Artistic and technical design of the publication. Design tools for printed materials
graduate work
1.2 Artistic and technical design of the publication
Alexey Zakharov’s book “Night Illusion” belongs to literary and artistic publications. It is intended to satisfy the non-professional interests of a wide range of readers.
Type of publication:
Non-periodical publication;
Collection;
Text edition;
Literary and artistic work;
Popular publication;
One-volume edition;
Publication format - 60?90/32, after trimming 107? 140 mm, belongs to the group of standard formats. According to GOST 5773-90 “Book and magazine publications. Formats” dimensions for this book edition format are: maximum - 107 ? 140 mm, minimum - 107? 177 mm. The format of this publication complies with GOST 5773-90.
Band format - 4? ? 6?.
OST 29.124-94 “Book publications. General technical conditions" regulates the bandwidth of 4 ? sq. The type size is 12 points. The line length is 42.3 characters.
Fields: 11, 12, 15, 16.
OST 29.124-94 “Book publications. General Technical Conditions" recommends minimum field sizes of 9, 10, 13, 13.
External design - binding.
In terms of execution, it is illustrated.
In terms of playback - combined.
The composition is combined.
Cover paper weighing 120 g/m2, printed with illustration, is used as a covering material.
At the bottom of the page are the author's first and last name, typed in 24 point font, in bold style with a center alignment. Also at the bottom of the page is the title of the book, typed in 36 point font with a center alignment.
The title of the book and the author's first and last name are placed on the spine. Designed in accordance with the external design.
In my opinion, the external design of a book attracts the attention of readers and, to some extent, reflects the internal content of the book.
The title page occupies one page, on which the author's name and surname are placed, typed in 18 point font, in bold style with a center alignment, and the title of the book, typed in 36 point font, centered.
At the bottom of the page are the place, city and year of publication, typed in 10 point font in a light style.
The title back corresponds to GOST 7.4-95 “Publications. Imprint".
Starting and ending stripes. These elements of book design in the publication are designed correctly.
The main text is typed in Times New Roman, 12 point font, straight style. In this edition, the drive of the strips is practically observed.
There is no additional text in the book.
Reference and auxiliary text. Column numbers are typed 2 points less than the main text, justified in the center.
Headers and footers are typed in the same size as the main text, justified to the outer edge.
The signature (the serial number of the notebook) is typed in Times New Roman, 6 point font, and is placed on the bottom margin of each notebook, except the first, on the same line with the column number.
The norm (printing order number, abbreviated title of the publication or the surname of the author of the book) is typed in Times New Roman, 6 point font, placed behind the signature.
The signature and norm are designed in accordance with the requirements.
Illustrations. The publication uses black and white tone illustrations.
Technical specifications
Name |
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Actual volume |
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Circulation (thousand copies) |
1 thousand copies. |
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Area of illustrations (in%) |
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Publication format |
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Design option |
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Font for body text |
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Body text size |
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Character illustrations |
black and white halftone |
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Printing method and number of colors |
Offset printing, 1 ink |
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Paper for publication (type, weight of 1 m 2 in grams) |
Offset paper, 80 g/m2 |
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Illustration printing method and number of colors |
Offset printing, 1 ink |
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Method of binding the publication |
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Exterior type |
Binding No. 7 |
Illustrative book edition
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Re-release of the Bashkir epic "Ural-Batyr"
Column digits Column digits are the page numbers of a printed publication set in each page of the typesetting, except for some special bands...
Project of printing processes for the production of a bound edition with multi-color endpaper, endpaper and dust jacket
To determine the publishing and printing design of a publication, it is initially necessary to select the optimal format for the future publication. The calculation of the optimal format for the future publication is made in paragraph 3.1...
Design of printing process technology for book publishing
We are choosing the second design option for the future edition. The notebook format after trimming will be 145? 200 mm. The typesetting format is calculated using the formulas: a = A ? vp/100 = 170 ? v(64/100) = 136 mm = 7...
Printing process technology
The book is an artistic publication for children of middle and high school age, intended for continuous reading. Technical parameters Book 1. Publication format 84x108/32 2. Publication circulation 25 thousand copies. 3...
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For his outstanding contribution to the design of the book, he was awarded the Gutenberg Prize by the city magistrate of Leipzig (1975). Personal exhibitions took place in Moscow in 1979 and 1989. In the 50s - 60s. V. Lazursky was the chairman of the Art Council of the applied graphics workshop of the Graphic Art Combine of the Art Fund of the RSFSR. Author of a number of articles on the art of books and type and books “Ald and Aldins” (M.: Kniga, 1973); "The path to the book. Memoirs of an artist” (M.: Book, 1985).
CHAPTER 2. EDITORIAL ANALYSIS OF ARTISTIC AND TECHNICAL DESIGN
Methods and principles of artistic and technical design of a series of books
The art of a book, its artistic design, is understood as the creation of the individual appearance of a book, the organization of a publication as an integral organism with all its inherent features (reader, intended purpose) using artistic and printing means (reproduction of text and its arrangement, choice of a specific format, type of paper, binding , the composition of the book as a whole, its illustrations and decorative decoration).
The basic techniques and principles of artistic design of a book were formed in ancient times. In book-writing workshops, the artistic appearance of the liturgical book took shape and became almost canonical. Already the first Slavic manuscripts that have reached us - the Ostromir Gospel (1056-1057), the Izbornik of Svyatoslav of 1073, the Izbornik of 1076 - are examples of a high culture of book design, examples of composition, clarity, and proportionality of visual elements.
The first printed books in their artistic design copied the best handwritten examples: the beginning of the book was preceded by a frontispiece - an image of the legendary author of the work; the text was typed in a font that resembled a handwritten half-chart; the beginning of the page and each section of the text were preceded by headers and initials, etc. However, they already display specific design features inherent in the book as a product of printing production (printed font, woodcut illustration, circulation format, etc.).
In Western European scriptoria, several people participated in the design of a book page with already written text. At first, the rubricators worked. They drew the outlines of capital letters and filled them in with ink. The result was a rubric that opened the text from the red line (Latin ruber - red). Then the page passed into the hands of the ornamentators. At first, the ornament accompanied only the initials. Then it grew into a border, and the border became a frame around the page text. It was drawn by imaginators - “images”. The codes created in the Mediterranean countries are characterized by a wicker pattern and the covering of initials with white dots, “like pearls,” but with local differences: in France, floral patterns with geometric patterns predominated, in Italy, an unusually elegant border, in Spain, arabesques. Codices from Northern Europe are characterized by an “animal style” of marginal decorations with animal figures. Invented in Scandinavia and perfected in England, it flourished in Ireland. The images of capital letters also progressed. During the Romanesque period they remained almost unchanged. But during the Gothic period of the development of Western art, a hierarchy of initials developed. With a complete hierarchy, large ones were drawn at the beginning of sections, medium ones opened chapters, small ones opened the next sentence, and miniatures were placed inside large ones. They were prepared by miniators, and the portholes (translated from Latin as “illuminators”) were filled with paint. In the 13th century the miniatures (Appendix 1) left the initials and, taking up a whole page, turned into separate paintings. They were drawn by illustrators. It happened that some specialists were absent. Then the manuscript remained unfinished and reached us with blanks.
An outstanding monument of typographic art of all times and peoples is the first printed “Apostle” by Ivan Fedorov (1564), the artistic decoration of which consists of a frontispiece, 48 headpieces printed from 20 boards (some headpieces are repeated several times), 22 initial letters from 5 boards, 54 frames of the same design, 24 lines of ligature. This book “is the same kind of highly valuable and internally unified creation of Russian national culture, like St. Basil’s Cathedral, the Kremlin towers, like the “parsun”, “an ancient portrait,” wrote one of the largest Russian art critics and book historians A.A. Sidorov.
The book is subject to the requirements of artistic unity of all elements of content and form, and aesthetic expressiveness. The design of the publication plays an important role for buyers, contributing to the formation of demand for book products.
The objects of artistic design are all elements of the book - binding, font, title page, beginning and end lines of text, etc., each of which has its own characteristics and is created using certain expressive means. The combination of these means, their harmonious combination and interaction contribute to the creation of an integral ensemble of the book - its artistic design, which bears the imprint of the era, its productive forces and production relations, national traditions and aesthetic requirements, stylistic features, reflects the characteristics of the literary work and individual creative manner graphic designer.
The art of designing a printed book is inseparable from technology, since a book as an object of material culture is a product of printing. Starting with Ivan Fedorov, the best book masters of the past were inventors and experimenters in the field of printing technology, trying to achieve maximum effect from combining the artistic and technological sides of the publication. It was with the emergence of book printing that the modern understanding of the art of the book took shape, which is an independent field of art associated with the process of creating a book as an artistic form and at the same time printing the publication. Its main task is to most accurately express and convey to the reader the author’s idea by means of graphics and printing, to contribute to the maximum disclosure of the content of the book, to find the only correct compositional and constructive expression of the features of a literary work, which is possible only taking into account the target and readership of the publication.
Features of the artistic and printing design of a book are largely determined by the method of manufacturing the printing plate for reproducing illustrative material (manual, photomechanical) and the type of printing (high, intaglio, flat). In the manual method, the image is made by the artist or engraver himself by drawing, engraving or acid etching, while in the photomechanical method, the original is photographed and the image is copied onto a printing plate using a photomechanical method. Manual methods include: woodcut (or woodcut) - longitudinal and edge trimming, linocut - engraving on linoleum (letterpress printing); metal engraving - incisive, etching and their many varieties (intaglio printing); lithography (flat printing).
One of the main elements of the artistic design of a book is book illustration, which makes it possible to best artistically reveal and complement the content of any work - literary, scientific, industrial and any other.
Artistic and technical design of the publication “Aphorisms”
The artistic and technical design of a publication is the development of an artistic form by means of artistic design of layouts for the external and internal design of a book (cover, binding, title page, page layout, title design, etc.). The publication “Aphorisms” refers to literary and artistic publications. This book contains statements from many writers of the Golden Age. The design was made in the appropriate style of this publication. The book is intended to satisfy the non-professional interests of a wide range of readers.
Type of publication:
Non-periodical publication;
Collection;
Text edition;
Literary and artistic work;
Popular publication;
One-volume edition;
The publication format is 60×90 1/64 and belongs to the group of miniature publications. TU 29.01-73-79 regulates the maximum format of the publication after trimming is 100×100 mm, the minimum is 60×70 mm. The format of this publication corresponds to TU 29.01-73-79.
Strip format - 4 1/2 x 6 1/4 sq.
OST 29.124-94 regulates that for a point size of 8 points or more, the minimum line length should be 4 square meters, the maximum - 6 square meters. Therefore, the length of the line corresponds to OST 29.124-94. It is 36 characters.
The number of lines on the strip is 17.
Margins - 7, 8, 11, 12 mm. The fields comply with the recommendations of OST 29.124-94.
The composition of the spread is perceived as unified, since the stripes are shifted inward, raised upward and located in the optical center.
External design - binding cover type No. 7Bts.
Type 7Bts. The binding cover is one-piece with edging, consisting of cardboard sides and a ledge. Covered entirely with a single piece of material, the corners are right.
The endpaper of the publication is glued, white.
The captal is white and matches the exterior design.
Type 7G. Binding cover with edging, consisting of cardboard sides and a ledge. Covered entirely with a single piece of material, the corners are right.
In terms of execution, it is textual with the presence of vignettes separating the text.
In terms of playback - combined.
Composition: combined
Paper with film pressed is used as a covering material.
The endpaper of the publication is glued, colored.
The captal is blue and matches the exterior design.
The chosen external design of the book is attractive to the reader and attracts the reader to the maximum extent possible to the internal content of the book.
I Option:
Option II:
![](https://i0.wp.com/studbooks.net/imag_/36/37910/image002.png)
III Option:
![](https://i2.wp.com/studbooks.net/imag_/36/37910/image003.png)
Front page
The title page is the first output page of the publication, occupies one page, on which the name of the book is placed, typed in 24 point font, centered, in Comic Sans MS typeface.
At the bottom of the page are the place, city and year of publication, typed in 7 point font in a light style using Trebuchet MS typeface.
The title back corresponds to GOST 7.4-95 “Publications. Imprint".
The title page is placed on the right, odd half of the first spread.
In the book “Aphorisms” the title page has a structure: textual with a thematic pattern.
![](https://i2.wp.com/studbooks.net/imag_/36/37910/image004.png)
Second stripe
Title page reverse - the reverse side of the title page, on which some elements of the imprint (for example, copyright symbol, international standard number) of the publication are placed, typed in 6 points. Trebuchet MS typeface. Designed in accordance with GOST 7.9 - 98.
Sources of classification indices:
![](https://i1.wp.com/studbooks.net/imag_/36/37910/image005.png)
Imposition strip - a strip with a descender indicating the beginning of a publication, its subsection (part, chapter), work in a collection (poems, articles, etc.). These elements of book design are correctly designed in the publication.
![](https://i0.wp.com/studbooks.net/imag_/36/37910/image006.png)
The main text is typed using the Trebuchet MS typeface, font size 8 points, straight style. In this edition, the drive of the strips is practically observed.
Main font - 8, additional - 6
The Trebuchet MS typeface belongs to the second group, sans serifs, in which there are no serifs.
![](https://i0.wp.com/studbooks.net/imag_/36/37910/image007.png)
Output information is a standard set of data characterizing a specific publication and intended to inform readers, as well as for bibliographic processing and statistical recording of publications. The main elements of the output information are: information about the authors and other persons who participated in the creation of the publication, title of the publication, classification indices, international standard numbers, copyright symbol.
![](https://i2.wp.com/studbooks.net/imag_/36/37910/image008.png)
Reference and auxiliary texts: column numbers, contents, release data.
Column numbers are typed 2 points less than the main text, centered with Trebuchet MS typeface, font size 6, light. Separated from the main text by a space of 6 points.
The design of column numbers is related to the overall design of the publication. Reduced font size of the column numbers in relation to the main text using layout technology.
The release data is prepared in accordance with the requirements.
![](https://i0.wp.com/studbooks.net/imag_/36/37910/image009.png)
Illustrations. In this edition, black and white tone vignettes are used as illustrations to separate statements in the text.
A font is a graphic form of a specific writing system.
A font typeface is a set of fonts with the same design, but different styles and sizes (Times, Arial).
The graphic structure of a letter includes: a main stroke, a connecting stroke, a serif, an intra-letter gap, an additional stroke, an over-letter sign, a protruding element, a dot, and a hanging symbol.
Font classification
The choice of font is determined by the publication itself, its purpose and readership. The choice of font determines the choice of printing method.
The fonts are characterized by:
1. The graphic basis of the written sign. (a set of signs necessary for reproducing text in any language: Russian, Greek...)
2. The font design is characterized by the ratio of the thickness of the main and connecting strokes, as well as the presence or absence of serifs.
3. The font style is characterized by saturation, by the inclination of the main strokes, by the nature of the filling of the strokes
4. Size
The first group of sans serif fonts. This group includes fonts that do not have serifs (magazine sans serif, newspaper sans serif, poster, Arial)
The second group of fonts has barely visible serifs. This group includes typefaces with slightly thickened ends of the vertical strokes (display, temingera, October)
Third, medieval fonts. This group includes typefaces with moderate contrast of strokes, with serifs in the form of a smooth thickening of the ends of the main strokes (similar to a triangle), mainly with inclined axes of rounded letters (Lazurskaya, Times) n
The fourth group, ordinary fonts. This group includes typefaces with contrasting strokes, with elongated serifs, connecting to the main strokes at right angles (ordinary new, ordinary, Elizabethan)
The fifth group of slab fonts. This group includes fonts with low-contrast or low-contrast strokes, with long serifs connected to the main strokes at right angles (newspaper slab, Baltika)
The sixth group of new low-contrast fonts. They have low-contrast strokes with long serifs, mostly with rounded ends, connected to the main strokes at right angles (school, academic, magazine)
Seventh group of additional fonts. These are fonts whose construction and pattern are very different from the fonts of the 6 main groups.
HISTORY OF THE ARISE AND DEVELOPMENT OF FONT
The earliest writing among all peoples was pictography (pictorial, figurative and picture writing, in which certain events were depicted in the form of a primitive and conventional drawing).
Pictured writing was replaced by syllabic writing - hieroglyphs, which are still used by the Egyptians to this day.
In Western Asia, cuneiform writing became widespread. This writing began with the Sumerians. This writing was pictographic and partially reminiscent of ancient Egyptian hieroglyphics.
Development of the alphabet. Most versions boil down to the fact that the Phoenicians invented the alphabet, and the Greeks later used it (8-7 centuries BC). The direction at the beginning was from right to left. Among the Greeks, the transitional link was the letter “bull step” (until the 4th century BC)
Phonetic writing is a writing where each sound is represented by a separate sign.
Greek capital writing is characterized by straight lines. Roman capital script was borrowed from the Greeks. This font has acquired serifs, and moderate contrast appears in the font. Roman capital writing, like Greek, was not divided into words and sentences. Sometimes words were separated by small icons.
The handwritten script changed by the beginning of our era and took on a functional and unique form.
The unique letter, combined with the Roman italic script that was then common in everyday practice, formed the half-uncial. It introduced letters with upper and lower extensions, which is the first step in the transition to lowercase letters.
In the 1st century AD Together with the use of parchment, the book takes on a modern form and is called a codex.
In the IX-X centuries. the decline of culture was replaced by a new rise of enlightenment, called the Carolingian Renaissance. A new design was developed - the Carolingian minuscule. The font design is light and clear. Here a clear division into words and sentences already appears. Then the character of the minuscules begins to change, the vertical strokes come closer together, the rounded shapes of the letters break and become vertical, the letters become narrower and taller. The font becomes denser and darker. The new font is called Gothic.
A strong convergence or even a connection of individual letters was called a ligature.
The Antiqua font appears, which was based on the Roman capital font (straight and oblique serifs are common).
In the 15th century Printing was invented in Europe (Johanns Guttenberg). The first book was printed in Gothic font. A little later at the end of the 15th century. We used a more convenient font - Antiqua.
At the end of the 19th and beginning of the 20th centuries. There have been big changes in the world of fonts. A font appears - grotesque (without serifs); an Egyptian font with thick serifs in the form of block strokes was also created. In the 20th century many decorative fonts were created.
HISTORY OF THE DEVELOPMENT OF RUSSIAN FONT
The most ancient Russian handwriting that was widespread in church books during the period of Kievan Rus was the charter. The charter was distinguished by the clarity and severity of the letters, the design of which well combines rectilinear elements with others - circles and ovals.
In the 9th century. There are two alphabets: Glagolitic and Cyrillic. In the XIV century. The charter is being replaced by a semi-charter letter. Scribes (custom-made books) began to use semi-charter. In the semi-ustav, the structure of the letters is less consistent than in the charter: the semi-ustav was smaller and simpler, it allowed not only tilting, but also the connection of letters with each other. The same letters could have different styles. Various reductions were also introduced.
From the second half of the 14th century, another handwriting became widespread - cursive writing. This is an oblique letter, characterized by an intricate design of letters, with the use of all kinds of additional icons that make it difficult to read what is written. For the titles of sections and parts in the book, a special type of writing was used - heading handwriting, or Russian ligature. Elm is a continuous pattern of letters that are very elongated in height and intertwined with each other. Russian script flourished under Ivan the Terrible. Heading script was always done in cinnabar or gold. Books of that time often used capital letters (initials), which were located on the imposition strip. In the 18th century there was a big turning point in the development of fonts, and a civil font appeared. In Russia in the 16th century. printing appeared (Ivan Fedorov)
ARTISTIC ADVANTAGES OF THE FONT
1. Readability.
The main properties that affect the readability of a font:
a. features of the letter design (rounded ones are read better than straight ones);
b. features of the graphic basis of the letter (related to the alphabet);
V. internal clearance (the larger, the easier the letter is perceived);
d. the presence or absence of serifs - guides reading (too thick serifs are difficult to read);
d. ratio of the main font to the additional font (best contrast 1:2);
e. the proportions of the letter (the ratio of the width of the letter to the height) are most convenient 1:1 (with a predominance of the vertical);
h. size.
2. Unity of form and content (font imagery).
The unity of the form of the font and the content of the text is manifested in the relationship of the form of the letter pattern to the content of the written text.
3. Organization of rhythmic structure.
The rhythm in a font can be simple or complex.
4. Color saturation.
The choice of font of a specific color saturation affects the emotional impact of the inscription.
5. Proportionality of all letter elements.
The most harmonious ratio is in those letters whose ratio is close to the middle.
6. Style unity.
Stylish unity means consistency of the inscription in a single graphic style.
7. Integrity.
Integrity is affected by:
A. letter drawing
V. letter spacing
8. Logical connection between the design of letters and the technique of their execution.
Depending on the technique of execution, fonts can be handwritten, drawing, or electronic.
Optical illusions in font
Optical illusions in fonts can be linear or spatial.
Linear illusions are associated with optical changes in the linear dimensions of a font. Spatial illusions are associated with changes in the perception of letter volume.
ORNAMENT AND ITS APPLICATION IN PRINTED PRODUCTS
Ornament is a pictorial, graphic or sculptural decoration that artistically designs certain objects (books, boxes, furniture...) The shape of the ornament cannot be chosen regardless of the shape of the object being decorated. The content of the drawing is related to the purpose of the object being decorated. There are two types of patterns, endless and closed.
The ornament must have a motive. The motif is the repetition of figures in the ornament by its nature.
Motives are divided into:
non-pictorial: pictorial: (geometric, (plant, animal, non-geometric) human, object).
Geometric motifs represent regular geometric elements: straight or curved line segments, triangle, square, circle, etc.
Meander - an ornament in the form of broken lines at right angles that do not intersect each other (Ancient Greece, Egypt)
Border is an ornament in which repeated figures move along one straight line (curved line).
A mesh pattern is formed by repeating a motif along two or three or more transfer axes.
A non-geometric motif is not distinguished by geometric clarity, it has bizarre shapes of spots, strokes, strokes... Texture belongs to non-figurative motifs.
Floral motifs include images of branches, leaves, flowers, etc. The plant motif is depicted in a natural or stylized form. Stylized image of form - significantly generalized forms: plants, birds, animals. Popular motifs in Dr. Egypt had papyrus and lotus painting. In Dr. Greece - palmette. In Asia Minor - pomegranate and palm tree...
Animal motifs - images of representatives of real fauna, as well as fantastic creatures, in the form of dragons, sirens, phoenixes, chimeras, griffins, etc. An ornament with fabulous animals is usually called teratological (monstrous), an example is the scarab beetle (Ancient Egypt)
Human motifs in ornament are not rare phenomena, but they are similar to animal motifs in the constituent elements of a complex pattern.
Subject - can be formed from all objects of material culture, attributes of labor, crafts are depicted...
Rhythm in ornament
Rhythm in ornament is the repetition of identical motifs or the alternation of dissimilar figures, sometimes with a progressive decrease or increase in some qualities.
Principles of rhythmic construction of ornament
2. Alternation (by color, by shape, by size)
3. Progression (by color, by shape, by size, by rotation angle)
COMPOSITION
Composition (Latin “composition, composition, arrangement”) is the process of an artist composing a work, composing its parts in relation to each other.
The artistic image is the main grain of the composition.
Basic laws of composition:
1. The law of unity of content and form.
When creating an artistic image, the artist embodies the content into material form, using visual and compositional means. All visual means are subordinated to the main thing, the disclosure of content. They give the picture integrity, internal unity and make it possible to immediately find the main thing in it. (Vasnetsov “Bogatyrs”)
1. The law of integrity.
This law requires the subordination of all elements and parts of the work to a single ideological plan. In easel painting, it is necessary to maintain the integrity of space, color and tone relationships (Surikov “Boyaryna Morozova”)
2. The law of typification.
This is one of the most important laws of creating an artistic image. When using this law, typical images of representatives of different classes and estates are created: workers, peasants, clergy... (Perov “Troika”, Yaroshenko “Stoker”, Repin “Refusal of Confession”)
3. Law of contrasts.
Contrasting relationships mean sharply expressed differences between objects in their properties and quality. Contrasts are the basis of the expressiveness of an image.
Contrast
The laws of composition are objective, because they act regardless of the characteristics of art schools, directions, movements and creative characteristics of individual artists. They are inherent in the nature of art. The considered laws operate at all stages of the creative process, that is, they do not exist in isolation from each other, but are closely related to each other at all stages of work on the composition.
COMPOSITION IN BOOK DESIGN
The composition in the design of a book is common to fine art, but it also has some peculiarities. The nature of illustration is related to the genre and style of the literary word. The most accurate understanding of the essence of book design is the synthesis of words and images. One of the main laws of composition, the law of integrity, applies here. It is impossible to create a design without the laws of contrast, vitality and novelty.
Composition plays a big role when choosing:
1. Publication format
The format of a publication is its size, width and height. The format of the publication depends on: a) the readability of the book; for adults, lines of 8-9 cm are easy to read; for children, it is desirable to have longer lines.
b) the publishing cost of the publication; depending on the format, both the amount of required binding materials and the volume of some publications change.
2. Spread and strip format
When determining the size of a stripe, first of all, one is faced with the fact that the entire stripe of the set has a certain color strength and visual weight. The main and almost only shape of the strip is a rectangle.
Rules for preserving a stripe rectangle
1. Avoid punctuation marks such as “-” and “….” at the end of the line.
2. You cannot leave an incomplete (hanging) line at the top of the strip, because this violates the integrity of the upper right corner of the rectangle of the strip.
3. It is advisable not to leave a paragraph line at the bottom of the strip.
4. It is advisable not to leave a line consisting of several letters at the bottom of the strip; If possible, the last line of a strip should not be less than half the width of the set; you should pay attention to the ratio of spaces; when spaces match in several lines, “white corridors” are obtained
Margins play a big role in the size of the strip.
Field Functions
1. Rest for the eyes
2. The margins do not allow the eye to “slip” from the strip
3. Protect text functions
3. When selecting text
The text can be simple or complex. Complex texts include: poems, dramatic works, formulas, tables. The graphic design of the text facilitates its perception, emphasizing and revealing, by means of graphics, the content of the literary material.
4. When choosing a font
Rhythm and color play a big role in the design of a book.
FACTURE, TEXTURE
Texture is the nature of the surface of a material in its natural form or after special processing in order to obtain a unique relief on the surface of the material. The texture can be: glossy and matte, coarse and fine-grained, thin and harshly woven, hard and velvety...
Texture is a decorative pattern applied to the surface of a sheet of paper, cardboard, or fabric, consisting of non-figurative motifs. Texture on covers and endpapers is an important addition to the other features of the book.
Such a wide popularity of textures in the book is greatly facilitated by the comparative lightness and production of their publishing originals with the most diverse emotional sound and expressiveness. The most commonly used methods for obtaining textures can be divided into several types: graphic-line, pictorial, mechanical, photographic, stamping.
COLOR MODELS
Additive and subtractive
Additive color (add, add) is obtained by combining rays of light of different colors. In this system, the absence of all colors represents the color black, and the presence of all colors represents white. The additive color system uses three colors: red (R), green (G), blue (B) - (RGB). If they are mixed in equal proportions, they form white, and when mixed in different proportions, they form any other color.
In the subtractive color system (subtract), the reverse process occurs: a color is obtained by subtracting other colors from the total beam of reflected light. In this system, white appears as a result of the absence of all colors, while their presence produces black. The subtractive color system works with reflected light, such as from a sheet of paper. White paper reflects all colors, colored paper absorbs some and reflects the rest. In the subtractive color system, the primary colors are: cyan, magenta, yellow (CMYK) and the opposite of red, green and blue. Mixed in equal proportions, the color black is obtained. In fact, printing inks do not absorb color completely, and therefore the combination of the three primary colors appears dark brown, so black is added separately.
All files intended for printing must be converted to CMYK. This process is called color separation. Color separation is the division of a color image of the original using light filters or selective lighting sources into separate single-color images of equal scale.
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