Hierarchical expression in the cover design of the

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The hierarchical performance in the cover design of books and periodicals

release date: Source: China paper

someone said, "books are shaped by binding, and there is no book without binding", which is very reasonable. Capture the plastic garbage gathered together with the movement of water. As a perfect book, it should not only have good content, but also have good binding. Today, China's paper industry starts with packaging and printing. Let's introduce the contents of books and periodicals

the meaning of book binding should refer to the prior art design of format, font, layout, illustrations, cover, paper, printing and binding, that is, the overall design from the original to the finished book. The word "book binding" is equivalent to bookdesign in English and buchgestaltung in German, which means the planning, design and formation of books, and also refers to the overall design of books

books and periodicals are bound in modern developed countries. Some summarize it in industrial design, some summarize it in graphic design, and some say it is visual transmission

if it is more popular, the binding of books and periodicals can be solved as the "packaging" of books and periodicals, that is, the so-called "Book packaging, book packaging, book packaging". When we walk in a dazzling range of bookstores, all kinds of bright and eye-catching books are displayed in front of us. The first contact with readers is the external packaging of the book, that is, the cover, the protective cover, and the packaging box of the set of books, etc. In these colorful packaging designs, designers' creativity and efforts are included. This involves a lot of knowledge, not only a good foundation of art modeling, but also a broader knowledge of literature, history, music, geography and so on. This article is limited to space, just want to change some experience of level performance in cover design

although cover design is only a part of book binding, it plays an important role in the overall design. A cover should not only be like a picture or a poster, but also be colorful, coordinated and unified. At the same time, the levels of black, white and gray should also be considered. The picture designed in this way will appear more abundant and will not give people a look without a sense of being looked at

the level I am talking about here does not refer to the level of good or bad binding design, but refers to the level of cover design, including the level of color, the level of various graphic composition, and the level between words. Just like drawing a sketch with five major tones, painting a traditional Chinese painting with multicolored ink, and painting colors with rich colors

the first thing the cover design doesn't touch is the idea, and then the composition. That is, the layout, followed by color, and then the arrangement of words. Of course, these are inseparable. They are an organic whole, which should be considered comprehensively. Here I will focus on several related issues that make up the picture level

first, the relationship between hue and level. Cover design is inseparable from hierarchy and color. When it comes to color, it must be inseparable from the three elements of color, namely hue, lightness and purity. In the treatment of hue, different colors will make people feel different. For example, red gives people enthusiasm, boldness, revolution, forward, etc; Blue gives people a calm, steady, cold, backward, shrinking and other feelings. If different colors are put on a picture, they will produce layers. In the design, if we make good use of it, the prominent part is prominent, and the weakened part is weakened, then we should flexibly use different color feelings to deal with it, so as to achieve the effect required by the designer. The colors of different hues are matched together to produce different visual effects and different color levels. The collocation between warm colors and cold colors, or warm colors with different hues or cold colors with different hues will produce rich and colorful levels, and also give people a different psychological feeling. For example, the contrast color configuration gives people strong stimulation and jumping, while the adjacent color matching will produce a soft and calm feeling

second, the relationship between lightness and hierarchy. In terms of lightness treatment of color, lightness contrast is more important for a design work. Because when designing, in addition to considering the feelings of color, we must also seriously consider the layering of black, white and gray in color matching. This is the lightness relationship of color configuration. When the colors of different lightness are configured together, they will produce a sense of varying levels. White has the highest lightness and black has the lowest lightness. If they are configured together, they will form a level of strong contrast. When red and orange colors with similar lightness are configured together, their sense of hierarchy is relatively weak

third, the relationship between purity and level. When the color with high purity is configured with the color with low purity, the color with high purity is brighter and the color with low purity is darker. So. The color with high purity will have a tendency to move forward, while the dark color will have a sense of retreat. In this way, the color level is very clear. Of course, when considering the purity of color to meet the level requirements of design, it is natural to take the hue and lightness of color into account. No matter which color is used and how it is configured, hue, lightness and purity are difficult to separate and cannot be isolated

IV. The relationship between color area and level. When composing a design work, we must seriously consider the position and size of each part. This involves the screen of color area. In order to achieve a unified and harmonious tone, one color is generally the main tone and occupies the main position of the picture, that is, a large area, while other colors naturally reduce the water content of the material to less than 0.03%, accounting for a small area. In this way, we can not only maintain its main tone, but also produce contrast levels, making the picture unified and changed

v. the relationship between points, lines, planes and levels. The basic elements of modeling, point, line and surface, as long as we use them properly, will also produce a very rich level. It should be emphasized here that if the point, line and surface expression methods of sketch are moved to the cover design with limited color, it will not only fail to achieve a good level design effect, but also bring difficulties in plate making and printing technology. We can only use the principle of sketching points, lines and surfaces to express the object image, and create points, lines and surfaces that are suitable for expressing the hierarchical effect of the cover, such as how to deal with the middle tone, how to distinguish the primary and secondary within the specified size range, and how to adjust the square, clumsy, dense, line and surface, light and hair properly, etc. If these aspects are used properly, there will be a sense of rhythm and rhythm, and the cover design will show the artistic charm of clear layers and refinement

VI. the relationship between words and levels. Although the complex characters with different sizes and fonts are processed well, they will also produce a variety of hierarchical effects. Words, especially the title of the book, can not only be used as a general symbol of the manuscript, but also serve as a finishing touch on the cover. Chinese characters in our country have rich ideological and artistic expression since ancient times. Various calligraphic arts such as Zhengxing, Cao, Li, Zhuan, and various artistic printing fonts such as song, Kai, and Hei, which have been formed for thousands of years, especially the colorful fonts since the development of electronic and computer Phototypesetting, provide very favorable conditions for various changes and combination of camel characters in book cover design to express "levels". We should make full use of it in book binding, especially in cover design

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