The Birth of a Book Книга от Urszula Giren

Дизайнът The Birth of a Book Книга от Urszula Giren е високо уважаван носител на престижната 2020 Златна награда A' Design Award в състезателна категория Дизайн на печатни и публикувани медии.

ЗлатоПечат· 2020

The Birth of a Book Книга

от Urszula Giren

Клиент: Urszula Gireń

Носител на Златна награда A' Design Award в категория Печат

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Дизайнът

За The Birth of a Book Книга

„Раждането на една книга“ е печатно издание, посветено на книжния дизайн в Полша през XVI век. Книгата представя стари печатни издания в реален размер, така че читателите да могат да видят оригиналните формати. Суперобложката показва метода на монтаж на страниците, използван при стария формат октаво. Лентовиден разделител отбелязва височините на книгите във формат фолио, кварто и октаво. Дърворезбите на заглавните страници са отпечатани в цветова инверсия, напомняйки за матрици, покрити с черно мастило. Форматът е 256 на 320 милиметра, с 560 страници и около 1200 илюстрации. Целта е да се обяснят ренесансовите печатарски методи на широк кръг читатели.

Признанието

За Златна награда A' Design Award

The Birth of a Book Книга е носител на Златната награда A' Design Award — неимоверно престижно признание, присъждано на първокласни, чудесни и забележителни дизайни. Златните победители са изключително иновативни, силно визионерски и блестящо поразяващи творби, които отразяват гения, мъдростта и майсторството на своите дизайнери. Очаква се The Birth of a Book Книга да бъде високо възхвалявано, задаващо тенденции и монументално изобретение, което носи безпрецедентна стойност. Този дизайн, спечелил Златната награда A' Design Award, е впечатляващ, уважаван проект, който силно ползва и разширява границите на изкуството, науката, дизайна и технологиите. The Birth of a Book Книга поражда силни чувства на желание, буди страст, насърчава творчеството и ни очарова.

Зад дизайна

Прескомплект

Информация за екипа, авторите и техническите детайли, предоставена от дизайнера.

Уникални свойства: The designed structure of publications presents the old prints in real size and the method of their production in additional elements like a dust jacket which show printing sheet, typographic composition at 1:1 scale. The woodcuts in color inversion on the title pages refer to matrices covered with black ink. The compositions of this pages were plotted on a scheme invented by Villard de Honnecourt, 13th century artist, and refer to the proportions of columns, margins used in the 16th century.
Размери и опаковка: Format:
256 x 320 mm in a 1.25 ratio, 560 pages, the page format allowed the calculation of a multi-level grid for the composition of individual elements, including 1200 illustrations.
Тагове: renaissance book, first roman typefaces, old prints, typography
Производствена технология: The work was digitally printed and a hardback, paper binding, thermo-gluing was used. The covering is made of black beater-dyed paper. There are also a dust jacket reflecting an imposition method for the old octavo book format, as well as a ribbon - bookmark, depicting the folio, quarto and octavo heights. Covering: Geltex Negro Antracita 191 Embossing LS 115 g (beater-dyed paper), silver color - screen printing, binder's board: spine board 2 mm, base case 3 mm, Dust Jacket: Color Style Black Smooth 120 g (beater-dyed paper) silver color - screen printing, Endpaper: Geltex Negro Antracita 191 Embossing LS 130 g (beater-dyed paper), Book-block: Pergraphica Natural Smooth 120 g, CMYK - digital printing, HP Indigo, printing according to fiber direction, PUR glue, Headband: Black, Ribbon bookmark: Black, silver color
Дизайнерско предизвикателство: The biggest challenge was complicated structure of the text - a lot of auxiliary and descriptive texts, an unusually large number of various illustrations - 1274. Organizing the appropriate grid required several verifications. I based the project largely on mathematical calculations related to the content of the publication. The divisions and colors used resulted entirely from the content and the assumption of the best possible exposure of illustrations and text. By learning the methodology of 16th-century typographers, you can see frequent references to numbers that have always been present in nature. The search for systematization the surrounding world by the renaissance artists was huge inspiration. Each element in the world has its place and meaning, nothing is accidental, everything is connected with each other and interacts with each other. I also wanted to build a relationship system in the design of my publication, where the smallest part would result from the structure of the whole.
Изследване: The first part of book contains basic information about printing, introduces the reader to the general principles of Renaissance design. In the second part of the publication, printing in Poland was discussed in more detail. This part was divided into 5 chapters, four of which have been assigned specific cities. The choice of places was justified by the pioneering activity of the printing houses, which opened there, their size, as well as the quality of the publications they produced.
Вдъхновение: The main inspirations were the general principles of Renaissance design. The first stage of the project included gathering graphic material necessary to conduct research on the old European, Polish books. The study covered individual elements, starting from the materials from which books were created: papers, binding materials, typefaces, ornaments, graphics. Information was also collected on the most well-known Polish and European publishers, typographers and punchcutters.
Продължителност на проекта: The project started in May 2017 in Bialystok and finished in February 2019 in Katowice, Poland
Работен процес: All the elements in the book have been designed to familiarize the reader with the methodology of creating books in the 16th century. Starting from the format of the book showing real formats of old prints, to the dust jacket presenting the printing imposition, or the ribbon indicating the height of old books - folio, quarto, otavo.
Автори на изображенията: Urszula Gireń / 2019