The Birth of a Book Libro de Urszula Giren

O deseño The Birth of a Book Libro de Urszula Giren é un estimado gañador do moi prestixioso 2020 A' Design Award de Ouro na Categoría de Competición Deseño de Medios Impresos e Publicados.

OuroImprenta· 2020

The Birth of a Book Libro

de Urszula Giren

Cliente: Urszula Gireń

Gañador do A' Design Award de Ouro na Categoría Imprenta

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O Deseño

Sobre The Birth of a Book Libro

O Nacemento dun Libro é unha publicación impresa sobre o deseño de libros na Polonia do século XVI. O libro presenta impresións antigas a tamaño real, para que os lectores poidan ver os formatos orixinais. A sobrecuberta mostra o método de imposición empregado para o antigo formato en octavo. Un marcapáxinas de cinta sinala as alturas dos libros en folio, cuarto e octavo. As xilografías das portadas están impresas en inversión de cor, evocando as matrices cubertas de tinta negra. O formato é de 256 por 320 milímetros, con 560 páxinas e arredor de 1200 ilustracións. O obxectivo é explicar os métodos de impresión do Renacemento a un público amplo.

O Recoñecemento

Sobre o A' Design Award de Ouro

The Birth of a Book Libro gañou o A' Design Award de Ouro, un recoñecemento inmensamente prestixioso outorgado a deseños de primeira clase, marabillosos e sobresaíntes. Os gañadores Ouro son creacións sumamente innovadoras, visionarias e glamurosamente deslumbrantes que reflicten o xenio, a sabedoría e a destreza dos seus deseñadores. Espérase que The Birth of a Book Libro sexa unha invención moi eloxiada, pioneira e monumental que ofrece un valor sen precedentes. Este deseño gañador do A' Design Award de Ouro é un proxecto espectacular e respectado que beneficia moito a arte, a ciencia, o deseño e a tecnoloxía e fai avanzar os seus límites. The Birth of a Book Libro crea intensos sentimentos de desexo, esperta a paixón, anima a creatividade e fascina.

Detrás do deseño

Kit de prensa

Créditos, membros do equipo e detalles técnicos proporcionados polo deseñador.

Propiedades Únicas: 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.
Dimensións e Embalaxe: 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.
Etiquetas: renaissance book, first roman typefaces, old prints, typography
Tecnoloxía de Produción: 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
Reto de Deseño: 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.
Investigación: 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.
Inspiración: 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.
Duración do Proxecto: The project started in May 2017 in Bialystok and finished in February 2019 in Katowice, Poland
Fluxo de Operacións: 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.
Créditos das Imaxes: Urszula Gireń / 2019