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Thoughts on the overall design of book binding

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foreword

Books are graphic crops carved, copied, printed or reflected on some media.

Binding design refers to the overall design from manuscript to book. Prepare paper, printing, binding, material format, font, layout, illustration, cover, protective cover and art design in advance.

Book binding design refers to the overall design of books, including book external binding design and text layout design. The external binding design of books includes the selection of book layout, the determination of structural style, and the artistic design of book cover, protective cover, ring lining, main title page and insert. The layout design of the book text includes the layout design of the book block, the selection of words, the determination of the core, the layout of the text and the layout of the pictures and texts. Book binding is actually a comprehensive art of spreading visual art, printing art, graphic design, editing design and desktop publishing.

Whenever people talk about book binding design, they often naturally use cover design instead. Therefore, in actual design, the overall design is rarely combined with the contents of books. Indeed, the appearance and binding of books are eye-catching and can stimulate readers' strong desire to buy, so designers exaggerate the relationship between content and form in design and blindly pursue the commercialization of cover. However, in the final analysis, the art of book binding is attached to the content of books and serves the text. Clothing is to fit. The ancients said, "Too much is too late", and the excessive packaging of books fundamentally obscured the essence of books and lost their true colors.

No matter how the book itself is expressed, it must obey the spiritual connotation of the book and the overall effect of binding, and can't play it alone. The whole of a book is not covered by an envelope, a cover and a ring lining.

1. The cover is the key to the overall design of the book.

Cover design is the facade of book binding design art, which reflects the contents of books through the form of artistic image design. In today's dazzling sea of books, the cover of books plays the role of silent salesman, and its quality will directly affect people's desire to buy to some extent.

1. 1 The cover is the appearance of the book.

The cover not only embodies the content and nature of the book, but also gives readers a beautiful enjoyment and protects the book. Cover design includes book title, editor's name, publisher's name, decorative image, color and composition. How to make the cover reflect the content, nature and genre of the book, and how to make the cover play the role of inducing people's psychology and enlightening people's thinking is the most important part in the cover design.

1.2 cover design modeling

Modeling should have obvious characteristics of readers' age and cultural level. For example, the image of children's books should be concrete, true and accurate, and the composition should be lively, especially informative and interesting; For young and middle-aged readers to the elderly, the image can gradually change from concrete to abstract, and the symbolic method should be adopted, and the composition can also change from lively form to serious and solemn form.

1.3 cover design color

Color is determined by the content of the book and the age and educational level of the reading object. Bright colors are mostly used in children's books; Calm and harmonious colors are suitable for middle-aged and elderly people to read materials; Colors between bright and gray are suitable for young people's reading materials.

From the analysis of cover design alone, design concept, positioning and formal beauty are an organic and inseparable whole of cover art performance. Books are the condensation of various cultures, and designers need to capture deeper meanings. In particular, it relates to the overall design of envelopes, protective seals and covers.

2. The spine is an important factor in the overall shape of books.

Although the spine of a book is small, it is the connection point between the front cover and the back cover. When this book stands on the shelf, it is presented to readers as a representative of the overall image of this book. Therefore, the spine is the link of the whole book design in artistic treatment. Whether it is placed on the bookshelves in the bookstore or in the bookcase in the living room, the spine of the book can first tell people what book it is, who wrote it and which publishing house published it. In the first visual impression, there is a touching and eye-catching appeal, which produces a subtle sound between the reader and the author, leaving a deep first impression on the reader, which is an important role. In recent years, the design of spine has begun to change. So, how to use its limited capacity? Different spines have different emotional appeal, and the round spine gives people a sincere and euphemistic impression; Strong sense of square ridge, with a solid and concise feeling. Different fonts have different functions, and different font forms and combinations play a unified and coordinated response. For example, boldness, song and amber can all play an irreplaceable role.

3. Layout is the core of the overall design of books.

With the development of book binding art, layout design has attracted people's attention to a certain extent, but compared with the cover, people pay much less attention to it. The text is the core of a book, and it is also the part that readers are most concerned about. Therefore, layout design is in an important position. How to design a beautiful layout is not enough for Art editor alone, but also requires the cooperation of text editors to make the content compact and easy to read, thus strengthening the communication between editors and readers.

The layout design has changed a lot, which provides designers with a broad world to play their creativity. In ancient China, the books published in the Song and Ming Dynasties were indeed exquisite in layout, but they were ancient books after all. As a study of book history, it is possible to understand the forms of historical traditions. After all, they are far from the appreciation habits of contemporary readers. In Europe in the middle and late19th century, in addition to professional book artists, painters, sculptors, architects, writers and poets began the revolution of book binding art, mainly focusing on layout design and extending to illustration art and cover design. At the beginning of the 20th century, Bauhaus in Weimar, Germany founded constructivism, which is a rational and logical art and has influenced many countries. Later, the birth of new objectivism became a milestone in modern book art, which emphasized the function of layout design and used appropriate forms to obtain the connection between form and content, and between author and reader. Now, the influence of this functional layout design is even greater than that of that year, especially in art albums, photography albums and professional books.

3. Center position design of1version

In layout design, the design of the central position is also very important. The editor's mentality directly affects the reading effect of readers. Maintain a moderate proportion between the center and the white edge around the center. If the white space is too large, it will affect the capacity of words. If it is too small, it will make people feel dull and depressed. Readers have to write eyebrows or feelings, and there is nowhere to put pen to paper, so it is difficult to find pleasure in reading. As a designer huh Kapal said, "White edges are good for reading, which can avoid layout confusion and help to stabilize the line of sight." This is the art of layout design, and the organic combination of this art and cover art constitutes the unity of book binding art. In this sense, layout plays an important role in the whole book binding art. A good cover design must have a matching layout to set off, otherwise it will lose its luster. As the saying goes, "good flowers need green leaves", and layout design plays this role in the overall binding.

3.2 the role of text design in layout design

The role of text design in layout design is irreplaceable by any other form. Judging from the four most commonly used printing fonts in China, the song style is dignified, vertical and thick, horizontal and thin, with moderate stroke density, which saves the least effort when reading and is suitable for text typesetting; Song typeface is beautiful, the strokes are meticulous, and the strokes are consistent in thickness, which is close to the fonts in China woodcut books. Generally speaking, books use it to print text, arrange footnotes and notes. The font of regular script is both rigid and flexible, smooth and close to handwritten font, showing a beautiful cultural feature. This kind of character is suitable for children's books. Bold characters are strong, uniform in thickness, extremely eye-catching, also known as square-headed characters, which are slightly larger than other fonts of the same size visually, so they are often used to make a fuss. Therefore, there is a certain relationship between fonts and books, and it cannot be rigidly stipulated. Therefore, to establish the relationship between fonts and the unique style of a book, we should not rely on fancy fonts, but rely on designers to have an artistic understanding and painstaking management of font selection and arrangement on the basis of understanding the characteristics of book content. As long as the fonts are arranged properly, just like the fonts on my next two pages, as long as the fonts are used reasonably, clear, orderly and lively writing effects can be produced.

3.3 Illustration design

Illustration is a kind of painting, but it is different from ordinary independent appreciation painting. It has relative independence and necessary subordination. Illustration should have certain painting conditions, not rely on words, but also express a certain theme from its image itself, and at the same time obey the original and become an auxiliary.

A book will have more than one illustration, so the relationship between illustrations is also a whole problem. As the title at the beginning of the article, the tail ornament at the end and the illustration in the middle of the text, we should handle the relationship between text and space well. The whole set of illustrations should have an overall design arrangement when conceived. From the cover, ring lining, title page to the illustrations at the end, as well as decorative patterns, all should run through the theme of the book, so that the book binding can be harmonious and perfect, and readers can fully enjoy the spirit during the journey.

Illustration design is an important factor to enliven the content of books. With it, the reader's imagination and understanding of the content can be fully exerted and an artistic enjoyment can be obtained. This is especially true for children's books, because children's brains are not well developed and they lack rational understanding of things. Only more illustrations can help them understand and stimulate their interest in reading. The following two pages are illustrations of two short stories in my graduation design book.

3.4 color design

I designed a fairy tale book. As far as children's books are concerned, colors should be aimed at children's lively, innocent and lovely characteristics, and colors are often treated as high-profile, weakening the intensity of various contrasts and emphasizing softness.

For readers, due to the differences in cultural literacy, nationality and occupation, they also have different preferences for the color of books.

3.5 folio design

The size of books is the first consideration for designers. The design of folio should be dominated by readers' habits, and the appropriate proportion should be selected according to the uses and characteristics of books. This ratio is nothing more than the difference between length and width, and the difference between different formats is very small, but the psychological suggestion and aesthetic taste are completely different. At present, most of the popular formats in China are 32 quarto and 16 quarto, which are monotonous. To change this situation, we must make bold innovations.

The size of my graduation design book is 200 × 200mm square.

4. Binding materials are an integral part of the overall design of books.

Paper is a world where designers can freely display their designs. After the designer's careful creative composition and organic operation of the four elements of words, images, colors and materials, the printed paper is folded into a book and then read in his hand. This is the formation of the basic idea of a book. In principle, designers must choose photos, drawings and characters with good reproducibility, good stability and low reflectivity when designing. At the same time, we should deal with the subtle differences between horizontal paper and vertical paper, the differences of paper texture and color, and use appropriate plate-making printing methods.

Various materials, with their different textures, colors and textures, can show a strong personality color. Through the clever and in-depth excavation of its function by the binding designer, paper can induce readers to have different psychological reactions. The various mimetic functions of binding materials deepen the connotation of books.

All kinds of binding papers contain endless textures, such as the length, thickness, bending, vertical and parallel of lines; The combination and arrangement of various forms, such as fluctuation, will produce scheduling and static, strength, speed, internal and external contrast and fluctuation rhythm, as well as vivid expressions of luxury and simplicity, elegance and vulgarity, reality and abstraction.

Reasonable selection and application of binding materials can give full play to the expressive force and creativity of books. So as to convey the knowledge and artistry of books, showing extraordinary value-added effects.

In my graduation project, the cover of the book is made of wood. I tried to make a book box with wooden boards and carve characters on it by hollowing out.

5. The style that should be reflected in the overall design

China has a long history of culture. Ancient books in the history of China, such as zenith, column, layout and font. , all have unique national style and aesthetic characteristics. In line with people's needs and aesthetic consciousness at that time. Now we have tens of thousands of books with flowers. The mutual reference, mutual penetration and mutual transformation between traditional and modern cultural forms have gained strong expressive force and appeal for innovation and development. Therefore, as today's designers, we should widely absorb the literacy of Chinese and Western cultures, be good at accepting foreign good things, learn from the strengths of others, make up for our shortcomings and cast our own characteristics. Every era and every nation has a specific artistic style, which is not formed by subjective will, but on the basis of long-term historical and cultural traditions and production and lifestyle.

How to make the book binding design truly complete, rather than drifting away from the content, is a subject that needs serious consideration. We should root our design ideas in the national soil, look at the colorful artistic treasures at home and abroad, and find the coordinates of our national art. The works with the most world significance must be the most national. When expanding the national style of book binding art, don't ignore its real source.

Concluding remarks

The whole of a book is embodied in the design of each component of the book content-layout design, illustrations and font size. To make it a whole, this is an important work link that designers must complete, and no excellent book design can surpass this link. Excellent binding design is to give full play to the relationship between its elements and achieve a complete beauty from the outside to the inside, so we should coordinate them and consider them as a whole to become a complete unity. Moreover, the understanding of book binding art can't stay on the surface. While discussing the overall artistry of book binding, it is my future study goal to synthesize the relationship of various factors to achieve a perfect performance and create works that are not written by everyone, but in everyone's heart, that is, to make the philosophy, thoughts and emotions in my life constitute an art world that can shock people's minds. Only in this way can the creation of the overall design of book binding have soul and life and strong artistic appeal.

References:

[1] Zhang Guizheng, editor-in-chief of China Contemporary Art Collection [C]. Jilin: Jilin Fine Arts Publishing House, 1998.

[2] Lv Jingren's Book Design with Respect for People, Jilin Fine Arts Publishing House, 200 1 year.

[3] Qiu Chengde's book binding design [M]. Hangzhou: China Academy of Fine Arts Press, 200 1.

[4] Sun Qun's Academic Monograph on the Application of Color in Design [J] Decoration, 2004.

[5] Sun Tonghui's Book Binding Design, Shanghai People's Fine Arts Publishing House, 2004.

[6] Sun Deshan and Wu Guanying, The Art of Illustration Design, Heilongjiang People's Publishing House, 1996.

[7] Yu Bingnan's book binding design [J]. Harbin: Heilongjiang Fine Arts Publishing House, 1995

[8] Deng Zhonghe's Creative Design of Book Binding. China Youth Publishing House. 2004. 1 month.

[9] Sun Tonghui's Book Design, Shanghai People's Fine Arts Publishing House, 2004.

[10] Lu Ying Graphic Design Art, Renmin University of China Press, 2005.

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