Urszula Giren طرفان The Birth of a Book ڪتاب

Urszula Giren طرفان The Birth of a Book ڪتاب انتهائي معتبر 2020 A' Design Award سون انعام جو فاتح آهي ڇپائي ۽ شايع ٿيل ميڊيا ڊيزائن مقابلي جي درجي ۾.

سونڇپائي· 2020

The Birth of a Book ڪتاب

Urszula Giren طرفان

ڪلائنٽ: Urszula Gireń

ڇپائي درجي ۾ A' Design Award سون انعام فاتح

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تصديق ٿيل ايوارڊ فاتح

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سائيٽ ڏسو A' Design Award تي ڏسو پريس رليز ايوارڊ بيج

رنگ

ڊزائن

The Birth of a Book ڪتاب بابت

هڪ ڪتاب جو جنم 16هين صديءَ جي پولينڊ ۾ ڪتاب ڊيزائن بابت هڪ ڇپيل اشاعت آهي. هي ڪتاب پراڻن ڇاپن کي اصل سائيز ۾ پيش ڪري ٿو، ته جيئن پڙهندڙ اصل فارميٽ ڏسي سگهن. ڪتاب جو دُھول وارو ڪَوَر (ڊسٽ جيڪٽ) پراڻي آڪٽيوو فارميٽ لاءِ استعمال ٿيندڙ امپوزيشن (صفحن جي ترتيب) جو طريقو ڏيکاري ٿو. هڪ ربن بُڪ مارڪ فوليو، ڪوارٽو ۽ آڪٽيوو ڪتابن جي اوچاين کي نشانبر ڪري ٿو. عنوان وارن صفحن تي وُڊڪٽ (ڪاٺ جي اُڪر) رنگن جي اُبتڙ ترتيب (ڪلر انورشن) ۾ ڇپيل آهن، جيڪي ڪاري مس سان ڍڪيل ميٽرڪس جي ياد ڏيارين ٿيون. ڪتاب جو فارميٽ 256 × 320 ملي ميٽر آهي، جنهن ۾ 560 صفحا ۽ لڳ ڀڳ 1200 تصويرون شامل آهن. هن جو مقصد ريناسانس (نئين سجاڳي) واري دور جي ڇپائيءَ جي طريقن کي وسيع پڙهندڙن تائين سمجهائڻ آهي.

سڃاڻپ

A' Design Award سون انعام بابت

The Birth of a Book ڪتاب A' Design Award سون انعام جو کٽيندڙ آهي، انتهائي معزز اعتراف جيڪو پهرين درجي جي، شاندار ۽ نمايان ڊيزائنن کي ڏنو وڃي ٿو. سون جا کٽيندڙ انتهائي جدت واريون، تمام گهڻي بصيرت واريون ۽ شاندار طرح اکيون خيره ڪندڙ تخليقون آهن، جيڪي پنهنجي ڊيزائنرن جي عبقريت، حڪمت ۽ مهارت جي عڪاسي ڪن ٿيون. The Birth of a Book ڪتاب کان اميد ڪئي وڃي ٿي ته اهو هڪ تمام گهڻو ساراهيل، رجحان ساز ۽ يادگار ايجاد هوندو جيڪو بي مثال قدر پيش ڪري ٿو. هي ڊيزائن جنهن A' Design Award سون انعام کٽيو آهي، هڪ شاندار، محترم منصوبو آهي جيڪو فن، سائنس، ڊيزائن ۽ ٽيڪنالاجي جون حدون تمام گهڻي فائدي سان وڌائي ٿو. The Birth of a Book ڪتاب شديد خواهش جا جذبا پيدا ڪري ٿو، جوش جاڳائي ٿو، تخليقيت کي همٿائي ٿو ۽ اسان کي مسحور ڪري ٿو.

ڊزائن جي پسمنظر

پريس ڪِٽ

ڊزائنر طرفان فراهم ڪيل ڪريڊٽس، ٽيم ميمبرز ۽ ٽيڪنيڪل تفصيلات.

منفرد خاصيتون: 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.
ماپ ۽ پيڪيجنگ: 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.
ٽيگ: renaissance book, first roman typefaces, old prints, typography
پيداواري ٽيڪنالاجي: 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
ڊزائين چيلينج: 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.
تحقيق: 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.
الهام: 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.
منصوبي جو عرصو: The project started in May 2017 in Bialystok and finished in February 2019 in Katowice, Poland
عمل جو فلو: 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.
تصوير ڪريڊٽ: Urszula Gireń / 2019