Book binding includes three parts: cover design, including front cover, back cover, spine design, hardcover book and jacket design; layout design, including title page, lining, font, format, binding method, etc.; Illustrations, including headers, tail flowers and illustration creation, etc.

1. Cover design

If book binding is like a group of buildings, then the book cover is undoubtedly the appearance of these buildings. Whether it is a Western Gothic church or a Chinese classical palace or temple, the appearance of the building can reflect the spirit of the building. The same is true for the cover, which will focus on the theme spirit of the book and is a focus of book binding design.

The formal elements of the cover also include text and graphics, and the cover design also needs to highlight the main image. But from conception to expression, there is a kind of freehand beauty. This is true for both text-based and graphics-based designs.

1. Text

The concise text on the cover is mainly the title of the book (including the title of the series and the subtitle), the name of the author and the name of the publisher. These words are left on the cover. Information plays an important role in design.

In the design process, in order to enrich the picture, you can repeat the book title, add pinyin or foreign book title, or catalog and appropriate advertising slogans. Sometimes to meet the needs of the picture, the author's name and the publisher's name may not be arranged on the cover, and they may appear on the spine and title page, leaving only the indispensable title of the book on the cover. The explanatory text (publishing intention, catalog of the book series, author's introduction), the editor in charge, the name of the binding designer, the book number and pricing, etc. are arranged on the edge, back cover and inside pages according to the design needs. The vibrant fonts are based on the genre, style, and characteristics of the book. The arrangement of the fonts is also like what is described in the composition of advertising design. Design them as points, lines, and surfaces, and organically integrate them into the picture structure. Participate in various permutations, combinations and divisions to produce interesting and novel forms, which make people feel that they are full of words and endless meanings.

2. Graphics

The graphics on the cover include photography, illustrations and patterns, some are realistic, some are abstract, and some are freehand. Specific realistic techniques are often used in the cover design of children's knowledge books, popular books, and some literary and scientific books. Because children and readers with low educational levels are more likely to understand specific images. The use of concrete pictures on the covers of albums such as scientific and technical reading materials and some architectural and daily necessities has scientific, accurate and touching illustrative power.

Some book cover designs in science and technology, politics, education, etc. are sometimes difficult to refine with specific images. Abstract forms can be used to allow readers to understand the meaning and get the spirit. Feel.

The "freehand brushwork" technique is widely used on literary covers, which is not just a "freehand brushwork" that refines the content of the original work like concrete and abstract forms. Rather, it is expressed in a form that is both like and not like. There is a freehand technique in Chinese painting, which focuses on capturing the expression of form and spirit, and uses concise techniques to obtain charming moods and touching associations. Some people call the change method of natural patterns "freehand change". Based on the concise natural forms, we use our imagination to pursue the expression of formal beauty. Make exaggerations, variations and combinations. Using freehand techniques as the cover image will make the cover more symbolic and artistically interesting. For example, the close-up of the word "Shao" on the cover of "Youth Literature and Art" looks like a fluttering red scarf, giving people a kind of association, which reflects the personality of "Youth Literature and Art" from conception to form. The deformed children's book covers can arouse children's interest even more, and they can find their close friends in fairy tales, myths and fables. Those Chinese and foreign ancient and modern patterns with freehand brushwork also play a big role in reflecting national style and characteristics of the times.

3. Cover as a whole

The cover is actually not just the front. It is true that people are mainly concerned about the front. However, due to the high aesthetic requirements, the reverse side should not be ignored. Look at the spine, which also plays an advertising and aesthetic role on the bookshelf. Therefore, both the front and back sides of the cover and the spine should be included in the cover design. The entire cover is a small part of the overall book binding. The relationship between the front and back and the spine has a unified concept and expression. The success or failure of this relationship also affects the overall effect of the book binding design.

We can summarize several types:

A. The front and back designs are exactly the same. Or the general design is the same, but the text has been changed, with the book title appearing on the front, pinyin, foreign language, or a very small name of the editor or binding designer on the back. The color and design of the front and back sides have changed.

B. Use a complete design picture to divide it into the cover, back cover and spine, and decorate the text respectively.

C. The back cover echoes the front cover with a reduced picture of the cover, or a small logo or pattern.

D. The spine should be the embodiment of the cover design, especially for thick books, and should not be satisfied with arranging the book title, author name and publisher name. Using the same font as the book title on the front, the size and density relationship are arranged within a long and narrow area. Some use geometric points, lines, surfaces and graphics to divide and echo the front and back, and form rhythmic changes with it.

E. The spine design can be on one side alone, and text can be pressed on the cross-face design.

Hardcover books often have a cover, which not only plays a protective role, but is also an important means of publicity, a kind of small advertisement. The cover design paper and printing are wonderful and expressive. The cover with a protective cover can be simpler to achieve the effect of change. At the same time, because the cover uses linen, varnish, leather and other binding materials and printing technology constraints, it adopts a simple expression. The edge of the cover also needs to be carefully designed to become an integral part of the cover, and can be used to publish the content summary, author introduction, publication information, series catalog, etc. The cover is divided into full cover and half cover. The height of the half cover only accounts for half of the cover and is wrapped around the waist of the cover, so it is called a belt. It is used to publish book advertisements and some supplementary items related to the book. It also plays a role. decorative effect.

2. Layout design

The so-called layout design refers to determining the reasonable layout of various layout elements within a certain format of a news publication, that is, determining the size of the center of the page and its location. The space occupied on the page, the layout of the text, the font size of the text, the line spacing of the text, the position and typesetting form of pictures and tables, the use of layout decorations, etc., make the layout of news publications aesthetic and unique. style.

There is a title page in front of the table of contents or preface of the book. The title page includes an expansion page, a blank page, a portrait page, a front volume insert or the title of the book series, a front title page (book margin), a copyright page, a dedication inscription or acknowledgment, a blank page, etc. Too many title pages seem to overwhelm the main page, so its number cannot be determined mechanically and must be determined according to the characteristics of the book and the needs of binding. At present, books at home and abroad tend to be relatively concise. They mostly use guard pages and title pages to go directly to the table of contents or preface. The arrangement of the copyright page is correct according to the specific situation.

The book title, author's name, publisher's name and a concise pattern are printed on the front title page. Because of people's reading habits. The front title page is always oriented in the same direction as the cover. When we open the cover, turn over the lining and blank pages; the text appears in the middle or upper right of the right margin. In addition, there are also designs that use the left and right sides as the front title page, which is called two title pages. The font on the title page should not be too large, and artistic fonts should be mainly used to be consistent with the font on the cover. The design of the title page is very concise and leaves a lot of white space, as if there is a relaxing space before entering the main text.

No matter you open the front or back cover, there is always a page that connects the cover and the inner pages, which is called the lining. The purpose is to keep the cover and the heart together. The lining design of the hardcover book is also very particular, using abstract texture effects, illustrations, patterns, and photos, and its style and content are consistent with the overall book cover. But the color should be different from the cover. Generally, it needs to be more elegant, and the contrast of the graphics is relatively weak. Some can be decorated with four-dimensional continuous patterns to produce an apperceptive effect and create a visual transition from the cover to the heart.

The purpose of layout design is, on the one hand, to make the form best express the layout content, and on the other hand, to establish the style of the layout. Generally speaking, different news publications should have different layout styles. But the overall style of the same news publication should remain consistent.

How to use layout design methods to achieve the style goal of designing layout? It is generally believed that there are the following methods:

1. Reflect it from the font and font size. For example, some layouts do not use boldface fonts to maintain an elegant style, while others use a large number of new fonts to reflect their novel and lively style;

2. It can be reflected from the line spacing and line width of the text. For example, in some layouts, the line spacing is increased to make the layout clear and pleasing to the eye, and in some layouts, the line width is very long to make the layout solemn and elegant;

3. Reflect it in the form of pictures and tables. The size, shape, quantity and arrangement of pictures and tables can all bring different features to the layout;

4. Reflect it from the layout decoration. Layout decoration mainly refers to decorative symbols such as lace, floral lines, inscriptions, net bottoms, and frames. How to arrange the layout decoration symbols is also an important means to reflect the layout style;

5. Reflect it from the layout space. Some layouts have more blank space to reflect a clear and elegant style; some layouts have less blank space to accommodate more information.

It should be said that layout design work is a highly creative job. Layout designers should at least have the following qualities:

1. Should understand all aspects of news publishing work and the entire editing and typesetting process;

2. Have strong news theory and business knowledge , have a sensitive "news nose", that is to say, you must "know the goods", know which news is the most important, and be able to basically judge the news value and publicity value of the manuscript;

3. Should be familiar with some printing Knowledge and mastery of typesetting and plate making. As far as modern newspaper layout designers are concerned, they should master laser phototypesetting technology;

4. They should be familiar with the types of fonts, font sizes, and layout decoration symbols in the laser phototypesetting system of our company and be able to apply them skillfully;

5. You should understand the requirements of various plate-making methods on the original manuscript;

6. Have a certain level of art knowledge;

7. In addition, you should also study the composition and composition of the layout. The structural pattern of the layout, the style of the layout, the reading adaptability of the layout, and the beautification of the layout, etc., make the layout design aesthetically pleasing and conducive to reading.

3. Illustration

Illustration is a kind of painting, but it is different from the general independent appreciation of painting. It has relative independence and necessary subordinate attributes.

Illustrations must meet certain painting conditions and do not rely on text. It can also be seen from its image itself. It expresses a certain theme, but at the same time it must obey the original work and become a auxiliary. This is the meaning of illustration.

Illustrations can be divided into two categories. One category is literary and artistic illustrations. By selecting meaningful characters, scenes and plots in the book and expressing them in paintings, the painter can increase the reader's interest in reading the book, combine readability and visibility, and deepen the understanding of the original work while gaining different insights. A degree of enjoyment of beauty. The other category is science and technology and history and geography books. This type of illustrations can help readers further understand the knowledge content and achieve a role that cannot be expressed in words. Its image language should strive to be accurate, practical, and illustrative. A photo of an apple helps us see shape, color, structure, and texture very objectively. The illustration of a seed can not only reproduce its shape and structure, but also show the process of its germination in the soil.

Literary illustrations can be said to be typical examples of literary illustrations. Includes title, tailpiece, single page illustrations and intertext illustrations. Its forms of expression are diverse: ink painting, line drawing, oil painting, sketch, printmaking (woodcut, lithograph, copper engraving, silk screen painting), gouache, watercolor, comics, etc. Some are realistic. There are also decorative ones. The first step in creating illustrations is to understand the original work. Not only do we need to understand the specific content and requirements, as well as the theme and spirit of the original work, but we also need to read the original work in depth to find out whether the original work is Chinese literature or foreign literature? Is it classical literature or children's literature? It's novels, essays, and poetry. Or a fairy tale, a fable, a joke? Is the style of the original work rough and bold, delicate and rigorous, or warm and lively, simple and deep? The historical era, characters, costumes and props, daily customs, architectural environment, etc. described in the original work. And deepen understanding through visual image materials, because literature is an art of language, and art is a visual art. Without the life experience described in literature, it is difficult to reflect literary content on the screen. Only by consulting relevant information, such as paintings, sculptures, architecture, and handicrafts of similar ethnic groups and eras. Analyze various cultural relics and materials, connect various feelings, conduct comprehensive research, find out the rules, and use this as a basis to determine the tone of the work according to the requirements of the original work, which runs through the entire painting. In this way, the images in the book, the images in the materials, and your own imagination must be well understood, so that you can express it in depth without being too conceptual. It is also a way to continuously improve your personal accumulation and lay a good foundation for future creations. With this basic step in place, it is necessary to refine the original work and find the plot content that can be played and sung. The original literary work is very long, and the illustrations are not mainly pictures in the comic style. There are only a few illustrations in a book. This requires us to capture the theme of the plot content of a paragraph of text through an illustration, and combine it with the most typical meaning. The text content is expressed in a plot suitable for painting. This kind of illustration does not just stop at looking at literary pictures, but needs to be re-created to make it have the appeal of artistic personality. At the same time, it should also be in-depth and specific, so that readers can enjoy artistic enjoyment. You can also feel the specific image of life. In the picture "Peeping at the Jane" by Chen Laolian, the camper chooses to hide at one end of the screen to read the letter. She is filled with joy from the depths of her heart. The matchmaker secretly looks at it from the other end of the screen. Her finger points to her lips, her lightness is clever. The expression vividly reflects the smart and lively image of the girl. The picture processing is extremely simple, using a wonderful screen to show the environment of the boudoir. The flower and bird paintings on it, whether they are flying butterflies or birds whispering, all cleverly express Yingying's good wishes. This principle is illustrated very vividly.

Because an illustration has to express a lot of text content, some illustrations use the method of incorporating different times and places into one painting; realistic illustrations use montage techniques; decorative illustrations It is not restricted by objective conditions such as perspective and proportion, but is more organized in the picture according to the conception. This method is adopted in both traditional Chinese painting and folk painting.

Illustrations are rich in form and can be divided into two categories: realistic and decorative. Illustrations in each country have their own styles. Even the same country and the same type of literary works will be different because of the art of each illustrator. Different cultivation and understanding of the original work are different, and different angles, different contents, and different picture forms are used to express it. As an illustrator, when faced with books with different content and themes, you must carefully study and think about them and find appropriate ways to express them, rather than treating them all in the same way. Huang Yongyu's illustrations of "Ashima" not only express the protagonist's joy and happiness, labor and bravery, difficulties and encounters in a concentrated and true manner, but also have careful and ingenious management of the expression of the rhythm, emotion and style of the poem. The entire set of illustrations is full of rhythmic composition, smooth lines, simple and elegant colors, and rich changes in knife skills and decorative taste. However, his illustrations for "Selected Fairy Tales of Ye Shengtao" and "Fables of Feng Xuefeng" used different expression techniques according to the different styles of the original works. In the illustrations of "Selected Fairy Tales by Ye Shengtao", based on the artist's understanding of fairy tales and familiarity with children's appreciation requirements, artistic exaggeration and imagination are used to satisfy children's interest in novelty, intensity, childishness and personification. Each of the personalized animals appears vividly in front of young readers.

There is more than just one illustration in a book, so there is also an overall relationship between illustrations.

As the title for the opening of the article, the ending for the closing, and the illustrations in the middle of the text, the relationship with the words and space must be properly handled. The entire set of illustrations must have an overall design arrangement when conceived. The illustrations from the cover, lining, title page to the end, as well as decorative patterns, must run through the theme of the book and achieve harmony in the "architecture" of book binding. Perfect, allowing readers to fully enjoy themselves during the tour.