Cartoon Penguin Pictures Biography
Source(Google.com.pk)
Penguin cartoon picture was founded in 1935 by Sir Allen Lane,[2] as a line of publishers The Bodley Head, only becoming a separate company the following year.[3] Penguin revolutionised publishing in the 1930s through its high quality, inexpensive paperbacks, sold through Woolworths and other high street stores for sixpence. Penguin's success demonstrated that large audiences existed for serious books. Penguin also had a significant impact on public debate in Britain, through its books on politics, the arts, and science.[4]Penguin Books is now an imprint of the worldwide Penguin Random House, a newly emerging conglomerate which was formed in 2012 by the merger of the two publishers.[5] Formerly Penguin Group was wholly owned by Pearson PLC, the global media company which also own the Financial Times,[6] but it now retains only a minority holding of 47% of the stock against Random House owner Bertelsmann who controls the majority stake.The first Penguin paperbacks were published in 1935,[7] but at first only as an imprint of The Bodley Head[3] (of Vigo Street) with the books originally distributed from the crypt of Holy Trinity Church Marylebone. Only paperback editions were published until the "King Penguin" series debuted in 1939,[8] and latterly the Pelican History of Art was undertaken: these were unsuitable as paperbacks because of the length and copious illustrations on art paper so cloth bindings were chosen instead. Penguin Books has its registered office in the City of Westminster, London, England.Lane recounted how it was his experience of the poor quality of reading material on offer at Exeter train station that inspired him to create cheap, well designed quality books for the mass market.[11] Though the publication of literature in paperback was then associated mainly with poor quality, lurid fiction the Penguin brand owed something to the short lived Albatross imprint of British and American reprints that briefly traded in 1932.[12] Inexpensive paperbacks did not initially appear viable to Bodley Head, since the deliberately low price of 6d. made profitability seem unlikely. This helped Allen Lane purchase publication rights for some works more cheaply than he otherwise might have done since other publishers were convinced of the short term prospects of the business. In the face of resistance from the traditional book trade[13] it was the purchase of 63,000 books by Woolworth[14] that paid for the project outright, confirmed its worth and allowed Lane to establish Penguin as a separate business in 1936. By March 1936, ten months after the company's launch on 30 July 1935, one million Penguin books had been printed. This early flush of success brought expansion and the appointment of Eunice Frost, first as a secretary then as editor and ultimately as a director, who was to have a pivotal influence in shaping the company.[15] It was Frost who in 1945 was entrusted with the reconstruction of Penguin Inc after the departure of its first managing director Ian Ballantine.[16] Penguin Inc had been incorporated in 1939 in order to satisfy US copyright law, and had enjoyed some success under its vice president Kurt Enoch with such titles as What Plane Is That and The New Soldier Handbook despite being a late entrant into an already well established paperback market.From the outset, design was essential to the success of the Penguin brand. Eschewing the illustrated gaudiness of other paperback publishers, Penguin opted for the simple appearance of three horizontal bands, the upper and lower of which were colour-coded according to which series the title belonged to; this is sometimes referred to as the horizontal grid. In the central white panel, the author and title were printed in Gill Sans and in the upper band was a cartouche with the legend "Penguin Books". The initial design was created by the then 21-year-old office junior Edward Young, who also drew the first version of the Penguin logo. Series such as Penguin Specials and The Penguin Shakespeare had individual designs (by 1937 only S1 and B1-B18 had been published).The colour schemes included: orange and white for general fiction, green and white for crime fiction, cerise and white for travel and adventure, dark blue and white for biographies, yellow and white for miscellaneous, red and white for drama; and the rarer purple and white for essays and belles lettres and grey and white for world affairs. Lane actively resisted the introduction of cover images for several years. Some recent publications of literature from that time have duplicated the original look.From 1937 and on, the headquarters of Penguin Books was at Harmondsworth west of London and so it remained until the 1990s when a merge with Viking involved the head office moving into London (27 Wrights Lane, W8 5TZ).The Second World War saw the company established as a national institution, and though it had no formal role, Penguin was integral to the war effort thanks in no small part to the publication of such bestselling manuals as Keeping Poultry and Rabbits on Scraps and Aircraft Recognition and supplying books for the services and POWs. Penguin printed some 600 titles and started nineteen new series in the six years of the war[17] and a time of enormous increase in the demand for books,[18] consequently Penguin enjoyed a privileged place among its peers.Paper rationing was the besetting problem of publishers during war-time with the fall of France cutting off supply of esparto grass, one of the constituents of the pulp Penguin used. As such when rationing was introduced in March 1940 a quota was allocated by the Ministry of Supply to each publisher as a percentage of the amount used by that firm between August 1938 and August 1939.[19] This was particularly advantageous to Penguin who as a volume printer had enjoyed a very successful year that year. Further in a deal with the Canadian Government Penguin had agreed to exclusively publish editions for their armed forces for which they were paid in tons of paper.[20] By January 1942 the Book Production War Economy Agreement regulations came into force which determined rules on paper quality, type size and margins, consequently Penguin eliminated dust jackets, trimmed margins and replaced sewn bindings with metal staples. Aside from the noticeable deterioration in the appearance of paperbacks it became a practical impossibility to publish books of more than 256 pages resulting in some titles falling out of print for want of material.[21] In addition to their paper allocation Penguin secured a deal in late 1941, through Bill William's connections with ABCA and CEMA, with the War Office to supply the troops with books through what would be known as the Forces Book Club. Penguin would receive 60 tons a month from Paper Supply in return for 10 titles a month in runs of 75,000 at 5d.[22] Previously every paperback carried the message "FOR THE FORCES Leave this book at a Post Office when you have read it, so that men and women in the Services may enjoy it too" at the bottom of the back cover inviting the reader to take advantage of the free transmission of books to the forces by the Post Office. However demand was exceeding supply on the home front leading Lane to seek a monopoly on army books made specifically for overseas distribution. This dominance over the paper supply put Penguin in an especially strong position after the war as rationing continued. Many of its competitors were forced to concede paperback reprint rights to Penguin for this reason as well as the popular prestige the company enjoyed.[22]In 1945 Penguin began what would become one of its most important branches, the Penguin Classics, with a translation of Homer's Odyssey by E. V. Rieu. Between 1947 and 1949, the German typographer Jan Tschichold redesigned 500 Penguin books, and left Penguin with a set of influential rules of design principles brought together as the Penguin Composition Rules, a four page booklet of typographic instructions for editors and compositors. Tschichold's work included the woodcut illustrated covers of the classics series (also known as the medallion series), and with Hans Schmoller, his eventual successor at Penguin, the vertical grid covers that became the standard for Penguin fiction throughout the 1950s. By this time the paperback industry in the UK had begun to grow, and Penguin found itself in competition with then fledgeling Pan Books. Many other series were published such as the Buildings of England, the Pelican History of Art and Penguin Education.
Source(Google.com.pk)
Penguin cartoon picture was founded in 1935 by Sir Allen Lane,[2] as a line of publishers The Bodley Head, only becoming a separate company the following year.[3] Penguin revolutionised publishing in the 1930s through its high quality, inexpensive paperbacks, sold through Woolworths and other high street stores for sixpence. Penguin's success demonstrated that large audiences existed for serious books. Penguin also had a significant impact on public debate in Britain, through its books on politics, the arts, and science.[4]Penguin Books is now an imprint of the worldwide Penguin Random House, a newly emerging conglomerate which was formed in 2012 by the merger of the two publishers.[5] Formerly Penguin Group was wholly owned by Pearson PLC, the global media company which also own the Financial Times,[6] but it now retains only a minority holding of 47% of the stock against Random House owner Bertelsmann who controls the majority stake.The first Penguin paperbacks were published in 1935,[7] but at first only as an imprint of The Bodley Head[3] (of Vigo Street) with the books originally distributed from the crypt of Holy Trinity Church Marylebone. Only paperback editions were published until the "King Penguin" series debuted in 1939,[8] and latterly the Pelican History of Art was undertaken: these were unsuitable as paperbacks because of the length and copious illustrations on art paper so cloth bindings were chosen instead. Penguin Books has its registered office in the City of Westminster, London, England.Lane recounted how it was his experience of the poor quality of reading material on offer at Exeter train station that inspired him to create cheap, well designed quality books for the mass market.[11] Though the publication of literature in paperback was then associated mainly with poor quality, lurid fiction the Penguin brand owed something to the short lived Albatross imprint of British and American reprints that briefly traded in 1932.[12] Inexpensive paperbacks did not initially appear viable to Bodley Head, since the deliberately low price of 6d. made profitability seem unlikely. This helped Allen Lane purchase publication rights for some works more cheaply than he otherwise might have done since other publishers were convinced of the short term prospects of the business. In the face of resistance from the traditional book trade[13] it was the purchase of 63,000 books by Woolworth[14] that paid for the project outright, confirmed its worth and allowed Lane to establish Penguin as a separate business in 1936. By March 1936, ten months after the company's launch on 30 July 1935, one million Penguin books had been printed. This early flush of success brought expansion and the appointment of Eunice Frost, first as a secretary then as editor and ultimately as a director, who was to have a pivotal influence in shaping the company.[15] It was Frost who in 1945 was entrusted with the reconstruction of Penguin Inc after the departure of its first managing director Ian Ballantine.[16] Penguin Inc had been incorporated in 1939 in order to satisfy US copyright law, and had enjoyed some success under its vice president Kurt Enoch with such titles as What Plane Is That and The New Soldier Handbook despite being a late entrant into an already well established paperback market.From the outset, design was essential to the success of the Penguin brand. Eschewing the illustrated gaudiness of other paperback publishers, Penguin opted for the simple appearance of three horizontal bands, the upper and lower of which were colour-coded according to which series the title belonged to; this is sometimes referred to as the horizontal grid. In the central white panel, the author and title were printed in Gill Sans and in the upper band was a cartouche with the legend "Penguin Books". The initial design was created by the then 21-year-old office junior Edward Young, who also drew the first version of the Penguin logo. Series such as Penguin Specials and The Penguin Shakespeare had individual designs (by 1937 only S1 and B1-B18 had been published).The colour schemes included: orange and white for general fiction, green and white for crime fiction, cerise and white for travel and adventure, dark blue and white for biographies, yellow and white for miscellaneous, red and white for drama; and the rarer purple and white for essays and belles lettres and grey and white for world affairs. Lane actively resisted the introduction of cover images for several years. Some recent publications of literature from that time have duplicated the original look.From 1937 and on, the headquarters of Penguin Books was at Harmondsworth west of London and so it remained until the 1990s when a merge with Viking involved the head office moving into London (27 Wrights Lane, W8 5TZ).The Second World War saw the company established as a national institution, and though it had no formal role, Penguin was integral to the war effort thanks in no small part to the publication of such bestselling manuals as Keeping Poultry and Rabbits on Scraps and Aircraft Recognition and supplying books for the services and POWs. Penguin printed some 600 titles and started nineteen new series in the six years of the war[17] and a time of enormous increase in the demand for books,[18] consequently Penguin enjoyed a privileged place among its peers.Paper rationing was the besetting problem of publishers during war-time with the fall of France cutting off supply of esparto grass, one of the constituents of the pulp Penguin used. As such when rationing was introduced in March 1940 a quota was allocated by the Ministry of Supply to each publisher as a percentage of the amount used by that firm between August 1938 and August 1939.[19] This was particularly advantageous to Penguin who as a volume printer had enjoyed a very successful year that year. Further in a deal with the Canadian Government Penguin had agreed to exclusively publish editions for their armed forces for which they were paid in tons of paper.[20] By January 1942 the Book Production War Economy Agreement regulations came into force which determined rules on paper quality, type size and margins, consequently Penguin eliminated dust jackets, trimmed margins and replaced sewn bindings with metal staples. Aside from the noticeable deterioration in the appearance of paperbacks it became a practical impossibility to publish books of more than 256 pages resulting in some titles falling out of print for want of material.[21] In addition to their paper allocation Penguin secured a deal in late 1941, through Bill William's connections with ABCA and CEMA, with the War Office to supply the troops with books through what would be known as the Forces Book Club. Penguin would receive 60 tons a month from Paper Supply in return for 10 titles a month in runs of 75,000 at 5d.[22] Previously every paperback carried the message "FOR THE FORCES Leave this book at a Post Office when you have read it, so that men and women in the Services may enjoy it too" at the bottom of the back cover inviting the reader to take advantage of the free transmission of books to the forces by the Post Office. However demand was exceeding supply on the home front leading Lane to seek a monopoly on army books made specifically for overseas distribution. This dominance over the paper supply put Penguin in an especially strong position after the war as rationing continued. Many of its competitors were forced to concede paperback reprint rights to Penguin for this reason as well as the popular prestige the company enjoyed.[22]In 1945 Penguin began what would become one of its most important branches, the Penguin Classics, with a translation of Homer's Odyssey by E. V. Rieu. Between 1947 and 1949, the German typographer Jan Tschichold redesigned 500 Penguin books, and left Penguin with a set of influential rules of design principles brought together as the Penguin Composition Rules, a four page booklet of typographic instructions for editors and compositors. Tschichold's work included the woodcut illustrated covers of the classics series (also known as the medallion series), and with Hans Schmoller, his eventual successor at Penguin, the vertical grid covers that became the standard for Penguin fiction throughout the 1950s. By this time the paperback industry in the UK had begun to grow, and Penguin found itself in competition with then fledgeling Pan Books. Many other series were published such as the Buildings of England, the Pelican History of Art and Penguin Education.
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