版式设计艺术家书  The Artist’s Book which Contains Two Typographic Poems

MASA特种纸,达雷尔-朗尼 · 坎福德纸,黑墨牌桑椹纤维纸,哈尼幕勒摄影纯棉,装帧布
MASA paper, Daler-Rowney Canford paper, Black Ink Mulberry Paper, Hahnemuhle Photo Rag, bookcloth
2016年春;芝加哥,伊利诺伊州/Spring 2016; Chicago, Illinois









这本内容为两首诗的 “版式设计艺术家书” 是一个实验性艺术家书项目。其中一首诗是巴勃罗 · 聂鲁达的《活版印刷赋》,它占据主导地位且更加情绪化,像是一首聂鲁达写给活版印刷的情书;而比阿特丽斯 · 沃德的 《水晶高脚杯,或印刷应该是无形的》用一种更理性与批判的思路去辩证版式设计的功能性。该艺术家书的书籍设计为 “书中书”,并且应用了各种版式设计策略来表现两首诗的对比与冲突。

占据视觉中心的小开本即《活版印刷赋》。它将记谱符号和文字内容结合视觉化了诗歌本身的节奏感与音乐性。同时在心跳拟声词 “lubb-dupp” 的辅助下更强化了这种观感。

大开本则为 《水晶高脚杯,或印刷应该是无形的》。文字版式始于镂空部分的顶端,随着翻页与阅读的过程不短向下移动最终在底端结束。通过这种方法来暗示阅读的进程。多种字体的结合使用体验了不同语气与角色间的转换。

“The Artist Book which Contains Two Typographical Poems
” is an experimental artist book composed by Pablo Neruda’s “Ode to Typography,” which is more dominant and emotional, much more like a love letter that Neruda wrote to typography, and Beatrice Warde’s “The Crystal Goblet, or Printing Should be Invisible,” which debates the functionality of typography in a more rational and critical way. The structure of the artist’s book is “A Book in a Book,” and miscellaneous typographic strategies are applied to show the comparative, contradictory, and dramatic differences of these two poems.

The inner one that occupies the focal center is “Ode to Typography,”  which combines musical notation with the text together to visualize the rhythm and musicality of the poem itself, as well as with the help of the heartbeat mimicking word “lubb-dupp” that emphasize them even more.

The outer one is “The Crystal Goblet, or Printing Should be Invisible.” The text starts from the top line of the die-cut, moves down page by page, and ends at the bottom line, which indicates the reading progress. Various typefaces are used in a subtle way to suggest the switching of different tones and characters.


《活版印刷赋》全书/“Ode to Typography:”
















#版式设计/typography
#艺术家书/artist’s book
#书籍装帧设计/book binding
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