The Birth of a Book Boek door Urszula Giren

Het ontwerp The Birth of a Book Boek door Urszula Giren is een hoog aangeschreven winnaar van de zeer prestigieuze 2020 A' Design Award in Goud in de competitiecategorie Drukwerk en Gepubliceerde Media Ontwerp.

GoudDrukwerk· 2020

The Birth of a Book Boek

door Urszula Giren

Opdrachtgever: Urszula Gireń

Winnaar van de A' Design Award in Goud in de categorie Drukwerk

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Het Ontwerp

Over The Birth of a Book Boek

De Geboorte van een Boek is een gedrukte publicatie over boekontwerp in het 16e-eeuwse Polen. Het boek toont oude drukken op ware grootte, zodat lezers de originele formaten kunnen zien. Het stofomslag toont de impositiemethode die werd gebruikt voor het oude octavoformaat. Een leeslint markeert de hoogtes van folio-, kwarto- en octavoboeken. Houtsneden op de titelpagina's zijn in kleurinversie gedrukt, wat doet denken aan matrijzen bedekt met zwarte inkt. Het formaat is 256 bij 320 millimeter, met 560 pagina's en ongeveer 1200 illustraties. Het doel is om renaissancistische drukmethoden aan een breed lezerspubliek uit te leggen.

De Erkenning

Over de A' Design Award in Goud

The Birth of a Book Boek is winnaar van de A' Design Award in Goud, een immens prestigieuze erkenning die wordt toegekend aan eersteklas, schitterende en uitmuntende ontwerpen. Winnaars in Goud zijn uiterst innovatieve, zeer visionaire en glamoureus verblindende creaties die het genie, de wijsheid en de bekwaamheid van hun ontwerpers weerspiegelen. The Birth of a Book Boek wordt verwacht een zeer geprezen, trendzettende en monumentale uitvinding te zijn die ongekende waarde levert. Dit ontwerp dat de A' Design Award in Goud heeft gewonnen, is een spectaculair, gerespecteerd project dat enorm baat en de grenzen van kunst, wetenschap, ontwerp en technologie verlegt. The Birth of a Book Boek wekt intense gevoelens van verlangen, roept passie op, moedigt creativiteit aan en fascineert ons.

Achter het Ontwerp

Perskit

Credits, teamleden en technische details verstrekt door de ontwerper.

Unieke Eigenschappen: 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.
Afmetingen & Verpakking: 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
Productietechnologie: 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
Ontwerpuitdaging: 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.
Onderzoek: 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.
Inspiratie: 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.
Projectduur: The project started in May 2017 in Bialystok and finished in February 2019 in Katowice, Poland
Werkproces: 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.
Beeldcredits: Urszula Gireń / 2019