rounded and backed.
Attach the boards using a Harrison groove (supported French groove) which requires split boards.
Smooth spine, regardless of board attachment method. T. e. g., others untrimmed.
Wheat yellow buckram spine (TALAS Buckram color #260), sides of blue marbled paper with gold highlights ( TALAS French P marbled paper, color #924). This is a linen buckram.
Front board with “Sinuhe” in hieroglyphics (obtained from the translator) printed on an inset papyrus label, spine stamped in blue with title (“Sinuhe”) and at bottom of spine, “CP”.
Chemise covered in Kennet Bookcloth, Royal Blue (TALAS); slipcase covered in the same material as the spine of the book.
Contents
The Tale of Sinuhe is considered one of the finest works of ancient Egyptian literature, a true classic. Composed around 1875 BC in Middle Egyptian, it is today largely considered a work of fiction. Fiction or fact, the universal nature of the themes explored in Sinuhe, including divine providence and mercy, make it a classic. Parallels have been drawn between the Biblical story of Joseph and other Biblical tales. Its anonymous author has been described as the “Egyptian Shakespeare.” This nearly 4000 year old literary work is truly deserving of a fine press edition.
The translation of R. B. Parkinson is in copyright, but the permissions should not be too hard to obtain. The text as published by Oxford (1998) includes a 6 page introduction, which might either be reprinted or perhaps he would be willing to write a new one for this particular edition. The Oxford printing is accompanied by copious endnotes (11 pp.) which may be included either in toto or as a selection made by the translator. Whichever is used, the notes are essential to full understanding of the text.
Printing
Paper: I leave the final choice to the printer, but would suggest Zerkall Book, 145 gsm, vellum finish, cream (if you can get it); Johannot, white, 125 gsm (Legion); or Fabriano Roma, cream, 130 gsm. Choice of paper will determine final actual dimensions of book, but generally, 8vo.
Type: 14 pt Golden Cockerel for the text with GC Titling Caps on the t. p. and drop caps. Digital versions are available, or lacking that, either Goudy Old Style with its accompanying italic or Kennerly.
Other typographic considerations
Simple two-color title page; justified margins (I hate ragged margins); judicious use of the second color in the text block, primarily in drop-caps. For the second color, use RGB 200, 54, 66 (CMYK 0, 146, 134, 55).
Layout: Apply the elsewhere-mentioned J. A. Van De Graaf Canon but with the Tschichold page ratio of 2:3. This layout results in a very beautiful two-page spread.
Illustrations
A reproduction of the hieratic script of the tale as found on the Papyrus R (Berlin 10499), if feasible, would make a nice illus to go with the introduction. No text illustrations at all.
Binding
Hand-sewn endbands of ultramarine (TALAS Headband silk thread, blueberry) and gold (TALAS Headband silk thread, gold); signatures hand sewn on linen tapes; spine rounded and backed.
Attach the boards using a Harrison groove (supported French groove) which requires split boards.
Smooth spine, regardless of board attachment method. T. e. g., others untrimmed.
Wheat yellow buckram spine (TALAS Buckram color #260), sides of blue marbled paper with gold highlights ( TALAS French P marbled paper, color #924). This is a linen buckram.
Front board with “Sinuhe” in hieroglyphics (obtained from the translator) printed on an inset papyrus label, spine stamped in blue with title (“Sinuhe”) and at bottom of spine, “CP”.
Chemise covered in Kennet Bookcloth, Royal Blue (TALAS); slipcase covered in the same material as the spine of the book.
15ChestnutPress
>14 Glacierman: Golden Cockerel on Johannot sounds a winner combo to me!
17Glacierman
If anyone wants to see my design for the title page, DM me with your e-mail address and I will send you a PDF.
18SyllicSpell
>14 Glacierman: Superb in every aspect. This is a winning proposal for me.
19Glacierman
I have submitted my expanded proposal.
Join to post
