3. The Utility of "Visual Texture" in Book Framed Aesthetics
3.1 Arouse readers' attention and evoke tactile interests.
In the fiercely competitive book market competition, trying to attract readers' attention is a precondition for inducing the reader's desire to purchase. It is not sufficient to rely solely on the visual stimulation of the graphics and colors of the books. Designers use different paper textures and printing techniques with special textures according to different book positioning and form content to meet different tactile needs of the audience, and reflect their design interest with a strong texture. The unique "visual texture" can give readers a special visual response, evoke a tactile sense of freshness. In recent years, with the rapid development of printing technology in China, more and more book designers have used different texture materials in a book, from hard cardboard, plastics to wood, blades of grass, metal, etc., or based on books. Themes, schema content make up uneven surface; or use logos or words to prompt the audience to open the book, making it an unexpectedly beautiful shape and so on. The special properties of these visual textures grab the reader's eyeballs for the first time, attracting readers to read through them and achieve the best display effect. For example, this is a well-known British denim brand promotional book. The book's heart is placed in a bookcase sewn with broken denim, with an exquisite brand logo. After a denim cover with varying degrees of man-made damage processing, it is easy to imagine the content of the book, and exudes a unique texture of charm. What kind of design is more appealing to readers than to directly feel the texture of denim? There is also this book published by the United States, with a novel visual texture to appease the reader's appetite. The cover uses a pure white hard material to emboss the printing process. The three-dimensional effect is full, and the subject image shows beautiful and beautiful visual effects under different light. Another example: This "Golden Inheritance" is also uniquely decorated materials, letter sets and cover were used to bind wood and leather, wooden natural and cortex of the old visual texture is no paper can compare.
3.2 Induce readers to produce various psychological reflections, promote information exchange and emotional exchange between people and books, and deepen the content of books. The aesthetic judgement of modern book binding is a comprehensive judgment based on visual perception and other sensory functions such as touch. Therefore, to build the overall beauty of the book, it is necessary to create visual beauty and other sensory beauty. The visual texture we can see in book binding induces readers to have different psychological reflections. The glossy paper can express the beautiful and luxurious books, and the soft paper can express the gentle cultural heritage of the books. Different paper materials show different textures, smooth, or rough, or soft, or strong, or light, or heavy, will directly stimulate the human senses through the touch of the hand, with the reader silent information and emotions communicate with. The synaesthesia triggered by the various mimicry effects of the framing material also deepens the connotation of the book. For example, in the “Collection of Folk Paper-cut Works by the National Art Museum of China,†the designer consciously enhanced the texture of the binding materials in order to brew the charm of the design of the book binding. The convex and concave textures on the cover with the paper-cut pattern produce a strong texture contrast with the bright metal, and with the red color, it expresses a strong folk culture connotation, but also elegant and magnificent style. The book's ring lining, front page, and inside text were made of translucent sulphuric acid paper and color-enhanced eco-friendly paper, respectively, making the entire book rippling with rich ethnic characteristics.
4. How to Shape the "Visual Texture" of Book Binding
4.1 Reasonable choice of binding materials and printing binding process, so that the form and content of the unity. The use of new materials and new techniques should be consistent with the content of the books. When designers conceive, they should fully understand the personality and visual experience of various printed materials, and diversify their portfolios according to different content needs so that they can be compared and unified. Imagine applying new materials, such as foam or plastic, to a book on a traditional subject matter. This will not only lose the beauty of the material, but also cause economic losses. In short, an outstanding book designer is constantly chasing new materials and constantly trying new techniques. At the same time, he should treat the texture of the material with an aesthetic attitude and creative spirit, and use appropriate materials and techniques to add glory to the frame.
4.2 Fully mobilize and coordinate the plane's visual elements and comprehensively convey the overall beauty of the book. The visual texture of a book can also be represented by a flat visual image of the book. Because the use of special materials and printing processes is constrained by the cost of books, designers can also use a combination of photography technology and computers to reflect a variety of visual textures. A cleverly designed flat visual image can also arouse readers' curiosity and fully demonstrate the visual texture of the book. "THE JEHOL BIOTA" is a comprehensive and systematic demonstration of Chinese scientists' scientific research on the results of research on the Jehol Biota. Designers use the most famous Chinese dragon bird in the Jehol biota as the protagonist on the seal, and use the gray-gray fossil as the cover background. The treatment of the fossil photo tends to be dignified, giving the ancient life miracle a glamorous impression. The momentum. The visual texture of the right, so vivid dragon birds silhouette vividly, but also people have to lament the lost life. Finally, we must emphasize that to establish the overall aesthetics of the binding must be combined with the aesthetic sense of the visual image and the binding material. The two are integrated and complement each other, so as to deepen the theme.
5. Conclusion
Book binding design is facing the strong impact of electronic media, and the digital and marginal aesthetic concept is imperceptibly affecting people's aesthetic conception of books. In the diversified design culture landscape, the overall creativity of book binding is the most important issue for designers, and “visual texture†is one of the important elements that can reflect the creative and overall design of the binding. In the future development of book binding, only the content and form of books, the integration of plane and three-dimensional, and vision and synaesthesia can fully reflect the overall beauty of book binding.
Guangxi College of Art School of Design Xiong Yanfei
3.1 Arouse readers' attention and evoke tactile interests.
In the fiercely competitive book market competition, trying to attract readers' attention is a precondition for inducing the reader's desire to purchase. It is not sufficient to rely solely on the visual stimulation of the graphics and colors of the books. Designers use different paper textures and printing techniques with special textures according to different book positioning and form content to meet different tactile needs of the audience, and reflect their design interest with a strong texture. The unique "visual texture" can give readers a special visual response, evoke a tactile sense of freshness. In recent years, with the rapid development of printing technology in China, more and more book designers have used different texture materials in a book, from hard cardboard, plastics to wood, blades of grass, metal, etc., or based on books. Themes, schema content make up uneven surface; or use logos or words to prompt the audience to open the book, making it an unexpectedly beautiful shape and so on. The special properties of these visual textures grab the reader's eyeballs for the first time, attracting readers to read through them and achieve the best display effect. For example, this is a well-known British denim brand promotional book. The book's heart is placed in a bookcase sewn with broken denim, with an exquisite brand logo. After a denim cover with varying degrees of man-made damage processing, it is easy to imagine the content of the book, and exudes a unique texture of charm. What kind of design is more appealing to readers than to directly feel the texture of denim? There is also this book published by the United States, with a novel visual texture to appease the reader's appetite. The cover uses a pure white hard material to emboss the printing process. The three-dimensional effect is full, and the subject image shows beautiful and beautiful visual effects under different light. Another example: This "Golden Inheritance" is also uniquely decorated materials, letter sets and cover were used to bind wood and leather, wooden natural and cortex of the old visual texture is no paper can compare.
3.2 Induce readers to produce various psychological reflections, promote information exchange and emotional exchange between people and books, and deepen the content of books. The aesthetic judgement of modern book binding is a comprehensive judgment based on visual perception and other sensory functions such as touch. Therefore, to build the overall beauty of the book, it is necessary to create visual beauty and other sensory beauty. The visual texture we can see in book binding induces readers to have different psychological reflections. The glossy paper can express the beautiful and luxurious books, and the soft paper can express the gentle cultural heritage of the books. Different paper materials show different textures, smooth, or rough, or soft, or strong, or light, or heavy, will directly stimulate the human senses through the touch of the hand, with the reader silent information and emotions communicate with. The synaesthesia triggered by the various mimicry effects of the framing material also deepens the connotation of the book. For example, in the “Collection of Folk Paper-cut Works by the National Art Museum of China,†the designer consciously enhanced the texture of the binding materials in order to brew the charm of the design of the book binding. The convex and concave textures on the cover with the paper-cut pattern produce a strong texture contrast with the bright metal, and with the red color, it expresses a strong folk culture connotation, but also elegant and magnificent style. The book's ring lining, front page, and inside text were made of translucent sulphuric acid paper and color-enhanced eco-friendly paper, respectively, making the entire book rippling with rich ethnic characteristics.
4. How to Shape the "Visual Texture" of Book Binding
4.1 Reasonable choice of binding materials and printing binding process, so that the form and content of the unity. The use of new materials and new techniques should be consistent with the content of the books. When designers conceive, they should fully understand the personality and visual experience of various printed materials, and diversify their portfolios according to different content needs so that they can be compared and unified. Imagine applying new materials, such as foam or plastic, to a book on a traditional subject matter. This will not only lose the beauty of the material, but also cause economic losses. In short, an outstanding book designer is constantly chasing new materials and constantly trying new techniques. At the same time, he should treat the texture of the material with an aesthetic attitude and creative spirit, and use appropriate materials and techniques to add glory to the frame.
4.2 Fully mobilize and coordinate the plane's visual elements and comprehensively convey the overall beauty of the book. The visual texture of a book can also be represented by a flat visual image of the book. Because the use of special materials and printing processes is constrained by the cost of books, designers can also use a combination of photography technology and computers to reflect a variety of visual textures. A cleverly designed flat visual image can also arouse readers' curiosity and fully demonstrate the visual texture of the book. "THE JEHOL BIOTA" is a comprehensive and systematic demonstration of Chinese scientists' scientific research on the results of research on the Jehol Biota. Designers use the most famous Chinese dragon bird in the Jehol biota as the protagonist on the seal, and use the gray-gray fossil as the cover background. The treatment of the fossil photo tends to be dignified, giving the ancient life miracle a glamorous impression. The momentum. The visual texture of the right, so vivid dragon birds silhouette vividly, but also people have to lament the lost life. Finally, we must emphasize that to establish the overall aesthetics of the binding must be combined with the aesthetic sense of the visual image and the binding material. The two are integrated and complement each other, so as to deepen the theme.
5. Conclusion
Book binding design is facing the strong impact of electronic media, and the digital and marginal aesthetic concept is imperceptibly affecting people's aesthetic conception of books. In the diversified design culture landscape, the overall creativity of book binding is the most important issue for designers, and “visual texture†is one of the important elements that can reflect the creative and overall design of the binding. In the future development of book binding, only the content and form of books, the integration of plane and three-dimensional, and vision and synaesthesia can fully reflect the overall beauty of book binding.
Guangxi College of Art School of Design Xiong Yanfei
Source: Art and Design - Theoretical Issues
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