The Birth of a Book Bók eftir Urszula Giren

Hönnunarverkið The Birth of a Book Bók eftir Urszula Giren er hávirt verðlaunaverk sem hlaut hin virtu 2020 A' Design Award í gulli verðlaun í keppnisflokknum Hönnun prentaðra og útgefinna miðla.

GullPrentun· 2020

The Birth of a Book Bók

eftir Urszula Giren

Viðskiptavinur: Urszula Gireń

Handhafi A' Design Award í gulli í flokknum Prentun

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Heimsækja vefsíðu Skoða hjá A' Design Award Fréttatilkynning Verðlaunamerki

Litir

Hönnunin

Um The Birth of a Book Bók

Fæðing bókar er prentað rit um bókahönnun í Póllandi á 16. öld. Bókin sýnir gamlar prentanir í raunstærð svo lesendur geti séð upprunalegu sniðin. Kápan sýnir umbrotsaðferðina sem notuð var fyrir gamla oktavósniðið. Lesborði merkir hæð fólíó-, kvartó- og oktavóbóka. Trérista á titilsíðum er prentuð með umsnúnum litum sem minnir á prentmót þakin svörtu bleki. Sniðið er 256 sinnum 320 millimetrar, með 560 blaðsíðum og um 1200 myndskreytingum. Markmiðið er að útskýra prentaðferðir endurreisnartímans fyrir breiðum lesendahópi.

Viðurkenningin

Um A' Design Award í gulli

The Birth of a Book Bók vann A' Design Award í gulli, óendanlega virta viðurkenningu sem veitt er fyrsta flokks, dásamlegum og framúrskarandi hönnunarverkum. Sigurvegarar í gulli eru afar nýstárleg, framsýn og töfrandi glæsileg sköpunarverk sem endurspegla snilld, visku og hæfni hönnuða sinna. Þess er vænst að The Birth of a Book Bók sé mjög lofuð, brautryðjandi og stórfengleg uppfinning sem skilar fordæmislausu virði. Þetta hönnunarverk sem vann A' Design Award í gulli er stórbrotið, virt verkefni sem gagnast mörkum listar, vísinda, hönnunar og tækni mjög vel og færir þau fram á við. The Birth of a Book Bók skapar sterkar þráartilfinningar, vekur ástríðu, hvetur til sköpunar og heillar okkur.

Á bak við hönnunina

Fjölmiðlapakki

Heimildir, hópmeðlimir og tæknilegar upplýsingar frá hönnuðinum.

Einstakar eiginleikar: 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.
Stærðir og umbúðir: 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.
Merki: renaissance book, first roman typefaces, old prints, typography
Framleiðslutækni: 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
Hönnunaráskorun: 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.
Rannsóknir: 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.
Innblástur: 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.
Lengd verkefnis: The project started in May 2017 in Bialystok and finished in February 2019 in Katowice, Poland
Verkflæði: 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.
Myndheimildir: Urszula Gireń / 2019