Puzzle Books Visual factors in book binding design

Puzzle Books Visual factors in book binding design

Due to the rapid increase of international exchanges, international trade and international dialogue, such development has promoted the formation of international visual language and made internationalist design an irresistible trend. From Asia to Latin America, from North America to Europe, whether in New York, Los Angeles or Tokyo, Hong Kong, Buenos Aires, Tel Aviv or Munich, Beijing or Frankfurt, the world's visual language, from book binding, advertising, posters, traffic signs and traffic maps, to computer networks, is increasingly converging in design. Due to the needs of human communication and frequent national dialogue, the same requirement of visual communication has been created. Internationalist design seems to have become the only basic design method for a long time, and internationalist design has not only become an inextrable main design method in book binding and graphic design. In architectural design, industrial product design, clothing design, environmental design, urban planning and design, and even to art, it has become the main and basic way to use.

There is no doubt that stereotyped, highly functional and rational visual communication design is an irresistible development trend and direction. Design is also an integral part of national culture. The monopolistic development of internationalism naturally leads to the weakening of national character and even the gradual disappearance of national characteristics. Some designers began to concern about the personality of design, the national characteristics of design, this problem, throughout the development process of binding design from the 1960s until now.

In 1966, the German graphic designer Olaf Lu (OlafLeu) once mentioned in an article: German design has no national character. He points out that while some people are happy about this development, not everyone is, and many designers are worried. He also pointed out that for quite a while, the International Typographic Style developed in Switzerland and American Typographic style monopolized German typographic design, and this kind of situation not only happened in Germany, but also had different development in various countries around the world.

Since the 1980s, the binding design field, like other design fields, has been challenged by new media and new design technology, and thus undergone drastic changes. This stimulating factor is the development of computer technology and its rapid entry into the design process, increasingly replacing the former manual labor.

In addition, the development of other electronic technologies has also brought about great changes in design, such as the widespread use of fax machines, the globalization of television technology and new global TV channels, computer network systems and E-mail, the popularity of long-distance telephone calls, the widespread use of mobile phones and so on. These technologies have turned places that used to be far apart into mere inches. Information technology has increasingly turned the world into what Marshall McLuhan called a "global village". The development of this technology, on the one hand, stimulates the monopolistic development of internationalist design, but also promotes the integration and mixing of design cultures of various countries and nations. The design cultures of east and West, south and north, are increasingly integrated through frequent and close exchanges in this global village. Therefore, under the trend of internationalism, In fact, it also latent the possibility and opportunity of national culture development.

This situation naturally leads to internationalism on the one hand and pluralism on the other. Under the premise of new communication, design has undergone unified changes, resulting in a diversified development situation with good basic visual communication of design. The development of personal style has not weakened or disappeared due to the increase of international communication, but has developed in a new look under new circumstances.

From the above discussion on the direct or indirect communication between designers and readers through the use of design language, we can realize that designers play a decisive role in the whole process. Through the study of explicit meaning and implicit meaning of design language, designers can convey certain definite meaning and create aesthetic information space. They can realize their self-realization by relying on the originality of their language, and realize the power of aesthetic subject to try to explain design information and aesthetic space. The mission of designers is to change a constant visual language defined by many habits in daily life, and bring readers a new process of transmission and development from the plane structure of unidirectional knowledge transmission to the multi-directional aesthetic psychological appeal. It is an aesthetic framework that brings new visual stimulation and knowledge to readers.

Nowadays, some Chinese binding designers begin to reshape new forms of books under the premise of focusing on the national and traditional spirit, so as to change people's reading habits and reading behaviors. This practice of reshaping the form of books is intended to "destroy" the inherent model of books and the shackles of pure type transmission form, and lead the subjective active and imaginative design, that is, to use the binding design language to study the creation of binding aesthetic. Its significance has gone beyond the book structure itself (or the content itself), aiming to inspire readers to find and get the feeling of freedom in reading books, and thus sprout the wisdom source of imagination. It is the value of the transformation of the form of books that designers complete the process of the integration of traditional books and modern books. The progress of book art in the past twenty years has begun to reveal the charm of Chinese book binding in the world.

The development of binding design in the past two hundred years has provided great convenience to the society and human beings, promoted people's information transmission, stimulated the communication and exchange of ideas, and formed a new category of visual art and visual culture. With the frequent international exchanges, the development of trade, the progress of technology, the task of binding design is bound to be more and more heavy. Although the language use of binding design changes, but the object of its service is still people: people's physiological aesthetic requirements (including simple physical function requirements - reflected in the binding design is the rapid and accurate requirements of visual communication) and people's psychological aesthetic requirements - beautiful, generous, elegant, in line with their own taste and so on, these actually have not changed much. Therefore, the research on the development of the binding design language and the application of the binding design language in the past two hundred years has become a standard of value to reappraise and measure the aesthetic value of new books.