The Birth of a Book کتاب by Urszula Giren

The Birth of a Book کتاب by Urszula Giren is a highly esteemed winner of the very prestigious 2020 A' Design Award سنہری انعام in پرنٹ اور شائع شدہ میڈیا ڈیزائن Competition Category.

سوناپرنٹ· 2020

The Birth of a Book کتاب

by Urszula Giren

Client: Urszula Gireń

A' Design Award سنہری انعام Winner in پرنٹ Category

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Colors

The Design

About The Birth of a Book کتاب

"دی برتھ آف اے بک" (کتاب کی پیدائش) ایک مطبوعہ اشاعت ہے جو سولہویں صدی کے پولینڈ میں کتاب کے ڈیزائن کے بارے میں ہے۔ یہ کتاب قدیم مطبوعات کو ان کے اصل حجم میں پیش کرتی ہے، تاکہ قارئین اصل فارمیٹ دیکھ سکیں۔ اس کا ڈسٹ جیکٹ اُس امپوزیشن طریقے کو ظاہر کرتا ہے جو قدیم آکٹاوو فارمیٹ کے لیے استعمال ہوتا تھا۔ ایک ریشمی نشان (ربن بک مارک) فولیو، کوارٹو اور آکٹاوو کتابوں کی بلندیوں کو ظاہر کرتا ہے۔ سرورق کے صفحات پر لکڑی کے نقوش (ووڈکٹ) رنگوں کی معکوسیت میں چھاپے گئے ہیں، جو سیاہ روشنائی سے ڈھکے ہوئے میٹرکس کی یاد دلاتے ہیں۔ اس کا فارمیٹ 256 ضرب 320 ملی میٹر ہے، جس میں 560 صفحات اور تقریباً 1200 تصاویر شامل ہیں۔ اس کا مقصد نشاطِ ثانیہ (رینیسانس) دور کے طریقہ ہائے طباعت کو وسیع قارئین کے لیے سمجھانا ہے۔

The Recognition

About the A' Design Award سنہری انعام

The Birth of a Book کتاب A' Design Award سنہری انعام کا فاتح ہے، جو اول درجے کے شاندار اور ممتاز ڈیزائنز کو دیا جانے والا انتہائی باوقار اعتراف ہے۔ سنہری انعام کے فاتحین انتہائی جدید، دور اندیش اور چکاچوند کر دینے والی تخلیقات ہیں جو اپنے ڈیزائنرز کی ذہانت، حکمت اور مہارت کی عکاسی کرتی ہیں۔ The Birth of a Book کتاب سے توقع کی جاتی ہے کہ وہ ایک انتہائی سراہی جانے والی، رجحان ساز اور یادگار ایجاد ہوگا جو بے مثال قدر فراہم کرتی ہے۔ A' Design Award سنہری انعام جیتنے والا یہ ڈیزائن ایک شاندار، معزز منصوبہ ہے جو بے حد فائدہ مند ہے اور فن، سائنس، ڈیزائن اور ٹیکنالوجی کی حدود کو آگے بڑھاتا ہے۔ The Birth of a Book کتاب خواہش کے شدید احساسات پیدا کرتا ہے، جذبہ ابھارتا ہے، تخلیقی صلاحیت کی حوصلہ افزائی کرتا ہے اور ہمیں فریفتہ کرتا ہے۔

Behind the Design

Press Kit

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

Unique Properties: 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.
Dimensions & Packaging: 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.
Tags: renaissance book, first roman typefaces, old prints, typography
Production Technology: 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
Design Challenge: 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.
Research: 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.
Inspiration: 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.
Project Duration: The project started in May 2017 in Bialystok and finished in February 2019 in Katowice, Poland
Operation Flow: 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.
Image Credits: Urszula Gireń / 2019