{"product_id":"129522","title":"Dialogue on the spread ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtgpSpFNw07rWT66sEmyQ.png?v=1764976470\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Dialogue on the spread \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/126126536\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eTen conversations unfolding from the deepest parts of the book.\u003cbr\u003e The book before us, and the people who shaped it.\u003cbr\u003e\u003c\/b\u003e \u003cbr\u003eDrawing the Landscape of Korean Publishing Since the 2010s Through Book Design\u003cbr\u003e A collection of interviews with Korean book designers\u003cbr\u003e\u003cbr\u003e Visual culture researcher Jeon Ga-kyung has published a collection of interviews titled \"Dialogues on the Open Page: Book Designers in Korea Today,\" in which she met with eleven of the most active book designers (ten teams) in Korea, listened to their stories, and wrote and compiled them.\u003cbr\u003e The result of a two-year long-term project that began in 2022, this book features conversations between authors and designers about books and design, with interspersed writings telling a rich story about the history of publishing and the form of books.\u003cbr\u003e The theme that unites these eleven designers, who span a wide range of disciplines and languages, from in-house and freelance designers to commercial and art publishers, and who present their design methods with varying degrees of success, is none other than the paper book.\u003cbr\u003e \u003cbr\u003eJeon Ga-kyung, a design writer who studies graphic design and runs the Daegu-based publishing company April Snow, has long explored the relationship between images, text, and design through photo books.\u003cbr\u003e His interest in this book is not in figuring out what book design is in this era or in hastily predicting the future of books.\u003cbr\u003e Instead, based on a deep affection for the designers who participated in the interviews, he closely examines their work and, by threading this through the perspectives of visual culture and design history, he sketches out a genealogy of modern Korean book design, a history that has yet to be firmly established. \u003cbr\u003eFilled with love for “paper books, which constantly remind us of the reason for the existence of fingerprints in an age where a smooth world is semi-forced” (p. 279), “Dialogue of the Open Page” is a tribute to books, and while it vividly illuminates the labor of workers that is not visible on the surface, it takes us to the back of the books we love so much and unfolds the story of designers who create the expression of the books and make space for the letters.\u003cbr\u003e\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Entering\u003cbr\u003e\u003cbr\u003e Designing a 'genre'\u003cbr\u003e Kim Da-hee's book\u003cbr\u003e\u003cbr\u003e Working at a publishing company, becoming a designer\u003cbr\u003e Jo Seul-gi's book\u003cbr\u003e\u003cbr\u003e New enough to not be surprising\u003cbr\u003e Park Yeon-mi's book\u003cbr\u003e\u003cbr\u003e Consider the minimum requirements for a book\u003cbr\u003e Shin Deok-ho's book\u003cbr\u003e\u003cbr\u003e What's the best world\u003cbr\u003e Jeon Yong-wan's book\u003cbr\u003e\u003cbr\u003e The most suitable tool for constructing a narrative\u003cbr\u003e Lee Jae-young's book\u003cbr\u003e\u003cbr\u003e Something I've always wanted to try\u003cbr\u003e Kim Dong-shin's book\u003cbr\u003e \u003cbr\u003eA book that lasts a long time without causing harm to the world\u003cbr\u003e Park So-young's book\u003cbr\u003e\u003cbr\u003e Beauty that begins at the limit\u003cbr\u003e Oh Hye-jin's book\u003cbr\u003e\u003cbr\u003e Book Design as Feminist Practice\u003cbr\u003e Good Question Book\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate4476\/MidCate005\/447541750.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Developmentalism has been a prerequisite for writing history.\u003cbr\u003e Design history was not free from traditional historical views.\u003cbr\u003e What design history records are the 'newness' of the times and exceptional individuals such as 'geniuses'.\u003cbr\u003e What is inevitably left out of this historical perspective are the anonymous designers who silently go about their work in everyday life.\u003cbr\u003e Since the industrial age, design has required the arduous process of communication and compromise.\u003cbr\u003e However, the reality is that many design activities have been considered the achievements of a single outstanding designer or the results have received more attention than the process. \u003cbr\u003eA result that satisfies everyone is difficult to achieve without a constant process of compromise.\u003cbr\u003e ---From \"Designing a Genre\"\u003cbr\u003e\u003cbr\u003e I have a principle for body design: design it so that it is 'easy to edit.'\u003cbr\u003e This will make it easier to make additional edits or change workers during reprinting.\u003cbr\u003e This is my position as a typesetter and manager, and I think it's just as important as my desire for a great layout as a designer.\u003cbr\u003e ---From \"Becoming a Publishing Company Employee, Becoming a Designer\"\u003cbr\u003e\u003cbr\u003e Personally, I like screens that have elements stripped down, like a cover page.\u003cbr\u003e If it's a conceptual or minimal portfolio, it might look a bit more 'presentable' than it is now.\u003cbr\u003e On the other hand, I also think this.\u003cbr\u003e If the design is simple and without information, like a cover, it may look harmonious when viewed as a collection of all volumes in the series, but it is weak when viewed individually. \u003cbr\u003eEach book must be considered as a product to be sold.\u003cbr\u003e This is also what the publisher asks of me.\u003cbr\u003e Great design is great, but as a designer, I strive to maximize my performance within the given conditions and environment.\u003cbr\u003e ---From \"Newness That Isn't Surprising\"\u003cbr\u003e\u003cbr\u003e The question arose: 'If you individually folded and bound 100 cigarette paper samples, could you call it a book?'\u003cbr\u003e This is the minimum requirement to be called a 'book'.\u003cbr\u003e The thickness and pattern of the sample paper are all different.\u003cbr\u003e Rubber-filled paper has a soft pattern and an embossed texture.\u003cbr\u003e There is no text-based information in this bundle of papers.\u003cbr\u003e However, since the paper is produced with differences in type, thickness, etc. so that it can be selected according to individual tastes, the paper itself contains information.\u003cbr\u003e I'm going to try making a book with this cigarette paper.\u003cbr\u003e ---From \"Considering the Minimum Requirements for a Book\"\u003cbr\u003e \u003cbr\u003eThe text that everyone opens to 'read' is the territory of the book, which cannot help but be conservative.\u003cbr\u003e But that is also where it can be most radical.\u003cbr\u003e Being slow and insensitive to change paradoxically means that the ripple effects of change can be the greatest.\u003cbr\u003e In commercial publishing design, the presence of a book is still determined by its cover, and the text has little impact on the sales and impression of the book.\u003cbr\u003e But if we go back further in the history of the book, the body of the book was in the text.\u003cbr\u003e ---From \"What is the best world\"\u003cbr\u003e\u003cbr\u003e The book features a neat and elegant arrangement of various voices from 6699 Press.\u003cbr\u003e Perhaps because of the nature of 6699 Press's books, which feature a lot of dialogue and speech, people of various situations, backgrounds, occupations, and nationalities appear here and there, each telling their own stories. \u003cbr\u003eThere, waves of emotions such as longing, comfort, sadness, loneliness, regret, regret, anger, determination, and doubt flow like a melody.\u003cbr\u003e A collection of short stories and a book that offers warm words to the lonely majority living in modern times.\u003cbr\u003e In this way, the book planned by Lee Jae-young shows a cross-section of a designer who knows how to listen.\u003cbr\u003e ---From \"The Most Suitable Tool for Building a Narrative\"\u003cbr\u003e\u003cbr\u003e During the process of working, I felt that the norms were more strongly embedded in me than I thought.\u003cbr\u003e Because they were different formative materials from what we were taught or what we thought were good.\u003cbr\u003e While working, I constantly adjusted my attitude towards the standards of beauty.\u003cbr\u003e I've often thought about what beauty means in design, and whether it has to be beautiful.\u003cbr\u003e ---From \"Things I Want to Try at Least Once\"\u003cbr\u003e \u003cbr\u003eRather than a design that is novel or loud and draws attention, the resonance of the classic typography of old books or the text where each letter is meticulously woven so that the labor of the worker is clearly visible is much deeper.\u003cbr\u003e A design that is well balanced.\u003cbr\u003e I've loved Penguin Books since before I knew Jan Tschichold, and they're so tightly structured that nothing can be touched.\u003cbr\u003e Because I pursued a perfect harmony rather than a flashy expression, I was able to work with Yeolhwadang for a long time because it fit well with their direction.\u003cbr\u003e Even though they were published a long time ago, they are still well-organized, and they are books with good proportions and balance that you can read over and over without getting tired of them… … .\u003cbr\u003e I like books like that.\u003cbr\u003e ---From \"Books that do no harm to the world and remain for a long time\"\u003cbr\u003e \u003cbr\u003eAt the end of the paper, he quotes conceptual artist Sol LeWitt, saying, “Anyone can draw by following instructions.” However, I do not completely agree with this statement, as I believe that subjective interpretation is ultimately necessary to produce beautiful forms.\u003cbr\u003e Sol LeWitt said that the beauty of the result doesn't matter, but to me it matters a lot.\u003cbr\u003e The constraints set are only a starting point.\u003cbr\u003e ---From \"Beauty Begins from Limits\"\u003cbr\u003e\u003cbr\u003e The reason why publishing is a natural tool for these graphic designers and activists is because of the dual nature of the book medium: conservative and radical.\u003cbr\u003e Their cases are also encouraging in that they build a narrative of women who create books.\u003cbr\u003e Throughout history, books, represented by written texts, have been the exclusive domain of men. \u003cbr\u003eBut even within that rigid system, women have tried to create gaps in the system by writing and co-publishing books, both anonymously and under their own names.\u003cbr\u003e So, let's pay attention to the books they will continue to create in the future.\u003cbr\u003e Because that's where the language of tomorrow that we need to keep an eye on will be built.\u003cbr\u003e As much as there is still change around us, we need language, the language of books for a more equal tomorrow.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e ---From \"Book Design as Feminist Practice\"\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eBetween art publishing and commercial publishing\u003cbr\u003e Designer as Pioneer and Worker\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Until now, the so-called beautiful books in the visual design industry have tended to be concentrated in art publications by small design studios or freelance designers. \u003cbr\u003eHowever, in order to closely examine the development of domestic book design to a certain level today, it is necessary to examine the numerous designers engaged in commercial publishing and the diverse books they create, both inside and out.\u003cbr\u003e In the first conversation of this book, “Designing ‘Genre,’” designer Dahee Kim, who has been creating books for Golden Bough, Minumsa Publishing Group, and Panmidong for over 10 years, draws a genealogy of design for science fiction, horror, and mystery novels, which were previously undervalued and lumped into the category of genre literature.\u003cbr\u003e His book designs demonstrate “the process of the breakdown of the formal distinctions between fiction and non-fiction, pure literature and genre fiction” (p. 16), and furthermore, they allow us to examine the value of the designs of practical books, self-help books, and economics and management books that are not even considered for judging in the competition for beautiful books. \u003cbr\u003eIn the next chapter, \"Becoming a Publishing Employee, Becoming a Designer,\" we meet Jo Seul-gi, a designer at Munhak-kwa-Jiseongsa, who conveys the reality of the industry through the eyes of an in-house designer who takes on the roles of typesetter and manager.\u003cbr\u003e He demonstrates the expertise of a veteran designer who achieves the dual task of inheriting the traditional visual identity of Munhak-kwa-Jiseong-sa while presenting new designs every time, such as the design of the Korean Poet Line with its red logo in a square shape, square frame, and iconic illustrations.\u003cbr\u003e Next, designer Park Yeon-mi, who worked at construction companies and Minumsa before becoming a freelancer, shares her experience of thoughtful collaboration with clients in “Newness That Isn’t Surprising.”\u003cbr\u003e This is a passage that shows that the best designs are created through a process of constant communication and compromise with numerous collaborators. \u003cbr\u003eHis design is also an example that proves that “just as new and challenging book designs in art publishing can be an experiment in commercial book design that breaks away from convention while also being popular” (p. 100).\u003cbr\u003e\u003cbr\u003e \u003cb\u003eDigging into the nature of books\u003cbr\u003e The world of contact points reopening\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Another value of \"Dialogue on the Open Page\" is that it presents a new way of looking at books as objects.\u003cbr\u003e As designers who have always worked with paper, they each have their own unique concerns about the format of books.\u003cbr\u003e Shin Deok-ho, a freelance designer based in Germany who primarily collaborates with clients in the cultural and artistic fields, introduces the topic of his thesis in “Considering the Minimum Requirements of a Book” and asks about the minimum conditions that make a book a book. \u003cbr\u003eIf we were to bind 100 sheets of tobacco paper, each unprinted but made of different materials and each possessing its own information, could we truly call it a book? His question, which focuses on the formal characteristics of the book medium, is repeated as he successfully establishes a medium of different grammar on paper, much like translating a video sequence into the language of a book.\u003cbr\u003e Jeon Yong-wan, who has worked for Yeolhwadang and Munhak-kwa-Jiseongsa and is now a freelance designer, persistently explores the typesetting of the main text, which is often overlooked due to the general standard of viewing the cover as the center of book design in “What Best World?”\u003cbr\u003e The words and lines he meticulously weaves, the margins and alignment he meticulously polishes, truly reveal the body of the book, the text, which is often overlooked in the name of economy. \u003cbr\u003eIn his typographic exploration, letters, words, sentences, and writing acquire the possibility of “being reassembled at any time and entering a new world of semantic networks” (p. 169).\u003cbr\u003e In the following book, \"Books that do not harm the world and last a long time,\" Yeolhwadang's in-house designer Park So-young inherits Yeolhwadang's design identity with her craftsmanlike sensibility, including simple typography and a cover that fully conveys the texture of the paper.\u003cbr\u003e In the books he created, where he rarely does any post-processing on the cover, the physical properties of the paper are felt directly.\u003cbr\u003e The infinite whiteness of paper, the world of contact points that unfold as you touch its surface, reminds us of the value of paper books in this age where countless amounts of data are poured out and evaporated.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eWhat is beauty in books?\u003cbr\u003e Eleven Forms of Unclear Value\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\"Dialogue on the Open Surface\" is also an example of a book that presents eleven different perspectives on the sensitive topic of beauty.\u003cbr\u003e Hosted by the Korean Publishers Association, the \"Most Beautiful Book in Korea\" awards ceremony, which began in 2020, is a rare opportunity for book design to be recognized under a public system. However, each year, the judging criteria and the selected works are met with both large and small objections.\u003cbr\u003e Kim Dong-shin, who worked as the design team leader at the publishing company Dolbegae and is now a freelance designer, looked back on the single-volume book designs he has presented in “Something I Want to Try Once” and asked, “What is beauty in design?\u003cbr\u003e “I often thought about whether it had to be beautiful” (p. 232). \u003cbr\u003eHis book design questions the formative devices we have naturally acquired as good, and serves as an opportunity to reconsider the deeply rooted standards of beauty and the politics of the norms that create them.\u003cbr\u003e On the other hand, the fact that the value of beauty is subjective also means that each person has a clear image of what they consider beautiful.\u003cbr\u003e For Kim Da-hee, it is “the expertise to fully understand the content and to organize the information the reader needs in a clear and concise manner” (p. 32); for Shin Deok-ho, it is “a book that clearly explains why this book should be published for this content and its plausibility” (p. 136); for Park So-young, it is “a text that is meticulously woven so that the worker’s labor is clearly visible, rather than a design that focuses attention with novelty or loud noise” (p. 274); and for Lee Jae-young, it is “the organic and dynamic contrast created by each letter and line” (p. 205).\u003cbr\u003e \u003cbr\u003eMeanwhile, designer Oh Hye-jin, who runs the design studio Owayi and works on a variety of graphic design projects, focuses more on the process of creating the beauty of books.\u003cbr\u003e He asserts that the limitations of the form and format of a book can never hinder the beauty of the final product, and in \"Beauty Begins from Limits,\" he presents book design as a graphic design methodology.\u003cbr\u003e Due to the various variables derived from the set conditions and the context built from them, his designs are not confined to a specific form or classification, but show different answers each time.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe belief that design can change the world\u003cbr\u003e Scenes of struggle etched into the history of Korean book design.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Can designers transform society through publishing? This book poses perhaps the most pressing question, and it's fueled by Lee Jae-young, the designer behind 6699 Press. \u003cbr\u003eFor him, books are a stage that gives a microphone to those who have been deprived of their voice, and design is the most suitable tool for constructing their narrative.\u003cbr\u003e His self-published works, notable for their unconventional typography and colorful use of paper, offer a unique space for those oppressed by impersonal standards.\u003cbr\u003e His book, in which people of various circumstances, backgrounds, occupations, and nationalities each quietly unravel their stories, reveals the thoughtfulness of a designer who knows how to listen.\u003cbr\u003e Good Question, a design studio co-run by designers Uyuni and Shinsuna, who are part of the print-based feminist communities Bom Alarm and Bosch respectively, was a driving force behind the feminist moment in the design world in 2017. \u003cbr\u003eTheir case, as both graphic designers and activists, reminds us of the vitality of books as “both a sacred archive and a counter-media in which radical language is written” (p. 358), and of the essential purpose of publishing: to spread messages.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Beginning with conversations with eleven designers, the author's seasoned writing, which retraces the history of Korean book design with a wealth of background knowledge of visual culture, offers an engaging perspective on the history of publishing through design.\u003cbr\u003e This is why 『Dialogue on an Open Page』, as an archive that shows an era, has value beyond just a collection of interviews.\u003cbr\u003e The interviewees, who have been practicing graphic design for an average of more than 10 years, are part of a generation that personally experienced the tectonic shift in the visual design world in the mid-2000s and has now established themselves as a key player in the domestic publishing design field. \u003cbr\u003eTherefore, conversations with them serve as raw materials for examining Korean book design both synchronically and diachronically.\u003cbr\u003e Furthermore, the short stories' dialogues, sometimes supporting or competing with each other, lead readers into a heated debate on various subtopics of book design.\u003cbr\u003e The book, which is dealt with sharply on the open ground, and the story about book design expands the perspective on books.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Finally, the pictorial section, which begins as the interview section ends, includes the designer's book design specifications along with illustrations.\u003cbr\u003e We have included as much detailed information as possible about the bibliography, including the type of paper (jacket-cover (wrapper)-band-end paper-body), the font of the body and cover, post-processing, and binding method.\u003cbr\u003e Another point where this book's thoughtfulness stands out is the fact that it shows the relative size of the book in square format compared to the \"Dialogue on the Open Page\" so that the actual size of the book in the pictorial can be estimated. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS\u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n \u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e- \u003cstrong\u003eDate of issue:\u003c\/strong\u003e April 19, 2024\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 376 pages | 664g | 144*225*21mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788961964432\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 8961964437 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894882926634,"sku":"129522","price":34.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/79c4683c95382bfe9b0fe602f001b984.jpg?v=1765450238","url":"https:\/\/librairie.coreenne.fr\/en\/products\/129522","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}