Vicereines of Ireland Iwe Ẹkọ́ láti ọwọ́ Jurga Rakauskaite-Larkin

Vicereines of Ireland Iwe Ẹkọ́ láti ọwọ́ Jurga Rakauskaite-Larkin jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2022 Àmì-ẹ̀yẹ Irin A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ìtẹ̀wé àti Àtẹ̀jáde.

IrinÌtẹ̀wé· 2022

Vicereines of Ireland Iwe Ẹkọ́

látọ̀wọ́ Jurga Rakauskaite-Larkin

Oníbàárà: The Office of Public Works

Aṣẹ́gun Àmì-ẹ̀yẹ Irin A' Design Award nínú Ẹ̀ka Ìtẹ̀wé

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Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Vicereines of Ireland Iwe Ẹkọ́

Vicereines of Ireland jẹ́ ìwé ẹ̀kọ́ gíga nípa àwùjọ àwọn obìnrin tí a kò fún ní àkíyèsí nínú ìtàn Ireland. Ìṣẹ̀dá náà mú ayé ohun-èlò ọlọ́rọ̀ ti àwọn obìnrin wọ̀nyí wá sí ìmọ́lẹ̀, ó sì tún fi ẹ̀dá ènìyàn tí ó wà nínú àwọn iṣẹ́ wọn hàn. A mú àwọ̀ tí a lò láti inú àwọ̀ pink aláwọ̀ búlúṣì tí ó ṣì wà lórí pátákò àwọ̀ ọ̀kan lára àwọn obìnrin wọ̀nyí. Àwọn ìwé ìparí ni a rí ìmísí wọn láti inú ìwé àkọsílẹ̀ Ítálì àtijọ́ tí a fi ọ̀nà marbling ṣe, wọ́n sì lo ọgbọ́n ìbílẹ̀ spot marbling kí wọ́n tó yí i padà sí ọ̀nà dígítà. A ti gbé férémù wúrà (gold foil) sí ẹ̀yìn àwòrán ìwé náà lórí ìbòrí líle, tí ó jẹ́ kí àwòrán obìnrin tí a fihàn jáde síwájú.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Irin A' Design Award

Vicereines of Ireland Iwe Ẹkọ́ jẹ́ olùborí Àmì-ẹ̀yẹ Irin A' Design Award, ìdánimọ̀ olókìkí tí a fún àwọn àwòṣe tó dára tí wọ́n pàdé àwọn ohun tí iṣẹ́ àti ilé-iṣẹ́ nílò tí a retí láti ọ̀dọ̀ àwọn ẹ̀dá tí a ṣàwòṣe dáradára. Àwọn olùborí Irin ń fi ìjáfáfá ńlá, ìmọ̀ pàtó gíga, òye ògbóǹtarìgì àti agbára ìṣẹ̀dá àwọn olùṣẹ̀dá wọn hàn. A retí pé Vicereines of Ireland Iwe Ẹkọ́ yóò jẹ́ ẹ̀dá tí a kà sí gidigidi, tí a gbóríyìn fún tí a sì nífẹ̀ẹ́, tó wúlò tó sì ní ìmúṣẹ̀dá tuntun. Àwòṣe tó borí Àmì-ẹ̀yẹ Irin A' Design Award yìí ń kó àwọn ọ̀nà tó dára jùlọ ilé-iṣẹ́ jọ, ó sì ní àwọn ànímọ́ ìmọ̀-ẹ̀rọ tó péye tí a so mọ́ ìmọ̀ ṣíṣe àti ẹ̀bùn. A bọ̀wọ̀ fún Vicereines of Ireland Iwe Ẹkọ́ nítorí ìfọ̀kànbalẹ̀ rẹ̀, a sì ṣàwòṣe rẹ̀ láti pèsè ìmúdára ìgbésí ayé tó ń ran ayé lọ́wọ́ láti di ibi tó dára jù.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: 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.
Ìwọ̀n àti Àpò: 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
Àwọn Àkọlé: book, irishdesign, irishculture,
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: 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.
Ìpèníjà Àpèsè: 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.
Ìwádìí: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: Project started in 2019 and was finished in 2021 in Dublin, Ireland.
Àwọn Ọmọ Ẹgbẹ́: Editor: Myles Campbell
Project Manager: Mary Heffernan
Publisher: Irish Academic Press
Printed: Kopa Print
Ìfọwọ́sí Àwòrán: 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'