Catalogue of Incunabula 카탈로그 by Aleksandra Toborowicz

Catalogue of Incunabula 카탈로그 by Aleksandra Toborowicz is a highly esteemed winner of the very prestigious 2021 A' Design Award 은상 in 인쇄 및 출판 미디어 디자인 Competition Category.

은인쇄· 2021

Catalogue of Incunabula 카탈로그

by Aleksandra Toborowicz

Client: National Library of Poland / Biblioteka Narodowa

A' Design Award 은상 Winner in 인쇄 Category

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Colors

The Design

About Catalogue of Incunabula 카탈로그

『인큐나불라 카탈로그』는 폴란드 국립도서관이 소장한 15세기 인쇄본 컬렉션을 기록한 두 권짜리 도서입니다. 디자인은 초기 르네상스 시대의 인쇄술과 타이포그래피 양식을 참조하였습니다. 큰 이니셜(장식 첫 글자)이 주된 시각적 주제를 이루며, 표지 제목은 2색 활판 인쇄로 구현되었습니다. 표지에는 르네상스 그리드가 무색 음각(블라인드 디보싱)으로 새겨져 있습니다. 본문은 올드스타일 세리프 서체인 Adobe Jenson Pro로 조판되었습니다. 표지 용지는 면으로 제작되어 거친 질감을 지닙니다. 실제본 방식을 적용해 두꺼운 책도 쉽게 펼쳐 읽을 수 있습니다.

The Recognition

About the A' Design Award 은상

Catalogue of Incunabula 카탈로그, 이 작품은 A' Design Award 은상 수상작으로, 최상급이며 아름답고 인상적인 디자인에 수여되는 비범하게 권위 있는 인정입니다. 은상 수상작은 대단히 뛰어나고 매우 창의적인 작품으로, 디자이너의 탁월한 전문 지식, 재능, 통찰력을 보여 줍니다. Catalogue of Incunabula 카탈로그, 이 작품은 훌륭한 대표작으로서 매우 전문적이고 깊이 있게 혁신적일 것으로 기대됩니다. 이 은상 수상 디자인은 예술, 과학, 디자인, 기술의 경계를 넓히는 데 이바지하는 주목할 만하고 찬사를 받는 발명품입니다. Catalogue of Incunabula 카탈로그, 이 작품은 모두가 부러워하는 창작물로서 욕망을 일깨우고 긍정적인 감정을 불러오며 경탄과 경이로움을 불러일으킵니다.

Behind the Design

Press Kit

Credits, team members and technical details provided by the designer.

Unique Properties: The idea of the project refers to the style of the first Renaissance prints and typography - both in the selection of materials: elegant, hand-made cover paper and inside pages, by referring to the typography – large initials, which are the leitmotif of the project, as well as the technique of two-color typographic printing in the title of the cover. The subtle blind debossing of the Renaissance grid adds elegance to the design and strengthens historical references. An oldstyle and serif Adobe Jenson Pro font used in publication also refers to the first text face cut in Venice by Nicolas Jenson around 1470. The burgundy color of the elements organizing the publication (initials debossed on the covers and main inserts) and the accents (highlighting the most important sections, footnotes, references to footnotes) strongly contrast with the black of the body of the text. The paper used for the cover production – Arches White 400 g/m2 – is the highest quality product made of 100% cotton. Thanks to traditional production methods, the paper has a rough and harmonious texture, similar to hand-made paper. The typographic layout also refers to historical solutions from the times of incunabula.
Dimensions & Packaging: binding: sewn-glued binding (otabind)
format: 168 x 240 mm
number of pages: 1080 (vol. 1: 704, vol. 2: 392)
printed by: Marceli Sp. z o.o., Warszawa
circulation: 250
Tags: catalogue, incunabula, publication, book, old-style, initials, typography, Renaissance, blind deboss, letterpress, renaissance grid,
Production Technology: cover: Arches White 400 g/m2; dry embossing – lines, title text – typographic printing
cover print: 2+1
printed on: Munken Premium Cream 1.3, 90 g/m2
inside print: 2+2 (czarny + Pantone 199 U)
red threads
typefaces: Adobe Jenson Pro, Incunables
Design Challenge: The biggest challenge was to design the layout – a complex, specialized and multi-part hierarchy and typographic layout, as well as a very voluminous text material while limiting the page limit.
Research: The Catalogue of Incunabula in the National Library of Poland continues the tradition of research into the oldest surviving examples of printing, begun by Kazimierz Piekarski before the Second World War. It was compiled by Michał Spandowski in collaboration with Slawomir Szyller. Descriptions of the bindings are by Maria Brynda. The National Library of Poland has a cooperation agreement with the Berlin State Library dating from 2011, thanks to which the Catalogue has been reviewed by Dr Falk Eisermann, head of the Gesamtkatalog der Wiegendrucke (Union Catalogue of Incunabula) in Berlin, whose division is the leading body dealing with the global bibliography of fifteenth-century prints. Paul Schweitzer-Martin, expert in incunabula at the University of Heidelberg, helped produce the English version. It was decided to publish in English due to the international nature of research in this field and so that the Catalogue would reach a wider audience.

The Catalogue describes incunabula from a number of important historical collections, including the famous Biblioteka Ordynacji Zamojskiej (Count Zamoyski Family Library) and the Count Tarnowski Family Library in Dzikow. It includes descriptions of objects saved from the pre-War collection of the National Library, almost completely destroyed following the Warsaw Uprising. The Catalogue further adds to our bibliographic knowledge of fifteenth-century printing by presenting a number of unique items not covered in the existing literature. It also contains specialised descriptions of the medieval manuscripts that are bound together with the incunabula, and selected post-incunabula.

The second volume of the Catalogue contains a number of research tools making it easier to use the over 1,000 individual descriptions in the first volume. In addition, two provenance indexes provide extensive information on the former owners of the incunabula, with individual owners listed separately from institutions such as libraries, monasteries and churches.
Inspiration: The two-volume "Catalogue of Incunabula in the National Library of Poland" presents the collection of 15th-century prints held by the BNP, the sixth-largest such collection in Poland (1,131 copies of 1,034 printed editions). Perhaps the greatest achievement of this tradition so far was the publication of the central catalogue of all incunabula in Poland; now it is the turn of the collection of the National Library, presented here in great detail.
The idea of the project refers to the style of the first Renaissance prints and typography.
Project Duration: year: 2019–2020, Kraków–Warszawa
Operation Flow: The publication, which consists of many pages, was prepared in the otabind binding technique, which allows for easy opening of the book and makes it easier to read.
Team Members: Design: Aleksandra Toborowicz
Typesetting: Katarzyna Niewczas
Project manager: Monika Michowicz