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1. STORIES FROM THE WORLD OF INNOVATION DESIGN TYPESETTING RESEARCH AND DEVELOPMENT M 20 4 O LN N ad 2 Lu 87 7081 050 0 9 7 2K STORIES ISSUE 1 2014 STORIES VG AJ AJ N AJ wz i J A N DOA RAA TT A NU 4 SX CORN XXX AN WM 7 KV POS SX LLL NG x KASSAN 1 XY UA x ASSIS S G RNA 4 AK 749000 WW ww OG EDITORIAL LEADER BY KLAUS E KROGH Our great ambition is to design Bibles and Hymnals and related products AS appealing as possible also to new readers With the utmost readability for all age groups Inthe very best quality within a given budget All for the purpose of more people buying more Bibles and spending more time in the company of the message of the text To achieve this we sometimes present our customers the most esteemed bible publish ers in the world with new solutions to old problems After all the rules in the graphic in dustry have been developed over the last 500 years or more and are constantly changing As a postgraduate made sure learned all the rules thinking that it would allow me to think about design as aesthetics only Now know that it is not enough to know all the ritlac waist alea naand ta knna tha nraklamc IUIC I yuu alDU TICCU CU NIIUVV UTC Pl VDICITIS that the rules ar2. genious achievement Not for nothing did Thomas Edison call the Linotype the Eighth Wonder of the World Having seen one in use one can t help but notice the mesmer izing musical qualities of its rhythmic click ing clanking whirring humming tapping a symphony of functionality and industry In the 1970 s the breakthrough of the ball head printer made printing affordable to the masses democratizing communication and the transfer of knowledge on a whole new level Along with the zeitgeist of reckoning with authority and tradition typography be came expendable and content became king Amidst all this enthusiasm 500 years of ty pographic craftsmanship was thrown over board without further ado terface There is no physical manifestation of the intricate workings of a good string of code and brilliance is often noticeable only through ease of use and absence of prob lems This apparent simplicity helps to make the technology approachable for the aver age user QUALITY IS BACK ON THE AGENDA We believe this was a mistake We believe AUTOMATION While digitalisation does not solve all of our problems it does supply a plethora of new and interesting problems In the early 1990 s we invented a 23 step guide for converting a Manuscript into a Quark file without loos ing all of the mark up in the process In 2005 we Started writing our own scripts for InDe sign in order to automate the conversion and typese
3. microphone camera flipping What seemed like natural interaction from toddlers is just a tiny selection of the grow ing amount of possibilities The tablet is intuitive To a certain degree Imagine two different jigsaw puzzle games for toddlers They look familiar there is a limit to how unfamiliar jigsaw s can look with colourful animal illustra tions However in one game you have to tap a piece to rotate it and the other you have to rotate it using a finger rotate ges ture In one you have to shake the device to scramble the pieces to start over but in the other you have to tap a small back but ton in the corner of the screen In one you can only drag one piece at the time adding an extra finger to the screen will make the piece fly back to its starting position but in the other you can move as many pieces as you like simultaneously INTERACTION DESIGN Cand intaractinn dacian ic lika a annd nrint_ U 1C T CI Q T M org IS THING a U UU P Wie ed page layout It guides the user through any amount of information whether it is a small game a short story or overwhelming amounts of data The Magical Number Seven Plus or Minus Two Some Limits on Our Capacity for Process ing Information was published by the cogni tive psychologist GeorgeA Miller of Princeton University s Department of Psychology in 1956 It is often interpreted to argue that the num ber of objects an average huma
4. Create interfaces Enhance user interaction and experience In analog and digital communication And together with our customers to Develop functional and readable and aesthetic award winning books and apps Let this be an open invitation hope that you will enjoy this magazine and we would love to hear from you with remarks questions and even requests for topics to be presented in the next issue Yours sincerely Klaus E Krogh KLAUS 2KDENMARK COM TEL 45 8740 8000 45 2069 9911 Circulation 1000 worldwide Printed by EJ Graphic Beder Design and DTP 2K DENMARK Publisher and Editor in chief Klaus E Krogh Editor Katrine Jonassen Contributing Editor art direction cover illustration photography Andreas Krautwald Subscriptions KROGH FORLAGETSAXO DK PRINTED ON 170 GSM PROFI MATT PROFI SILK PROFI GLOSS PRINTED IN DENMARK 2014 WWW 2KDENMARK COM DESIGNERS C OLUMN What to do when all you have is a blank page and some questions how not to settle for less when reality comes calling and why it s important to call things by their pro per names OPINION BY ANDREAS KRAUTWALD QUESTION EVERYTHING How do you handle that big metaphorical ly blank page that is working with design From my chair it comes down to being in a constant state of questioning everything I don t want to sound like I m needlessly crit ical so I shall attempt to justify my reason ing and to pa
5. Legibility Attention to Detail Elegance Clar ity and Beauty These were not to be small thinline or portable bibles but full on luxuri ous reading editions It s a pleasure to be giv en such a task an opportunity to flex some typographic muscles The standout quali ties are Elegance and Beauty Legibility and Clarity is key to every bible we design but it s rare that economy and small size gives way to beauty Formal requirements from Schuyler were 1500 1600 pages 6 x 9 Trim Size 1 5 CM margins serif typeface two colour text high legibility paragraph headings italics for inserted text references and notes separated from the bible text footnote and cross reference callers Should visually distinct verse numbers should be prominent running headers with chapter numbers Hebrew characters in the acrostic poems CHALLENGES The NASB translation is medium length at 4 200 000 Characters 23 6 words pr sen tence paragraphed with subheadings and with a large amount of cross references footnotes and poetic text As such it does not pose any extraordinary challenges to the design apart from the number of cross references and footnotes up to 100 on a page We identified the following issues that needed special attention in these editions Running headers tend to clash with subheadings when they appear at the top of columns Cross references take up a l
6. and how do we want to Say it When it comes time to implement we work bottom up and use chains of ques tions to ensure that the tiniest details rein force the greater goal of the design This is famously how Mazda designed the MX 5 in 1989 The end goal was defined as Jinba it tai A amp 14 person and horse as one body a term appropriated from Yabusame Japa nese mounted archery and the designers used Ishikawa diagrams for cause and effect analysis to ensure that every design choice worked towards that goal SOFT VALUES HARD CIRCUMSTANCES Much of the work at 2K DENMARK Involves handling massive amounts of often quite complicated text Harsh reality tends to put some demands of practicality on our work irrespective of the many wonderful qualities that we are looking to express While there are certainly times when all those charac we are dealing with language here how they affect your communication True names af ter all have power and like our lowly square piece of white space ideas are affected by terminology 3 2K DENMARK INNOVATION DESIGN REFLECTIONS ON THE GROUNDBREAKING DESIGN OF ONE OF THE PREMIER LUXURY BIBLES ON THE MARKET TODAY BY ANDREAS KRAUTWALD REQUIREMENTS In the spring of 2013 Schuyler approached 2K DENMARK with considerations for a new line of luxury editions We were supplied with a list of values to be expressed in the design
7. design or This is amessage to a modern secularized person who could perhaps also be persuaded to read the book modern design DESIGN BRIEF As a consequence of these discussions we could prepare a design brief The request that was presented to our production partner and designers was clear Readable modern type face Best quality printing and binding A va riety of cover designs that could be perceived as belonging to a family The design should reflect the ambitions of the new translation as a brand This sounds simple but it took us about two years to agree on the best options We discussed a great number of designs Time and time again we met with the designers and printers We contacted the booksellers about their likes and dislikes and asked what covers they believed could be accepted by the cus tomers Most of this was done while the trans lators still worked on the text During all this a close contact with professionals was essen 13 tial They not only came up with good ideas they also told us whether our own ideas were feasible and advised on technical possibilities and limitations Without this contact with pro fessional designers and printers early in the process we could easily have gone astray We agreed on a production plan with a realistic but tight time schedule With a launch date set one year in advance am happy to say that we enjoyed the high standards of our partners who obeyed th
8. end of the Scripture text finishing out the page nicely as well as reinforcing the concept of the flu id bottom margin The footnotes span both columns on exit pages to create symmetry on the single page mirroring the renaissance ideal It s important for us to always carry through design concepts in as many areas as possible We believe this helps create a uni fied whole when the reader can recognize subtle design principles throughout the bi ble It s the same principle at work when we use serif typefaces to signify scripture text throughout the bible The front endpapers are printed as pres entation pages with an Arts and Crafts style vignette to reinforce the hand crafted lux mriniic faal of tha hank hlarcrk UTIVUVUJI SSI IGEN style These editions are furnished with a full map section from Oxford Cartographers arguably the finest maps available We have worked together with Oxford Cartopgra phers to integrate the map signature in this design including creating a new typesetting of the map index in the design of the interior pages as well as laying out a page template to fit the maps into _ and h LITO DUUN U al IV CONCLUSION We would like to thank Schuyler for the opportunity to meet the challenges of the Quentel luxury editions The special con siderations of the cross reference footnote system pushed our Design team to come up with innovative solutions that again chal lenged the development team to
9. I I LIAS UIT AUUCU AUVAI mage Uj combining well with the Milo sans serif companion typeface that we are using for non scripture materials We are very happy with the performance of this type family in these editions FINESSE AND INNOVATION It was clear that the large amount of cross references were going to impact the ele gance of the page We needed to typeset the cross references very space efficiently but also make the pages look elegant and clear ly separate the cross references and notes from the bible text We came up with the idea of treating footnotes and cross refer ences as a single element tied together by a red hairline Our normal approach is to lock every element to the baseline grid to ensure line on line printing so in this case we ve kept everything locked around the space of the hairline separator That way there is a No expense is spared when finishing out the Schuyler Quentel bible line The best paper the best print and truly luxurious book binding with real goatskin and 4 reading ribbons 2K DENMARK DESIGN TYPESETTING ey w N N The table of content has been layed out to reflect the structure of the bible The scripture content is grouped by testament and is typeset in Milo Serif to echo the design of the actual text Both long and short names of the books are listed as an explanation of the abbreviations The non scripture ma terials are listed before and after the testaments in the sans se
10. It is possible to customise the reading experi ence by many factors Font font size colour theme what supplemental material to in clude Which options you have available de nande an tha ciinnlamantal matarial avaihahla Pe IUI JII UIT SUppIUl IIGTIGATTTTAGGET TATT AVATTIAUAV IT in a given bible edition and on which sup plemental products you have downloaded Further reading customisation is made by choosing between various reading modes and potentially opening multiple reading modes next to each others The reading mode defines whether you read one or two bibles on the same screen or read a bible with study material in an annotation column BIBLEON IN THE APP STORE BibleOn is available for iPad and iPhone as a universal application from ITUNES APPLE COM APP ID442673238 Pomegranate only changed it s name InApp purchases made by users in Pomegranate will remain so will user generated content EG a Fru FAIRA TN N V I E IN LW LJLINIV 2K RESEARCH DEVELOPMENT U SN Na M ad L 2 Z TT a 2K DENMARK iS launching our certificate of authenticity This symbol marks a product as a genuine 2k DENMARK design and can be included in colophons etc at the discretion of our clients QD ROYAL JONGBLOED 2K DENMARK partner 2K DENMARK INNOVATION DESIGN TYPESETTING RESEARCH DEVELOPMENT 2K DENMARK Is a Danish design company with a 26 year record of delivering outstanding d
11. age reveals The story telling pur pose and the interaction design of the book is a match Some books provide non linear content however this is not represented by the reader s interaction with the book that still mainly consists of opening the cover and flipping through the pages Some books aim to provide as much infor mation to the reader as possible gled caus manu dataiire thrarinh nanac flinnina ing LET TV UCLUUT ID UITVUY I ea Co LIT TO back and forth Interaction design mismatch But we are used to the mismatch almost enough to believe that it cannot be differ ent We pick up one of the heavy books and spend time understanding how the author editor and typesetter decided how the con tent was written and designed to be con sumed If we are lucky a small user manualis included in form of an introduction Readers are turned into users and are now empow ered to fight the mismatch battle between content and interaction THE TABLET When the first mobile devices with touch screens arrived it was amazing to see how even small children would interact with the device as if it was the most natural thing in the world Touching tapping and swiping are all more human natural gestures than flip ping pages in a book ever was The possibilities of interacting with a mo bile touch screen device is endless swiping tapping pinching the same with another amount of fingers shaking rotating swip ing tapping
12. al typesetting machines based on expired Lino types patents with various improvements The original Linotype machine invented by Ottmar Mergenthaler and put on sale in 1886 is a pinnacle of engineering during the industrial revolu tion a complex automated system that improved on hand setting speeds by orders of magnitude To typeset a line of text the operator uses an extended keyboard to type out the text The machine assembles a line of individual casting matrices picked automatically from the matrix magazine to make up the line The assembled line is held on the assembly elevator where the operator can inspect the line for errors before forwarding it to be cast The matrices are mounted in the casting section and molten type metal specifically Slugcasting Alloy Lead 86 Antimony 11 Tin 3 is injected from the crucible where it s kept at a con Stant 270 285 C The cast then rotates to eject the finished slug of type and deliv ers the individual matrices back up to the magazines where they are sorted into the correct channels for reuse These processes are all automatic and take only a few seconds to deliver a com pletetine of text Besides an enormous increase in speed the greatest advantage of the hot metal process over hand setting may be that it s impossible to run out of type With hand composition of moveable type there are only so many sorts single pieces of moveable type ed available to typeset n
13. all upon Ad am and he sle and he took one of his ribs and closed 22 And the rib which the LorD God h taken from man made he a woman brought her unto the man 23 And Ad am said This is now bc of my bones and flesh of my flesh s shall be called Woman because she m taken out of Man 24 KTherefore shall a man leave his ther and his mother and shall cleave ul his wife and they shall be one flesh 25 And they were both naked the m and his wife and were not ashamed The serpent s deceit leads to the fa of Adam and Eve 3 Now the serpent was more st than any beast of the field which i LORD God had made And he said untot 2K DENMARK INNOVATION TYPESETTING TURID BARTH PETTERSEN ILLUSTRATION NAJA KRAGELUND BIBLE 2011 BY TURID BARTH PETTERSEN NORWEGIAN BIBLE SOCIETY THE NORWEGIAN TRANSLATION PROJECT The decision to work towards a new bible translation in Norway was made in 1999 Our goal was to make an accurate and consist ent translation that is understandable to a modern audience At that point nobody un derstood how overwhelming this task would turn out to be It took us 12 years to com plete the translation The New Testament was published in 2005 in a trial edition and revised once more in the following years The complete new Bible was published in 2011 What was meant to be a small revision de veloped into a full new translation project and our ambi
14. ant and engaging the reader to inspire to continue Mobile application in teraction design is the same The possibilities are endless it is about controlling them and making them intuitive engaging helpful not overwhelming FROM POMEGRANATE TO BIBLEON The change of name marks a transition De velopment of Pomegranate started in 2010 and 3 years have passed including 4 new iPads 2 iPad minis and 4 new iPhones The state of technology has changed the possibilities with Apple s iOS has changed and so has our knowledge about user interaction interaction design and application development The idea of Pomegranate started before the first iPad was released when rumours were at their highest We were already familiar with the interaction and the touch screen from the iPhones but imagining it on a big ger scale was challenging 14 The idea was to provide an easy access for Bible publishers to publish digitally in an en vironment specially made for one exact type of content the Bible The expectations for quality of text display use of fonts and lay out were high We wanted to make a differ ence in the quality of text consumption on mobile devices and do it on our home field We believe that we reached our goals ac complishing beautiful text display on mobile devices making the Bible more accessible in many ways always daring to be innovative and try new approaches to solve old issues But now it is time to move
15. d for illustrated reading by illustrating the Bible with illustration packages be used for quickly navigating the Bible by book chapter verse or by book section in canonical or alphabeti cal order be enhanced by installing new fonts and colour themes SAY GOODBYE TO PURETEXT AND HELLO TO PURE TEXT Many bibles are overcrowded by cross ref erences and text notes we do not have to overcrowd the text with small markers fight ing for the readers attention any more In Pomegranate we introduced PureText buttons in the margin as a small marker for highlight ing the amount of content available in any aivan lina Vik DihloOn vara intradiica avan YyIVvEtt MIC VVICII DIDICVJIT VVT MIC UAUC TUVUTT purer text notifying the reader about avail able information while scrolling Tapping the notification a heatmap layer will be shown and the density of the colour clearly distinguishes the amount of supple mental material available in any given range of the text If in an exploratory mood the user can keep heatmap turned on POWERFUL SEARCH All products are indexed and searchable us ing Apache Lucene and the advanced search syntax it provides It is possible to search for exact phrases proximity between words spelled like and much more Searches can be narrowed down to verses chapters text notes etc and ordered by appearance in the text or by best matching the search query USER CUSTOMISATION
16. develop new automation techniques Working on this project has given us new tools and tech niques and given Schuyler a new line of lux ury editions It s a process we are very proud to have been part of 2K DENMARK DESIGN TYPESETTING From prehistoric times to the digital age writing is the dominant media for global scholarly vation of knowledge We use writing to connect complain inform make official to exclaim remember mail tweet or to write on each other s walls Traditionally the role of typography is to organize the temporal spatial or visual and geo phy any written scribble remains essentially unreadable Thus typography constitutes writing and is not mere beautification or decoration Ever since Gutenberg the multitudes of expression in type and the richness of the typogr nological development For the same extent of time the bible has been the foremost example of how we pass on information to the next generations using the very best technology available to us The high ambitions of this work necessitates ceaseless development of the craftsmanship and we find ourselves forever asking What does this particular technology have to offer to our typography collaboration and the acquisition and preser metrical properties of text Without typogra aphic tradition has grown steadily with tech BY KATRINE JONASSEN G ANDREAS KRAUTWALD Combining all the typographic workflows into one magnificent mechanism is an in
17. e KJV Rainbow Study Bible containing cross references and footnotes throughout the bi ble Along with this we got a complete set of InDesign files from the last print of the book Soon we discovered that these InDesign files were all corrupt Not so corrupt that we could not read them But corrupt in a way that somehow all text had lost its paragraph and character styling Also most of the docu ments text frames were either linked incor rectly or not linked at all The InDesign files did not contain any in formation regarding the placement of col Ours or underlining Ideally this would have been marked with a character style or in an other way This was not the case For this new typesetting we had also re ceived a new and updated KJV database in XML format This database contained the bi ble text including the cross references but not including the Rainbow Bible footnotes and the subheadings required in the Rain bow Study Bible So basically what we had was a KJV man uscript containing cross references All extra information had to be either placed by hand or in some way extracted from the old InDe sign files as this seemed to be the only place it existed We decided not to do it by hand DISASSEMBLING In order to build a working manuscript that included all required info we wrote a Series of scripts to aid extracting the needed info from the original files This script went through the InDesign files and pick
18. e schedule throughout the pro duction process Everything was delivered on time both design typeset text for proofread ing and printed books EDITIONS For first editions of Bible 2011 two different type settings and designs were developed One for the medium and large standard edi tions and one for the three volume literary edition without chapters verses or foot notes We used four different cover designs One for the cheaper launch edition one for PU editions one for luxury Bibles and one for the literary edition All editions of the same size were made from the same book block However each edition required a separate typesetting and proofreading Nynorsk and bokm l the two official Norwegian lan guages were both included in the project which duplicated the number of editions Each of these editions was produced in a va riety of colours and binding materials which made it necessary to have one common fea ture or logo which was used on all printed books This logo has become a recognizable symbol of Bible 2011 and has been used also for communication and marketing purposes MARKETING AND LAUNCH Our overall goal was the widest possible out reach in church and society at a reasona ble cost By involving several church leaders and representatives of various target groups during the whole span of the project we got many ambassadors and created a strong feeling of joint ownership Towards the end of Se
19. e there to solve Looking at the problems you often real ise that possibilities of solving these today are different to what Johannes Gensfleisch zur Laden zum Gutenberg ca 1400 1468 John Baskerville 1706 1775 or Giambattista Bodoni 1740 1813 had at hand We have to rethink the solutions addressing the same problems Just like the very best professionals have always done to be able to design and produce the very best Bibles again and again Solutions that mirror the style trends of our period and bring forth the very best in the Bible tradition that will help us to create the very best Bibles that todays technology will allow us This is our obligation Having 2K STORIES Issue 1 2014 ISBN 978 87 7081 050 0 Publisher Forlaget SAXO Denmark the rewarding task of being a part of the dis tribution of the oldest but still the very best news So when we suggests changes to a Bi ble design we do that to fulfil our obligation But at the same time we try to do it In recognition of the work of the great masters before us In admiration for the great work translators and editors have done making the translation ready With respect for the expectations of the audience that have felt at home using the previous editions Meanwhile we the employees at 2K DEN MARK believe in Creative collaboration Striving for quality Having the courage to challenge limitations With the great ambition to
20. ed up colour codes and verse chapter information from each book leaving us with a long list of verses and accompanying colours amp Much like the first script this one went through the InDesign files and generat ad a lict af varcac ta annlu tha tndarlin_ CU A Tot U VEI JCS LU apply UIC IQ C TITI ing to 6 A simple script grabbed all the subhead ings spitting out a list of subheads for each bible book With this script we searched through all the InDesign files and extracted all footnote content e A script to extract the correct place ments of the footnotes within the bible text ASSEMBLING Now we had all the info needed to build a new manuscript Assembling this manuscript by hand would be tedious work to say the least so naturally we had to come up with a second wave of scripts to compile all the extracted info into anew manuscript After running these scripts all we needed was a bit of proof reading and then we ac tually had a working manuscript Now the bible was ready for typesetting using our newly assembled manuscript 2K DENMARK INNOVATION TYPESETTING TEXT COMPARISON WORKFLOW Scripts and programs for automation are not limited to conversion and typesetting as with the Rainbow Bible Recently we have developed a comparison workflow that pre vents accidental textual inputs during type setting When typesetting any material it is impor tant to make sure that all content is there and no chang
21. er of the history of communication has recently been made available to a wider public in Linotype the film a feature length documentary centered around the Linotype type casting machine its history its engineers its operators its achievements and its demise A Must See available on WWW LINOTYPEFILM COM 9 2K DENMARK RESEARCH INNOVATIVE TECHNICAL SOLUTIONS TO TYPESETTING CHALLENGES BY MAGNUS GAARDE Challenges are here to make us think about things in new ways and eventually make us smarter Here at 2K DENMARK We love a good challenge Such a challenge could for instance be to design a book using the least amount of pages while still keeping the typeface read able It could also be a complex conversion job including specially developed scripts for automating the typesetting of many differ ent elements Or it could be a combination of many chal lenges such as in the case of the Rainbow Study Bible by Broadman amp Holman THE RAINBOW BIBLE The Holman Rainbow Study Bible is rath er special The entire content is divided into twelve themes each highlighted with a unique colour which signifies the current theme All divine words are marked with a black underlining rule On top of that the Rainbow C rv Rihla Hac a unina cat af crihhandinnc ILUUYV DIUIC 1103 A UVI mgue D Ul SUVUVIICAUI I Wo which differs from the standard KJV trans lation LAYING THE FOUNDATIONS We were handed a printed specimen of th
22. ersion and typesetting of The Holman Rainbow Study Bible Illustration Magnus Gaarde GENESIS 1 3 tree in the which is the fruit of a tree yielding seed to you it shall be for meat 30 And to every beast of the earth and to every fowl of the air and to every thing that creepeth upon the earth wherein there is life I have given every green herb for meat and it was so 31dAnd God saw every thing that he had made and behold it was very good And the evening and the morning were the sixth day God s seventh day of rest Thus the heavens and thoi De h were 4 1 29 2 ch 9 3 Job 36 31 Ps 104 14 15 136 25 146 7 Acts 14 17 1 30 Ps 145 15 16 47 9 CJob 38 41 1 31 4Ps 104 24 1Tim 4 4 2 1 Ps 33 6 2 2 Exod 20 11 31 17 Deut 5 14 Heb 4 4 2 3 9Neh 9 14 Isa 58 13 2 4 ch 1 1 Ps 90 1 2 13 And the name of the second rive Gi hon the same is it that compass the whole land of E thi o pi a 14 And the name of the third river YHid de kel that is it which goeth tow the east of As syr i a And the fourth ri is Eu phra tes 15 And the LoRD God took the man a put him into the garden of E den to dr it and to keep it 16 And the LORD God commanded 1 man saying Of every tree of the gard thou mayest freely eat 17 aBut of the tree of the knowledge good and evil thou shalt not eat of it 1 a aval ell 1 h 2 the sevent th e nif em hi
23. es has occurred while the text is being typeset throughout the book To catch any mistakes we have established a typesetting workflow that includes a char acter by character comparison of the typeset text with the maintained database So whenever we have finished typesetting we export the text and run it through a com parison program If anything has changed in the typeset text or the database be it added text or missing text we will get a warning that something no longer matches We then evaluate the differences to see whether it is an intentional change or an actual error Fi nally we will make a report of the changes ta cand ta niir ciuctamarc Thic rarnw tha rc L Seu LU VUI LUDUGUTTTUT ID IIHS vvay LIT CUD tomer is guaranteed that the textual content matches the database FIND 10 MISTAKES We invite you to send us two indesign files One original and one altered document with ten mistakes of your own choice Then we shall do our best to spot the mistakes Please send your files to MAGNUS 2KDENMARK COM HYPHENATION In the end this also means that if we use a maintained and proof read database we can more or less minimize proof reading to the checking of hyphenation and product spe cific differences And to further aid in the proof reading we can output all hyphenation instances to a separate file for the proof readers to check 10 A tiny glimpse of the vast amount of scripting that was used in the conv
24. esign solutions to the greatest problems in written communication and a suite of critically acclaimed iOS Apps in the iTunes App store Keep up to date with new projects on WWW 2KDENMARK COM and 2KDENMARK
25. every tree that is pleasant to the sight and good for food the tree of life also in the midst of the garden and the tree of knowledge of good and evil 10 And a river went out of E den to wa ter the garden and from thence it was parted and became into four heads 11 The name of the first is Pi son that is it which cnmnaccath tha wrhonla land nf 2 15 ver 8 2 17 ver 9 Och 3 1 3 11 17 cch 3 3 19 Rom 6 23 1 Cor 15 56 James 1 15 1John 5 16 2 18 9ch 3 12 1 Cor 11 9 1 Tim 2 13 2 19 ch 1 20 24 fPs 8 6 See ch 6 20 2 21 9ch 15 12 1Sam 26 12 2 22 Prov 18 22 Heb 13 4 2 23 ch 29 14 Judg 9 2 2 Sam 5 1 19 13 Eph 5 30 11 Cor 11 8 2 24 ch 31 15 Ps 45 10 Matt 19 5 Mark 10 7 1 Cor 6 16 Eph 5 31 2 25 ch 3 7 10 11 MCuad 27 95 ee instead thereof in the day that thou eatest thereof th Shalt surely die 18 1 And the LORD God said It is not gc that the man should be alone T will m him an help meet for him 19 And out of the ground the Lo God formed every beast of the field a every fowl of the air and brought th unto Ad am to see what he would c them and whatsoever Ad am call every living creature that was the na thereof 20 And Ad am gave names to all c tle and to the fowl of the air and to eve en of the field but for Ad am there v not found an help meet for him 21 And the LORD God caused a de sleep to f
26. ew pages before the composi tor has to cannibalize previously typeset pages The amount of sorts a printer would have on hand was a considerable invest ment both in metal and manpower since after use each sort has to be hand sorted back into the Job Case the wooden cases contain ing type sorts after which we have the terms upper and lower case for majus cules and minuscules 2K DENMARK RESEARCH v kad h ah N ES l Ui wa 2K DENMARK The photos in this article are taken in the hand book binding workshop of master bookbinder Lars Hedegaard WWW BOGBINDERIETAARHUS DK Lars is the lucky owner of an impeccably kept Intertype machine that sees regular use typesetting book titles etc for embossing He was kind enough to show us around the machine and run a few titles through it MEETING AN INTERTYPE MACHINE Accompanied by the strange music it creates the rapid movements and intricate workings of the INTERTYPE are hard to follow Lars Hede gaard went by it slowly explaining all the steps and had do several slugs of type as the machine continued to race ahead of the spectators comprehension One can all too easily imagine the spectacle of a dozen hot metal machines working in symphony on a crowded shop floor transforming our access to information This fascinating chapt
27. lievers The general audience actually grasped this intent The authors have helped us to preserve the complex structures of the Hebrew lan guage and at the same time create new SUS tainable structures of modern Norwegian language understandable but still with the depth spirit and power of expression existing in the original language The joint efforts were said to have made the theolo gians more brave and confident and willing to look for new solutions STRATEGIC GOALS The new Bible editions should reflect the overall intents and strategic goals of the Bi ble Society What do we want to achieve It is an enormous task to translate the Bible It takes what you have of human and finan cial resources imagination concentration and administrative skills The result must do justice to the resources you have put into it whether you succeed or not will de pend on the numerous initial decisions you make At this stage it is essential to have competent and trustworthy production partners who can help you with all these difficult options After all they are experts They know about typefaces readability materials and how these can be used trends colours and possibilities to make cura that tha finichad aditinnc raflactwatiir SUIT LITAL LITO HSC CUTLIUTTS POeyIeee You goals and ambitions PREPARATIONS If you are at the beginning of a project you may think The publication of the new trans lation is so far away no
28. lled NO 78 85 those were the years when it was first published and then revised had been wide ly accepted by the churches and was consid ered to be of good quality Still as the years have passed it was felt to be a bit out of date The Norwegian language like most other lan guages has changed The cultural climate is also different meaning how we read and un derstand a text and what we expect from it We enjoy poetic text we use metaphors and we accept the irrational thanks to Harry Pot ter We are more influenced by other me dia and aware of how texts can be interrelat ed This allows for the use of other translation principles Compared to what was commonly believed to be correct in the seventies LITERARY AUTHORS To achieve our goal a broadest possible out reach of our new translation we asked our selves Who has the best possible knowledge of spoken and written contemporary modern Norwegian language Answer Literary au thors They are the experts Consequently to optimize the literary potential of the bible text and allow it to bloom in a precise and vivid language we invited renowned Nor wegian authors to take part in the transla tion project and work together with theo logians and translators With their help the translation was given qualities that made it more widely accepted and accessible even to people who are not regular churchgoers We believe that the Bible is for everyone believ ers and non be
29. n can hold in working memory is 7 2 Newer studies show that the brain s short term memory works with chunking of data You can remember more letters by memorising words The stor age capacity is dependent on the information being stored For instance span is lower for long words than it is for short words The most powerful presentation slides are the most simple slides with the most power ful message You can add animated gifs odd transitions and text build ins but you have to learn to control the use to get your mes Sage across in the best way 2K DENMARK RESEARCH DEVELOPMENT Mobile applications are the next presen tations All the tempting possibilites to add more than neeeded to get across And for people transitioning from publishing books the temptation is clear We do not have any limitations to how much content we can provide But we need to control it like good page layout Narrow down the available options to focus on what is currently on the screen Limit the amount of visible information to what is relevant Make sure that the user does not get lost by limiting interaction steps cognitive capacity But we have to do this while still providing the reader access to the huge advantages that computers can provide Searching Multimedia Customisation Sharing e p ing affordanc hat guides the reader and helps open ing doors to information About highlight ing the import
30. need to think of it at this stage Wrong You need to start early actually earlier than what you expect to be necessary The Bible Society of Norway de cided to organize the translation as an inte grated part of the activities of the Publishing Department This meant that we could early on try to visualize the finished product We knew that the translation work would need to have an absolute deadline like all other products and that we had to make prepa rations for the production a long time ahead IN Our case it was agreed that the transla tors should hand over the complete text fully checked to the editor on Jan 1 at the lat est The launch was planned to take place in October that year But the editor actually Started her work with the new Bibles almost two years before that PARATEXT Before you even Start to think about the printing of anew Bible translation you need to know the state of your Paratext files Are they corrected and updated The transition from Paratext files into editable files book pages may easily become a critical point Even if we had every intention of making this transition as smooth as possible we ran into some problems because all codes in Paratext had not been set All codes for automatic conversion and all other good and useful codes available in the program must be properly set This must be done at the beginning of the translation process Translators are not always aware of this It may be
31. nooks and crannies become apparent By going through every element in your mark up from end to end you can apply the Ishikawa style ques tioning approach and optimise every little lt element gt lt element gt to reflect and support the soft values you are trying to impart LANGUAGE AFFECTS THINKING For any craft the terminology that develops along side the craft itself has a profound ef fect on the way craftsmen discuss and think about our subject In Denmark our terminol ogy has germanic origins The Anglophone em space in Danish is the delightfully Teu tonic Geviert ge firet and while the em space and its nickname mutton summons up the shape of an m and a lovely lamb chop a Geviert is much more geometricaly evocative it s literally squared off It s aterm that affects how you think about and use the tool A mutton is a soft and rather vague piece of whitespace to be inserted between words and seasoned to taste A Geviert is a grid quadrant it demands precision order and structure it forms the basis for whole systems of indentations margins and gut ters A Geviert of the leading is my reflexive answer to any question involving whitespace and text find it very rewarding to step back and think about the terms of your trade and how they affect your thinking and because work from the top down when we define a project Who are we talking to what are we trying to say
32. o we set out to harness the technological development to make it serve typography to put quality back on an agenda that was dominated by Faster Easier Cheaper Since the early 1980 s digitalisation has transformed typographic workflows The mechanical wizardry of hot metal printing has been replaced by electrical impulses and code With the Linotype the spatial dimen sions of each single part and the formida ble beast of burden they comprise make the complexity of its workings obvious to the onlooker In contrast good software hides its complexity beneath a simple in DIGITAL TYPE In 2007 we set out to typeset bibles for the iOS platform and found the existing text engines wanting The situation was not unlike the ball head printing revolution from the 1970 s Pub lishing to mobile platforms and e readers of fered mobility reach and volume but not an aesthetic and pleasant reading experience As such it led to an impoverishment of the writ ten communication put to the point by bible design blogger J Mark Bertrands when de scribing the 3000 book capacity of the Kindle Oh goody 3 000 books set in awkwardly Spaced system fonts Yippee Most tablets use WebKit to display books a miniature webbrowser that perceives 2K DENMARK RESEARCH HOT METAL MACHINES Intertype Corporation Founded 1911 by Hermann Ridder Intertype produced hot met
33. on Learn from our past 3 years and focus on the next And with the knowledge that we have build up until now re conceptualise the application interaction and also the brand We are introducing BibleOn MANY WAYS OF READING When you ask people how they use their mobile devices to consume content whether 15 FIND BIBLEON ON THE APP STORE ITUNES APPLE COM APP ID442673238 it is news literature TV shows or movies or what they find most important in a digital publication versus a printed publication the answers are many People are using it in bed with the screen dimmed in transit on the couch in school And the ability to search is important or quality of text speed design customisability BibleOn is designed to suit many purposes whether it is using the Bible as a quick refer ence tool or studying it next to a Hebrew or Greek source text It can be used easily in transit on an iPhone and in the home for deeper study on the iPad be used to read one Bible or multiple next to each other bilingual be used to do simple or advanced searching in the Bible powered by Apache Lucene be used to study the Bible with study commentary maps etc be used for taking notes and saving bible references during sermons be used for completely undisturbed reading by customising whether text notes cross references verse numbers chapter numbers should be included or not be use
34. ot of space which decreases elegance and increases page count Cross reference and footnote callers need to be visually distinct SOLUTIONS Running headers printed in secondary colour to separate them from subhead Ings Use short names of books in cross references Run on individual cross references separated by white space Set in sans serif decreases optical weight of cross references and saves space Only indicate referred chapter verse number once in bold for easy reference Set with less leading than the bible text Cross references are called out with alphabetical markers and footnotes with numerals Both systems reset each page The references are grouped and preceded by their chapter verse which disambiguates references in case the numbering resets to a on a page GENERAL DESIGN CONSIDERATIONS The NASB was typeset as a red letter version substituting for black letter before going to press In this way a potential later red letter version can be output from the same set of files and there is only one set of files to keep current For a red letter edition the secondary colour would not be used for the chapter numbers Many typefaces were considered for this design and a lot of standard workhorse typefaces were discarded in favour of the luxurious beauty of Milo Serif from American type designer Michael Abbink NAilnA Carif Hac tha addad adviantana nf IVITTO DC
35. ptember about one month before the launch the Bible Society published a book called Bibelsk Biblical a collection of essays written by the literary authors who had been involved in the trans lation People were amazed that all these well known and respected authors had ac tually participated in the translation Our marketing resources were limited After eleven years of expensive translation work we had to make some strategic con clusions on marketing the most important tool being publicity not advertising The main focus was on contacting media and making photos and information available A website for Bible 2011 was set up Design solutions including covers and logo were actively used to promote our new Bible A publicity steering group was established at an early stage consisting of marketing and media experts who agreed to work on a vol untary basis The group discussed particular ly how to reach people outside the Christian community We decided at an early stage to set an em bargo date for sales similar to what happens to Harry Potter books and Apple products which creates a buzz around the launch This was accepted both by retailers and the me dia The date was announced a year in ad vance to give our partners enough time to plan for the event Some theology students in Oslo who started planning early queued up outside a Christian bookstore Several TV crews came down as they were dressed up as biblical cha
36. racters and were spreading smiles and enthusiasm Other book stores started to sell the new Bibles around midnight or very early in the morning Some served breakfast or had special offers and sold many Bibles on that first day The launch in Oslo Cathedral on Wednes day October 19 was a great success with invited guests from official bodies various churches and Christian organisations All ages were represented and the program was tailored to interest both media and Bible en thusiasts A few days later an amazing num ber of local congregations and groups took up the challenge and marked the launch dur ing the weekend of October 22 23 7 THE NORWEGIAN EXPERIENCE THE NEW STATE OF READING WHEN READERS BECOME USERS The possibilities in mobile interaction are endless Our challenge is in managing them and making them intuitive engaging helpful not overwhelming BY THOMAS SILKJAER THE BOOK The book is intuitive It is easy to interact with opening the cover and flipping through the pages It is linear by architecture from left to right or right to left depending on the traditions of writing in the given language of the book The book is amazing for fiction You follow a story line with whatever jumps in the time line the author intended in a linear flipping pages motion throughout the book just like a movie The story might be so intense that you barely dare to flip the page to see what the next p
37. raphrase Hunter S Thompson hate to advocate scepticism critical think ing or uncertainty to anyone but they ve al ways worked for me Design is about solv ing problems and questioning everything is a means to actively define the problems you have to solve It can be as general as asking yourself or your team what is the problem we are trying to solve with this project or as specific as why should this paragraph have an indent The process resembles the 5 Whys technique of examining cause and effect If every choice in your design process is informed by logical cause and effect the end result will be internally consistent We ters just won t fit on the page there are also times where we can turn the restrictions to our advantage There s a lovely feeling of certainty when circumstances dictate this solution is the way it is because it must be so The challenge then becomes to inject ex pression and delight into pragmatic designs Since we are operating under practical con straints the expression must come through typographical attention to detail and subtle use of Space Complicated content not only forces space constrained design solutions it also requires systematic handling of the text and carefully considered formatting and conversion processes Again this can be a blessing in disguise When you need a fully developed mark up schema to handle vour content all the typographic
38. rif Milo typeface and indented to clearly separate it as additional content Preliminary pages are numbered with roman numerals so that page 1 starts on the half title page of genesis The map section is printed in the rear endpapers and as such are not numbered clear rhythm to the whitespace around it The footnotes are anchored to the hairline from the bottom and grow upwards from there so they form an element with hair line and cross references The innovation is in how the cross references are allowed to grow They are locked by their top to the hairline and grow downwards from there We then define a minimum and a maximum lower page margin and when the footnotes exceed the maximum the whole system of footnotes hairline and cross references are moved up by one unit of the baseline grid So for the first time we have a system where we can prioritize white space on the page when the amount of cross references allow it or a maximum efficiency setting of the cross ref erences when needed all of which gives way to the larger priority of spacious and elegant bible text This is a truly groundbreaking set up and one that wouldn t be possible with out the coding prowess of the 2K DEVELOP MENT team While the cross references are spanned across both columns at the bottom of a page in a nice taper the footnotes are kept in the outside column creating symme try across a spread gathering the scripture text towards the centre of the
39. s work which he had May n ed on the seventh day gg which he had made 3 And God blessed the ai old sanctified it because tha y ed from all his work wl and made cTextindex 0 Adam and Eve in the Garden of Eden 44 These are the generations of the heavens and of the earth when they were created in the day that the LORD God made the earth and the heavens gt And every plant of the field before it was in the earth and every herb of the field before it grew for the LORD God had not caused it to rain upon the earth and there was not a man to till the ground 2 5 ch 1 12 Ps 104 14 j Job 38 26 28 Kch 3 23 2 7 ch 3 19 23 Ps wee 103 14 Eccl 12 7 Isa d 64 8 1 Cor 15 47 Job 33 4 Acts 17 25 Ach 7 22 Isa 2 22 01 Cor 15 45 2 8 Pch 13 10 Isa 51 3 Ezek 28 13 Joel 2 3 Ach 3 24 ch 4 16 2 Kings 19 12 Ezek 27 23 Sver 15 2 9 Ezek 31 8 Uch 3 22 Prov 3 18 11 30 Rev 2 7 22 2 14 Vyer 17 2 11 ch 25 18 2 12 Num 11 7 2 14Y Dan 10 4 6 But there went up a mist from the earth and watered the whole face of the ground 7 And the LoRD God formed man of the dust of the ground and breathed into his nostrils the breath of life and man became a living soul 1 And the LorD God planted a garden Yeastward in E den and there he put the man whom he had formed 2 And out of the ground made the LORD God to grow
40. spread We believe it helps readability and makes for a cleaner and more attractive page if we can use whitespace and extras to gather rather than fracture the arrangement of elements on the page In renaissance book printing it was CUS tomary to taper the bottom of the column on exit pages We have echoed this tradition Y ov AY im gt VI NIT NN MN al N lt SN 4 EN X SSN S NV 6 O dr ov Rv 3 Wav X e g NN gt N gt e D j EN 8 N S N N EOS 5 ONS Va Tod NSG ND SSG NO WY OF A 2 PER SILK OMS LMS SO SV 3 DR e lt gt a a N Y p O N j TESS SE IE EESTI EI NAG S Q v VW 9 Y AYA PE 6 GER e Vo WE GA OVR IK SS N N 8 AY en ANS ADS lt i 6 MN dP aad Cs N YO b C AV YSSEN Ya ALS SY O RS e a 5 Q Y NS ov O er D AK et 4 ov 3 a x oF Sp Be s Deg ex a gt DD 5 O X gt N ERO FA PG sr o N or o gt FN AN lt gt Gq lt 1 gt ME O AV O N SEN 3 SY 0 291 DP AO AO ANE AKS IS EP e lt l Ne HD sv e lt ed e ov 00 29407 9 Sy 0 c gt lt 9 vx co Ae G eV gh 9 NE EE VE LO SOS SG Je lt 50 10 No Fer FR CoS GSO a O Z TE rE EE OA es lt lt x KA 908 0 gt AY 4 27 a Kg ah we 7 OL 5 AV 6 dr Y NOOR OPRET GPa AE x 50 oa 12 00 I XO 7b WO SA DE Aa SAVE Ker av DP SP SE AO er NAS NE N AT a AO on our exit pages by moving the footnotes cross references up below the
41. tion was to make a concord ant text based on updated research but still communicating with a modern and broad audience We wanted it to be adopted by the churches but also recognized as an iconic text and accepted by the general public asa Our goal was to succeed with an inte grated translation editing process Sever al times and on different occasions people have asked What were the reasons for the success of the new Norwegian bible trans lation Because the results have been visible and widely recognized 77 000 copies sold during the first two moths 100 000 copies during the first six months 17 of a total of 48 weeks at the top of the general bestseller list the 15 most sold titles in Norway reviews in all important newspapers and literary maga zines invitations from all over the country to come and present the new Bible There may be many answers to that question The most obvious ones are High quality on all levels and in all stages of the project Good integrated early planning Dedicated partners and staff Willingness to stick to the plans that were made and obey a tight schedule THE NORWEGIAN EXPERIENCE X gt vv UIT part of our cultural heritage We also want ed the new bibles to be published in a vari ety of modern readable beautiful attractive high quality editions and at the same time be available on electronic platforms CONCORDANT AND MODERN The previous Norwegian translation ca
42. tting of a Maltese bible As the ma chines did the tedious work we had more time to refine the design perfect the typo graphic expression and pay attention to all the little details that makes such a great dif ference for the reader while still delivering at a world market price level text as a shapeless mass to be poured into a frame defined by a few general criteria However writings in the humanities often transcend this division containing structures that carry significant meanings This struc tural information can be present in both text and typography where they form internal multi hierarchies and occasionally overlap across structures WebKit does not do well with these organic data structures so we built our own text display engine To run with it we linearised the multi hierarchies of the bible text creating a database that can handle the complex structures Combin ing these two technologies allows us to build highly advanced bible reading apps that are clear fast stable aesthetic and simple to use while handling maddingly complex scripture In terms of presentation and readability on mobile devices we are now on a par with the very best printed books In addition the digital media offers rich functionalities that will let the reader interact with the scripture in a whole range of new ways that presentation matters whether you are making a first impression serving a grand dinner or printing a book S
43. useful to run a check and send one or two chapters to the typesetter to see what happens To solve problems that will inevitably occur during this process keep a close contact with the Bible Society Para text experts This saves you a lot of correc tions and extra work in the final stages of the project 12 OPTIONS One of the first things we did in order to plan the publishing itself was to decide what the publishing program should look like and sug gest strategies on how to reach our target groups and meet the expectations of our board and our audience If you have a fairly good idea about that then you will also be able to de fine your challenges in terms of time money staff and external partners Even if your board must define your strategies you will still have to provide sufficient parameters for the deci sion makers such as number of editions sizes covers cost quality time allowed for the pro duction etc You need to know whether your Bibles should be classic or modern reflect tra dition or trend come in both luxury and econ omy binding etc You need to know how to obtain maximum readability and user friend liness and the best possible quality at a price you can afford Good knowledge about your market is essential and above all You need to be clear about your message and understand how your finished books are eventually go ing to reflect this message either This is the good old book traditional
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