Expert introduction: Zhou Chen: book designer (now at Jiangsu Education Press); Liao Jielian: Hong Kong book designer ("Jury of the World's Most Beautiful Book 2007", Associate Professor, School of Design, Hong Kong Polytechnic University)
Zhou Chen: So far, six "China's most beautiful books" selection activities have been held. Since 2004, there have been five batches of 107 "China's most beautiful books" appearing in Leipzig, Germany, six of which won the "world" "The most beautiful book" title. "The most beautiful book in China" has become a platform and bridge for Chinese books to go abroad and to the world. For example, the first collection of "Mei Lanfang Tibetan Opera Historical Materials and Drawings" that won the "Most Beautiful Book in the World" is convincing in terms of subject matter, design, and printing technology, representing the high standards of book design and production in China today. The book conveys Chinese culture to the international community both in content and form. The selection of "the most beautiful book in the world" has attracted much attention because of the word "the most beautiful". You have served as an international jury in Germany. Can you talk about the selection? Does the judging standard of this activity represent the latest concepts and trends that are recognized by the international book design community today?
Liao Jielian: I was invited to participate in the selection of book binding design in different countries and regions, such as Germany, Japan, Beijing, Shanghai, Hong Kong and Taiwan in China. The feeling of being a judge in Germany is particularly profound. The jury is composed of judges from different countries. Although the culture is different, the aesthetic standards for book design are very close. Of course, the angle of appreciation will be different. In the German selection, after the first round of voting, each member of the jury has the opportunity to express their professional opinions and communicate with each other, which can allow everyone to fully understand each piece selected from different countries, and then proceed to the second round vote. So far, I have no such experience elsewhere. I personally think that this can be a communication activity between different cultures, and it does not produce any new ideas or trends, because many books that lead the design fashion and create design concepts have not participated in the competition, so this kind of activity can not be completely Represents international standards, but it can reflect some phenomena of book design, narrowing each other's understanding and understanding of book design in different cultural backgrounds, and promoting book design to a certain extent.
Zhou Chen: There was a stage in China where most of the award-winning books were large albums with exquisite and luxurious packaging. However, such books were rarely favored by the judges in the selection of "the most beautiful book in the world". "A large album like this, in the traditional aesthetics of the Chinese masses, would still accept such beautifully decorated and well-made books. On the whole, some award-winning books still have controversy among readers. I think this controversy stems from the readers ’lack of understanding of the award ’s aesthetic standards and judging criteria, or the existence of these standards and the traditional aesthetic cognition of Chinese readers. Differences, what do you think?
Liao Jielian: Whatever the reason, I think the controversy of Chinese readers is obviously related to the differences in traditional aesthetic perception of Chinese readers. The pursuit of the beauty of Chinese books is based on the characteristics of materials, which can be understood when reviewing the history of China. However, the combination of "concept" and book design theory has just begun, and it is still in the period when designers and readers blend in.
Zhou Chen: The selection of so many "China's most beautiful books" has objectively promoted the improvement of China's book design level, and has made progress in both design concepts and printing technology. China is a country with a long book history and a rich and colorful book culture. But under such a background of international review, how should the national book form and cultural charm be displayed and expressed? How should the aesthetic pursuit of this nation be promoted and communicated?
Liao Jielian: Do n’t worry about “how to show and express†and “how to be promoted and communicatedâ€. Integrity (universality) is running in this direction, and every nation is reflecting on its own position and establishing another new phenomenon. Therefore, it is more important to hold an "open attitude", which will guide these two "how".
Zhou Chen: In the performance of book design, font design is a very important link. In the graphic design of Hong Kong, the method of Chinese font redesign is used very prominently. You have been focusing on the design of Chinese fonts for many years and have accumulated a lot of experience. Can you talk about your feelings?
Liao Jielian: I do n’t know how to share with you in this regard. The technique of Chinese font design reflects to a certain extent the situation of the Hong Kong design community. In a nutshell, the aesthetic interest of Hong Kong characters may be influenced by English fonts; the second is to use the image method to deal with it, which can obtain special effects. The common phenomenon is that many people understand Chinese characters and calligraphy, do not understand Chinese font design, let alone Chinese font design theory, designers and teachers need to work harder in this regard.
Zhou Chen: Hong Kong has always been a very active area for Chinese graphic design. The fusion of Chinese and Western cultures has entered the international environment relatively early. What is the current status of book design in Hong Kong? Are there any lessons for the Mainland to learn from?
Liao Jielian: I have a different view, that is, the book design in Hong Kong and the book design in the Mainland should learn from each other. For example, except Hong Kong, many designers around the world can survive by focusing on book design. In Hong Kong, no designer can survive by relying solely on book design. I always feel that the culture of every place has ever-changing forms of expression. It is inevitable to move forward without asking for anything. Finally, thank you very much for giving me the opportunity to talk a little bit furry.
Zhou Chen: Where you are, your experience has given me a lot of inspiration, and it has also provided us with a new perspective on the current status of contemporary book design.
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