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Springer Series in Design and Innovation12

Nuno Martins
Daniel Brandão Editors

Advances
in Design
and Digital
Communication
Proceedings of the 4th International
Conference on Design and Digital
Communication, Digicom 2020,
November 5–7, 2020, Barcelos, Portugal
Springer Series in Design and Innovation

Volume 12

Editor-in-Chief
Francesca Tosi, University of Florence, Florence, Italy

Series Editors
Claudio Germak, Politecnico di Torino, Turin, Italy
Francesco Zurlo, Politecnico di Milano, Milan, Italy
Zhi Jinyi, Southwest Jiaotong University, Chengdu, China
Marilaine Pozzatti Amadori, Universidade Federal de Santa Maria,
Santa Maria, Rio Grande do Sul, Brazil
Maurizio Caon, University of Applied Sciences and Arts, Fribourg, Switzerland
Springer Series in Design and Innovation (SSDI) publishes books on innovation
and the latest developments in the fields of Product Design, Interior Design and
Communication Design, with particular emphasis on technological and formal
innovation, and on the application of digital technologies and new materials. The
series explores all aspects of design, e.g. Human-Centered Design/User Experience,
Service Design, and Design Thinking, which provide transversal and innovative
approaches oriented on the involvement of people throughout the design
development process. In addition, it covers emerging areas of research that may
represent essential opportunities for economic and social development.
In fields ranging from the humanities to engineering and architecture, design is
increasingly being recognized as a key means of bringing ideas to the market by
transforming them into user-friendly and appealing products or services. Moreover,
it provides a variety of methodologies, tools and techniques that can be used at
different stages of the innovation process to enhance the value of new products and
services.
The series’ scope includes monographs, professional books, advanced textbooks,
selected contributions from specialized conferences and workshops, and outstand-
ing Ph.D. theses.

Keywords: Product and System Innovation; Product design; Interior design;

Communication Design; Human-Centered Design/User Experience; Service
Design; Design Thinking; Digital Innovation; Innovation of Materials.

How to submit proposals

Proposals must include: title, keywords, presentation (max 10,000 characters), table
of contents, chapter abstracts, editors’/authors’ CV.
In case of proceedings, chairmen/editors are requested to submit the link to
conference website (incl. relevant information such as committee members, topics,
key dates, keynote speakers, information about the reviewing process, etc.), and
approx. number of papers.
Proposals must be sent to: series editor Prof. Francesca Tosi (francesca.tosi@unifi.it)
and/or publishing editor Mr. Pierpaolo Riva (pierpaolo.riva@springer.com).

More information about this series at http://www.springer.com/series/16270

Nuno Martins Daniel Brandão
•

Editors

Advances in Design
and Digital Communication
Proceedings of the 4th International
Conference on Design and Digital
Communication, Digicom 2020,
November 5–7, 2020, Barcelos, Portugal

123
Editors
Nuno Martins Daniel Brandão
ID+/School of Design CECS/Institute of Social Sciences
Polytechnic Institute of Cavado and Ave University of Minho
Barcelos, Portugal Braga, Portugal

ISSN 2661-8184 ISSN 2661-8192 (electronic)

Springer Series in Design and Innovation
ISBN 978-3-030-61670-0 ISBN 978-3-030-61671-7 (eBook)
https://doi.org/10.1007/978-3-030-61671-7
© The Editor(s) (if applicable) and The Author(s), under exclusive license
to Springer Nature Switzerland AG 2021
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and
transmission or information storage and retrieval, electronic adaptation, computer software, or by similar
or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are exempt from
the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this
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authors or the editors give a warranty, expressed or implied, with respect to the material contained
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to jurisdictional claims in published maps and institutional affiliations.

This Springer imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Preface

Digicom - 4th International Conference on Digital Design and Communication is

organized by the Design School of the Polytechnic Institute of Cavado and Ave and
by ID+, Research Institute for Design Media and Culture with the cooperation of
CECS-UM. Digital is increasingly ubiquitous and prevalent in our networked and
global society. This conference aims to be a space for reflection and analysis on the
constant challenges of digital communication for society, institutions and brands.
This event brings together annually the work of researchers, academics and
designers from around the world. Although Digicom is focused on the area of
communication design, the objective is the promotion of an open, broad and plural
discussion, aggregating different areas of knowledge, namely arts, technology,
communication sciences, education sciences, branding, etc. The conference thus
seeks to stimulate interdisciplinary relationships that contribute to a solid devel-
opment of scientific activity.
The event took place between November 5 and 7, 2020, and, due to the COVID-
19 pandemic, it was exceptionally held online.
The Digicom received three keynote speakers:
Rachael Feinman is Product Designer raised in California. She studied graphic
design and began her career working for digital agencies in Los Angeles and New
York. She has been embedded into teams for various clients including Hulu and
Airbnb before making her full-time transition in-house. Now, she finds herself
designing the merchant experience within Google Maps London and is part of the
Women@Google team. She loves the challenges that come with her role and
always strives to put users’ needs first.
Fernando Moreira da Silva, Full Professor and Researcher in Design; President of
CIAUD-Research Center for Architecture, Urbanism and Design; Coordinator
of the PhD degree in Design at FA_ULisboa; Coordinator of the FCT panel for PhD
grants in Design, Architecture and Urbanism, and CnPq International Evaluator,
Brazil; Regular participation in national and international universities; Member of
Scientific Commissions of several international scientific journals; Coordination

v
vi Preface

and participation in several research projects; Regular publications in peer-reviewed

scientific journals, several book chapters and three books.
Daniel Raposo, Designer, Researcher and Professor of Communication Design at
ESART—Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo
Branco.
He is particularly dedicated to themes such as design of brand visual identity,
branding, design management, brand typography, editorial design and design the-
ory. He has a PhD in design from FA-ULisbon, a master’s degree in design,
materials and product management from UA, a degree in communication design
and graphic techniques, graphic design and advertising from ESTGP. His papers,
chapters and books on design include “Communicating Visually: The Graphic
Design of the Brand” (English editions by Cambridge Scholars Publishing in 2018
and 2019 and Spanish edition by Experimenta Libros, 2020), “Perspective on
Design: Research, Education and Practice” (Springer), “Investigação e Ensino em
Design e Música” (IPCB Editions, 2017), “The rebellion of the lyrics” (ePub,
2013), “A rebelião dos Signos. A alma da letra” (in Portugal by Dinalivro, 2010 and
in Argentina with La Crujía, 2008) and “Design de Identidade e Imagem
Corporativa” (IPCB Editions, 2008).
In addition to the guest speakers, we also had the opportunity to attend a set of
approximately 80 communications, strictly selected by Digicom’s Scientific
Committee, from different researchers and international designers.The three days
event resulted in extensive debate sessions, where the participants’personal and
professional perspectives encouraged the discussion, showing the importance of
this kind of event.
The current book gathers the 56 best papers selected out of 124 submissions,
upon a rigorous double-blind peer-review process.
The promotion of a panoramic vision of digital design and communication is a
trademark that Digicom has been affirming and that it intends to continue to build
and consolidate in its upcoming editions.
After many months of preparation for this fourth edition of Digicom, we could
not forget to register and transmit a special thanks to all those who believed in this
event and, in different ways, have contributed to its success!
Thank you very much to all participants, book contributors and people who have
collaborated to the success of this edition, and to all the readers of this book, we
hope you enjoy it and see you next year!

Nuno Martins
General Chair
Daniel Brandão
Co-chair
Organization

General Chair
Nuno Martins
ID+/School of Design, Polytechnic Institute of Cavado and Ave
nmartins@ipca.pt
Co-chair
Daniel Brandão
CECS/ICS, University of Minho
danielbrandao@uminho.pt
Scientific Committee
Albert Inyoung Choi College of Design, Hanyang University, Korea
Alberto Sá Universidade do Minho, Portugal
Álvaro Sousa Universidade de Aveiro, Portugal
Ana Catarina Silva Escola Superior de Design IPCA, Portugal
Ana Correia de Barros Fraunhofer, Germany
Ana Filomena Curralo Instituto Politécnico de Viana do Castelo,
Portugal
Anastasios E. Politis University of West Attica, Greece
Andreia Sousa Universidade Lusófona do Porto, Portugal
António Lacerda Universidade do Algarve, Portugal
Arafat Al-Naim Dean of College of Design, American University
in the Emirates (EAU)
Camila Soares Faculdade de Belas da Universidade do Porto,
Portugal
Catarina Lelis University of West London, UK
Catarina Moura Universidade da Beira Interior, Portugal
Catherine Prentice Griffith University, Australia
Cátia Rijo Escola Superior de Educação IPL, Portugal

vii
viii Organization

Cláudia Lima Universidade Lusófona do Porto, Portugal

Daniel Brandão Universidade do Minho, Portugal
Daniel Raposo Instituto Politécnico de Castelo Branco, Portugal
Denitsa Petrova The University of Edinburg, UK
Dina Riccò Politecnico di Milano, Italy
Eliana Penedos Universidade do Porto, Portugal
Fabrício Fava Faculdade de Belas da Universidade do Porto,
Portugal
Fernando Galindo Rubio Universidad Pontificia de Salamanca, Spain
Fernando Moreira da Silva Faculdade de Arquitetura da Universidade
de Lisboa, Portugal
Fernando Suarez Carballo Universidad Pontificia de Salamanca, Spain
Frederico Braida Universidade Federal de Juiz de Fora, Brazil
Gerry Leonidas University of Reading, UK
Heitor Alvelos Universidade do Porto, Portugal
Ildo Francisco Golfetto Universidade Federal de Santa Catarina, Brazil
João Abreu Instituto Politécnico de Lisboa, Portugal
João Brandão Faculdade de Arquitectura, Universidade
de Lisboa, Portugal
João Neves Instituto Politécnico de Castelo Branco, Portugal
Jorge Pereira Escola Superior de Design IPCA, Portugal
Jorge Vazquez Herrero Universidade de Santiago de Compostela, Spain
José Silva Instituto Politécnico de Castelo Branco, Portugal
Juan Ra Martin Universidad Pontificia de Salamanca, Spain
Karel van der Waarde Swinburne University of Technology,
Melbourne, Australia
Krasimira Borisova Drumeva ST Cyril and St. Methodius, University of Veliko
Tarnovo, Faculty of Fine Arts, Bulgaria
Leonardo Pereira Universidade de Aveiro, Portugal
Luís Santos Universidade do Minho, Portugal
Marta Fernandes Politécnico do Porto, Portugal
Manuel Montes Vozmediano Universidad Rey Juan Carlos, Spain
Miguel Carvalhais INESC TEC & FBAUP, Portugal
Nelson Zagalo Universidade de Aveiro, Portugal
Nuno Coelho Universidade de Coimbra, Portugal
Nuno Martins Escola Superior de Design IPCA, Portugal
Pau Garcia Domestic Data Streamers/Elisava, Spain
Pedro Amado Universidade do Porto, Portugal
Pedro Portela Universidade do Minho, Portugal
Ricardo Melo Fraunhofer, Germany
Richard Brophy Independent College Dublin, Ireland
Rita Espanha ISCTE, Portugal
Sara Balonas Universidade do Minho, Portugal
Sérgio Dominique Escola Superior de Hotelaria e Turismo IPCA,
Portugal
Organization ix

Susana Barreto Universidade do Porto, Portugal

Teresa Ruão Universidade do Minho, Portugal
Tiago Assis Universidade do Porto, Portugal
Tiago Navarro Marques Universidade de Évora, Portugal
Vanda Sousa Politécnico de Lisboa, Portugal
Vera Barradas Martins Politécnico Portalegre, Portugal
Vítor Quelhas Escola Superior de Media Artes e Design IPP,
Portugal
Contents

Digital and Interaction Design

Thinking Out of the Book: Visual Language and Textual Form
in the Design of ebooks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Niki Sioki
Mobile Application Oriented to Packaging Sustainability . . . . . . . . . . . . 13
Sérgio Marques and Rui Rodrigues
An Interaction Design Analysis of Mood Trackers . . . . . . . . . . . . . . . . . 23
Rita Branco, Marco Neves, Paulo Noriega, and Mafalda Casais
A Multicase Study to Explore Ways to Integrate Locative
Technologies in Electronic Stories for Children . . . . . . . . . . . . . . . . . . . 32
Douglas Menegazzi and Laryssa Tarachucky
Learning Experience Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Filipa Sousa and Nuno Martins
A Bilingual in-Game Tutorial: Designing Videogame Instructions
Accessible to Deaf Students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
José Carlos Neves, Andreas Melo, Fernando M. Soares, and João Frade
Office Personal Assistant. Towards a Design and AI Approach . . . . . . . 68
Miguel Terroso, João Sampaio, and João Vilaça
Minard Revisited – Exploring Augmented Reality
in Information Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Ana Beatriz Marques, Vasco Branco, and e Rui Costa
Assessing the Usability of Truck Hiring Mobile Applications
in Bangladesh Using Heuristic and Semiotic Evaluation . . . . . . . . . . . . 90
Mehedi Hasan Muaz, Khandaker Annatoma Islam,
and Muhammad Nazrul Islam

xi
xii Contents

Design Guidance for Interactive Visualization of Movies and Videos

in Time and Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Ana Jorge, Nuno Correia, and Teresa Chambel
Reuma.pt Project: Comparative Analysis of Online Digital Solutions
Aimed at Treatment of Rheumatoid Arthritis . . . . . . . . . . . . . . . . . . . . 114
Luís Santos, Nuno Martins, and Daniel Brandão
Indian Typefaces in Digital Platforms: Issues and Challenges . . . . . . . . 125
Subhajit Chandra
Design and Initial Evaluation of an Online Portal-Repository:
The Case of Gamers4Nature Project . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Pedro Beça, Sofia Ribeiro, Rita Santos, Mónica Aresta, Ana Isabel Veloso,
and Cláudia Ortet
Asynchronous Interactions Between Players and Game World . . . . . . . 148
Abel Neto, Pedro Cardoso, and Miguel Carvalhais
Using the Probe Methodology to Investigate the User Experience
in a CRM System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Demerval Gomes S. Júnior and Rodrigo Hernández Ramírez
No-Places and Immersion in Open World Games:
A Rock Star Case Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Herlander Elias, Flávio Almeida, Ernesto Filgueiras,
Eulerson Pedro Ferreira Rodrigues, and Stephan Capistrano Alexandre
From a Linear Literary Narrative to an Interactive Digital
Narrative: A Study on Potentialities Through Two Tales:
“The Mystery of the Tree” and “Red Riding Hood” . . . . . . . . . . . . . . . 180
Ana Isabel Ferreira and Soraia Ferreira
Kickstarting Type Design Education with SLOType . . . . . . . . . . . . . . . 191
Pedro Amado, Ana Catarina Silva, and Eduardo Napoleão

Design Strategies and Methodologies

Optimised Taxonomy for the Analysis and Design
of Canvas-Based Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Catarina Lelis
Why Digital Design Needs a Privacy-Centered Ethical Framework . . . . 216
Davide M. Parrilli
Quality Perception with Attrakdiff Method:
A Study in Higher Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Iara Margolis Ribeiro and Bernardo Providência
Contents xiii

Data Artification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Gabriele Salciute Civiliene
Can Diverse Futuring Strategies Inform an Ecology-Centred
Speculative Design Practice? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Craig C. Jeffcott and Ana Margarida Ferreira
Culture Biofiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Maria Manuela Lopes
Identifying-Capturing-Revealing: An Alternative
to the Conventional Recruitment in the Creative Industry . . . . . . . . . . . 260
Catia Carvalho and Catarina Lelis
Design in the Anthropocene: Intentions for the Unintentional . . . . . . . . . 269
Pierre IJ. Oskam and Joao A. Mota
The Sustainable Smartbottle: A Proposed Design Methodology
to Minimize Plastic Pollution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
João Mendes, Ana Curralo, António Curado, and Sérgio I. Lopes
Thinking Through Design and Its Contribution to Data Collection
Methodology in Interdisciplinary Research Practice:
Questionnaire/Interview Construction and Analysis . . . . . . . . . . . . . . . . 293
Renata Arezes, Joana Quental, Anabela Pereira, and Raquel Guimarães
Play as a Trigger for Designing Significant Experiences . . . . . . . . . . . . 300
Suzana Dias and Ana Baptista
Visual Literacy Framework for Animation Movies . . . . . . . . . . . . . . . . 310
Jorge Barcelos and José Manuel de Azevedo

Pedagogy, Society and Communication In Design Practice

Co-designing a Care Plan Guide App to Support Early
Conversations About End-of-Life Care in Dementia . . . . . . . . . . . . . . . 325
S. Neves, A. Macdonald, E. McLellan, M. Poole, K. Harrison-Dening,
S. Tucker, C. Bamford, and L. Robinson
Three Pillars for a Trajectory in Design Education . . . . . . . . . . . . . . . . 337
Rodrigo Hernández-Ramírez, Rodrigo Morais, and Carlos Rosa
Design Innovation for Historical Townscape Preservation:
A Civic Engagement Intervention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Sajini Lankadari and Dilina Janadith
MASK: A Visual Study on the Facial Expression Behind
the Health Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Vasco Santos, Miguel Macedo, and Renato Bispo
xiv Contents

Analysis of Social Design Projects Based on Krippendorff’s Four

Pillars of HCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Melissa Pozatti, Natália Debeluck Plentz,
and Caio Marcelo Miolo de Oliveira
Digital Communication on Higher Education Institutions:
Challenges and Tools for Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Arlindo Santos, Luisa Lopes, and Marcus Brasil
Health, Pleasure, Physical Appearance: Which Motivates
Food Involvement Mostly? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Ana Teresa Tavares, Rita Espanha, and Sandra Miranda
Internet and Social Networks: Reflecting on Contributions
to Employability and Social Inclusion . . . . . . . . . . . . . . . . . . . . . . . . . . 398
João Pinto and Teresa Cardoso
The Protagonism of Afro-Brazilian and Indigenous Tales in Comics . . . 406
Tamires Maria Lima Gonçalves Santos, Larissa Vieira de Oliveira Ribeiro,
Edivan Silva Menezes dos Santos, and Danilo Itabira Nunes Santos
How Do I Feel When… A Card-Based Communication Game
to Stimulate Empathy Among Family Members
with Anorexia Nervosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Viviane Peçaibes, Pedro Cardoso, Liliana Castro, Bruno Giesteira,
Livia Lopes, and Clara Junqueira
The Impact of Visual Communication in COVID-19’s Prevention
and Risk Mitigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Inês Saraiva and Cristina Ferreira
Technological Change in London’s Commercial Printing
Trades, 1980–1992 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Alex Heslop
Design as a Driver for Behavioural Change: Oceans and Plastics,
Approaches for a Shift Towards Sustainability . . . . . . . . . . . . . . . . . . . 456
Dília Nunes and Joana Lessa

Graphic Design and Branding

Concrete Poetry and Advertising Symbiotic Relationship
in Post II World War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Tiago Santos
Everyday Social Practices as a Source of Design-Led Branding . . . . . . . 489
Bernardo Meza Guzman and Catarina Lelis
Contents xv

Video Production for Social Network Dissemination:

The Shoyce Brand Case . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Catarina Martins and Lídia Oliveira
The Foreseeable Future of Digital Fashion Communication After
Coronavirus: Designing for Emotions . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Ana Paula Faria, Bernardo Providência, and Joana Cunha
Storytelling in Advertising: From Narrative
to Brand Distinctiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Sara Santos, Pedro Espírito Santo, and Sónia Ferreira
The Importance of a Digital Strategy: The International Conference
on Corporate Social Responsibility as a Case Study . . . . . . . . . . . . . . . . 528
Joana Silva, Cátia Rijo, and Nuno Martins
Branding for Social Innovation: The Importance
to Communicate Consistently . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
Álvaro Sousa, Teresa Franqueira, and Ana Afonso
Modec, a Fashion Regional Branding for the Enhancement
of the Campania’s Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Patrizia Ranzo and Giulia Scalera
Master in Food Design, the Creation of a New Brand Identity . . . . . . . 558
Vera Barradas, Cátia Rijo, and Carolina Galegos
The Future is Now: What’s Next for Film Posters? . . . . . . . . . . . . . . . . 568
Igor Ramos and Helena Barbosa
Revisiting Branding and Rebranding: Implications in Marketing
and Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Sérgio Dominique-Ferreira and Andreia Roque
The Byproducts of a Graphic Design Education: An Ethnographic
Case Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
Pushpi Bagchi
Visual Representation of Design Process: Research Projects
in Communication Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Daniela Oliveira, Daniel Raposo, José Silva, and João Neves

Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Digital and Interaction Design
 Thinking Out of the Book: Visual Language
and Textual Form in the Design of ebooks

Niki Sioki(&)

University of Nicosia, Nicosia, Cyprus

sioki.n@unic.ac.cy

Abstract. This article focuses on a critical evaluation of the design of ebooks.

In the post-digital era, the form of content of ebooks is still presented as a simple
rendition of the books’ printed version. Over the past ten years or so, although e-
readers have popularized reading on screens, digital technologies have made
little progress in the design of texts on screens. The few business initiatives that
dominate the market of e-readers tend to minimize the typographic quality of
texts on screen to its basic components and merely promote the usability of e-
reading devices. Interesting experimentations with the form of texts on screen
are introduced by independent stakeholders showing possible future directions
that could serve new modes of digital reading by empowering the principal
function of typographic design, i.e., to promote the nature of texts and enable
readers to create meaning.

Keywords: Design
Ebooks
Screen
Interface
Digital typography

1 Introduction

In the long history of the book it is only today that we are faced with significant
changes regarding its substance and character [1]; changes in the way we use and read
books. Over the past ten years or so, we have also experienced changes in the design of
the books that are created for screen reading. The main question of this paper is what
happens to the design of ‘pages’ and the typography of texts when they are transferred
on the screen of e-readers. Typography is here addressed as a system of knowledge
transmission and information processing whose low quality appearance on screen still
presents a challenge to contemporary designers. The paper concludes with a discussion
of good design practices for reading on screen that have been developed so far and
suggests possible future directions.
In the history of modern printing (from the end of the 18th century onwards) those
who were involved in the production of books, namely compositors, correctors,
typographers, printers, binders and, later, designers, were among those who were
mostly affected by technological advances. As the methods of originating and multi-
plying words and pictures were changing, people in the printing industry had to educate
themselves about new processes and materials, explore their technical possibilities,
establish new practices, adopt new attitudes and develop new expectations. For
example, the transition from metal printing type to photocomposition and upheavals

© The Editor(s) (if applicable) and The Author(s), under exclusive license
to Springer Nature Switzerland AG 2021
N. Martins and D. Brandão (Eds.): Digicom 2020, SSDI 12, pp. 3–12, 2021.
https://doi.org/10.1007/978-3-030-61671-7_1
4 N. Sioki

such as the transfer from phototypesetting to DTP, became an ingredient of their

professional life.

2 The Form of ‘Book’ in the Digital Space

Over the last forty years, at least since Michael Hart initiated the idea of books in
electronic form (1971) in Project Gutenberg, a radical change has occurred in the
material characteristics of books.1 Paper pages bound in books were substituted by flat
screens where texts tend to flow in an electronic space. The introduction of ebooks in
the publishing market signaled a series of profound changes in the materiality and the
image of the written word. Printed books are concrete three-dimensional objects with
well-defined physical characteristics such as weight, size, format, scale, binding, use or
absence of colour and pictures, made of materials such as paper, ink, glue and cloth; in
books, content and the materiality of the object are inseparable. This unity between
content and materiality is lost in ebooks which are the assemblage of hardware, such as
dedicated e-readers (Kindle, Nook) or multitask devices (iPad), content, and software
(EPUB, MOBI file formats).
There is a general agreement between professionals and researchers that books in
the digital space are not physical objects [2, 3]. A year after the appearance of iPad in
2010, Kevin Kelly (founder of Wired magazine) suggested that we will become
‘readers of the screen’ and our relationship with the written word will be better
described by a series of six verbs: screening, interacting, sharing, accessing, flowing,
and generating [4]. All these action verbs define what we currently do with/on screens.
The ‘container’ and the way it is used shaped the new form of content. In transcending
the physical medium content on screen has become fluid, indeterminant and
discontinuous.
Whether ‘data objects’ [5] or a set of services, ebooks are embedded with content
which is articulated through words and pictures configured in specific ways. However,
the discussion about the graphic form and the typographic standards applied on the
presentation of content on e-readers’ screens is rather limited in academic circles. As
early as 2001 Jessica Helfand recognized the need ‘to look at screen-based typography
as a new language with its own grammar, its own syntax, and its own rules’ [6, p. 107].
More recently Johanna Drucker [7] acknowledged that it is difficult to discern which
aspects of the traditional book can similarly function on digital space. Since in printed
books textual conventions such as headings and subheadings, marginal commentaries
and footnotes, together with visual hierarchy, the use of space and colour are not formal
decorative elements but ‘coded instructions’ [7, p.172] for how to read and understand
text, we should avoid modelling ebooks on traditional printed books. A new appear-
ance of texts on screen has yet to come.
For the time being, digital content is framed by device specific material and
technological features since manufacturing companies have so far focused on the

1
Michael Hart’s Project Gutenberg, founded in 1971, initiated the idea of electronic texts for
continuous reading before the appearance of ebook readers in the market. Portable dedicated e-
readers such as Amazon’s Kindle (2007) marked the arrival of commercial ebooks in the market.
 Visual Language and Textual Form in the Design of ebooks 5

ergonomics of devices. The latter entailed the stripping of texts from their traditional
formative and typographic characteristics. The present discussion offers an analysis of
the implications that digitization has on three typical aspects of the form of the book:
the format, the page and the typography. All three do not only affect and articulate the
organization of visual information but are closely related to the activity of reading. In
addition, it is suggested that current research about the role of interface and the cog-
nitive effects of reading the digital substrate may inform future directions in the design
of ebooks.

3 The Form of Text on Screen

3.1 The Format

One of the basic physical features of printed books, their format, was dictated by the
constituent material used in its manufacture, paper. The word format originally
described the way in which a sheet of paper was folded and the size of the original
sheet. In different periods book sizes conveyed the value of the text; for example, larger
sizes were allocated to serious literature and smaller sizes to popular literature [8]. For
the book designer of the 20th century the book format described both the size and the
shape of the book [9]. It had to suit printing and binding methods, the book’s handi-
ness, its storage on bookshelves, its content and its reader [10].
In the same line of thought the size and format of ebooks is defined by the substrate
on which texts appear, i.e., the screen. E-readers are available in standard screen sizes
and texts can be seen either in portrait or landscape orientation. The diversity of printed
book formats and the value they add on the presentation of texts is substituted by a
‘task-oriented and efficiency driven’ [11] approach that manufacturers apply to the
making of e-reading devices. Until now this has resulted in a uniform appearance and a
variety of technical specifications imposed by the devices currently available in the
market. The latter tend to create a restricted working environment for designers.

3.2 The Page

The page originated within the covers of the codex as it substituted the volume during
the first centuries of the Christian era (around the 4th century AD). This was a radical
and long-standing change with multifold implications. Subsequent changes affected
only the image of the page, that is the form in which content was communicated. Each
new technology of reproduction (mechanical setting, phototypesetting, lithography,
chromolithography, gravure etc.) influenced the letterforms used in setting text, the
mise-en-page, namely the way in which text and images were configured, the nature of
images, and the use or absence of colour. In every new technological context designers
and printers were taking advantage of the new possibilities offered and struggled to
overcome its constraints by pushing the boundaries.
As texts abandon printed pages and migrate on flat screens a similar change with
immense consequences for the way we use and read books is taking place. Pages are
stripped of their three-dimensionality, well-defined size and format, and their visible
6 N. Sioki

boundaries. A long-standing design element that defined a well-built book, i.e. the
spine, has been discarded. In digital space ‘all is recto’ [12, p. 45]; the spine as an axis
of symmetry which no scribe, printer and designer could ignore while arranging text
and image on a double-page spread, has disappeared. Pages turning around the spine
made the book both ‘a sequential and random-access device’ ([13, p. 2] and imbued
reading with ‘a sense of movement and development’ ([14, p. 35]. Accessing content
on ebooks now relies on visual metaphors for ‘familiar experiences rooted in the real or
digital world’.2 However, there is no need to lament the loss of the page, but rather
approach the transfer of texts on screen as another stage in the evolutionary path of the
book as an object. Towards this direction the form of texts has been modelled onto the
physical characteristics and affordances of digital reading devices and the reading
practices they entail. Thus, texts lost their print rigidity, became flowable and malleable
but still remain contained in a closed space. Reading them on screen required readers to
perform new gestures of interaction and engaged cognitively and emotionally with
texts in new ways [15].

3.3 Typography
Harry Carter’s assertion that ‘type is something you can pick up and hold in your hand’
[16, p. 1] described a haptic relationship between punchcutters, engravers, compositors
and type which started in the middle of the 15th century and ended in the 1960s.
Photocomposition initiated the use of optics and light for the reproduction of letters and
broke the long standing mechanical link between type and its image on paper. Within a
short period of time computer typesetting replaced forever all previous methods of text
generation and gave authors direct control over the final printed appearance of their
books; similarly, designers gained direct control over their means of production.
Currently, in the reading environment we experience on e-readers, language is stripped
of the materiality formed so far by ink on paper. The form of texts is defined by a
repertoire of prefabricated typographic specifications which should respond to various
screen sizes. Readers participate in configuring the presentation of texts. But what they
are really invited to do is to make a choice among the range of typefaces and typo-
graphic specifications provided by e-readers.
For example, on Kindle (Paper White/PW), an e-reader that focuses solely on e-
reading, we can configure texts by combining a range of preset typographic specifi-
cations (Table 1).
Readers can choose from a group of default typefaces (both serifs and sans serifs)
which include well-known traditional types significant in printing history. Two among
them, Amazon Ember and Bookerly, resonate the current time (see Fig. 1); both were
exclusively developed for Amazon in 2015 by Dalton Maag type foundry. Bookerly
was a response to Amazon’s request for a typeface that could ‘improve reading speed,
comprehension and emotional acceptance’ [17] and could afford the technical
requirements of e-ink technology and different screen resolutions. Being a serif font, it

2
Human Interface Guidelines (iOS) (2020) https://developer.apple.com/design/human-interface-
guidelines/ios/overview/themes/.
 Visual Language and Textual Form in the Design of ebooks 7

Table 1. Fonts and typographic specifications on Kindle PW versions

2015 (KPW3) 2018 (KPW4)
Typefaces Baskerville, Bookerly, Helvetica, Amazon Ember, Amazon Ember
Palatino, Future, Caecilia, Caecilia bold, Baskerville, Bookerly,
condensed, Open dyslexic Helvetica, Palatino, Futura, Caecilia,
Caecilia condensed, Open dyslexic
Type sizes 8  different type sizes 14  different type sizes
Line 3  options 3  options
spacing
Margins 3  options 3  options
Grid One column of text One column of text
Format Landscape or portrait Landscape or portrait
Alignment 2  options 2  options
The software in KindlePW is quite regularly updated. The table presents generic characteristics
related to the appearance of texts.

seems to perpetuate the common assumption that serifs are more readable for contin-
uous text reading.

Fig. 1. Bookerly and Amazon Ember fonts on e-reader’s screen.

It seems that Kindle offers to readers control over a limited number of micro-
typographic units, i.e. the letter and the line, macro-typographic units, i.e. text columns
and margins, as well as few basic but crucial typographic variables (type size and
leading) which, when well-adjusted, provide readers with texts that can be read with
comfort and pleasure. However, the factors on which readability depends are still
constrained by Kindle’s technology.
8 N. Sioki

For example:
a) While a bewildering number of typefaces are available in the market, the range of
fonts that Kindle provides is purely utilitarian. Most times, a text on Kindle differs from
its printed version as the publisher’s font is probably not available on the former. In
some cases, such change undermines the rhetorical meaning that the choice of a typeface
communicates. The latter can be more than a neutral mechanical design decision, as it
may indicate certain beliefs and ideas of the publisher or the designer [18].
b) While text line length and leading are variables that depend on the design
attributes of typefaces, their sizes as well as the kind of text that is being read [19],
Kindle offers to readers three options of text line length and leading that can be chosen
arbitrarily based on their preferences.
In one upgrade (2016), Kindle introduced ‘enhanced typesetting’, a technology that
further enabled readers to customize texts. It was promoted as a new technical feature
that could provide ‘print-like’ layouts recognizing that the publisher’s aim is still to
imitate the subtleties of print typesetting in order to achieve the ultimate reading
experience offered by print.
Kindle exemplifies the fact that pre-setting typographic specifications have a very
limited application. It can only be applied to a specific genre, the novel, which is
mostly constructed of continuous text in a sequential arrangement. To develop preset
typographic specifications for more complex texts would require a whole repertoire of
graphic formats for text elements such as chapter headings, subheadings, captions,
quotations, footnotes, lists and tables [20]. This is probably the reason why on iPad
readers can just choose a from a preselected list for the main text and adjust the type
size. The line length and leading are automatically adjusted as the type size changes.
It seems that the manufacturers of e-readers have allowed readers to step in a
position that was traditionally occupied by typesetters and designers. It becomes evi-
dent that in the textual archipelagos of ebooks the forms in which texts can be artic-
ulated is dramatically undermined. The form of texts is disconnected from the meaning
they communicate and a major component of book design, the editorial approach, is
completely overlooked. Typefaces are stripped of their aesthetic value and power to
visually engage readers and function solely as linguistic codes. Choosing a typeface is
presented as a superficial decision that a layperson can make. How else can we justify
the option of Future for setting the text of a novel on Kindle?

4 Future Directions in the Design of ebooks

We are currently experiencing a state of homogenization in the typographic appearance

of editorial genres in the digital realm. Different texts such as poems, theatrical plays,
religious works are stripped of their typographic identity in order to respond to the
variety of screens available in the market. This approach is favoured by the very few
big companies3 that dominate the e-reading market providing devices that function as

3
Major commercial drivers of the ebook market are currently Amazon (Kindle), Barnes and Noble
(Nook), and Kobo, Apple’s iTunes and Google’s Google Play services [20].
 Visual Language and Textual Form in the Design of ebooks 9

‘flexible content containers’ [21] and serve to commodify texts. They tend to promote
qualities of e-readers, such as portability and immediate access to newly published
books, that mainly encourage the consumption of books.
In the field of experimentation there are initiatives that aim at a) expanding content
by using multimedia elements, such as the Faber and Faber’s interactive book app of T.
S. Eliot’s The Wasteland and b) exploring those ‘narrative qualities’ of the digital
medium that cannot be translated into print. For example, in the ‘Editions at play’ the
reading of stories becomes dynamic as it is complemented by an array of interactions
between the reader and the mobile phone screen;4 texts are presented in small chunks
providing the basic story as a skeleton upon which a reading experience is constructed.
In this type of works, audiovisual material tends to subsume textual compositions.
Besides these projects, typography and the visual quality of ‘pages’ still remain of
great importance in works that are initiated in the field of design and the arts either by
independent publishers or within the education sector (see Fig. 2).

Fig. 2. The Mutant Library and ABM landing pages showing available works.

One such example is the Art Book Magazine (ABM),5 a free app on iPad which
provides a showcase for art publications; through experimentation, ABM aims to fill in
a niche in the digital market ‘where it is increasingly difficult to find premium quality
ebooks’ [22]. In Alum, a collection of works by artists who graduated from Ecole
Nationale Superieure D’Art de Nancy, that is specifically designed to be read on a
landscape iPad screen, the notion of the ‘page’ as a limited space, where text and

4
Publisher’s website https://editionsatplay.withgoogle.com/#!/about (Anna Gerber & Brit Iversen in
collaboration with Google’s Creative Lab).
5
Publisher is based in France, https://www.artbookmagazine.com.
10 N. Sioki

images are accommodated, is completely demolished. The work of every artist is

presented on a different digital ‘plateau’ on which artistic works, preceded by an
introductory text, seem to flow in four directions (left, right, up and down). In the same
line of thought photos of works of art in Our House in the Middle of our Street are
hidden below the landing screen and wait for the reader to reveal them by continuously
scrolling up; again, pictures with explanatory captions are presented in a flow that
replaces the sequential presentation of traditional book pages. Shifting away from the
linear presentation of printed books each reader can navigate and interact with the
content in their own way, creating the reading experience anew in each instance.
In the education sector The Mutant Library was a collection of digital stories for the
iPad where postgraduate students at MICA (Maryland Institute College of Art)
explored the mutations of the ‘book’ by means of digital technology. In all projects
students used the basic elements of print design, i.e., type and image, in combination
with those of screen design, i.e., sound and motion, in order to create digital inter-
pretations of content of high visual aesthetics.6
In the above examples, interface can be considered not just as a portal to material that
lies behind it. In each case, content was shaped by the display affordances of screen
technology (i.e., size, orientation, resolution, interactive elements and colour) and design
approaches enabled the production of individual online reading experiences. This kind of
experimental projects seem to move towards Drucker’s claim for a reading interface
which, beyond being just an object, becomes ‘a space that constitutes reading as an
activity’ [23, p. 213]. Graphic conventions associated with print may be substituted or
complemented by screen conventions in order to organize visual information. What we
need to further explore and challenge through design is the relation between the interface
and the actual activity of reading, bearing in mind that the latter is a complex process
which depends on skills, attitudes, training and cultural conditions [24].
In a similar argument Mangen, a researcher of reading practice, urges for further
investigation in the interplay between ‘aspects of text (e.g. genre, style, length), reading
(e.g. purpose, level), and material affordances of the substrate’ in order to achieve the
development of ‘more fine-tuned and resilient interface’ that could accommodate ‘a
wider range of texts and reading purposes’ [15, p. 282]. Based on this kind of research,
designers should start reflecting on how typographic design can have a more dynamic
role in shaping the future of ebooks.
The present period of time resembles, in some respects, the first centuries after the
advent of printing. The appearance of texts on e-readers lacks the flexibility and
experimentation offered by printed pages as the early printed pages could not achieve
the flexible and sophisticated layout encountered on manuscript pages. For the time
being, mainstream publishing market supports the communication of formless content
through an array of e-readers enabled by the EPUB format standard. If we approach the
ebook as a brand new artifact defined by the means and conditions of its production and
defining news ways of experiencing content, we need to pursue design approaches that
will reclaim the editorial function and, therefore, the prevalence of meaning in the

6
The work is no longer available in the Apple Store. See http://www.joezeffdesign.com/jzdblog/the-
mutant-library.
 Visual Language and Textual Form in the Design of ebooks 11

design of digital texts. Typographic design shapes our intellectual relationship with the
world; therefore, if we paraphrase Chartier [25], in the current digital environment the
way ‘a reader’, and not a user, will attribute meaning to a text will depend on the digital
form in which the text will be published, disseminated and consumed.
It is now time to leave behind the current transitional stage to e-reading and take the
next step in ebooks development, where the emphasis will be on ‘the work, not the
device’ (interview with Vivek Tiwar, in [21, p. 182]). Since reading on screen affects
our cognitive abilities and cultural understanding [26], the typographic design of digital
content requires further exploration and experimentation. Drucker’s claim that interface
is not a ‘thing’7 whose efficient design supports the organization of behaviors and
actions, but a ‘mediating apparatus’ [24, p. 178] that reconfigures our relationship to
the act of reading, opens new ways towards innovative imagination in the design of e-
books.

References
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University Press, Cambridge (2003)
2. Cope, B., Phillips, A. (eds.): The Future of the Book in the Digital Age. Chandos Publishing,
Oxford (2006)
3. Rowberry, S.P.: Ebookness. Convergence: Int. J. Res. New Media Technol. 23(3), 289–305
(2015)
4. Kelly, K.: Readers of the screen. The Technium, 2 March 2011. https://kk.org/thetechnium/
readers-of-the/, Accessed 20 Jan 2019
5. Kirschenbaum, M., Werner, S.: Digital scholarship and digital studies: the state of the
discipline. Book History 17, 407–458 (2014)
6. Helfand, J.: Screen: Essays on Graphic Design, New Media and Visual Culture. Princeton
Architectural Press, New York (2001)
7. Drucker, J.: Speclab: Digital Aesthetics and Projects in Speculative Computing. University
of Chicago Press, Chicago (2009)
8. Genette, G.: Paratexts: Thresholds of Interpretation. Cambridge University Press, Cambridge
(1997)
9. Williamson, H.: Methods of Book Design. Yale University Press, New Haven (1983)
10. Tschichold, J.: The Form of the Book: Essays in the Morality of Good Design. Lund
Humphries, London (1991)
11. Drucker, J.: Humanities approaches to interface theory. Cult. Mach. 12, 1–19 (2011)
12. Piper, A.: Book was There: Reading in Electronic Times. The University of Chicago Press,
Chicago (2012)
13. Kirschenbaum, M.: Bookscapes: modeling books in electronic space. In: Human-Computer
Interaction Lab 25th Annual Symposium (2008). https://mkirschenbaum.files.wordpress.
com/2013/01/bookscapes.pdf, Accessed 15 Feb 2020
14. Hochuli, J., Kinross, R.: Designing Books: Practice and Theory. Hyphen Press, London
(1996)

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A mechanistic approach embraced by the HCI community (Drucker 10).
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15. Mangen, A.: Textual reading on paper and screen. In: Black, A., Luna, P., Lund, O., Walker,
S. (eds.) Information Design: Research and Practice, pp. 275–291. Routledge, Oxon (2017)
16. Carter, H.: A View of Early Typography: Up to About 1600. Hyphen Press, London (2002)
17. Maag, B.: Designing typefaces for screens (2015). http://ampersand.adtrak.co.uk/2015/
designing-typefaces-for-screens, Accessed 27 Jan 2020
18. Kinross, R.: The rhetoric of neutrality. Des. Issues 2(2), 18–30 (1985)
19. Hochuli, J.: Detail in Typography. Compugraphic Corporation, Wilmington (MA) (1987)
20. Stiff, P.: Spaces and difference in typography. Typography Pap. 4, 124–130 (2000)
21. Grover, A.P.: E-books as non-interactive textual compositions: an argument for simplicity
over complexity in future e-book formats. Publishing Res. Q. 32(3), 178–186 (2016)
22. https://www.artbookmagazine.com/en/qui-sommes-nous, Accessed 15 Aug 2020
23. Drucker, J.: Reading interface. PMLA 128(1), 213–220 (2013)
24. Drucker, J.: Graphesis: Visual Forms of Knowledge Production. Harvard University Press,
Cambridge, MA (2014)
25. Chartier, R.: Writing on the computer screen: electronic writing and the order of discourse.
In: Hoeks, H., Lentjes, E. (eds.) The Triumph of Typography: Culture, Communication,
New Media, pp. 202–209. ArtEZ Press, Arnhem (2015)
26. Kovač, M., Van des Weel, A.: Reading in a post-textual era, First Monday, vol. 23 (10)
(2018). https://firstmonday.org/ojs/index.php/fm/article/download/9416/7592, Accessed 5
Aug 2020
 Mobile Application Oriented to Packaging
Sustainability

Sérgio Marques1(&) and Rui Rodrigues1,2,3

1
School of Media Arts and Design–Polytechnic of Porto,
Vila do Conde 4480-876, Portugal
sergioemjr90@gmail.com
2
ISMT–Miguel Torga Institute of Higher Education,
Coimbra 3000-132, Portugal
3
DigiMedia Research Centre, DeCA–Department of Communication and Art,
University of Aveiro, 3810-193 Aveiro, Portugal

Abstract. This paper has the purpose of gathering information about packaging
materials and their characteristics related to sustainability in order to be applied
in a future mobile application. Methodology and applied User Experience
Design (UX) techniques are described as well, as those are fundamental to the
application development process. An overview of people’s behaviour is also
approached, as well as the creation of a simple system to classify different types
of packages according to how sustainable they are. The purpose of this project is
to simplify the theme and categorize it, to be used as the main content in a future
platform. A series of UX techniques and its results are available in this docu-
ment in order to support the application development. Results are discussed as
this paper represent the initial steps of a whole development process. The
conclusion shows significant potential for positive environmental impacts
through the proposed application’s purpose.

Keywords: Mobile app
User experience
Product packaging
Sustainability

1 Introduction

The subject that is being approached in this article is the impact of packaging materials
over the environment as well as descriptions of applied user experience design
(UX) research techniques. That research works as a support for the development of a
future mobile application prototype. UX is a field that focuses on the user and its
interaction context with a determined system or service, considering its experience and
emotions (Hassenzahl 2013). It has the objective of creating products that could help
people, delivering experiences that are able to improve the way they work, interact and
communicate (Preece et al. 2002, Norman & Nielsen 2016). Considering those con-
ceptions, this article’s main purpose is to show the application of User Centred Design
(UCD) and UX methods and techniques that were applied in the first phase of project
development.
The problem (theme) is approached in the initial section of the paper and then the
following ones are dedicated to the methodology steps taken and its analysis.

© The Editor(s) (if applicable) and The Author(s), under exclusive license
to Springer Nature Switzerland AG 2021
N. Martins and D. Brandão (Eds.): Digicom 2020, SSDI 12, pp. 13–22, 2021.
https://doi.org/10.1007/978-3-030-61671-7_2
14 S. Marques and R. Rodrigues

The proposed interface has the aim of helping users to decrease the negative impact of
general packaging over the environment. The main idea where the platform is based on
is the functionality of a bar-code reader which allows the user to recognize a product.
After recognition, the system will display specific information about a product package,
informing specifications about its level of sustainability. The data collection happens
through a collaborative database where users can add information in case they cannot
find it.
UX design techniques are fundamental to achieve a high level of quality in the final
product, as its results can interfere positively over decisions that are made through
development.

2 Theoretical Framework

2.1 The Impacts of Packaging over the Environment

The main packaging materials used in the industry nowadays are plastic, metals, papers
and glass. Plastic is the most concerning as it has a longer life than the majority of other
materials (Leblanc 2019). There are different types of plastic with different features,
each of them directed for a specific industrial field of use. Its main use is seen on
packages applied in all kinds of products such as food, beauty, medicine, electronics,
etc. An example of a type of packaging very commonly used is the plastic bag and it is
estimated that one trillion single-use bags are used per year (Larsen 2014). A plastic
bag can take 1.000 years to degrade and potentialize environmental pollution, causing
several problems such as the death of wild animals, blockage of sewerage systems,
rivers and seas pollution and deterioration of a natural landscape (Riyad, Maher Ali
2014). In many cities, the chosen method of disposing solid wastes is in sanitary
landfills (Rodriguez 2019) and that is just another reason why working towards higher
levels of recycling and material re-use is so important. A real example of the impact of
materials – especially types of plastic – on the environment, was a personal experience
lived at Praia Paredes da Vitória located in Leiria, Portugal on the 24th of December
2019. It was easy to recognise a great number of different materials lying on the sand,
those were once in the ocean and during high tide, they were left at the beach. The
presence of those materials in the ocean and beaches cause a series of problems,
affecting negatively not only the whole sea life but all the fauna found at the coast as
marine animals and wild birds die as a result of plastic ingestion (Moharam, Maqtari
2014). The fishing industry is being affected as well, which leads to us, humans.
Packaging is – sometimes unconsciousness - part of our lives, every day we shop food,
cleaning and hygienic products at supermarkets for example. It is important to
acknowledge the relation people have with packaging and identify questions such as
“do most people think about the packaging?” or “do they often think about how to
discard packaging?”.
Inside the sustainability universe there is a system called Circular Economy, which
is directly connected to this project. It is defined by being a regenerative system in
which resource input and waste, emission, and energy leakage are minimised by
slowing, closing, and narrowing material and energy loops. This can be achieved
 Mobile Application Oriented to Packaging Sustainability 15

through long-lasting design, maintenance, repair, reuse, remanufacturing, refurbishing,

and recycling (Geissdoerfer, Savaget, Bocken, Hultink 2017). The preoccupation about
packaging processing/treatment is proof that certain individuals care about this matter.
The engagement to the Circular Economy can work as a measure to be analysed. These
indicators were studied by the European Commission (2018) and a Final Report about
the study was released in October 2018. The conclusion of this study is relevant for this
project and part of it follows:
“The consumer survey found that most EU consumers claim to frequently engage with the
Circular Economy. The majority of survey respondents reported that they keep things they own
for a long time (93%), recycle unwanted possessions (78%), and repair possessions if they
break (64%). Respondents also reported that their peers display similar levels of engagement in
the Circular Economy. A lower yet substantial proportion of respondents reported being willing
to engage with novel Circular Economy practices such as leasing products or buying second-
hand products.”

According to the results, most of European society is concerned about the envi-
ronment and it is willing to adjust their behaviour to achieve an “eco-friendlier” way of
living.

2.2 Categorizing Packaging

The selection of packaging materials is essential to keep product quality during dis-
tribution and storage. The function of packaging is to contain the product in a cost-
effective manner that satisfies consumer desires and industry requirements (Table 1).

Table 1. Main materials used in packaging

Material Sub-Types
Glass None
Metal Aluminium, aluminium foil, laminates and metalized films, tinplate and tin-free
steel
Plastic Polyolefins, polyesters (PETE or PET), polyvinyl chloride (PVC), poly vinylidene
chloride (PVdC), polystyrene and polyamide (commonly known as nylon)
Paper Paperboard and paper laminates

In order to consider a package sustainable, there are several characteristics to be

considered such as all recycling process costs, possibilities of reuse and the number of
times a certain material can be recycled. Analysing materials characteristics mentioned,
a scale from A to F was created to give materials a grade based on their level of
sustainability (Fig. 1).

Fig. 1. A to F sustainability scale.

Another random document with
no related content on Scribd:
General description and date of
structure.
It is very difficult to say when the south side of High Holborn,
between the sites of Kingsway and the Holborn Public Library, was
first built upon. Perhaps, even in Elizabeth’s reign, there were some
scattered buildings here, but certainly nothing like a continuous line
of houses. There seem to have been no building operations on a large
scale, until after the acquisition of the lease of Purse Field by Sir
Charles Cornwallis, in 1613.[69] Cornwallis sub-leased certain
portions of the Holborn frontage, extending south to the site of
Parker Street, and on these portions houses had been erected before
1650. No records of the sub-leases have been found, but a part at
least of the frontage to Holborn had been sub-leased before 1634.
Two years previously Charles I. had confirmed a grant, made by his
father to Trinity College, of six markets and twelve fairs for the
building of their hall. The college sold to Henry Darell two markets
and three fairs, and in August, 1634, the latter petitioned to be
allowed to set these up in St. Giles on His Majesty’s inheritance.[70]
This was granted on 15th December, 1634, a writ of Ad Quod
Damnum issued, and on 10th March, 1634–5, an inquisition by a
jury was held, from which it appears that the proposal was to hold
the markets and fairs “in locis vocatis le pightells et Pursfeild.”[71] The
project aroused keen opposition on the part of the Corporation of the
City of London,[72] and in spite of its revival in 1637,[73] was eventually
abandoned.
It is possible to identify the site of the proposed market,
inasmuch as in 1650 the frontage to Holborn between Little Queen
Street and Newton Street consisted of two “ranges” of buildings
known as Shenton’s tenements and Dayrell’s buildings, and it is clear
that the latter represent Henry Darell’s proposed market. Darell no
doubt had already obtained his lease before applying for a grant for a
market, but no houses would have been erected until after the failure
of his scheme. It is known[74] that one of his plots were let on a
building lease on 23rd November, 1639. The erection of buildings on
this part of the Holborn frontage may therefore be assigned
provisionally to the year 1640.
Shenton’s tenements consisted of six houses in High Holborn
and five in Little Queen Street, extending 100 feet along the former
and 115½ feet along the latter thoroughfare. Their site is therefore
wholly covered by the Holborn Restaurant.
The largest house, then in occupation of Mrs. Shenton herself,
was the next but one to the corner, and is described in the survey of
1650 as “all that tenement built as aforesaid[75] ... consistinge of one
kitchen, one hall, and one small larder, and adjoyninge one backside
and one garden, with severall necessary houses therein built and
standinge. And above stayres in the first story, one dyneinge roome
with a balcony there, and one chamber and a closett there. And
above stayres in the second story, two chambers with a closett there
and two handsome garret roomes over the same.”
Dayrell’s buildings consisted of twelve houses in High
Holborn, and five in Newton Street, and covered an area of 186 feet
by 122 feet. They were, on the whole, much superior to Shenton’s
tenements. The westernmost and largest house is described as “All yt
spacious brick buildinge ... built with brick in a comely shape and
very reguler, and consistinge of 5 stepps in ascent leadinge into an
entry leadinge into a faire hall and parlour wth sellers underneath the
same, divided very comodiously into a kitchen, a buttery and a
larder. And above staires in the first story a very faire dyneinge
roome well floored, seeled and lighted wth a belcony there on the
streete side alsoe, wth said roome is very well adorned and set fourth
wth a faire chimney peice and frames all of black marble, and on the
same floore backwards one other faire chamber. And in the second
story two faire chambers and a closett in one of them. And in the 3rd
story two more faire chambers and a closett there, and over the same
two faire garretes. Alsoe adjoyninge to the same one garden.”
The houses appear to have been of different sizes, for their
rentals varied greatly, and this, combined with the fact that in
subsequent rebuilding nine houses took the place of the original
twelve in High Holborn, makes it impossible to identify the house
which originally occupied the site of No. 211.
The house was perhaps rebuilt in the latter part of the 17th
century.[76] A further rebuilding (perhaps the third) seems to have
taken place in 1815, when the premises were re-leased by the Crown.
[77]

Plate 8 shows an interesting shop front. The ornamental iron

guards to the first floor windows are good specimens of wrought iron
work.
The house was demolished in 1910.
In the Council’s collection is:—
[78]Shop front (photograph).
 XXVII.—SMART’S BUILDINGS AND
GOLDSMITH STREET.

At the time of the survey of 1650 Newton Street (i.e., the old
Newton Street, north of the stream which crossed it where Macklin
Street now joins, and separated it from Cross Lane), was fully built,
and the remaining frontage of Purse Field to Holborn, between
Newton Street and the site of the Holborn Public Library, was
apparently occupied by nine houses, held by Thomas Farmer and
Henry Alsopp, to whom Francis Cornwallis had assigned his lease so
far as concerned that part of the field.
The yard, formerly Green Dragon Yard, at the side of the
Holborn Public Library, marks the site of the ancient stream which
formed the western boundary of Purse Field. The stream seems to
have remained open in this part of its course until about 1650, as a
deed dated 7th November in that year,[79] in view of the fact that
Thomas Vaughan and his wife Elinor “are to be att greate cost and
charges in the arching or otherwise covering over the sewer or
wydraught under mencioned, by meanes whereof the inhabitants
there adjacent shall not be annoyed as formerly they were thereby, as
for divers other good considerations them hereunto moving,”
provides that the said sewer “as the same is now severed, sett out and
fenced, scituate ... on the backside of a messuage of the said Thomas
Vaughan commonly called ... by the name or signe of The Greene
Dragon” shall be demised to the Vaughans.
The land immediately to the west of the yard in question
originally formed part of Rose Field, and was probably developed at
the same time as the rest of that estate. In 1650, William Short, the
owner of Rose Field, in conjunction with John De La Chambre, sold
to Thomas Grover 4 messuages, 12 cottages, 12 gardens and one rood
of land with appurtenances, in St. Giles.[80] The precise position of
this property is not mentioned, but there does not seem to be much
doubt that the premises are identical with, or a portion of, those
which Grover sold to Edmond Medlicott in 1666,[81] and which
consisted of 16 houses in Holborn, including the “messuage
commonly known by the name or signe of The Harrow,” and also the
“lane or alley called Wild boare Alley alias Harrow Alley, with all the
severall messuages, tenements, edifices and void peice or plot of
ground in the said alley.” The property is said to front upon Holborn
on the north, and to have for its eastern boundary a way or passage
leading from Holborn to the house and garden of Mr. Braithwait. The
dimensions are given as: “In depth from north to south at the west
end, one hundred fourscore and ten foote, and throughout the whole
range and pile of buildings besides from north to south fower score
and seven foote, and in breadth from east to west sixty and three
foote.” The last figure is certainly wrong, for even if half of the
sixteen houses in Holborn were lying behind the rest (as indeed was
probably the case) this would only admit of an average frontage of 8
feet to a house. A probable emendation is “six score and three” which
gives a 15 feet frontage to each house.
The land behind these premises, reached by the path along,
and afterwards over, the stream, was leased by William Short in 1632
to Jeremiah Turpin for the remainder (20 years) of a term of 36
years,[82] and then consisted of garden ground upon which Turpin
had recently built a house. It seems most probable that this[83] is the
place referred to in the petition,[84] dated 17th June, 1630, of the
inhabitants of High Holborn, calling attention to the fact that there
was a dangerous and noisome passage between High Holborn and
St. Giles Fields, by reason of a dead mud wall and certain old
“housing,” which lately stood close to the same, where divers people
had been murdered and robbed, and praying for leave for building to
be erected thereon. In their report[85] on this petition, the Earls of
Dorset and Carlisle refer to it as “concerning the building of Jeremy
Turpin,” and recommend the granting of leave to build.
It may therefore be concluded that the house was built
between 1630 and 1632. A full description[86] of the property as it was
in 1640 is extant, and is interesting as giving an idea of the private
gardens of that time. Reference is made, among other things, to the
arbour formed of eight pine trees, the “sessamore” tree under the
parlour window, 13 cherry trees against the brick wall on the east of
the garden, 14 more round the grass plot, rows of gooseberry bushes,
rose trees and “curran trees,” another arbour “set round about with
sweete brier,” more cherry trees, pear, quince, plum and apple trees,
a box plot planted with French and English flowers, six rosemary
trees, one “apricock” tree and a mulberry tree.
The ground on which Smart’s Buildings and Goldsmith Street
were erected at one time formed part of Bear Croft or Bear Close, so
called, no doubt, because it was used as pasture land in connection
with The Bear inn, on the south side of Broad Street, St. Giles.[87]
At about 1570 there were, immediately to the south of the
White Hart property at the corner of Drury Lane, eight houses. The
three most northerly abutted on the east upon “a close of grounde
called the Bere Close, late belonging to Robert Wise, gentilman”[88];
while the five others, with the close itself (of 2½ acres) are described
as “adjoynynge to the Quenes highe waye ... leadinge from Strande ...
to thest end of the said towne of Saint Giles on the west parte, and
abuttinge upon the close nowe our said soveraigne ladye the Quenes
Majesties, called the Rose feilde, on thest and south partes, and
abuttinge upon the messuage or tenemente nowe or late in the
tenure of one William Braynsgrave,[89] and the tenement called The
White Harte, late in the tenure ... of one Matthewe Bucke, and nowe
in that of one Richarde Cockshoote, and the Quenes highe waye
leadinge from Holborne towardes the est end of the said towne of
Saint Gyles on the north part.”[90]
The boundary line between Bear Close and Rose Field is
nowhere described. It is known, however,[91] that Rose Field reached
as far north as the line bounding the rear of the buildings in Macklin
Street, and there is reason to believe that this line marks the actual
division between the two fields. As regards the eastern boundary a
line starting from High Holborn between No. 191 and No. 192[92] and
running along the western side of the southerly spur of Goldsmith
Street, seems to fulfil all the conditions. It is not known what was the
depth of the eight houses and gardens fringing Bear Close on the
west, but allowing 60 feet, the area of Bear Close, defined as above,
amounts to two acres. It is hardly possible, therefore, to limit its
boundaries any further. It seems probable that the quadrangle
shown in Agas’s map (Plate 1) at the north-east corner of Drury Lane
was Bear Close, and it will be observed that, according to the map,
the houses south of The White Hart stretched along the whole of the
Drury Lane frontage of the close.
Bear Close formed a part of that portion of the property of the
Hospital of St. Giles which, after the dissolution, came into the hands
of Katherine Legh, afterwards Lady Mountjoy. With the five
southernmost of the houses separating Bear Close from Drury Lane,
and other property, it was purchased of the Mountjoys by George
Harrison, from whom by various stages it came into the possession
of James Mascall.[90] The latter died on 11th May, 1585,[93] leaving the
whole of his property to his wife, Anne, who subsequently married
John Vavasour. From her the whole of the property above
mentioned[94] seems to have come into the hands of Olive Godman,
younger daughter of James and Anne. A portion of this, including
“all the ground or land lying on the backside of [certain] messuages
towards the east, contayning two acres, now or late in the occupation
of ... Thomas Burrage” was settled on her daughter, Frances, on the
marriage of the latter with Francis Gerard in 1634.[95] There seems
little doubt that the land in question was Bear Close.
It was apparently soon after this that the close was laid out for
building, the planning taking the form of a cross, the long and cross
beams being represented respectively by the present Goldsmith
Street and Smart’s Buildings. The former street was, up to 1883,
known as The Coal Yard, in consequence it is said, “of the place being
used for the storage of fuel.”[96] The tale has a somewhat suspicious
look. The fact, too, that “Mr. Francis Gerard,” the owner of Bear
Close, and “Bassitt Cole, Esq.,” are found living in two adjoining
houses in Drury Lane close by in 1646 rather suggests that “Cole
Yard” is so called because of the name of its builder.[97]
The date at which Bear Close seems to have been built upon
favours the above suggestion. The Hearth Tax Roll for 1666 gives 41
names which are apparently to be referred to Coal Yard, while
Hollar’s Plan of 1658 shows the area by no means covered. The
Subsidy Roll for 1646 gives only five names definitely in respect of
“Cole Yard,” but there are 15 more which probably must be assigned
thereto.
At some time before 1666 the eight houses fronting Drury
Lane had given way to the present number of twelve. In the case of
the four northernmost, this happened shortly after 1636, when a
building lease of the sites of the houses was granted to Richard Brett.
[98]

Built in the brick wall of an 18th-century tenement (No. 27,

Goldsmith Street) was a stone tablet, dated 1671. The premises have
lately been demolished, and at present the site is vacant.
Smart’s Buildings is a
comparatively modern name for
that part of Coal Yard which
runs north into High Holborn.
Hatton’s New View of London
(1708) does not mention
Smart’s Buildings, but refers to
“Cole Yard” as “on the N.E. side
of Drury Lane, near St. Giles’s, a
passage into High Holbourn in 2
places”; Strype (1720) states
that “the Coal Yard ... hath a
turning passage into Holborn”;
and Rocque’s Map of 1746 definitely names it “Cole Yard.”
In a deed of 1756[99] it is referred to as “the passage leading
into the Coal Yard called Smart’s Buildings.” Which of the three
Smarts, grandfather, father and son (William, Lewis and John),
mentioned in the same deed, it was who gave his name to the street,
there is nothing to show. No record of the purchase of the property
by any person of the name has, so far, been discovered, but the deed
of 1756 certainly suggests that the ownership of the houses on the
eastern side of the passage originated with William, who is,
moreover, described as “carpenter,”[100] and in that case would date
from the beginning of the 18th century.
The Council’s collection contains:—
[101]No.27, Goldsmith Street. Stone tablet in front wall (drawing).
Smart’s Buildings. General view of exterior (photograph).
XXVIII-XXIX. Nos. 181 and 172, HIGH
HOLBORN (Demolished).
General description and date of
structure.
The land at the eastern corner of Drury Lane and High
Holborn may perhaps be, either wholly or in part, identified with
certain land held of the Hospital of St. Giles by William Christmas in
the reign of Henry III. “with the houses and appurtenances thereon,
situate at the Cross by Aldewych.”[102] Aldewych was Drury Lane,[103]
and the Cross by Aldewych would almost certainly be situated at the
junction of the two roads. The identification of the western corner as
the site of Christmas’s land seems to be excluded by the fact that this
was occupied by property of John de Cruce,[104] who was certainly a
contemporary of William Christmas.[105] It is possible that the land in
question was situated on the north side of Broad Street, but as it is
known that Christmas owned land on the south side of the way, some
of which may even possibly be the actual land referred to, the
identification suggested above seems reasonable. Whether in
Christmas’s time there was at this spot an inn, the forerunner of the
later White Hart, is unknown.[106] Blott’s suggestion that the sign of
the White Hart was adopted in honour of Richard II., whose badge it
was, even if correct, does not necessitate the assumption that no inn
was there before that king’s reign (1377–1399). The sign might
possibly have been changed in Richard’s honour.
The first mention of The White Hart does not, however, occur
until a century and a half later. In 1537 Henry VIII. effected an
exchange of property with the Master of Burton Lazars, as a result of
which there passed into the royal hands “one messuage called The
Whyte Harte, and eighteen acres of pasture [Purse Field] to the same
messuage belonging.”[107] In 1524 “Katherine Smyth alias Katherine
Clerke” was living in The White Hart.[108] She was apparently
succeeded as tenant by William Hosyer,[109] but there is no evidence
whether he actually resided in the inn.[110] In 1567 the occupant of the
inn is said to be Matthew Buck, and in 1582 it was Richard
Cockshott.[111] In 1623 Hugh Jones is mentioned as barber and
victualler, at Holborn end, next Drury Lane.[112] The survey of Crown
Lands taken in 1650 describes the premises as follows:—
“All that inn, messuage or tenement commonly called ... The
White Harte scituate ... in St. Gyles in the feildes ... consistinge of
one small hall, one parlour and one kitchen, one larder and a seller
underneath the same, and above stayres in the same range, and over
the gatehouse, 9 chambers. Alsoe over against the said halle and
parlour is now settinge upp one bricke buildinge consistinge of 6
roomes, alsoe one stable strongly built with brick and fflemish walle,
contayninge 44 feete in length and 37 feete in breadth, lofted over
and covered with Dutch tyle; and two other stables next adjoyninge,
built as aforesaid, and 2 tenements or dwelling houses over the same.
Alsoe one large yard contayninge 110 feete in length and in breadth
46 feete. Now in the occupation of one Anthony Ives, and is worth
per annum
£38.
t e
“All y tenement adjoyninge to y north side of the abovesaid
house, being a corner shopp, consisting of one seller and a faire
shopp over the same; alsoe one kitchin, and above stayres two
chambers. Nowe in the occupation of Richard Raynbowe, a grocer,
and is worth per annum
£12.”
It would seem that at the time of the transfer of The White
Hart to Henry VIII. there were no buildings to the east of the inn.
The fact that no such premises are mentioned in connection with the
exchange is not, indeed, conclusive, and it is more to the point to
observe that no mention of the buildings is contained in any of the
grants of the property, during the 16th century, which have been
examined. Moreover, on 13th November, 1592, a certificate was
returned by the Commission for Incroached Lands, etc.,[113] to the
effect that four cottages, with appurtenances, on the south side of the
highway leading from St. Giles towards Holborn, opposite certain
small cottages built on the Pale Pingle,[114] were possessed without
any grant, state or demise from the sovereign. Plate 2 shows the
cottages in question, occupying the site of the buildings to the east of
The White Hart.
 It may be taken therefore that these four cottages were the
earliest buildings on the site, and that they were erected probably not
long before 1592, when their existence was first officially noticed.
By 1650 they had grown to a long range of buildings. In that
year they were described as follows:—
“All that range of buildinge adjoyninge to thaforesaid inn
called The White Hart, abuttinge on the high way on the north, with
two tenements on the south side of The White Hart, lyenge uppon
the way leadinge into Drury Lane, all which said buildings are now
divided into xxj severall habitacions in the occupation of severall
tenants, and are worth per annum £24.”
The whole property, including The White Hart, the courtyards
and gardens, is said to “contayne in length from Drury Lane downe
to the first [tenement] 96 feete, and in breadth 76 feete; the other
length backward from the stables to the lower side of the garden 125
feete and 93 feete in breadth, bounded with the highway leadinge
from St. Gyles into Holburne on the north and Drury Lane on the
west.” The entire site therefore had a length of 221 feet, and a width
of 76 feet along Drury Lane, increasing to 93 feet behind the inn.
Allowing for the subsequent widening of High Holborn at this point,
it is clear that the area is represented at the present day by the sites
of the houses from the corner as far as and including No. 181, High
Holborn, while the southern boundary runs to the north of Nos.
190–191, Drury Lane, then turns to the south a little beyond the
eastern boundary of those premises, and thence runs in a slightly
curved line as far as the eastern boundary of No. 181, High Holborn.
[115]

A reference to the map in Strype’s edition of Stow (Plate 5)

will show that in the 18th century both High Holborn and Drury
Lane were very narrow at this spot. Moreover, in course of time, the
large courtyard of the inn became used as a public way, and grew
crowded with small tenements. In 1807 the leases of the property
expired, and an arrangement was come to between the Vestry of St.
Giles and the Crown, by which the latter and its lessees gave up
sufficient land to enable the frontage line both to High Holborn and
Drury Lane to be amended, with the result that the west end of the
former and the north end of the latter were widened by 15 feet and 7
feet respectively. On its part the Vestry consented to the stopping up
of White Hart yard and the building thereon of the Crown lessees’
new premises.[116]
Two of the houses, Nos. 181 and 172, erected in accordance
with the arrangement, are illustrated in this volume.
Plate 9 shows the distinctive early 19th-century shop front,
which was attached to No. 181. The design embodied a large, slightly
bowed window with segmental head, flanked by two doorways. The
window was fitted with small panes of glass, having bars forming
interlacing segmental panes above the transom. The doors were of
quiet and refined design, with excellently treated side posts, having
brackets, carved with acanthus ornament, supporting the
entablature. The whole exhibits a distinctly Greek feeling.
Another interesting early 19th-century shop front existed at
No. 172, and is illustrated on Plate 10. The door to the house and that
to the shop adjoined one another in this case, and were slightly
recessed. The rounded angles to the window added interest to the
design. The general treatment, though simple, possessed much
distinction.
Both houses have recently been demolished.
In the Council’s collection are:—
No. 181. General view of premises (photograph).
[117]No. 181. Shop front (photograph).
[117]No. 172. Shop front (photograph).
 XXX.—SITE OF ROSE FIELD (MACKLIN
STREET, SHELTON STREET, NEWTON
STREET (PART), AND PARKER STREET
(PART)).

Macklin Street (formerly Lewknor’s Lane), Shelton Street

(formerly St. Thomas’s Street, afterwards King Street), the lower end
of Newton Street (formerly much narrower and known as Cross
Street) and the greater portion of Parker Street, have all been formed
on the site of Rose Field, a pasture of a reputed area of six acres,
attached to The Rose inn.
From particulars given in various deeds it is clear that the
field’s western and eastern boundaries respectively were Drury Lane
and the stream[118] dividing it from Purse Field, and that its southern
boundary ran 50 feet to the south of Parker Street. As regards its
northern boundary, however, there is some uncertainty. The facts, so
far as they have been ascertained, are as follows.
The houses on the north side of Macklin Street were entirely
in Rose Field, as also were three houses in Drury Lane, north of
Macklin Street,[119] and the line bounding the rear of the Macklin
Street property certainly coincides, at least for a portion of its length,
with the boundary of that part of Rose Field leased to Thomas
Burton.[120] It may therefore be regarded as certain that at least for a
portion of its length this line represents the northern boundary of
Rose Field. Probably this is true as regards its whole length as far as
Goldsmith Street, which seems to be the point at which it turned
northwards.[121]
The first reference to Rose Field (though not under that name)
which has been found, occurs in the deed concerning the exchange
which Henry VIII., in 1537, effected with the Hospital of Burton
Lazars. According to this, part of the property transferred to the
Crown consisted of “one messuage, called The Rose, and one pasture
to the same messuage belonging.”
In the following year the king leased the inn and pasture to
George Sutton and Ralph Martin.[122] In 1566 the property was leased
to John Walgrave for 21 years as from Michaelmas, 1574; in 1580 to
George Buck for 21 years, as from Michaelmas, 1595; and on 27th
October, 1597, was, together with other property, granted by
Elizabeth in perpetuity to Robert Bowes and Robert Milner, at a rent
of £3 6s. 8d. Two days afterwards Milner sold it to James White, of
London, silk weaver, and on 19th January, 1599–1600, the latter in
turn parted with it to William Short.[123] Half a century later, William
Short the younger took advantage of the sale of the Fee Farm Rents
during the Commonwealth to redeem his rent for £29 12s. 6d.[124]
Before continuing the history of Rose Field, it may not be out
of place to consider where The Rose inn, from which the field derived
its name, was situated.
Parton[125] quotes a deed, dated 1667, referring to the sale by
Edward Tooke to Luke Miller, of two tenements, situated in
Lewknor’s Lane, “which said two tenements doe abutt on the
tenement formerly known by the sign of The Rose, late in the tenure
of Walter Gibbons,” and draws the inference that the inn was “on the
south side of Holborn, not far eastward from The White Hart.” It is,
however, doubtful if “the tenement formerly known by the sign of
The Rose” was The Rose of Rose Field; for when, ten years
previously, William Short had sold to Edward Tooke the first 21
houses on the north side of Lewknor’s Lane, which must have
included the two tenements subsequently sold by Tooke to Miller,
Walter Gibbons was in occupation of the twelfth house. It is
therefore most probable that The Rose in question was a house in
Lewknor’s Lane, and not The Rose of Rose Field at all.
As a matter of fact, the latter is almost certainly to be
identified with the inn of that name situated on the north side of
Broad Street. In 1670 this inn was in possession of Sarah Hooper,
widow of William Hooper, and the latter’s son Benjamin, and is
described in a deed[126], dated 2nd November in that year, as “all that
messuage or tenement and brewhouse, with appurtenances, called
The Rose, and all stables, maulting roomes, yardes, backsides, etc.”
On 26th March, 1723–4, Benjamin Hooper granted[127] “all that
messuage or tenement and brewhouse, with the appurtenances,
called The Rose Brewhouse, scituate in St. Giles-in-the-Fields, now
or late in the tenure of Samuel Hellier, Anthony Elmes, and Charles
Hall, some or one of them, and all stables, malting houses, yards,
backsides, ways, passages, etc.,” to his two daughters, Jane Edmonds
and Sarah Mee. The sewer ratebook for 1718 shows “Mr. Anthony
Elmes” at a house in Broad Street close to Bow Street (now Museum
Street) corner,[128] and thus the site of The Rose can be roughly
identified.[129]
The necessary connection between the Hoopers and William
Short, who owned The Rose of Rose Field, seems to be supplied by an
entry in the Feet of Fines, dated 1640, concerning a purchase from
the latter by William Hooper of a messuage and one stable with
appurtenances in St. Giles-in-the-Fields.[130]
To return now to the history of Rose Field. William Short does
not appear to have taken any steps to develop the property for 15
years. On 28th July, 1615, however, he leased to Walter Burton the
southern portion of the field.[131] From particulars obtained from a
number of deeds it is known that the ground in question extended 50
feet on either side of Parker Street, i.e., from the southern boundary
of the field as far north as the site of the garden afterwards in the
occupation of John Fotherly.[132] Whether the lease actually included
the site of the garden, it is not possible to say with certainty.
On 5th December, 1615, Short leased to Thomas Burton the
portion to the north of the garden, “the said parcell ... being
mencioned in the said indenture to abutt east on the lands of Sir
Charles Cornwallis, Knt. [i.e., Purse Field], west upon Drury Lane
aforesaid, north upon the common sewer[133] which then divided the
same from other lands of the said William Short then also in the
occupation of the said Thomas Burton,[134] and south upon the lands
of the said William Short lately demised to the said Walter Burton;
and therein mencioned to conteyne in breadth from north to south
on the west end that did abutt on Drury Lane 233 feete, and at the
east end thereof in breadth from north to south 80 feete, and in
length from east to west, viz., from the Cornwallis lands on the east
to Drury Lane on the west 719 feete.”[135]
 The earliest mention of Lewknor’s Lane which has been
discovered is in an entry in the Privy Council Register[136] for 27th
January, 1633–4, dealing with the case of Richard Harris, the owner
of four houses “in Lewkner’s Lane, backside of Drury Lane.” Harris
explained that he obtained the houses by purchase, and that they had
been built six years. This takes the date of at least some of the houses
in the street back to 1627 or 1628, and the fact that the street is not
mentioned in the Subsidy Roll for the latter year makes it probable
that these four houses were among the first built.
The usual reason given for the name of the street (afterwards
corrupted to Lutenor, Newtenor) is that it was formed on the site of
the house and grounds of Sir Lewis Lewknor. It is known that
Lewknor was living in Drury Lane in 1620 and 1623[137] and the
position of his name in the Subsidy Roll for the latter year points to
his house having been in about the position suggested.[138] There is
no evidence, however, that the house was built before 1615, when the
land was leased to Burton, and it does not seem likely, therefore, that
it would be pulled down by 1628.
The name of the street was subsequently changed to Charles
Street, and again altered to Macklin Street in 1878.
Shelton Street does not date back so far as the remaining
streets formed on Rose Field. As late as 1665,[139] when Lewknor’s
Lane and Parker’s Lane had long been laid out, the houses on the
north side of the latter were described as reaching to the garden
“now or late” in the occupation of John Fotherly. In a deed of
1650[140] the garden is said to be “now in the occupation of the Lady
Vere,” and a short time before it had been in the tenure of Sir John
Cotton.[141] The street was formed before 1682, it being shown in
Morden and Lea’s Map of that date, and was at first known as St.
Thomas’s Street. In 1765 the name was changed to King Street,
probably out of compliment to Joseph King, who took a lease of a
large portion of the property in the street about that date.[142]
Formerly in the flank wall of No. 166, Drury Lane, was a stone tablet
bearing the inscription “King Street. 1765.” In 1877 the street
received the name of Shelton Street, and, with the carrying out of the
Shelton Street housing scheme by the London County Council was
almost entirely swept out of existence between 1889 and 1892.