The perfect combination of print art and book art

The development of book art goes back to ancient times. It has a close relationship with print art. In ancient China, the level of the Tang and Song engraving and printing books and the Ming Dynasty wood engraving art has been well-known throughout the world. In modern times, under Mr. Lu Xun's advocacy training, there have appeared a number of woodcut painters and woodcut illustrators based on cover designs and illustrations. Therefore, the development of the book art of our country from the glorious period of ancient times to the beginning of this century cannot be separated from the nourishment of the nutrients in print art. In the West, countless successful print art (wood engravings, lithographs, copper etchings) appear in book illustrations. The book collection is a wonderful work in book art and woodcut art.

With the advent of the information age, computer design has become increasingly popular, giving the style of book art a rich new look.

Prints and bookbinding are the product of a combination of printing and art. The difference is that despite the influence of modern technology and industrialization, printmaking skills have been greatly enriched, and new versions have also been produced. However, the production of prints has always been inseparable from the manual, this hand-made feature is its eternal charm. Since print is an art of imprinting, it has the potential to extend to a variety of arts. The visual elements of prints can be seen everywhere in modern art works. For example, photography can produce photographic works that resemble reliefs and other effects through darkroom technology; for example, computer designs can produce more special effects of printmaking through “filters”. Modern prints have grown from black and white to color, from realistic to abstract, different kinds of techniques, and different material textures have different effects on the texture of the paintings, making the print art language more and more abundant. The traces of modern book design art, inherited from the same vein as print art, are more evident in the influence of modern print language. More and more book designers are exploring a variety of personalized expression techniques, production techniques, and binding materials to explore the new forms of books, in order to achieve the perfect combination of the connotation and appearance of the books. .

First of all, in the production of techniques and the selection of binding materials, the origin and essence of print art are reflected everywhere.

In the wood, metal, and leather that originally belonged to the print materials, the use of concave-convex engraving techniques to engrave the image text makes the work give people different visual and tactile stimuli, and it also has a unique decorative taste. The successes in this area include Lu Jingren's "Marx Manuscripts." In order to embody the original state of Marx's handwriting, a traditional relief printing was used on loose paper to create a concave-convex effect on the paper. After the stationery was mounted, copper nails were used to embed it on the wood, symbolizing a historical record; the cover was of different textures. The delicate textual images on the wood board and the leather hides both the unpretentious beauty and practical protection. Lu Jingren's "Zhu Xia Big Book One Thousand Characters" was designed to highlight the bold and unrestrained characteristics of the Song Dynasty's master Zhu Xie's calligraphy and ink. The letter set reversed the engraving of a thousand words on the paulownia wood. printed version. This natural and unadorned form of books, high atmosphere, form and content complement each other. The cover of the “Map of the Western Regions Archaeology” was affixed with a patch of incomplete artifacts and embossed the topographic map of the Western Regions. This approach is roughly the same as the collage lithography. The set of books is accompanied by Dunhuang Mandala Luoyang Carved Woodcarving. Wooden clogs are carved in the doorway of a mandala with a western stationery cabinet to show a complementary style of Eastern and Western cultures.

Secondly, in the aspect of black and white, color processing, and point, line and surface composition of the screen, people are more attracted to the charm and ink fragrance of the print.

With black and white as the keynote, the artist's watermark print is placed at the bottom of the screen as a visual image, and the dark grey green and black blocks of several brush effects penetrate and overlap with each other to form a transparent, harmonious, and richly varied one. At the block level, in the top-level of the picture, the title overlaps with the white, black, and gray shades, and if it is looming, there is a spatial level change. The contrast between the picture and the virtual reality, the dot-line layout and the overlapping of black and white colors produce endlessly varied picture effects. This is also the eternal artistic charm and elegant cultural temperament of the print. Lu Jingren's "black and white" book design used black and white as the basis for the construction of the picture throughout the book, using a strong contrast between black and white poles to illustrate the conflict between whites and indigenous peoples. From the cover to the text, point-line, space, and geometric structures interpenetrate each other and form a whole order to form a unique art form. This simple and concise sense of form, without losing the solid and thick and full of charm of the black and white charm, not only helps readers understand the content of the original, but also shows a deeper inner spirituality, with a strong spiritual shock.

As a world-wide art language, printmaking flexibly applies the special effects produced by the exquisite, skillful, literate and various media applications to the design of books, enabling them to develop nationality, materiality, ideology and decoration. Sex and other aspects have infinite room for development. Every successful book design work should be fully tempered in content, form, and technique. There is no fixed boundary between innovation and tradition in artistic creation. Many successful works are simple in color, simple in shape, and some are even black and white designs of woodcut art. This shows that the prints and bindings of the sisters spend. Not only will not be separated. And it will be more intimate.

(author/Lin Shaojuan)

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