Vicereines of Ireland Aranduka Akademiko Jurga Rakauskaite-Larkin omba'apóva

Vicereines of Ireland Aranduka Akademiko Jurga Rakauskaite-Larkin omba'apóva ha'e rembiporuarã oñemba'eguaséva 2022 A' Design Award Fiero pegua Kuatiañe'ẽ Jejapo Ñeha'ã Categoría-pe.

FieroKuatiañe'ẽ· 2022

Vicereines of Ireland Aranduka Akademiko

Jurga Rakauskaite-Larkin -gua

Mba'eporuhára: The Office of Public Works

A' Design Award Fiero Rembiporuarã Kuatiañe'ẽ Categoría-pe

13,246

Premio Rembiporuarã Oñemoneĩva

Emoneĩ Premio Reko #135430 Peg̃ua

Ehecha A' Design Award-pe Marandu Myasãi Mba'ete Jeguerohory

Sa'y

Diseño

Vicereines of Ireland Aranduka Akademiko Rehegua

Vicereines of Ireland ha'e peteĩ aranduka akademiko oñe'ẽva peteĩ atyha kuñanguéra ndojehechakuaáiva Irlanda rembiasakuépe rehegua. Ko diseño ombyaty umi kuña rekoha material rehetáva ha avei ohechauka umi mba'e ojapohaguéva rekove yvypóra. Umi sa'y ojeporúva ojehupyty umi pintura peti pytãngy rehegua opytáva umi kuña peteĩva ipaleta-pe. Umi kuatiañe'ẽ apy oñemongu'e peteĩ kuaderno márbol italiano tuja guive, ha ojejapo peteĩ téknika marmolado tradicional "spot" oje'ehávape ojepuruhague upe rire téknika digital reko. Peteĩ mo'ãha óro oñemoĩ upe kapa hatãpe upe ta'ãnga kapa gotyo, ha upéicha upe kuña ojehechaukáva osẽ porãve tenondeguávo.

Jeguerohory

A' Design Award Fiero Rehegua

Vicereines of Ireland Aranduka Akademiko ohupyty A' Design Award Fiero, peteĩ ñehechakuaa prestigioso oñeme'ẽva diseño iporã-pe ohupytýva requisito profesional ha industrial oñeha'ãrõva creación iporã oñemoĩva-gui. Umi ganador Fiero ohechauka habilidad guasu, especialización yvate, comprensión experta ha capacidad creativa umi creador rehegua. Oñeha'ãrõ Vicereines of Ireland Aranduka Akademiko ha'eha creación ojehayhúva, admirada ha estimada, práctica ha innovadora. Ko diseño ohupytýva A' Design Award Fiero ombojoaju mejor práctica industria rehegua ha oguereko característica técnica competente ojoajúva conocimiento ha talento ndive. Vicereines of Ireland Aranduka Akademiko oñerespeta hembiapo cuidadoso rupi ha oñemoĩ ome'ẽ hag̃ua mejora calidad de vida rehegua oipytyvõva yvy ape iporãve hag̃ua.

Diseño Rapykuéri

Marandu Aty

Diseñador ome'ẽva'ekue crédito, aty pegua ha mba'e técnico.

Mba'e Iñambuéva: Aim of the design was to capture rich material world, and also to reflect these women's humanity. The choice of a simple cover rather than grand portrait, that mainly appear on the covers of art history books, reflects this approach. The gilded frame that usually surrounds many portraits is placed not around the portrait image but behind it, on the hard cover, allowing the image of the woman to come forward. It encourages reader to look beyond the superficial image of women as decorative partners to powerful men.
Tuichakue ha Ñemyenyhẽ: Size:
21.46 x 2.79 x 24.51 cm portrait,
Cover:
Hardcover with Luxor 220 Gold foil block on the front and spine
Dust jacket with Matt Black foil block on the front and spine,
Printed: 4/4 CMYK,
Binding:
Hardcover, head and tail gold bands, 2.5 mm boards, thread sewn,
Black silk ribbon,
Repro:
Images supplied digitally, image and colour corrections,
One set of digital colour proofs
Ñe'ẽ Rape: book, irishdesign, irishculture,
Ñeapopy Tecnología: The making of the book was a dialogue between the written content, the visual material discovered during the research, and current design practices. One of the key sources used in the writing of the book was an old Italian marbled notebook that belonged to one of the women. This inspired the creation of artwork for the book's end papers. The book's colour palette was sent to an artist, who created six bespoke patterns using a traditional spot marbling technique. After selecting the most suitable, the pattern was digitally manipulated to give this traditional pattern a contemporary look.
Diseño Jepy'apy: As an academic book, there were specific design conventions which had to be followed. The challenge was to strike a balance between meeting these criteria and reflecting the seriousness of the book's content, while also pushing the creative boundaries to modernise the image of the art history book. A bold colour palette, unexpected cover image (and application of it), use of a ribbon bookmark inspired by the diaries of the vicereines and the choice of contemporary serif typography all helped to overcome this challenge.
Ñesẽheka: The research for the design grew out of several years of original research for the book. This research was carried out in public and private archives across Ireland, Britain and the USA, and attracted funding from bodies including the Paul Mellon Centre for Studies in British Art. The main sources were the letters and diaries of these women, as well as their private collections of textiles, sketches and personal objects. One of the most inspiring of these objects was the paint palette of one of the women featured in the book. The book's colour scheme was taken from the blush pink paint colours that have survived on the palette since the 1780s.
Inspiración: The book tells the untold story of a group of overlooked women in Irish history. As the wives of the countrys rulers, they were the female faces of the British administration in Ireland before independence. Even though their privileged world was one of shimmering fabrics, sparkling pearls and blossoming flowers, many of these women worked hard to relieve crushing poverty, promote Irish fashion and mitigate injustices. Despite their pioneering efforts, they have long been almost entirely forgotten in Irish history. Their story, and the value of telling it for the first time, inspired the project.
Proyecto Ára Tuichakue: Project started in 2019 and was finished in 2021 in Dublin, Ireland.
Aty Rembiguái: Editor: Myles Campbell
Project Manager: Mary Heffernan
Publisher: Irish Academic Press
Printed: Kopa Print
Ta'ãnga Mba'eñemoneĩ: Image #1 Unknown artist, The Right Hon. The Countess of Buckinghamshire (detail), 1778. Reproduced courtesy of the National Library of Ireland
Image #2 Ausra Lazauskiene, Marbling artist
Image #4 Robert French (photographed by), The vicereine’s boudoir at the Viceregal Lodge, Dublin, Reproduced courtesy of the National Library of Ireland.
Image #5 After Sir Thomas Lawrence, Lady Henrietta Cole, Lady Grantham, later Countess de Grey, National Trust, Florence Court, County Fermanagh
Henri Gascar, Frances Talbot (née Jennings), Duchess of Tyrconnell, Bridgeman Images.
Maria Phipps, Countess of Mulgrave, later Marchioness of Normanby
Montego Bay, Jamaica, Photograph by Scott Wicking, reproduced courtesy of the Marquis and Marchioness of Normanby.

Photographer: Kevin Fox, 'We Shoot'