Misunderstanding of book binding

Books are not only citrons and food, it also irrigates people's hearts and helps people to create a meaningful life. It is because people use books, love books, love books, and books, so they dress up books and design books. In the past 20 years, domestic book design has made remarkable achievements. Many exquisite works have ignited bright lights for the prosperity and development of Chinese book art, and narrowed the gap with the design level of the world. However, under the rich and colorful appearance, there are the following misunderstandings that affect the further development of the binding design.

one. Misread multiple. Diversification is the general state of art development in the industrial era, and the design of binding is no exception. Diversity means creating a full display of individuality, which means respecting and adapting to the audience's multi-dimensional needs, and providing different tastes for different requirements. However, "plurality" does not mean "messy" and "richness" does not mean "disorderliness." While emphasizing diversity and the individuality of designers, framing design has, to a certain extent, fallen into the erroneous zone of ignoring “classification” so that the bounds of binding of natural sciences, social sciences, academic monographs, and popular books are completely confused and dazzling. The face makes the choice of readers difficult. At the same time, under the appearance of the gorgeous Seiko, hidden poverty and burnout are hidden. In fact, "diversity" should be "diversity" of "class", "diversity" of "species" and "diversity" of "individuals", or "diversity" under the distinction of "species". It is "orderly" that looks like "unordered", and it is the "unity" of classification of "miscellaneous". The Commercial Press's "Translation of World Famous Academic Books in Chinese", "The Book of Foreign Literary Masterpieces" published by People's Literature Publishing House, and "The Chinese Thinkers' Critical Review Series" published by Nanjing University Press all leave behind its unique category and book style. deep impression. Originally, information sharing and networked resource sharing should enrich the means and expressions of book design. However, its negative effect has reduced the threshold of book design, and the book assembly has been reduced to graphic imposition. This is a vulgar design. Or do not understand the design of the art opened the door to convenience, resulting in book design "class" style was submerged in a variety of images.

two. Disregard internationally. With China's accession to the WTO, the internationalization of the book model tends to make the importance of the internationalization of bookbinding design increasingly prominent. Renmin University Press, Guangxi People's Publishing House and other units took into account the arrival of the graphic and text era. They noticed that books, illustrations, and layouts were as far as possible in line with international standards. It was added that some “Royal” publishing houses still clung to the old format and layout. Change, so that the international book market appears to be chilling, the International Book Award will be missed. Is it so difficult to change the old model? It seems that the main problem is not a technical problem, but ideological understanding is the root.

three. Ignore the whole. Traditional book design due to the division of labor is too small, coupled with the lack of understanding of the integrity, resulting in book design is limited to the cover of this place, as a girl makeup, only for superficial articles. With the deepening of the opening up and exchanges in recent years, the design of the binding design has evolved from a simple cover design to the integration of a series of book elements such as content, material, layout, etc., and has increasingly attracted attention from the setting industry. Some publishers also set up a planning office to raise the design of binding to the strategic position of the entire publishing operation. However, on the whole, the focus of China's design of binding is still on the cover, lacking the organic nature of the design. Without an organic overall strategic vision, a good cover will not be designed. Therefore, China's framing design community should quickly emerge from the mistaken aspects of the cover design, enter the organic overall design, and book awards should also be based on the organic overall design.

four. Resigned to "right" and "profit." In the book design field, the designer's creative design is often dictated by the individual will of the leader, so that good ideas are rejected and crappy solutions are recognized. In addition, the book design is also subject to the constraints of the issuing department. In order to acquiesce the market's preference for the vulgar tastes of popular culture, designers have to do unfair design. Then, how to respect leadership as well as increase leadership; to adapt to the trend, to guide the trend, to get out of the mistakes of "rights" and "benefits" as quickly as possible, and to improve the cultural taste of Chinese book design, which is an urgent need to be solved. problem.

Fives. Display closed. The exhibition and awards of book binding should show the audience the overall design level of the book from the inside out. Therefore, the display of book design must be open-ended, that is, the use of multimedia methods, the expansion of books, the way of partial enlargement, the way of adding comments, the way of rotating bookshelf, and the way of dynamic display, to show the audience in all directions. The essence of design, through the interactive communication between designers and readers, promotes the development of book design while disseminating the culture of design. However, all of our book exhibitions have been closed, and even the openness of open shelves is not open. The framing design exhibition has become a disguised expo or trade fair, which undoubtedly weakens the function of the book exhibition and dispels it. The fundamental significance of the book exhibition.

six. The transformation is hesitant. All these problems are to a great extent institutional problems. The country is now strengthening institutional reforms. Many newspapers, publishing industry, and television drama productions have begun to move toward industrialization, grouping, and share-based operations. Some sensitive framing designers have also resigned from office and set up studios to expand personal development. Space. Most of the framing designers are still willing to play a marginal role in various publishing houses, subject to multiple instructions, and fall into a passive situation of dispensability. Why can't you step out of the siege bravely, step into the market, build your industry, and fly your dreams? As far as the entire design industry is concerned, it should be separated from the government's planned economic system, relying on benign market regulation, and bringing together manpower, energy, intelligence, and financial resources to establish the China Graphic Design Group. For this path, give it a try.

I remember Han Yu’s two poems: “In order to keep the mirror clear and delicate, there is no limit to wetness.” This means that catkins would like to cross the pond and be wetted by the pool and never fly again. I think that book framing can only be soared by the water in the “misunderstanding” to create a glorious and exquisite world.