Archive for February, 2015

3月對談&工作坊@誠品書店

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為了推廣閱讀美學,香港誠品書店將於3月份舉辦首次的裝幀設計展——誠品2015閱讀美學祭。他們會於期間展出眾多的跨類別出版物,也希望把重視設計的出版社,出色的書籍設計師等,帶到香港讀者面前,讓他們能體驗書本「由外到內」的美好,從而喜愛閱讀。

本次的策展,除了邀請本地設計團隊「Milkxhake」共同策劃,注入香港設計視野外,還邀請了內地文化媒體《Design360》作交流,道出雜誌類別的美學觀點。最後,這次誠品書店更希望可以邀請到兩岸三地出色的設計師進行對談,將其在設計上的理念,對兩岸三地裝幀文化的看法,分享予讀者。

我就被邀請在3月15日(日)與台灣的書籍設計師彭星凱(空白地區・Fi)對談,討論「台港設計視野,談裝幀之美」。有興趣的朋友,要來啊!

另外,我也在3月21日(六)(3-5:30pm)於誠品舉辦另一場【製本體驗工作坊】,教授「科普特裝釘法」(Coptic Stitch Binding),這次不在PMQ,換一換場地,未學過而有興趣的朋友,也不要錯過呢!

【製本體驗工作坊】詳情與報名,請Click這裡!

28/2又開班教精裝製本!未參加過既嚟啦喂~!

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以雙手造書——精裝本裝幀法

三聯書店與 Open Quote 共同推出的全新「開方講堂」,旨在通過系統的講授,輔以多媒體表述、實地考察及親身體驗等互動形式,以提升學員的藝術鑑賞力、流行文化的敏感度、香港歷史文化的認知,及對生活品質與創意的追求。

Open Quote是集自家原創設計、世界各地文創產品、書籍唱片及展覽活動於一身的多元平台,坐落於中環PMQ元創方S401室。

課堂資料:

日期_ 2pm – 6:30pm, 28/2/2015 (六)

地點_ Open Quote(元創方,中環鴨巴甸街35號A座S401室)

講者_ 陳曦成先生

費用_ $400 (含材料費)

主辦單位_ JP x Open Quote

查詢電話_ 2548-3199 (Open Quote)

查詢電郵_ jptour@jointpublishing.com 名額_ 12 (額滿即止)

內容簡介:

當書籍藝術家開始造一本書的時候,基本上要考慮三個層次:意念層(Conceptual Level)、視覺層(Visual Level)與物理觸覺層(Physical Level)。美國書籍藝術家 Kith A. Smith 說 Book-as-experience,書籍確能帶給我們深刻的感官經驗。如果以這個書的物理觸覺層切入,可以從書的形態理解到一個怎樣的世界呢?

想要明白「書」是怎麼一回事,必須親手裁剪紙張(Cut)、摺疊(Fold)、打孔縫綴(Bind),有了這樣的親身體驗,才會明白一本書是如何製成的,也會知曉書是有厚度的一個立體,絕不止是平面設計。要是你喜歡書,Book-Binding(裝訂)會讓你對書籍設計有更多的發現。不同的裝釘方法和對細節的處理,也能給人發揮無限的想像,進行無限的探索與實驗,賦予每本書不同的面貌和性格。

此工作坊主要教授硬殼精裝書的裝訂法(Case-binding),是西方傳統的裝訂形式之一,其最早的發現可追溯至兩千年前。這種縫裝與摺疊的方式取代了前人使用的捲軸,容易製作、方便攜帶、還能記錄大量資訊。由於它讓聖經更便於攜帶,因此這種裝訂法在基督教的發展歷程中扮演了舉足輕重的角色。

在數小時的工作坊裡,曦成會教導大家由摺紙、釘孔開始,一步一步地以雙手製作屬於自己的精裝筆記本,親身了解釘裝工藝的吸引之處。在中段,曦成將分享書籍藝術與設計作品及其見解,讓大家知道更多書籍藝術或設計的可能性。

導師簡介:

陳曦成,書籍設計師 / 書籍藝術家。2006 年畢業於香港理工大學視覺傳達設計系,獲一級榮譽學士學位。同年,獲 YIC 青年設計才俊大獎及獎學金。及後,到英國留學深造。2008 年獲倫敦藝術大學坎伯韋藝術學院書籍藝術一等碩士學位。2009 年曾出版《英倫書藝之旅》一書。2010 年憑書籍藝術作品《月下獨酌》奪得德國 Swatch Young Illustrators Award 2010 – Book Art 大獎。回港後,曾於 2011 至 2014 年間任三聯書店書籍設計師。2014 年憑《老舍之死:口述實錄》獲「香港設計師協會環球設計大獎2013」(HKDAGDA)書籍設計類優異獎。愛書,愛體驗書的好質感,更愛文化造書的過程。

報名請Click這裡!

Cover Stories _from Printed Pages Mag

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幾天前,在Kubrick書店買了一本很久沒有買的英國設計與藝術雜誌《Printed Pages》,是「It’s Nice That」創意網誌出版的刊物,其中一篇是關於前企鵝出版社的書封設計師David Pearson的文章,很值得分享。我認為,書籍設計的美學理論重要,但書籍設計人的背後的故事、經歷、一路走來的路更值得我們參考。

“I worry that legibility is always prioritised within the approval process. While I appreciate clean, clear communication, it can make for a very sterile landscape when we’re offered no alternative. It’s worth considering that book covers can be used to build relationships through complicating legibility and encouraging reader interpretation. By building in these pockets of space we obviously increase the chance of miscommunication, but we also open up the possibility for meaningful – and memorable – connections to be formed.”

(我非常喜歡他以上的話,因此Quote大這句。)

Former Penguin book jacket designer David Pearson on his career and the thinking behind his favourite covers.

Words by Rob Alderson

David Pearson never gets to choose what he reads. As one of the most exciting book jacket designers working today, his literary tastes tend to take a back seat to whatever he is working on at the time. Not that his starting point is always immersing himself in the text; he gleefully admits that he doesn’t always have the whole book to read when he starts work – “I’ve done book design where I didn’t even have the title!”

For a creative at the very top of his game, David is both genuinely humble and refreshingly enthusiastic – you can hear the sheer passion for design in very sentence. Watch one of his talks online – they’re punctuated by giggles and ego-less asides – but fundamentally he taskes the whole business of book jacket to learn in-house at Penguin, orginally in the text design department but later on the publisher’s covers. Although he left to set up his own studio Type As Image in 2007, David is still very much associated with his work at Penguin, but it’s a case of what might have been for one of the publisher’s competitors.

“While at college I was lucky enough to be offered a work placement by my tutor Phil Baines, to design a large-scale art monograph (for Lawrence Alma-Tadema) for Phaidon Press,” David says. “Phil walked me through every stage of the book’s production, from styling the edited manuscript through to the final lay-outs. I even got to run my designs past Alan Fletcher who at the time was responsible for overseeing Phaidon’s visual output. It was an absurdly privileged position for a student to be in. There was a slow and methodical nature to the work which seemed to suit my temperament, and I knew from-then-on that my future lay in book design.”

At Central Saint Martins he gorged on the college’s typography collection (the Central Lettering Archive) and joined Penguin soon after graduating. He was walking into a company who had employed some of the 20th Century’s foremost graphic designers down the decades; the likes of Jan Tschichold, Hans Schmoller, Gerald Cinamon and Derek Birdsall. Surely this was a daunting step for a kid straight out of art school? “It was the pedigree that drew me to the place but in reality, knowledge of, and pride in the company’s design heritage was not widespread; at least not in-house. This is what created the opportunity for Penguin by Design, a chance to shine a light on these achievements and place design back at the centre of the company. It was also – for somewhat selfish reasons – an opportunity for me to gain access to Penguin’s archives and learn from some of my heroes.”

In fact David became so obsessed with this graphic treasure trove that he had to be forcibly removed from the Penguin premised at one stage on health and safety grounds. He’s retained this intimate knowledge of some of the different eras of the company’s design history and can regale you with some of the stranger episodes; the decision to go pictorial in 1961 (which for some more conservative readers was the literary design equivalent of Dylan going electric); the bizarre couple of years later that decade when the company dispensed with an art director all together and the jackets where designed by the marketing department (producing what David calls “the panic covers”); the time when designers were first permitted to use circle3s on the covers and they start to crop up all over the place, regardless of genre or design sensibility.

It’s simplistic to say that Penguin by Design – published in 2005 – made him a star but it cemented his reputation within the company and so increased the amount of trust placed in him.

He was assigned to The Great Ideas series, in which Penguin re-issued books by the likes of Virginia Woolf, Machiavelli and Charles Darwin, some of which David designed himself, some of which he art directed. There are now five series of the Great Ideas titles and a whole host of spinoffs. It solidified the way David thinks about his process and opened him up to experimenting with new ideas. “I’m a rather uptight and precious designer, and very often find myself working energy out of my designs by over-thinking and over-fiddling. The ones I am most happy with are invariably produced quickly and intuitively, before the tide of self-doubt heads my way.

“As a result, I’m constantly looking for ways to liberate the working process; to make it feel quicker and more expressive in the hope that it will give the work a raw, essential quality.” This is why he loves working with rubber stamps – “You get a drama you could never produce on a computer” – which he used to great effect on a recent series of covers for Cormac McCarthy (a rare commission working with a living author).

The other thing he learned on the Great Ideas books was how to balance the competing challenges of giving each cover a sense of individuality while maintaining cohesion across the collection. “Limitations – self-imposed or otherwise – can be very useful since they provide something to push against,” he says. “They can also make a daunting, large-scale project seem manageable in that myriad of potential choices can be eliminated, leaving us to focus only on what is essential. Choosing typography as the primary source of imagery is one such limitatiion. Adopting a limited colour palette is another, and knowing that these are my only weapons can feel incredibly liberating when beginning a job.

“Series design provides a unique opportunity to utilise cumulative effect. For example, key content can be removed from one cover since it can be found on others in the series, which then promotes inquiry from book-to-book.”

Not that he always got his own way. One of the key leassons he learned was to pick his battles; “If you fight for everything then you look like a dick, and nobody wants to work with a dick.”

But he admits to being fascinated by “the psychology of approval.”In the past he had taken his mock-ups into bookshops and photographed them on the shelves to prove they work in a real-world context. He is well-versed in some of the main obstacles marketing men and women might put in his way.

“I worry that legibility is always prioritised within the approval process. While I appreciate clean, clear communication, it can make for a very sterile landscape when we’re offered no alternative. It’s worth considering that book covers can be used to build relationships through complicating legibility and encouraging reader interpretation. By building in these pockets of space we obviously increase the chance of miscommunication, but we also open up the possibility for meaningful – and memorable – connections to be formed.”

Alongside his freelance work David also runs his own imprint, White’s Books, with Jonathan Jackson. The attention-to-detail lavished on the spines and the en-papers reflect the holistic design approach of this one-time text designer. In the bottom corner of each right-hand page there is a catchword; the first word of the page which the reader is about to turn. It’s a technique widely used more than a century ago and one that David has clearly relished reviving. He also works a lot with the French publisher Editions Zulma; never mind not having a title, here he is working on covers for texts he simply can’t understand. Of course he can read French classics in translation and cites The Count of Monte Christo as one of his favourite books. The only issue is that it’s so hefty, he cut it into sections to create three smaller books to read on the Tube. Naturally he couldn’t resist producing three new covers for these, proof if any more needed that here is a man with book cover design in the blood.

_ from “Printed Pages” Magazine Summer 2014


Contributor

Hei Shing
chanheishing@gmail.com

書就是… A Book is…


一片紙不但表現時間,也表現空間。而一片片的紙張組合起來的書就是一個高深的容器,盛滿文字,既能從中不斷汲取智慧,又能裝入無限的智慧。

A piece of paper reflects not only time but also space. Books are formed by binding papers together to become containers of words that serve as a reservoir as well as a spring of wisdom.

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