Vicereines of Ireland Kev Ua Haujlwm Tseem Ceeb: Ntawv Kawm Qib Siab los ntawm Jurga Rakauskaite-Larkin

Qhov qauv tsim Vicereines of Ireland Kev Ua Haujlwm Tseem Ceeb: Ntawv Kawm Qib Siab los ntawm Jurga Rakauskaite-Larkin yog tus yeej muaj nqis heev ntawm qhov khoom plig 2022 A' Design Award Hlau hauv Pawg Sib Tw Tsim Xov Xwm Luam Tawm thiab Xov Xwm Tshaj Tawm.

HlauLuam Tawm· 2022

Vicereines of Ireland Kev Ua Haujlwm Tseem Ceeb: Ntawv Kawm Qib Siab

los ntawm Jurga Rakauskaite-Larkin

Tus Neeg Siv: The Office of Public Works

Tus Yeej A' Design Award Hlau hauv Pawg Luam Tawm

13,417

Tus Yeej Khoom Plig Tau Txheeb Xyuas

Txheeb Xyuas Qhov Xwm Txheej Khoom Plig rau #135430

Saib ntawm A' Design Award Tsab Xov Xwm Daim Phiaj Khoom Plig

Xim

Qhov Tsim

Txog Vicereines of Ireland Kev Ua Haujlwm Tseem Ceeb: Ntawv Kawm Qib Siab

Cov Ntawv Hauv Phau Ntawv: Vicereines of Ireland yog ib phau ntawv kawm qib siab hais txog ib pab pawg poj niam uas tau raug tsis quav ntsej hauv keeb kwm tebchaws Ireland. Tus qauv tsim khoom qhia txog lub ntiaj teub khoom siv uas nplua nuj ntawm cov poj niam no thiab qhia txog kev ua neej ntawm lawv cov kev coj ua. Cov xim tau siv los ntawm cov xim liab ntxhab uas tseem tshuav nyob rau hauv lub phaj xim ntawm ib tug ntawm cov poj niam no. Cov ntawv qub ntawm phau ntawv tau siv tswv yim los ntawm ib phau ntawv qub Italy uas muaj cov qauv zoo li pob zeb marble, thiab tau ua los ntawm txoj kev qub kev tsim qauv "spot marbling" uas tom qab ntawd tau hloov ua qauv digital. Ib lub kob kub tau txiav ua ke rau ntawm daim ntawv nyeem tawv nyob tom qab daim duab qhia ntawm phau ntawv, ua rau tus poj niam uas qhia tawm los pom tshwm sib rau saum ntej.

Qhov Lees Paub

Txog A' Design Award Hlau

Vicereines of Ireland Kev Ua Haujlwm Tseem Ceeb: Ntawv Kawm Qib Siab yog tus yeej ntawm A' Design Award Hlau, ib qho kev lees paub muaj meej mom uas muab rau cov qauv tsim zoo uas ua tau raws li cov kev xav tau ntawm kev ua haujlwm thiab kev lag luam uas xav tau los ntawm cov khoom tsim zoo. Cov neeg yeej Hlau qhia txog kev txawj loj, kev paub tshwj xeeb siab, kev nkag siab ntawm cov kws tshaj lij thiab lub peev xwm tsim ntawm cov neeg tsim. Vicereines of Ireland Kev Ua Haujlwm Tseem Ceeb: Ntawv Kawm Qib Siab xav tias yuav yog ib qho khoom tsim uas neeg hwm, qhuas thiab hlub uas siv tau thiab tsim tshiab. Cov qauv tsim yeej A' Design Award Hlau no sib xyaw cov kev coj ua zoo tshaj plaws ntawm kev lag luam thiab muaj cov yam ntxwv siv tshuab txawj ntse txuas nrog kev paub thiab txuj ci. Vicereines of Ireland Kev Ua Haujlwm Tseem Ceeb: Ntawv Kawm Qib Siab tau txais kev hwm vim nws tag nrho thiab tsim los muab kev txhim kho rau lub neej uas pab ua rau lub ntiaj teb zoo dua.

Tom Qab Qhov Tsim

Pob Xov Xwm

Cov credit, cov neeg pab thiab cov ntsiab lus kev txawj ntse muab los ntawm tus tsim.

Yam Tshwj Xeeb: 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.
Qhov Loj & Ntim: 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
Cov Ntsiab Lus: book, irishdesign, irishculture,
Thev Naus Laus Zis Tsim Khoom: 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.
Kev Sib Tw Tsim Qauv: 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.
Kev Tshawb Fawb: 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.
Kev Txhawb Siab: 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.
Lub Sij Hawm Ua Hauj Lwm: Project started in 2019 and was finished in 2021 in Dublin, Ireland.
Cov Tswv Cuab Pab: Editor: Myles Campbell
Project Manager: Mary Heffernan
Publisher: Irish Academic Press
Printed: Kopa Print
Kev Qhuas Duab: 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'