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Book size

Book size refers to the physical dimensions of a printed book, measured by the height and width of its leaves or cover, which influence portability, production costs, and reading experience.^[1] Historically, book sizes originated from the folding of large printed sheets in the letterpress era, defining formats based on the number of folds and resulting pages per sheet.^[2] The folio format, created by folding a sheet once to produce four pages, yields large books typically over 30 cm in height, often used for illustrated works like atlases due to their expansive layout.^[2] Quarto, formed by two folds for eight pages, measures approximately 26–29 cm tall and served as a practical, affordable size for early printed texts.^[2] Octavo, involving three folds for 16 pages, results in smaller books up to 25 cm tall, becoming a standard for novels and common reading material by the 18th century.^[2] Smaller variants like duodecimo (folded to produce 12 leaves, about 5 x 7.375 inches) further miniaturized books for pocket portability.^[1] In modern publishing, book sizes are standardized as trim sizes—the final cut dimensions after printing and binding—to ensure compatibility with distribution and shelving.^[3] Common trim sizes include 6" x 9" for general fiction trade paperbacks, 5.5" x 8.5" for nonfiction, and 5" x 8" for young adult novels, reflecting genre-specific preferences and cost efficiencies in digital printing.^[4] These standards, often aligned with ISO paper sizes, allow for variations like hardcover editions or mass-market paperbacks at 4.25" x 6.87", balancing aesthetics, readability, and market demands.^[5]

Historical Context

Ancient and Medieval Formats

In ancient Egypt, the primary book format was the papyrus scroll, formed by gluing together multiple sheets derived from the Cyperus papyrus plant to create rolls typically measuring 5 to 10 meters in length for practical use, though some extended up to 40 meters. These scrolls were generally 20 to 30 centimeters wide, allowing for a single column of text when unrolled. The unrolling mechanic fundamentally shaped the perceived "size" of these books, as readers accessed content sequentially by extending portions of the roll, prioritizing linear length over compact volume and limiting simultaneous visibility to a few columns at a time.^[6]^[7] The transition to the codex format began in the Roman Empire around the 1st century AD, evolving from wax tablets bound together and later adopting parchment for durability. Early codices, often used for literary and administrative texts, measured approximately 15 to 25 centimeters in height, reflecting the portable scale of their wax tablet predecessors while enabling random access to pages through folding and binding. This shift marked a significant evolution in book size, favoring bounded sheets over rolls for easier handling and reference.^[8]^[9] During the medieval period, manuscript production on vellum or parchment further diversified book sizes, constrained by the labor-intensive preparation of animal skins into large sheets that were then folded into quires—groups of folded sheets sewn together. A single fold produced a folio format, two folds a quarto, and three an octavo, establishing nomenclature that emphasized the resulting leaf count and overall dimensions. Large folios, such as those for illuminated Bibles, often reached heights of 30 to 50 centimeters to accommodate elaborate illustrations and text for communal reading in monasteries or churches. In contrast, smaller portable octavos, measuring 10 to 15 centimeters high, were common for personal prayer books like Books of Hours, facilitating private devotion.^[10]^[11] Cultural influences adapted these formats for mobility, particularly in Byzantine and Islamic traditions along trade routes. Byzantine manuscripts, often religious texts, were sized to enhance portability for scholars and pilgrims traversing the empire. Similarly, Islamic Qur'an manuscripts were produced in compact sizes, such as 19.4 by 14.2 centimeters for Mamluk-era examples, allowing easy transport by merchants and travelers across the Indian Ocean and Silk Road networks.^[12]

Printing Press Era Developments

The invention of the movable-type printing press by Johannes Gutenberg in the mid-1450s marked a pivotal shift in book production, enabling the creation of standardized formats that scaled beyond the limitations of manuscript copying. Gutenberg's most famous work, the 42-line Bible printed around 1455, exemplified early printed books as large folios, measuring approximately 40 cm in height and 29 cm in width for untrimmed leaves, with a double-column layout to accommodate the substantial type size and textual density required for such a monumental text.^[13]^[14] This format, derived from medieval manuscript traditions, prioritized legibility and durability for ecclesiastical use but limited portability due to the book's bulk and the hand-press's constraints on sheet handling.^[14] By the 16th century, innovations in printing and papermaking facilitated a transition to smaller, more accessible formats, particularly the octavo, which emerged as a dominant size for literature. In 1501, Aldus Manutius pioneered the octavo format in Venice with his "pocket" editions of classical texts, producing books roughly 15-20 cm in height that were designed for personal portability and mass appeal among an expanding urban readership.^[15]^[16] This shift was driven by declining paper costs—stemming from increased European production and imports—and the growth of literate city populations seeking affordable novels and handbooks, contrasting with the larger folios of earlier religious works.^[17] Through the 17th and 18th centuries, octavos became standard for secular prose, enabling printers to fold a single sheet into eight leaves for efficient use of materials while maintaining readability.^[15] The 18th century saw further refinement with the introduction of the duodecimo (12mo) format, approximately 17 cm in height, tailored for pocket-sized editions that catered to mobile readers. This size, achieved by folding sheets into twelve leaves, gained popularity for inexpensive "pocket books" containing popular fiction, such as editions of Daniel Defoe's Robinson Crusoe (1719), which were reprinted in duodecimo to broaden access beyond elite libraries. Regional variations persisted before full standardization; in France, the in-12 (duodecimo equivalent) often resulted in slightly smaller books than British counterparts due to differences in local paper dimensions and folding practices, while German broadsheets remained oversized single-sheet publications, typically exceeding 30 cm in height for public display and news dissemination.^[18] The advent of steam-powered presses in the early 19th century revolutionized uniformity and scale, allowing for the mass production of consistent sizes like crown octavo (approximately 19 cm in height). Inventors such as Friedrich Koenig patented steam-driven machines around 1810, which printed up to 1,100 sheets per hour and integrated with machine-made paper to produce vast quantities of identically sized books, reducing costs and enabling widespread distribution of educational and literary works.^[19]^[20] This technological leap solidified format classifications inherited from the hand-press era, transforming book size from an artisanal variable into a predictable element of industrial publishing.^[21]

Production Fundamentals

Paper Dimensions and Standards

The dimensions of paper sheets serve as the foundational input for determining book sizes, with historical and modern standards dictating how sheets are selected, folded, and ultimately sized for printed works.^[22] In the imperial system, prevalent in British book production from the 18th to early 20th centuries, standard uncut sheet sizes included royal at approximately 50.8 × 63.5 cm and demy at 44.5 × 57.2 cm, which were commonly folded into various book formats without initial trimming to maximize material efficiency.^[23] These sizes originated from traditional papermaking molds and allowed for multiple folds to produce octavo or quarto books, influencing the final dimensions after binding.^[22] The ISO 216 standard, developed in the 1920s based on earlier German DIN 476 specifications and formally adopted internationally in 1975, introduced the A-series for metric paper sizes, starting with A0 at 84.1 × 118.9 cm as the base unit with an area of one square meter.^[24] Subsequent sizes (A1 through A10) are created by repeatedly halving the preceding sheet parallel to its shorter side, resulting in a consistent aspect ratio of 1:√2 (approximately 1:1.414), which ensures efficient scaling without distortion when enlarging or reducing content across formats.^[24] This logarithmic progression minimizes waste in printing and folding processes for books.^[24] In contrast, the United States adopted the ANSI/ASME Y14.1 standard in 1992 (updated to 2020), featuring sizes such as Letter (ANSI A) at 21.6 × 27.9 cm and Tabloid (ANSI B) at 27.9 × 43.2 cm, which maintain aspect ratios closer to 1:1.294 or 1:1.545 rather than the ISO's uniform √2.^[25] While ISO 216 dominates globally, particularly in Europe and Asia where over 90% of countries adhere to it for printing, ANSI sizes remain standard in North America due to entrenched office and publishing practices.^[25] Paper grain direction—the alignment of fibers from the manufacturing process—and weight, measured in grams per square meter (gsm), significantly influence book size and structural integrity. Long-grain orientation, where the grain runs parallel to the spine (the longer dimension of the sheet), provides greater stability and flexibility in larger formats by allowing the book to open flat without cracking or warping under humidity changes, typically recommended for sheets above 80 gsm in book production.^[26] Heavier weights (100-160 gsm) enhance durability in expansive sizes but require careful grain alignment to prevent dimensional shifts during folding.^[26] Uncut sheets are generally larger than the final book to accommodate folding and binding, with trimming typically reducing dimensions by 5-10% to create clean edges and incorporate margins of 0.25-0.375 inches (6-9.5 mm) on each side for readability and production safety.^[27] This allowance ensures text remains inset from the trim line, though exact reductions vary by format and printer specifications. These standards underpin regional book size variations, such as those in modern European formats.^[25]

Binding and Trimming Processes

In book production, the binding and trimming processes significantly influence the final dimensions of a book by transforming large printed sheets into compact, uniform volumes. Starting from base paper sizes, sheets are arranged via imposition—a layout technique that positions pages correctly for folding—and then folded into signatures, which are groups of nested leaves sewn or glued together. This folding reduces the overall size systematically, with each fold halving the dimensions perpendicular to the fold line.^[28] Signature folding begins with the simplest folio format, where a single sheet is folded once to produce two leaves (four pages), resulting in a large book size suitable for early printed works. Additional folds create progressively smaller formats: a quarto involves two folds for four leaves (eight pages), an octavo three folds for eight leaves (16 pages), a 16mo four folds for 16 leaves (32 pages), and a 32mo five folds for 32 leaves (64 pages). These sequences allow efficient use of paper while determining the book's height and width, with imposition ensuring pages align properly after folding to avoid misalignment in the final bound product. For instance, in a 32-page signature common in smaller books, multiple folds enable high page counts from one sheet, though practical limits depend on paper thickness and equipment.^[28]^[29]^[30] After folding and gathering signatures into a book block, guillotine trimming removes excess paper from the edges to achieve clean, even margins. Typically, 3-5 mm is cut from each of the three outer edges (head, tail, and fore-edge), accounting for slight irregularities from folding and printing. On larger books, such as folios exceeding 30 cm in height, total size loss can reach up to 2 cm across all edges combined, ensuring the final trim aligns with specified dimensions while preserving content near the gutters. This step uses a powered guillotine cutter for precision, with the book block clamped to prevent shifting during multiple passes.^[31]^[32] The choice of binding type further alters the book's overall dimensions, particularly thickness and slight adjustments to height and width. Hardcovers, featuring rigid boards and cloth or paper covers, add 1-2 cm to the thickness compared to paperbacks due to the boards (typically 2.5-3.5 mm thick each) and endpapers, while also increasing height and width by about 0.5-1 cm to accommodate the structure. Paperbacks, with flexible cardstock covers, result in slimmer profiles better suited for mass production. Additionally, sewn bindings—where signatures are stitched through the folds—introduce minor spine swell from thread thickness, influencing width calculations by 1-2 mm more than glued (perfect) bindings, which rely on adhesive for faster assembly but may require wider gutters to compensate for less flexibility. These differences affect spine width formulas, often calculated as (page count × paper thickness) plus allowances for binding method.^[31]^[33]^[34] In modern digital printing, these processes adapt to short runs and customization, allowing variable trimming to produce non-standard sizes without retooling. Printers can adjust guillotine cuts dynamically based on digital files, enabling precise edge variations while maintaining standard inner gutters of 0.5-1 cm to ensure text readability near the spine. This flexibility supports on-demand production of unique formats, though traditional tolerances persist for quality.^[35]^[36] Quality control in these processes adheres to ISO 16763:2016, which specifies tolerances for bound products like books, ensuring dimensional consistency within 1-2 mm across height, width, and thickness to meet industrial standards for alignment and durability. This standard covers post-press requirements, including trimming accuracy and binding integrity, to minimize variations that could affect usability or aesthetics in finished volumes.^[37]

Regional Format Standards

North American and Traditional British Sizes

In North America, the trade paperback format has become a standard for contemporary fiction and non-fiction, typically measuring 5.5 by 8.5 inches (14 by 21.6 cm). This size is derived from the common letter-size paper (8.5 by 11 inches), where the height is halved to optimize printing efficiency and shelf space in bookstores. Publishers like HarperCollins and Simon & Schuster frequently adopt this dimension for its balance of readability and portability, allowing for economical production on standard presses.^[38]^[39] A related format is the digest size, at 5.5 by 8.5 inches (14 by 21.6 cm), which originated from magazine publishing and was adapted for books derived from serialized content, such as condensed novels or short story collections. This size facilitates binding from magazine sheets, making it popular for titles like Reader's Digest adaptations in the mid-20th century. Barnes & Noble and other retailers continue to support this size for its compact form, ideal for travel editions.^[40] Traditional British sizes, predating widespread metric adoption, include the crown octavo (crown 8vo), measuring 7.5 by 5 inches (19 by 12.7 cm), which served as a versatile format for literary works during the Victorian era. This size was commonly used for editions of classic novels, such as those by Charles Dickens, whose complete works were issued in crown 8vo by Chapman and Hall in the 1870s for affordable distribution to middle-class readers. The format's proportions allowed for clear typography on handmade paper, influencing reprints well into the 20th century.^[41]^[42] For hardcovers, the octavo format—approximately 9 by 6 inches (23 by 15 cm)—emerged as the standard for novels in both North American and traditional British publishing, providing durability for library and gift editions. This size aligns with the octavo folding of printing sheets, yielding 16 pages per signature, and was favored by publishers like Random House for its professional appearance in genres ranging from mystery to historical fiction. Post-1940s, these dimensions persisted due to the influence of ANSI paper standards, which standardized sheet sizes and indirectly shaped book trimming practices in the US. Penguin Books exemplified this with its mass-market paperbacks at 4.25 by 6.75 inches (11 by 17 cm), a pocket-friendly variant that dominated affordable fiction distribution from the 1930s onward.^[43]^[25]^[38]

Modern British and European Sizes

In the United Kingdom and Europe, modern book sizes have largely transitioned to metric dimensions aligned with the International Organization for Standardization (ISO) 216 standards, particularly the A and B series, following the broader metrication efforts initiated in the 1960s and accelerating after the UK's entry into the European Economic Community in 1973. This shift facilitated harmonization across EU member states, replacing traditional imperial measurements with standardized paper formats to streamline printing, binding, and distribution. By the late 1970s and into the 1980s, publishers adopted these metrics to align with international norms, reducing production costs and enabling compatibility with European suppliers.^[44] A prominent example in the UK is the A-format paperback, measuring 178 × 111 mm (approximately 7 × 4.4 inches), which became a standard for mass-market fiction novels during the 1980s as publishers sought compact, affordable formats for high-volume sales. This size, derived from the ISO A6 paper folded appropriately, offers a portable option ideal for genre fiction like thrillers and romances, balancing readability with pocketability. Similarly, the demy octavo format, at 216 × 138 mm (8.5 × 5.4 inches), remains prevalent for academic and scholarly books in the UK, providing ample space for text, footnotes, and illustrations while fitting library shelves efficiently.^[44]^[45] Across continental Europe, the B6 format (125 × 176 mm) is commonly used for novels, drawing directly from the ISO B-series to create a slightly wider trim size that accommodates denser typesetting and illustrations in literary works. Publishers like Bloomsbury exemplify this metric adoption in hardcovers, often employing 198 × 129 mm dimensions for trade editions, which align with B-format paperbacks and support both UK and EU markets. As a regional variation, the French "poche" format (110 × 178 mm) serves as a compact alternative for pocket-sized editions, popularized by collections like Le Livre de Poche since the mid-20th century and favored for affordable reprints of classics and contemporary fiction.^[46]^[47]^[48]

Japanese and Asian Variations

In Japan, book sizes have evolved to emphasize portability and affordability, influenced by cultural preferences for compact formats suitable for commuting and casual reading. The bunko-bon, measuring 105 × 148 mm and equivalent to the A6 paper size, became a standard for light novels and fiction paperbacks in the 1920s, pioneered by publisher Iwanami Shoten with its Iwanami Bunko series launched in 1927 to make classic works accessible to a broad audience.^[49]^[50] This format typically accommodates 200–300 pages on thin paper, prioritizing ease of carry over expansive layouts. Another prevalent Japanese format is the tankōbon, commonly sized at 127 × 182 mm (approximating JIS B6 dimensions), which collects manga chapters into single volumes often exceeding 200 pages while remaining handheld.^[51] This size supports dense black-and-white illustrations and narrative panels in a slim profile, reflecting the medium's focus on serialized storytelling in affordable editions. For non-fiction, the shinsho format prevails, with typical dimensions of 103 × 182 mm, as seen in the long-running Iwanami Shinsho series started in 1938 to deliver scholarly yet approachable content to general readers.^[49] These books average around 140,000 characters, fitting intellectual essays into a taller, narrower profile that echoes early 20th-century paperback innovations. Across broader Asia, adaptations draw from similar portability ideals but incorporate local publishing traditions. In Korea, standard paperback formats align with A5 dimensions of 148 × 210 mm, facilitating novels and non-fiction in a mid-sized, versatile trim that balances readability and shelf space. In China, the bian 32-kai format, derived from folding standard sheets into 32 leaves, is widely used for serialized novels to produce economical volumes for mass distribution. These sizes parallel global ISO standards in their metric basis but adapt to regional needs. Cultural factors like vertical typesetting (tategaki) in Japanese and some Asian texts reduce required width, enabling slimmer books without sacrificing line length, while the JIS B-series paper maintains a 1:√2 aspect ratio for efficient halving during production.^[52]^[53] This contrasts with horizontal Western layouts, fostering formats optimized for right-to-left reading flows and cultural emphasis on mobile literacy.

Exceptional Sizes

Largest Published Books

One of the most notable historical examples of a large published book is the Klencke Atlas, created in 1660 in the Netherlands as a gift to King Charles II of England for royal display and to demonstrate the country's cartographic prowess. This engraved atlas measures 1.75 meters in height and 2.3 meters in width when open, with a closed thickness of 11 centimeters, and is so heavy that it requires six people to carry.^[54] Containing 41 large-scale maps bound in leather with gilded edges, it was produced in a limited edition of one copy, though it represents early post-printing press efforts in oversized formats.^[54] In modern times, oversized books continue to push boundaries for ceremonial and educational purposes, often recognized under Guinness World Records criteria for "published" works, which require at least two verifiable copies produced with standard ISBN assignment where applicable, alongside measurable dimensions and independent adjudication. A prominent example of the overall largest book (though not classified as published under strict criteria) is This the Prophet Mohamed, unveiled in 2012 by Mshahed International Group in Dubai, measuring 5 meters by 8.06 meters when open, weighing about 1,500 kilograms, and comprising 429 pages with calligraphy and illustrations promoting peace and religious themes.^[55] The current record for the largest published book, as of 2025, is I Am Texas, published in 2022 by iWRITE Literacy Organization in collaboration with The Bryan Museum, standing 2.1 meters tall and 3.3 meters wide when open, weighing 225 kilograms over 400 pages, and produced in a limited run to inspire literacy and celebrate regional history.^[56]^[57] Producing such massive books presents significant challenges, including sourcing custom paper sheets up to 3 meters in length from specialized mills, employing reinforced bindings with industrial-strength materials like metal hinges and heavy-duty leather to withstand the weight, and limiting print runs to fewer than 10 copies due to high costs and logistical demands. These works often serve ceremonial roles, such as diplomatic gifts or public installations to foster education and unity, echoing precursors in large historical manuscripts but adapted for printed dissemination after the 1450s. Verification by bodies like Guinness ensures authenticity through documented production processes and physical inspections.^[58]

Smallest Published Books

The smallest published books represent remarkable achievements in microprinting technology, pushing the boundaries of readability and production scale to create volumes that challenge conventional notions of book size. These miniatures often serve as demonstrations of precision engineering rather than practical reading materials, with dimensions measured in micrometers and requiring specialized equipment for viewing.^[59] One of the tiniest examples is Teeny Ted from Turnip Town, a 30-page fable etched onto a silicon substrate measuring 0.07 mm by 0.1 mm, certified by Guinness World Records as the smallest reproduction of a printed book as of 2025. Produced in 2007 at Simon Fraser University in Canada using a focused ion beam to carve text and illustrations into pure crystalline silicon, this book is visible only under a scanning electron microscope and cannot be read without such magnification. The project, led by publisher Robert Chaplin and author Malcolm Douglas Chaplin, highlights nano-scale fabrication techniques originally developed for semiconductor manufacturing.^[59] For books intended to be more accessible, though still requiring aids like a 10x magnifying glass, the Guinness record for the smallest printed book, as of 2025, goes to Flowers of the Four Seasons (Shiki no Kusabana), a 22-page Japanese picture book measuring 0.74 mm by 0.75 mm, produced by Toppan Printing Co., Ltd. in 2012. This color-illustrated volume features floral depictions across the seasons, with text in Japanese and English printed using advanced lithography to achieve letter heights as small as 0.01 mm, allowing limited readability for novelty purposes. Only 250 copies were made, each sold with a magnifier and an enlarged companion edition to contextualize the micro-scale content.^[60] These micro-books are typically created through specialized methods such as electron-beam lithography, photolithography, or ion-beam milling, which enable the deposition of ink or etching at nanoscale resolutions on substrates like silicon or paper. Page counts are generally limited to 10-50 due to alignment challenges and material constraints, and readability often demands optical or electron magnification beyond standard aids. Such works find applications primarily in novelty items, artistic installations, and scientific demonstrations of printing precision, rather than commercial or literary use, underscoring their role as technological curiosities.^[59]^[60]

Largest Historical Manuscripts

The largest surviving historical manuscript in codex format is the Codex Gigas, also known as the Devil's Bible, a 13th-century work created in the Benedictine monastery of Podlažice in Bohemia (modern-day Czech Republic). Measuring 89 cm in height and 49 cm in width, with 310 leaves of vellum, the manuscript weighs approximately 75 kg, making it a monumental artifact that requires two people to handle.^[61] Its creation is attributed to a single scribe, based on the uniform handwriting and consistent use of one type of ink, likely spanning two to three decades between 1204 and 1230, rather than the legendary single night.^[62] The vellum was prepared from the skins of about 160 calves (or possibly donkeys), processed through soaking, scraping, stretching, and drying to create smooth, durable sheets that were then folded into large quires of multiple leaves sewn together.^[62]^[63] This codex exemplifies the artisanal labor of pre-printing era manuscripts, where scribes worked methodically to compile religious texts, including the Vulgate Bible, historical chronicles, and medical treatises, all in Latin. The immense scale demanded exceptional resources and skill, with the scribe ruling lines across vast pages and incorporating illuminations, such as the famous full-page depiction of the devil that spans 50 cm in height. Primarily produced for monastic or royal patrons, these large manuscripts served devotional, scholarly, or ceremonial purposes, often housed in monastery libraries or noble collections for communal reading and preservation of sacred knowledge. However, their size contributed to low survival rates, as they were vulnerable to damage during transport, fires, or conflicts, with many perishing over centuries.^[64]^[63] Another notable example is Les Très Riches Heures du Duc de Berry, a 15th-century illuminated Book of Hours commissioned by the French noble Jean de Berry around 1410–1416. Though smaller at 29 cm by 21 cm, this folio-sized codex stands out for the grandeur of its illuminations, with 206 vellum leaves featuring 131 large miniatures by the Limbourg brothers, depicting calendar scenes, biblical narratives, and daily life in exquisite detail using gold leaf and vibrant pigments. The work highlights how even non-maximal sizes in historical codices prioritized visual scale and artistic impact for elite audiences.^[65]^[63] While European codices like these dominate records of large formats, some East Asian historical manuscripts in scroll form—precursors to bound books—featured uncut edges reaching up to 1 meter in width, though the codex structure remained less common in China until later periods. The oversized nature of these pre-1450 manuscripts influenced the development of early printed folios, establishing standards for large-scale religious and scholarly volumes.^[66]

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Hardcover vs Paperback: All You Need to Know - Ebook Launch
Mar 5, 2021 · Most hardcover books are made of thick cardboard or card-paper. This material is typically between 2.5mm and 3.5mm thick. Children's books ...
[38]
Learn about Perfect Binding and Sewn Perfect Binding Techniques
From a design perspective, a perfect bound book's margins are two to three millimeters wider than a sewn perfect bound book's margin. If you have a higher page ...
[39]
How To Design For Book Gutter Margins - Printivity
Jul 30, 2025 · Prevent book gutter margins issues with Printivity. We detail what the gutter margin is, how to design for it, and mistakes to avoid.Missing: variable trimming cm
[40]
How to Setup Gutters and Margins for Your Printed Books - QinPrinting
May 30, 2024 · What is the gutter? ... In professional book design, pay careful attention to margins and gutters to make sure that the text is easy to read and ...Missing: variable | Show results with:variable
[41]
ISO 16763:2016 - Graphic technology — Post-press
CHF 132.00It is applicable to products requiring industrial binding, for example, books, magazines, catalogues and brochures. General information. Status. : Published.
[42]
What Are the Standard Book Sizes in Publishing? - Reedsy
or trimmed — to ensure uniformity ...<|control11|><|separator|>
[43]
Industry Standard Book Trim Sizes For Printing - Chinaprinting4u
Rating 4.9 (127) Nov 18, 2024 · The trim size, also known as the book size or format, refers to the physical dimensions of a book after it has been trimmed or cut to its final size.
[44]
Trim Sizes and Paper Stock - B&N Press - Barnes & Noble
Below is a chart of the recommended trim sizes, formats and text colors we offer. For each trim size, you can choose a cover with matte or glossy finish.
[45]
An Explanation of Book Sizes and Terms
folio 13½" x 8½" octavo 6¾" x 4¼ " quarto 8"½" x 6¾". Sign Up for Newsletter. Adrian Harrington began trading in 1971, as part of Harrington Brothers in the ...
[46]
Works - The Charles Dickens Edition in Crown 8vo. (Hardback)
A handsome set of all the finished novels and short stories of Dickens uniformly bound in period crimson half calf, marbled endpapers and page edges.
[47]
An In-Depth Guide to Book Sizes (And A Brief History)
Mar 18, 2022 · Are your aesthetic sensibilities are offended by dramatically different book sizes? Here's a guide to the method in that madness.
[48]
Metrication in the United Kingdom - Wikipedia
The United Kingdom, through voluntary and mandated laws, has metricated most of government, industry, commerce, and scientific research to the metric system.Metrication in the UK (1962... · Metrication in the UK (post-1980) · Public surveys
[49]
Standard Book Sizes Info - Biddles Book Printing
Standard Book Sizes Info ; A Format, 178 x 111mm ; B Format (UK), 198 x 129mm ; B Format (US), 203 x 127mm ; A5, 210 x 148mm ; Demy, 216 x 138mm.
[50]
Standard Book Sizes In The UK | Spiffing Publishing
Oct 8, 2025 · A Format, 110mm × 178mm, Small paperback fiction, mass market novels ; Penguin, 111mm × 181mm, Classic literature series, pocket paperbacks, ...
[51]
B0, B1, B2, B3, B4, B5, B6, B7, B8, B9 - B Paper Sizes
The dimensions of the B series paper sizes are defined by the ISO 216 international paper size standard. The B series is not as common as the A series.
[52]
Jonathan Strange & Mr Norrell: 20th Anniversary Edition
Free delivery over $35Nov 7, 2024 · 20th Anniversary Edition ; Edition, 1st ; Extent, 864 ; ISBN, 9781526679055 ; Imprint, Bloomsbury Publishing ; Dimensions, 198 x 129 mm.
[53]
https://www.a2-size.com/asian-paper-sizes/
[54]
Japanese book formats - Language Log
Apr 23, 2023 · Two main small Japanese book formats are bunkobon (105x148mm) and shinsho (103x182mm), with shinsho often modeled after Penguin books.
[55]
Japanese Mass Media (Chapter 19) - The New Cambridge History ...
The publisher, Iwanami Shoten, started the Iwanami Bunko (collection) in 1927, featuring paperback versions of classic and modern works in easy-to-carry ...
[56]
Japanese book sizes - Eugene Woodbury
Dec 18, 2008 · Averages 150 to 200 pages. Retail prices in the $3.50 to $4.50 range. JIS B6: 12.8 x 18.2 cm (5 x 7.25 inches) ("Japanese Industrial ...
[57]
Physico-symbolic characteristics of the Japanese paperback book ...
Aug 10, 2025 · Iwanami Shinsho is the first Shinsho series in Japan, starting in ... size of an Iwanami Shinsho title is 172.8 mm × 105.0 mm, and the ...
[58]
Requirements for Japanese Text Layout 日本語組版処理の要件 ...
Aug 11, 2020 · Requirements for Japanese layout include using CSS, SVG, XSL-FO, based on JIS X 4051, and using both horizontal and vertical writing modes.
[59]
Asian paper sizes. JIS P 0138, JIS B and the ban sizes. - A2-size
These Asian paper sizes are the JIS P 0138, the JIS B and the Shikoku-ban and Kiku-ban sizes. The Japanese paper stand is displayed as JIS P 0138.
[60]
Largest engraved atlas | Guinness World Records
The largest engraved atlas ever made is the Klencke Atlas, which is 178 cm high, 105 cm wide and 11 cm thick when closed (5 ft 10 in x 3 ft 5 in x 4 in), and ...
[61]
Largest book in the world goes on show for the first time
Jan 26, 2010 · It has also confirmed this week that, at a new measuring on 2 February, the volume came in at 1.78m (5ft 10in) high by 1.05m wide (3ft 5in) by ...Missing: dimensions source
[62]
Largest book | Guinness World Records
The largest book measures 5 m x 8.06 m (16.40 ft x 26.44 ft), weighs approximately 1,500 kg (3,306 lb) and consists of 429 pages. The book was unveiled by ...Missing: UN Peace 2015
[63]
Largest book ever published proves that everything is bigger in Texas
Aug 10, 2023 · The giant book, I Am Texas, measures an astonishing 7 feet tall and 11 feet wide (2.1 metres tall and 3.3 metres wide) and weighs 496 pounds ( ...Missing: criteria | Show results with:criteria
[64]
Frequently asked questions | Guinness World Records
All Guinness World Records record titles must fulfill key criteria including: Measurable - Is it the fastest / longest / heaviest / most? Breakable - Can ...
[65]
Smallest reproduction of a printed book | Guinness World Records
Smallest reproduction of a printed book ; Who: Teeny Ted from Turnip Town ; What: 70e-9/100e-9 dimension(s) ; Where: Canada ; When: 01 January 0001.
[66]
Smallest book published | Guinness World Records
The smallest printed book measures 0.74 x 0.75 mm (0.0291 x 0.0295 in) and is entitled "Flowers of the four seasons". 250 copies of it were printed by Toppan ...
[67]
Appearance of the Codex Gigas | National Library of Sweden
Nov 22, 2024 · The Codex Gigas weighs 75 kilos, has 310 parchment leaves, is a huge white leather book, and each leaf is 89cm high and 49cm wide.Missing: weight | Show results with:weight
[68]
Why the Codex Gigas Is Known as the Devil's Bible - History.com
Sep 22, 2025 · Its more than 300 surviving pages are made from the skins of roughly 160 animals, either calves or donkeys, each prepared into smooth membrane.Missing: process | Show results with:process
[69]
The Art of the Book in the Middle Ages
Oct 1, 2001 · Parchment for the pages had to be made from the dried hides of animals, cut to size and sewn into quires; inks had to be mixed, pens prepared, ...Missing: process | Show results with:process
[70]
History of the Codex Gigas | National Library of Sweden
Nov 22, 2024 · In 1594, Emperor Rudolf II "borrowed" the Codex Gigas and took it to his castle. He presumably had no intention of returning it. Rudolf II ...Missing: creation | Show results with:creation
[71]
The Très Riches Heures du duc de Berry - Château de Chantilly
Commissioned by the Duke of Berry around 1411, this 15th-century manuscript with brilliant illuminations is a true icon of the Middle Ages.
[72]
Getty Exhibitions - The Making of a Medieval Book
The process began with the preparation of animal skin to make parchment (vellum), continued through the writing and painting stages, and ended with the binding ...Missing: creation quires