Archive for January, 2016

《書店日常》——悠然靜謐的裝幀

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「兩年前看到中環伊利近街書閣結業新聞,見到的文字都是憑弔、哀悼,心想為何香港所有東西,包括城市建築,總是要等到失去了才憑弔呢?當時的感受很深。想起外國、台灣都有作家去書寫這些城市的書店,記述人文風景。」
——《書店日常》作者周家盈的寫作緣起

此書作者周家盈走訪了香港11間獨立書店,跟店主們輕談他們的書店人生,從開業談起,訴說其種種經營的起跌、得失、悲喜,再延伸至暢談閱讀的樂趣。從這些狹小的空間裡,埋首書海,他們所得到的是那麼的多,也帶給周遭眾多讀者無限的精神記托與溫暖。我們的城市,正正需要這些有夢想、有熱誠、且充滿人情味的奮鬥故事。

而作為《書店日常》的設計師,我非常喜歡作者寫的這些小故事,所以當初就把這個項目接下來了。

話說認識格子盒出版社的主理人兼編輯阿丁已有一段日子,她是一位富經驗且非常有熱誠的獨立出版人,我們常閒聊出版及書籍設計業的狀況,也不時溝通,看看會否有什麼合作機會。直至2015的下半年,她跟我說準備替一位新進作者出版一本關於香港獨立書店的書,我單單聽到「獨立書店」這四個字——耳朵已不其然的豎起來,心想應該是我所喜歡的書種,就著阿丁寄稿件給我讀一下,看看自己是否適合設計該書。讀過稿件後,我覺得非常有意思,亦非常有趣,最重要是我對作者的文字與所寫的主題很有感覺,所以也沒有多想,就答應編輯來當此書的設計師。希望也能藉著我小小的力量,能讓這麼有意義的書,設計得漂漂亮亮,適當地增添它在銷售層面上的Added-Value,不要白白浪費了這麼美好的文字;也更期望讓更多人能在書店買走它,讀到這些我們身邊的獨立書店的故事。

老實說,書籍設計師很難才能遇到自己喜歡的題材;即使有幸給我們遇上;有時亦會因「時間和人物地點」各種因素,把好的書做壞。幸運地,今次不但遇到自己喜愛的主題,設計過程亦進行得喜出望外地順利,編輯與作者還給予我極大的空間去發揮,這實屬可一不可再的合作經驗。

接下案子後,我把初稿由頭到尾的再讀一遍,嚐到的是一種慢悠悠、恬靜、詩意的味道,意識到寫的人必然是一位文藝少女。於是,我嘗試把這些文字的味道轉化為設計。

◎ 這是一本數萬字的圖文小書,文字量不算多,圖文比例5:5,所以不用考慮大開本。我因此選擇了細小的32開(150mm(w) x 200mm(h)),讀者可輕鬆的拿在手上捧讀。

◎ 版面設計的整體感覺是舒服、輕鬆、悠閒、空間感強、白位較多,絕不能讓讀者有透不過氣的壓迫感。

◎ 大部份的書店相片質素不算很高,也考慮到印刷成本的關係,跟編輯商量過後,認為沒有必要全書印彩色;因此我們認為以雙色印刷比較合適。我們繼而選取了一隻湖水藍(藍中帶綠的顏色),讓人有清爽舒暢的感覺。

◎ 這次定位為易入口的小書,圖像的處理皆以小而簡為要旨,不求過往的衝擊力,反而放置有意義的細圖,配合內文、節錄語、圖片註解等,圖文互動,營造版面上輕快的節奏力。

◎ 這次字型選取與文字編排(Typography)的處理也偏向「鬆弛」的做法,版式是2-Column Grid System,一個雙版(Spread)有四格,每格放置內文、節錄語、圖片、或圖片註解皆可,這能保持排版的靈活性,增加趣味,讓每頁有不同變化,不會太單一、沈悶。內文字型則為蘭亭宋,纖細易讀,且具文學感。字型尺寸比一般書的細一點,字距行距亦較疏,讓心能靜下來,慢慢的讀。我們不想做到字體又大又密,硬要捉住人家的眼球,迫著人家非要讀它不可似的,這並非此書風格。

◎ 封面當然要保持著整體由內而外的「清新文藝」感,以「靜、空、小」這三個關鍵字作核心,設計封面。在芸芸的照片中,我選取了這麼一張安靜的書店風景,悄悄地、細細張的放在書封上。這是艺鵠書店的貓兒坐在展示桌上的照片,這情景特別容易讓人勾起對小書店的印象。喜歡書的人,不知怎的,尤其是編輯、作家、店長等也偏愛喵星人,所以我覺得這照片最適合不過,亦讓大家有所共鳴。

◎ 書名《書店日常》四字的中文字型是以丸明朝體作為設計基礎,再仔細修改它的筆畫、角位與襯線(Serif)等,讓它展現這股清新、舒爽、且帶點可愛的感覺。

最後,我非常慶幸我能參與這次企劃!從認識在地獨立書店開始,以至推廣閱讀文化,身為業界一份子的我應踏實的去做。請好好珍惜我們這城市裡得來不易的這五十間書店;就像作者經常掛在嘴邊的一句話:「一間書店能溫暖一座城市。」希望這絲絲的暖意,也能慢慢溶化都市人冷漠的心。

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Sheffield International Artist’s Book Prize 2015

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Sheffield International Artist’s Book Prize & Exhibition:
7th – 31st October 2015, Bank Street Arts

The Sheffield International Artist’s Book Prize is now in its fifth edition and since the first exhibition and Prize in 2008 it has grown to be one of the largest artist’s book prize in the world and a significant UK event in the artist’s book calendar. Opening up the Book has been built upon the success of the Prize and this year the exhibition includes exhibitors from more countries than ever before. For the first stage of the submission process, we received entries from forty five countries, with most being represented in the exhibition. For the first time this year we have selected from initial entries and the exhibition itself presents just over 200 books from an entry of nearly 400.
– From Bank Street Arts Website

The winners of Sheffield International Artist’s Book Prize 2015 was announced.

OVERALL WINNER_
※ Damien Prud’homme ‘Entomologie Origamique’

WINNERS_
◎ Guy Bigland ‘Things You Have Done’
◎ Egidija Ciricaite ‘Those frivolous Readers’
◎ Amelia Crouch ‘Passages’
◎ Cindy Hinant ‘My Horizontal Life (Sex Only Edition)’
◎ Stefan Klein ‘Introduction to Microeconomics’
◎ Rob Kovitz ‘According to Plan’
◎ Elizabeth Munger ‘Remembering Aesop’
◎ Melissa Price ‘Brick Bonds’
◎ Paula Roush ‘Nothing to Undo’
◎ Ian Whittlesea ‘Becoming Invisible’

SHORTLISTED TITLES_
◎ Victoria Browne ‘I Can Highly Recommend the Gestapo’
◎ Hei Shing Chan ‘Poetry of a Friend’
◎ Abi Goodman ‘Capitalism 24,902’
◎ Warren Lehrer ‘A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley’
◎ Nina Lishchuk ‘Shift’
◎ Magdalena Martinez-Franco ‘Adrift (A la Deriva)’
◎ Maria Veronica San Martin ‘Memory and Landscape: Unveiling the Historic Truths of Chile, 1973 – 1990’
◎ Erin K. Schmidt ‘The Dovecote’
◎ Hannah Sullivan and Joanna Waterhouse ‘ANGER’
◎ Alia Zapparoba ‘Days’

01_ Exhibition Photo from the Blog of Corinne Welch
02_ Exhibition Photo from “Sheffield International Artist’s Book Prize” Facebook
03_ Exhibition Photo from “Sheffield International Artist’s Book Prize” Facebook
04_ Winner List from Bank Street Arts Website
05_ ‘Poetry of a Friend’ in the Exhibition Catalogue

觸感的重疊——三城對照記

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「這是最好的時代,這是最壞的時代;這是智慧的年代,這是愚蠢的年代。」——查爾斯.狄更斯《雙城記》

作者夏鑄九教授在《三城記》一書中,以「異托邦」作為理論假說建構,連結起全球信息化年代三個城市的關係:台北、深圳、香港,三個城市之間的互聽、互看、互動的都會網絡,彼此之間互為反身之鏡,看到自身,看到城市之中市民自身的身形。

以這三個城市的比較論述作基礎,我在設計此書時,嘗試簡潔立體地重疊了台北、深圳、香港三個城市,表現三個城市之間的互動與比較,讓讀者易於理解。

這藍色而富質感的封面展現出專業、雅緻,而帶些少文學味道。封套用紙是深藍色的日本里紙,摸上手具非常知性的質感,也與內文的藍色相呼應,表現那建築「藍圖」(Blueprint)的概念。封面上的「印銀」與「燙銀」更能展現城市建築的那種金屬感。

第一層封套採用了藍色里紙,展示了深圳的都市輪廓,laser-cut了其最具代表性的建築物:包括地王大廈、京基100等。第二層(內封)的綠色里紙是台北的城市輪廓,代表建築有台北101、台北火車站、中正紀念堂的剪影等。最後一層(摺翼)則是銀色的香港,剪影上的建築物有IFC、中銀大廈、中環廣場等。

三層城市是由封套、封面、摺翼三種不同的紙組合而成,表現出不同形態的都市。不同顏色質感的紙材層層重疊,把城市建築設計縮小成書籍設計的封面上,以表達深刻的內容。

「三城記」的書名字體設計則較為有份量、筆劃較粗,表現城市的質感、及建築設計的幾何感覺。

台深港三城,比鄰而立,互動互通,結伴說故事。

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness.” – Charles Dickens, A Tale of Two Cities, 1859

In “The Tale of Three Cities” of Professor Hsia Chu-joe, the constitution of theoretical hypotheses of heterotopias is crucial to the mapping of the relations between Taipei, Shenzhen and Hong Kong in the global information age and the development of the metropolitan networks through the three cities exchange what they see, hear and how they interact between themselves. They become a reflexive mirror for each other, from which the city, as well as her citizens, is reflected.

Based on a comparative analysis of these three cities, the main design concept is comparing and overlapping the three cities of Taipei, Shenzhen, and Hong Kong. It compares the performance and interaction between these three cities. The design catches the readers’ attention and let them easier to understand.

The colour blue and rich texture of the cover shows the professional and elegant feelings, with a literary sense. The colour blue also echoes with the main colour blue of the layout inside, which presents the concept of “Blueprint” in architecture industry. The colour silver and silver-foil-printing shows a kind of metallic city too.

The first layer is a blue city skyline of Shenzhen, including the remarkable buildings of Di Wang Tower and Kingkey 100. The second layer is a green city skyline of Taipei, including Taipei 101, Taipei Railway Station, and Chiang Kai-shek Memorial Hall. The third layer is a silver outline of the Hong Kong city, including IFC, Bank of China, Central Plaza, etc.

The book jacket, the inner cover and the folded flaps are used different coloured papers with different Laser-cut effect. They are combined and overlapped together to present the urban morphology of different cities. The title typeface design of “The Tale of Three Cities” is custom-made with thick strokes, which shows a feeling of geometry of a city.

《書店日常》

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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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