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The meaning of book binding refers to the prior art design of opener, typeface, layout, illustration, cover and paper, printing and binding, that is, the overall design from the original to the finished book. The term bookbinding, in English, is equivalent to Buchgestaltung in Bookdesign and German, meaning that the planning, design, and formation of books also refer to the overall design of books.
Books are bound in modern developed countries, some of which are summarized in industrial designs, some of them are classified in graphic design, and some say it is visual transmission.
Popular point, you can put the book binding to solve the book "packaging", the so-called "bookbinding book, book packaging." As we walk through a variety of bookstores, a variety of colorful books appear before our eyes. The first contact with the reader is the external packaging of the book, namely, the cover, the seal, and the box of the book. In these colorful packaging design, including the designer's creativity and hard work. And this involves a lot of knowledge, not only to have a good basis for fine arts modeling, but also should have a broader knowledge of literature, history, music, geography and so on. This article is limited to space, just want to change some of the experience of the layer design in the cover design.
Although the cover design is only part of the book binding, it plays a decisive role in the overall design. A frame cover must not only be like a picture or a poster, but must be colorful, eye-catching and coordinated. At the same time, it should also consider the levels of black, white, and gray. The screens designed in this way will appear more abundant and will not give people a glance at the feeling that they do not have a good look.
The level I am talking about here does not refer to the quality of the design of the binding, the level of the level, but the level of the cover design including the level of the color and the level of the various types of graphics and the level between the words. It is like drawing a sketch and separating the five major tones. When painting a traditional Chinese painting, it needs to be multicolored. When you paint a color, you need to have rich colors.
The first thing that the cover design didn't come into contact with was the concept, and then the composition was done. That is, layout, followed by color, and then the layout of the text, of course, these are inseparable, they are organic as a whole, to be fully considered. Here I focus on a few related issues that make up the picture hierarchy.
First, the relationship between hue and hierarchy. Cover design can not be separated from the level, can not be separated from color. When it comes to color, it must be inseparable from the three elements of color: hue, lightness, and purity. In the processing of hue, different colors can make people feel different. For example, red gives people enthusiasm, unrestrainedness, revolution, forward, etc. Blue gives people a feeling of calmness, stability, coldness, backwardness, and shrinking. If you put a variety of different colors on one screen, then they will have a hierarchy. In the design, if we make good use of it, the prominent part is highlighted, and the weakened part is weakened, then we must use different color sensations to deal with it in order to achieve the desired effect of the designer. The colors of different hue together produce different visual effects and produce different levels of color. The combination of warm colors and cool colors or warm colors of different colors or cold colors of different colors will produce rich and varied layers, and will also give people a different psychological feeling. For example, the contrast color configuration gives a strong stimulus to jump, while the proximity color matching produces a soft, calm feeling.
Second, the relationship between brightness and level. In terms of color brightness processing, brightness contrast is more important for a design work. Because in the design of the design in addition to considering the feelings of color, but also must seriously consider the color, black, white, gray layered. This is the brightness relationship of the color configuration. Different colors of lightness when deployed together will produce a variety of layers. White has the highest lightness in color and the lowest black color. If they are arranged together, they will form a strongly contrasting level. When the colors with red and orange lightnesses are arranged together, the layering is relatively weak.
Third, the relationship between purity and hierarchy. When high-purity colors and low-purity colors are arranged together, the high-purity colors are more vivid and the low-purity colors are more turbid. So. High-purity colors tend to have a forward tendency, while dull colors have a tendency to recede, so that the color level is very clear. Of course, when considering the purity of colors to achieve the design level requirements, the hue and brightness of the colors should naturally be taken into account. No matter what kind of color, how to configure, hue, lightness, purity is difficult to separate, and can not be isolated.
Fourth, the relationship between color areas and levels. When we compose a design work, we must seriously consider the location and size of each part. This involves the screening of the area of ​​the color. In order to achieve a unified and harmonious tone, it is generally based on one color and occupies the main position of the screen, ie, a larger area, while other colors naturally occupy a smaller area. Doing so not only maintains its main color tone, but also creates a contrasting layer that makes the picture both uniform and changeable.
V. The relationship between points, lines, surfaces and levels. The basic elements of modeling, points, lines, and surfaces, as long as we use them properly, will also produce quite rich levels. It is important to stress here that if the point, line, and face representations of sketching are copied to the limited-color cover design, not only will the design effect of good levels not be achieved, but also the art of the printing process will be difficult. We can only use sketches, lines, and surfaces to represent the principles of objects and images to create points, lines, and faces that are suitable for expressing the effects of cover layers. How to deal with them in the middle tone, how to distinguish the primary and secondary times within the scope of the prescribed open space, and how to distinguish between them , density, line, light hair how to schedule properly and so on. If these aspects are used properly, there will be rhythm and rhythm, which will make the cover design show a clear and refined artistic charm.
Six, the relationship between text and hierarchy. The good processing of words of different sizes and different fonts will also produce varied effects. Text, especially the title of a book, cannot be used only as a general mark of a manuscript. It is the finishing touch on the cover. Chinese characters have been rich in ideological and artistic expression since ancient times. A variety of calligraphy arts such as Zheng, Xing, Cao, Li and Yao that have been formed over the past several thousand years, and various kinds of artistic printed fonts such as Song, Yi, and Black, especially various fonts since the development of electronic and computer images , It provides a very favorable condition for the book cover design camel text changes, combined performance "level". We should make full use of and apply it to book design, especially cover design.
There are many aspects involved in the performance of the book cover design level. The above are just some examples of the “squeezing some water†and the right to “bring the bricks and citing jade†to exchange and discuss with the peers.
Some people say that "the book is framed and framed, and there is no book without a frame," which makes sense. As a perfect book, not only should have good content, but also have a good binding.