Vicereines of Ireland Akwụkwọ Agụmakwụkwọ nke Jurga Rakauskaite-Larkin

Ihe emepụtara bụ Vicereines of Ireland Akwụkwọ Agụmakwụkwọ nke Jurga Rakauskaite-Larkin bụ onye meriri a na-asọpụrụ nke ukwuu nke 2022 Ihe Nrite A' Design Award nke Igwe na Udi Asọmpi Nhazi Mbipụta na Mgbasa Ozi Ebipụtara.

IgweMbipụta· 2022

Vicereines of Ireland Akwụkwọ Agụmakwụkwọ

nke Jurga Rakauskaite-Larkin

Onye Ahịa: The Office of Public Works

Onye Meriri Ihe Nrite A' Design Award nke Igwe na Udi Mbipụta

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Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Vicereines of Ireland Akwụkwọ Agụmakwụkwọ

Vicereines of Ireland bụ akwụkwọ agụmakwụkwọ gbasara otu ìgwè ndị inyom e leghaara anya n'akụkọ ihe mere eme Ireland. Nhazi ihe osise a na-egosipụta ụwa akụrụngwa bara ụba nke ndị inyom a ma na-egosikwa mmadụ dị n'omume ha. A họpụtara agba mbadamba ihe osise site n'agba pink dị nro nke fọdụrụ na mbadamba ihe osise otu n'ime ndị inyom a. Mkpụrụ akwụkwọ ndị dị n'ọnụ ọnụ akwụkwọ ahụ ka e mere site n'echiche akwụkwọ ndetu Italiantiment marble ochie, a rụziri ya site n'usoro mgba mgba (spot marbling) nke omenala e mesịrị mee ka ọ dabara na usoro dijitalụ. E gbanwere otu mbadamba ọlaedo n'azụ ihe onyonyo dị n'akpụkpọ akwụkwọ ahụ siri ike, nke mere ka nwanyị e gosipụtara pụta ìhè nke ọma.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Igwe

Vicereines of Ireland Akwụkwọ Agụmakwụkwọ meriri A' Design Award nke Igwe, nnabata dị ugwu e nyere design ndị dị mma nke na-emezu ihe ndị a chọrọ n'ọrụ na ụlọ ọrụ nke a na-atụ anya n'ihe e kere eke ndị e mere nke ọma. Ndị meriri na Igwe na-egosi nka buru ibu, ọkachamara dị elu, nghọta ọkachamara na ikike imepụta nke ndị kere ha. A na-atụ anya na Vicereines of Ireland Akwụkwọ Agụmakwụkwọ ga-abụ ihe e kere eke a na-asọpụrụ nke ukwuu, a na-eto na a hụrụ n'anya nke bụ ihe bara uru ma dị ọhụrụ. Design a meriri A' Design Award nke Igwe na-ejikọta ụzọ kacha mma nke ụlọ ọrụ ma nwee àgwà teknụzụ kwesịrị ekwesị jikọtara na ihe ọmụma na talent. A na-asọpụrụ Vicereines of Ireland Akwụkwọ Agụmakwụkwọ maka nlezianya ya ma e mere ya ka ọ nye mmeziwanye ndụ nke na-enyere aka ime ka ụwa bụrụ ebe ka mma.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: 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.
Nha & Mkpuchi: 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
Mkpado: book, irishdesign, irishculture,
Teknụzụ Mmepụta: 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.
Ịma Aka Imepụta: 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.
Nchọpụta: 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.
Mkpali: 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.
Oge Ọrụ: Project started in 2019 and was finished in 2021 in Dublin, Ireland.
Ndị Otu: Editor: Myles Campbell
Project Manager: Mary Heffernan
Publisher: Irish Academic Press
Printed: Kopa Print
Asụsụ Foto: 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'