The Birth of a Book Akwụkwọ nke Urszula Giren

Ihe emepụtara bụ The Birth of a Book Akwụkwọ nke Urszula Giren bụ onye meriri a na-asọpụrụ nke ukwuu nke 2020 Ihe Nrite A' Design Award nke Ọlaedo na Udi Asọmpi Nhazi Mbipụta na Mgbasa Ozi Ebipụtara.

ỌlaedoMbipụta· 2020

The Birth of a Book Akwụkwọ

nke Urszula Giren

Onye Ahịa: Urszula Gireń

Onye Meriri Ihe Nrite A' Design Award nke Ọlaedo na Udi Mbipụta

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #97144

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka The Birth of a Book Akwụkwọ

Ọmụmụ nke Akwụkwọ bụ mbipụta e biri ebi gbasara nhazi akwụkwọ na Poland n'ọgba afọ nke 16. Akwụkwọ a na-egosi ihe mbipụta ochie n'ogo ha n'ezie, ka ndị na-agụ nwee ike ịhụ ụdị ha mbụ. Uwe mkpuchi akwụkwọ ahụ na-egosi usoro ndozi peeji e jiri mee ụdị octavo ochie. Eriri akara peeji na-egosi ịdị elu nke akwụkwọ folio, quarto na octavo. E biri ihe osise a kpụrụ n'osisi ndị dị na peeji aha n'ụdị ntụgharị agba, na-echetara ihe nkpuru e ji inki ojii kpuchie. Ogo ya bụ milimita 256 site na 320, nwee peeji 560 na ihe dị ka ihe osise 1200. Ebumnobi ya bụ ịkọwara ọtụtụ ndị na-agụ akwụkwọ usoro obibi akwụkwọ nke oge Renaissance.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaedo

The Birth of a Book Akwụkwọ meriri A' Design Award nke Ọlaedo, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa mbụ, dị ịtụnanya ma pụtara ìhè. Ndị meriri na Ọlaedo bụ ihe e kere eke dị oke ọhụrụ, nwere ọhụụ ma na-egbu maramara nke na-egosipụta ọgụgụ isi, amamihe na nka nke ndị designer ha. A na-atụ anya na The Birth of a Book Akwụkwọ ga-abụ ihe e mepụtara kacha enweta otuto, na-edu ọnọdụ ma bụrụ ihe ncheta nke na-enye uru na-adịbeghị mgbe ọ bụla. Design a meriri A' Design Award nke Ọlaedo bụ ọrụ dị ebube, a na-asọpụrụ nke na-erite uru buru ibu ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. The Birth of a Book Akwụkwọ na-eweta mmetụta ọchịchọ siri ike, na-akpali agụụ, na-akwado nzụlite ihe ma na-adọrọ anyị adọrọ.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: 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.
Nha & Mkpuchi: 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.
Mkpado: renaissance book, first roman typefaces, old prints, typography
Teknụzụ Mmepụta: 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
Ịma Aka Imepụta: 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.
Nchọpụta: 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.
Mkpali: 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.
Oge Ọrụ: The project started in May 2017 in Bialystok and finished in February 2019 in Katowice, Poland
Usoro Ọrụ: 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.
Asụsụ Foto: Urszula Gireń / 2019