Jurga Rakauskaite-Larkin ᱨᱮᱱᱟᱜ Vicereines of Ireland Primary Function: ᱮᱠᱮᱰᱮᱢᱤᱠ ᱪᱚᱯᱟᱵ ᱫᱚ ᱪᱷᱟᱯᱟ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2022 A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱞᱚᱦᱟᱪᱷᱟᱯᱟ· 2022
Vicereines of Ireland Primary Function: ᱮᱠᱮᱰᱮᱢᱤᱠ ᱪᱚᱯᱟᱵ
Jurga Rakauskaite-Larkin ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: The Office of Public Works
ᱪᱷᱟᱯᱟ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#135430 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Vicereines of Ireland Primary Function: ᱮᱠᱮᱰᱮᱢᱤᱠ ᱪᱚᱯᱟᱵ ᱵᱟᱵᱚᱛ ᱛᱮ
Book Text: ᱭᱟᱭᱥᱨᱮᱭᱤᱱᱥ ᱚᱸᱭ ᱟᱭᱨᱞᱮᱸᱰ ᱢᱮᱱᱛᱮ ᱢᱤᱫ ᱪᱚᱯᱟᱵ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱟᱭᱨᱤᱥ ᱤᱛᱤᱦᱟᱥ ᱨᱮ ᱵᱟᱝ ᱧᱮᱞ ᱠᱟᱱ ᱠᱩᱲᱤ ᱠᱳᱨᱟᱝ ᱫᱚ ᱵᱟᱵᱚᱛ ᱠᱟᱱᱟ ᱾ ᱰᱤᱡᱟᱭᱤᱱ ᱫᱚ ᱱᱚᱶᱟ ᱠᱩᱲᱤ ᱠᱳᱨᱮᱱ ᱴᱷᱮᱱ ᱚᱵᱚᱛ ᱫᱩᱱᱤᱭᱟᱹ ᱠᱮ ᱫᱷᱟᱨᱚᱶ ᱠᱟᱛᱮ ᱮᱢ ᱠᱟᱛᱮᱭᱟ ᱟᱨ ᱟᱲᱟᱝ ᱨᱮᱱᱟᱜ ᱢᱟᱱᱟᱣ ᱠᱟᱹᱢᱤ ᱠᱚ ᱠᱚᱶ ᱩᱫᱩᱜ ᱠᱟᱛᱮᱭᱟ ᱾ ᱨᱚᱝ ᱚᱲᱟᱜ ᱫᱚ ᱵᱞᱟᱥ ᱯᱤᱝᱠ ᱨᱚᱝ ᱨᱮᱱᱟᱜ ᱨᱚᱝ ᱠᱷᱚᱱ ᱤᱫᱤ ᱟᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱢᱤᱫ ᱠᱩᱲᱤ ᱨᱮᱱᱟᱜ ᱨᱚᱝ ᱯᱟᱞᱮᱴ ᱨᱮ ᱟᱠᱟᱱ ᱛᱟᱦᱮᱸ ᱟᱠᱟᱫᱟ ᱾ ᱮᱸᱰ ᱯᱮᱯᱚᱨ ᱠᱚ ᱫᱚ ᱢᱤᱫ ᱢᱟᱨᱟᱝ ᱤᱴᱟᱞᱤᱭᱟᱱ ᱢᱟᱨᱵᱮᱞᱰ ᱱᱳᱴᱵᱩᱠ ᱠᱷᱚᱱ ᱚᱛᱟᱭ ᱟᱠᱟᱱᱟ ᱟᱨ ᱚᱱᱟ ᱫᱚ ᱯᱟᱨᱚᱢᱯᱟᱨᱤᱠ ᱥᱯᱚᱴ ᱢᱟᱨᱵᱞᱤᱝ ᱴᱮᱠᱱᱤᱠ ᱠᱟᱛᱮ ᱛᱮᱭᱟᱨ ᱟᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱛᱟᱭᱚᱢ ᱰᱤᱡᱤᱴᱟᱞ ᱛᱚᱭᱚᱢ ᱠᱟᱛᱮ ᱵᱚᱫᱚᱞ ᱮᱱᱟ ᱾ ᱢᱤᱫ ᱥᱚᱱᱟ ᱯᱳᱭᱞ ᱯᱷᱨᱮᱢ ᱫᱚ ᱠᱚᱵᱷᱟᱨ ᱤᱢᱮᱡ ᱚᱛᱟᱭ ᱨᱮ ᱦᱟᱰᱠᱚᱵᱷᱟᱨ ᱨᱮ ᱵᱞᱚᱠ ᱟᱠᱟᱱᱟ, ᱚᱱᱟᱛᱮ ᱫᱮᱠᱷᱟᱣ ᱟᱠᱟᱱ ᱠᱩᱲᱤ ᱫᱚ ᱞᱟᱦᱟ ᱥᱮᱫ ᱮᱛᱦᱚᱵ ᱠᱟᱱᱟ ᱾
ᱢᱟᱱᱟᱱ
A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Vicereines of Ireland Primary Function: ᱮᱠᱮᱰᱮᱢᱤᱠ ᱪᱚᱯᱟᱵ ᱫᱚ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Vicereines of Ireland Primary Function: ᱮᱠᱮᱰᱮᱢᱤᱠ ᱪᱚᱯᱟᱵ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- 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.
- ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- 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 - ᱴᱮᱜ ᱠᱚ
- book, irishdesign, irishculture,
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- 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.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- 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.
- ᱜᱚᱵᱮᱥᱚᱱᱟ
- 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.
- ᱯᱨᱮᱨᱚᱱᱟ
- 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.
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- Project started in 2019 and was finished in 2021 in Dublin, Ireland.
- ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ
- Editor: Myles Campbell
Project Manager: Mary Heffernan
Publisher: Irish Academic Press
Printed: Kopa Print - ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- 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'
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