从视觉到触觉
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摘要
本文从书籍设计大师杉浦康平先生提出的的五感论出发,讲述从视觉到触觉,材质与工艺对书籍设计产生的效果。“五感说”认为书籍会调动人们的视觉、听觉、触觉、味觉、嗅觉,强调的对书籍的整体感觉,这种感觉不单纯来自我们看到书籍的第一印象视觉,也来自拿起书籍指尖摩挲所产生的触觉。视觉和触觉不能单独通过色彩、图形来表现,这就需要在选择材质和工艺达到与内容的契合,才能带来多元化的审美感受。
从书籍设计概念和书籍材质演变及形态发展为线索,分析各个时代所使用的主要书籍材质与工艺,梳理材质与工艺之间的密切关系。并分开论述材质和工艺各自对书籍装帧设计美感的影响及表现力。
在书籍装帧设计过程中,材质和工艺是实现书籍成品的重要环节,它们直接影响到最终成品的质量。每种材质及工艺都具有不同的物理特性,带给人们不同的美感体验,这种美感从视觉上延伸到触觉上,所以分析它们的各自美感表现是本文的重点。在现代设计中,材质和工艺可以是书籍内容的延续,包含着作者的思想,升华书籍的语言内涵,充分发掘它们的设计价值是形成读者共鸣的有效途径之一。本文通过视觉和触觉的分开论述并结合有代表性的实例进行分析,揭示了材料与工艺对现代书籍设计创作的重要价值,并以此为基础,讨论一些有可行性的设计方法。合理的运用这些设计语言,是对设计内容的深层次探究,也是对材质与工艺属性的熟练掌握。根据书籍内容表达的含义,善于发掘运用材质与工艺表达的美感,从视觉到触觉带给让人以美的享受。
Based on the theory of five senses proposed by the prominent book designer Mr. Pu Kangping, this thesis discusses the effects on book design from sense of sight to sense of touch, and from material to craft. The theory of five senses points out that a book may influence our senses of sight, hearing, touch, taste and smell, it focuses upon the overall impression of the book, which is not simply our first impression on the book, but also the sense of touch when picking it up. Senses of sight and touch can not be simply presented through colors and shapes, and only the perfect combination between material, craft and content can meet the need and bring us diversified aesthetic sensibility.
This thesis analyzes the major book materials and crafts in different ages, describes the intimate relationship between material and craft on the basis of the evolution and pattern development of book design concept and book material, and it respectively throws light on the influence and expression of material and craft on the sense of beauty presented in book design.
In the process of book binding design, material and craft are the key links in realizing book products, and they directly affect the quality of the final book product. Every material and craft has its own physical characteristics; they can bring us different aesthetic sensibility which is extended from sense of sight to touch. Thus, this thesis emphasizes on analyzing their respective expression of aesthetic sensibility. In modern design, material and craft can be the extension of book contents; they contain the author’s ideology and lift up the connotation of book language. So, to fully search for their design value is one of the effective ways of arousing the readers’echo. This thesis reveals the important value of material and craft on modern book design creation based on the discussion and sample analysis, and then it discusses some possible design methods. Appropriately using design language is to deeply investigate the design contents and to proficiently master the properties of material and craft. We are supposed to be good at studying the aesthetic sensibility of material and craft according to the connotation of the book, and thus bring beauty to the readers from sense of sight to touch.
从书籍设计概念和书籍材质演变及形态发展为线索,分析各个时代所使用的主要书籍材质与工艺,梳理材质与工艺之间的密切关系。并分开论述材质和工艺各自对书籍装帧设计美感的影响及表现力。
在书籍装帧设计过程中,材质和工艺是实现书籍成品的重要环节,它们直接影响到最终成品的质量。每种材质及工艺都具有不同的物理特性,带给人们不同的美感体验,这种美感从视觉上延伸到触觉上,所以分析它们的各自美感表现是本文的重点。在现代设计中,材质和工艺可以是书籍内容的延续,包含着作者的思想,升华书籍的语言内涵,充分发掘它们的设计价值是形成读者共鸣的有效途径之一。本文通过视觉和触觉的分开论述并结合有代表性的实例进行分析,揭示了材料与工艺对现代书籍设计创作的重要价值,并以此为基础,讨论一些有可行性的设计方法。合理的运用这些设计语言,是对设计内容的深层次探究,也是对材质与工艺属性的熟练掌握。根据书籍内容表达的含义,善于发掘运用材质与工艺表达的美感,从视觉到触觉带给让人以美的享受。
Based on the theory of five senses proposed by the prominent book designer Mr. Pu Kangping, this thesis discusses the effects on book design from sense of sight to sense of touch, and from material to craft. The theory of five senses points out that a book may influence our senses of sight, hearing, touch, taste and smell, it focuses upon the overall impression of the book, which is not simply our first impression on the book, but also the sense of touch when picking it up. Senses of sight and touch can not be simply presented through colors and shapes, and only the perfect combination between material, craft and content can meet the need and bring us diversified aesthetic sensibility.
This thesis analyzes the major book materials and crafts in different ages, describes the intimate relationship between material and craft on the basis of the evolution and pattern development of book design concept and book material, and it respectively throws light on the influence and expression of material and craft on the sense of beauty presented in book design.
In the process of book binding design, material and craft are the key links in realizing book products, and they directly affect the quality of the final book product. Every material and craft has its own physical characteristics; they can bring us different aesthetic sensibility which is extended from sense of sight to touch. Thus, this thesis emphasizes on analyzing their respective expression of aesthetic sensibility. In modern design, material and craft can be the extension of book contents; they contain the author’s ideology and lift up the connotation of book language. So, to fully search for their design value is one of the effective ways of arousing the readers’echo. This thesis reveals the important value of material and craft on modern book design creation based on the discussion and sample analysis, and then it discusses some possible design methods. Appropriately using design language is to deeply investigate the design contents and to proficiently master the properties of material and craft. We are supposed to be good at studying the aesthetic sensibility of material and craft according to the connotation of the book, and thus bring beauty to the readers from sense of sight to touch.
引文
①吕敬人.吕敬人书籍设计教程[M].武汉:湖北美术出版社,2006:96.
①余秉楠.书籍设计[M].武汉:湖北美术出版社,2001:3.
②夏征农.辞海[N].上海:上海辞书出版社,1979:468.
①艾莉斯·特姆罗.平面设计为什么[J].北京:中国青年出版社,2006:104.
②裘人,林骧华.中国传统文化精华[M].上海:复旦大学出版社,1995:379.
③钱存训.中国纸和印刷文化史[M].桂林:广西师范大学出版社,2004:26-27
①吴泽.中国古代史[M].上海:上海棠棣出版社,1952:562.
②关于石鼓文年代有争议,见郭沫若《石鼓文研究》,上海商务印书馆,1940.
③陆增祥(清) .山左金石志,1797,卷十,21.
①张树栋,庞多益,郑如斯.简明中华印刷通史[M].桂林:广西师范大学出版社,2004:171.
①冯端.材料科学导论[M].北京:化工工业出版社,2002:79.
①王行贡.翻开---当代中国书籍设计·台湾[M].北京:清华大学出版社,2004:8.
②江湘云.设计材料及加工工艺[M].北京:北京理工大学出版社,2003:23.
①邓小鹏.装潢美术[J].杭州:中国美术学院出版社,1988:87.
②邱陵.书籍装帧艺术简史[M].哈尔滨:黑龙江人民出版社,1984:29.
①罗杰斯·福赛特.装帧设计[J].北京:中国纺织出版社,2004:35.
①卢西奥·迈耶.视觉美学[M].上海:上海人民美术出版社,1990:10.
①戴吾三.考工记图说[M].济南:山东画报出版社,2003:17.
②戴吾三.考工记图说[M].济南:山东画报出版社,2003:20.
③李砚祖.工艺美术概论[M].北京:中国轻工业出版社,2007:73.
①郑军.书籍形态设计与印刷应用[M].上海:上海书店出版社,2008:127.
②吕敬人.杉浦康平的装帧艺术[J].北京:中国装饰杂志社《装饰》1992-3:56-59.
③汉斯·彼得·维尔堡.发展中的书籍艺术[M].北京:人民美术出版社,1997:21.
[1]卢西奥·迈耶.视觉美学[M].上海:上海人民美术出版社,1990.
[2]汉斯·彼得·维尔堡.发展中的书籍艺术[M].北京:人民美术出版社,1997.
[3]阿恩海姆.艺术与视知觉(滕守荛、朱疆源译)[M].中国社会出版社,1984.
[4]弗雷德里克·巴比耶.书籍的历史[M].广西师范大学出版社,2005.
[5]吕敬人.吕敬人书籍设计教程[M].武汉:湖北美术出版社,2006.
[6]余秉楠.书籍设计[M].武汉:湖北美术出版社,2001.
[7]奇文云海文化传播.面子[M].华东师范大学出版社,2005.
[8]裘人,林骧华.中国传统文化精华[M].上海:复旦大学出版社,1995.
[9]钱存训.中国纸和印刷文化史[M].桂林:广西师范大学出版社,2004.
[10]张树栋,庞多益,郑如斯.简明中华印刷通史[M].桂林:广西师范大学出版社,2004.
[11]吴泽.中国古代史[M].上海:上海棠棣出版社,1952.
[12]冯端.材料科学导论[M].北京:化工工业出版社,2002.
[13]王行贡.翻开---当代中国书籍设计·台湾[M].北京:清华大学出版社,2004.
[14]江湘云.设计材料及加工工艺[M].北京:北京理工大学出版社,2003.
[15]邱陵.书籍装帧艺术简史[M].哈尔滨:黑龙江人民出版社,1984.
[16]戴吾三.考工记图说[M].济南:山东画报出版社,2003.
[17]李砚祖.工艺美术概论[M].北京:中国轻工业出版社,2007.
[18]郑军.书籍形态设计与印刷应用[M].上海:上海书店出版社,2008.
[19]冯斌.从材料到观念--材料表现艺术[M].黑龙江美术出版社,2004.
[20]陆增祥(清) .山左金石志[M].1797,卷十.
[21]夏征农.辞海[N].上海:上海辞书出版社,1979.
[22]刘淑彧．书籍装帧之美[N].中国出版,2008.
[23]昆廷·纽瓦克.什么是设计[J].北京:中国青年出版社,2006.
[24]罗杰斯·福赛特.装帧设计[J].北京:中国纺织出版社,2004.
[25]艾莉斯·特姆罗.平面设计为什么[J].北京:中国青年出版社,2006.
[26]阿·卡伯尔(余秉楠译).全世界最美的书[J].装饰,1986.
[27]邓小鹏.装潢美术[J].杭州:中国美术学院出版社,1988.
[28]吕敬人.杉浦康平的装帧艺术[J].北京:中国装饰杂志社《装饰》1992,3.
[29]余秉楠.东西方现代书籍艺术掠影[J].文艺研究,1984,4.
[30]吴汉英.我国古代书籍的装帧形式[J].出版与印刷,1992,1.
[31]慈立群.书籍设计中的虚实与互动[J].装饰,2006,3.
[32]程晖.浅谈书籍设计与印制工艺[J].印刷工艺,2000,3.
[33]周峰,鲍瑜.朴素风格的书籍设计[J].中国包装,2008,4.
[34]梅洹林.肌理元素在现代平面设计中的运用研究[D].重庆大学,2006,5.
[35]贺国强.中国书籍设计艺术研究[D].湖南大学,2004,3.
①余秉楠.书籍设计[M].武汉:湖北美术出版社,2001:3.
②夏征农.辞海[N].上海:上海辞书出版社,1979:468.
①艾莉斯·特姆罗.平面设计为什么[J].北京:中国青年出版社,2006:104.
②裘人,林骧华.中国传统文化精华[M].上海:复旦大学出版社,1995:379.
③钱存训.中国纸和印刷文化史[M].桂林:广西师范大学出版社,2004:26-27
①吴泽.中国古代史[M].上海:上海棠棣出版社,1952:562.
②关于石鼓文年代有争议,见郭沫若《石鼓文研究》,上海商务印书馆,1940.
③陆增祥(清) .山左金石志,1797,卷十,21.
①张树栋,庞多益,郑如斯.简明中华印刷通史[M].桂林:广西师范大学出版社,2004:171.
①冯端.材料科学导论[M].北京:化工工业出版社,2002:79.
①王行贡.翻开---当代中国书籍设计·台湾[M].北京:清华大学出版社,2004:8.
②江湘云.设计材料及加工工艺[M].北京:北京理工大学出版社,2003:23.
①邓小鹏.装潢美术[J].杭州:中国美术学院出版社,1988:87.
②邱陵.书籍装帧艺术简史[M].哈尔滨:黑龙江人民出版社,1984:29.
①罗杰斯·福赛特.装帧设计[J].北京:中国纺织出版社,2004:35.
①卢西奥·迈耶.视觉美学[M].上海:上海人民美术出版社,1990:10.
①戴吾三.考工记图说[M].济南:山东画报出版社,2003:17.
②戴吾三.考工记图说[M].济南:山东画报出版社,2003:20.
③李砚祖.工艺美术概论[M].北京:中国轻工业出版社,2007:73.
①郑军.书籍形态设计与印刷应用[M].上海:上海书店出版社,2008:127.
②吕敬人.杉浦康平的装帧艺术[J].北京:中国装饰杂志社《装饰》1992-3:56-59.
③汉斯·彼得·维尔堡.发展中的书籍艺术[M].北京:人民美术出版社,1997:21.
[1]卢西奥·迈耶.视觉美学[M].上海:上海人民美术出版社,1990.
[2]汉斯·彼得·维尔堡.发展中的书籍艺术[M].北京:人民美术出版社,1997.
[3]阿恩海姆.艺术与视知觉(滕守荛、朱疆源译)[M].中国社会出版社,1984.
[4]弗雷德里克·巴比耶.书籍的历史[M].广西师范大学出版社,2005.
[5]吕敬人.吕敬人书籍设计教程[M].武汉:湖北美术出版社,2006.
[6]余秉楠.书籍设计[M].武汉:湖北美术出版社,2001.
[7]奇文云海文化传播.面子[M].华东师范大学出版社,2005.
[8]裘人,林骧华.中国传统文化精华[M].上海:复旦大学出版社,1995.
[9]钱存训.中国纸和印刷文化史[M].桂林:广西师范大学出版社,2004.
[10]张树栋,庞多益,郑如斯.简明中华印刷通史[M].桂林:广西师范大学出版社,2004.
[11]吴泽.中国古代史[M].上海:上海棠棣出版社,1952.
[12]冯端.材料科学导论[M].北京:化工工业出版社,2002.
[13]王行贡.翻开---当代中国书籍设计·台湾[M].北京:清华大学出版社,2004.
[14]江湘云.设计材料及加工工艺[M].北京:北京理工大学出版社,2003.
[15]邱陵.书籍装帧艺术简史[M].哈尔滨:黑龙江人民出版社,1984.
[16]戴吾三.考工记图说[M].济南:山东画报出版社,2003.
[17]李砚祖.工艺美术概论[M].北京:中国轻工业出版社,2007.
[18]郑军.书籍形态设计与印刷应用[M].上海:上海书店出版社,2008.
[19]冯斌.从材料到观念--材料表现艺术[M].黑龙江美术出版社,2004.
[20]陆增祥(清) .山左金石志[M].1797,卷十.
[21]夏征农.辞海[N].上海:上海辞书出版社,1979.
[22]刘淑彧．书籍装帧之美[N].中国出版,2008.
[23]昆廷·纽瓦克.什么是设计[J].北京:中国青年出版社,2006.
[24]罗杰斯·福赛特.装帧设计[J].北京:中国纺织出版社,2004.
[25]艾莉斯·特姆罗.平面设计为什么[J].北京:中国青年出版社,2006.
[26]阿·卡伯尔(余秉楠译).全世界最美的书[J].装饰,1986.
[27]邓小鹏.装潢美术[J].杭州:中国美术学院出版社,1988.
[28]吕敬人.杉浦康平的装帧艺术[J].北京:中国装饰杂志社《装饰》1992,3.
[29]余秉楠.东西方现代书籍艺术掠影[J].文艺研究,1984,4.
[30]吴汉英.我国古代书籍的装帧形式[J].出版与印刷,1992,1.
[31]慈立群.书籍设计中的虚实与互动[J].装饰,2006,3.
[32]程晖.浅谈书籍设计与印制工艺[J].印刷工艺,2000,3.
[33]周峰,鲍瑜.朴素风格的书籍设计[J].中国包装,2008,4.
[34]梅洹林.肌理元素在现代平面设计中的运用研究[D].重庆大学,2006,5.
[35]贺国强.中国书籍设计艺术研究[D].湖南大学,2004,3.