韓立
Li Han
视觉叙事；艺术设计
Visual Narrative;
Art & Design
韓立
视觉叙事；艺术设计
Visual Narrative;
Art & Design
文字頌
Ode to Typography (Artist’s Book)
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
数码列印，喷墨打印
2016年春；美国芝加哥
MASA paper, Daler-Rowney Canford paper, Black Ink Mulberry paper; Hahnemuhle photo rag, book cloth
digital & Inkjet Printing
spring 2016; Chicago, IL, USA
《文字颂》以小开本占据视觉主导，通过在文字编排设计中穿插记谱符号和心跳声可视化诗歌的节奏感与音乐性，以强化聂鲁达为文字编排所作情书的浓烈感情；《水晶高脚杯——印刷或应相见于无形》的文本始于大开本开窗部分的顶端，伴随翻页最终结束于开窗底端，将翻页具象化为时间的流转，强调对文字编排功能性的辩证思维。
The experimental artist book project Ode to Typography (Artist's Book) is composed by Pablo Neruda's Ode to Typography and Beatrice Warde's The Crystal Goblet, or Printing Should be Invisible. The book form—a book in a book—materializes the symbiotic relationship of typography's emotionalism and rationalism.
The center booklet Ode to Typography combines musical notations and onomatopoeia lubb-dupp with the text together to visualize the poem's rhythmicality and musicality , in order to emphasize the love that Neruda makes to typography; meanwhile, the text of the wrapping book The Crystal Goblet, or Printing Should be Invisible's moves down from the top to the bottom of the die-cut page by page, which embodies page-turning as time-elapsing and critically thinks of typographic functionality.
#艺术家书 #书籍设计 #版式设计 #工艺设计
#artist's book #book design #typography #craftsmanship