BOOK DESIGN

（波）别内尔特 关木子 编
贺 丽 译

The book has introduced a great deal of experience on the book layout and typographic design,

which combines practicality, artistic quality and aesthetics in a whole. It also describes the

whole design process in detail, and sums up the ways and means of book design. What’s more,

it detailedly illustrates the compositions of book design, the basic principles and design process,

书籍设计
as well as layout design, component design and the visual communication design of cover

and content. The book with basic theory, classic examples and creative ideas, will be a good

reference for the readers. It has collected a number of masterpieces of world-renowned graphic

designers and book designers all over the world, and given reviews on some works, in order to

provide readers with the best examples from ideology to practicality.

本书重点介绍了一系列有关图书版式设计与文字编排的成功经验，巧妙地将设计的实用性、艺术性和

美学理念融为一体。通过对每个设计过程进行全面而详实的阐释，归纳出书籍设计的有效方法与途径。此

外，这本书还详尽地介绍了书籍设计的构成部分、基本原则、设计流程、版式设计、组件设计以及封面和

内容的视觉传达设计等方面。我们相信，该书中所囊括的基本理论、经典案例以及创意理念，能够为读者

提供有效的参考和帮助。本书中搜集了大量来自世界各地知名平面设计师和图书设计师的杰出作品，通过

对优秀作品的评论和阐释，巧妙地将抽象的意识形态应用到实践之中。

辽宁科学技术出版社 BOOK
DESIGN
书籍设计 辽宁科学技术出版社
BOOK
DESIGN
书籍设计
（ 波 ） 别内尔特 关木子 编
贺 丽 译

辽宁科学技术出版社
CONTENTS
目录

Perface 004
前言

Layout and Concept Design of A Book 006

图书设计的编排与构思

The Expression of The Book's Content and Form 007

图书的内容传达与形式的表现

Component Design of A Book 008

图书部件设计
Cover
封面

Spine
书脊

Fly Page
扉页

Contents
目录

Layout
版式

Copyright Page
版权页

Design Method 012

图书设计方法
Gridding
网格设计

The Selection of Fonts

字体选择

The Combination of Colours

色彩搭配

The Arrangement of Images

图片排列

Cases Analysis 014

案例分析
Index 254
索引
PERFACE 前言

Dissimilarity 标新立异

人性的法则之一就是根据个人的需要行使自己的意愿，改变世界。同样，从设计
One of the principles of human nature is to impose one's will, as well
师的角度来说，需要从一个指定的模型出发，根据设计原则或突破原则而进行设
as transformation of the world according to his/her own necessities. A
计。在版式设计过程中，设计师充分利用平面元素、图片和字体，并将它们完美
designer, that aspires to gain designated model, proceeds similarly –
地排放在即将出版的出版物页面之中。尽管科技的发展日新月异，他们依然运用
abides by the rules or breaks them intentionally. When creating a layout,
古希腊人和埃及人创造的协调原则和黄金比例。有了这些规则，即使再复杂的平
a designer makes use of graphic elements, images and typography,
面版式，他们也能运筹帷幄。三分规则、绝对和相对之间的权衡、斐波纳契或勒
arranging them in a controlled manner on pages of a publication coming
纳尔整数数列或卡尔・斯特纳的58个相等单位的网格系统为信息的清晰传递提供
into existence. In spite of technical development yet we still use the rules
了必要条件。
of harmony and proportions introduced by ancient Greeks and Egyptians.
These rules enable us to manage complicated graphic arrangements
这些条件促进了反映现实的结构的生成，并确保了各构成部分之间的平衡。同
of publications. The usage of the rule of thirds, absolute and relative
时，这些条件还能够确保创作元素成为多元化细节设计的结晶。然而，既定规则
measures, Fibonacci or Renard numbers, or Karl Gerstner's grid of 58
的利用并不能保证每一个项目都能够被积极地接受和认可。
equal units provides legible transfer of information.

实际上，有很多方法可以创建一个完美的版式，最重要的就是以一种独特的方式
Thanks to that the structure, that reflects reality, is created. That ensures
利用普遍接受的原则进行设计，从而创造出一个新颖独特的项目。
the balance of the composition. At the same time it is possible to preserve
the element of creation as a consequence of diversified details. The
utilisation of established rules does not guarantee that a project would be
accepted positively. 赖斯扎得•贝恩耐特
3group设计工作室
There are many ways to create a good layout and the most important
thing is to use generally accepted principles in an individual manner that
lead us to a formation of an innovative project.

Ryszard Bienert
3group
 006－007

Layout and Concept Design of A Book The Expression of The Book's Content and Form
图书设计的编排与构思 图书的内容传达与形式的表现

在设计师的眼中，设计与生活分不开，与音乐、美食、朋友分不开。在设计 构思是基于设计师本人的艺术修养和文化底蕴的沉淀。其设计要具有时代感 设计师在了解图书内容后，方可采用某种艺术形式来展现图书内容。从封 图书并非是瞬间静止的凝固体，所以在图书内容传达的过程中要注重版式的

图书前，构思就是图书整体设计的灵魂。此时图书设计师需要灵感的注入，
从而使其设计作品变得鲜活，以吸引读者的眼球。
From the view of designers, design is inseparable with life, music,
food and friends. Earlier before designing a book, conception is
the soul of the overall design. At this time, designers need more
inspiration to fresh the book and thus catch the readers’ eyes.
图书设计是具有“命题性”的，所以设计师要根据图书内容来启发灵感。设
计师在通过平时阅览大量书籍及生活中的细心观察，能够将与所设计图书的
命题相契合的记忆统统在头脑里进行思考，然后转化为手上的加工。我们在
构思图书整体设计的同时，要考虑到图书设计的多样性，根据图书不同的命
题以及类型来进行立意构思，做到与众不同。同时也必须根据书的性质、内
容、读者对象等因素综合考虑采用何种形态。
Book design is "propositional", so the inspiration of designers
always comes from the content of a book. Designers usually
combine what they had acquired in books and living experience
with the proposition of the book on hand, eventually turn it into
the designing process. While thinking about the overall design of
a book, designers should take the diversity of book design into
account, which according to different propositions and types of
books to differ the conception. What’s more, the form of book must
be based on the nature, content, readers and other factors of the
book.
封面设计是图书设计的重中之重。封面设计可视作为视觉传达设计艺术作
品。所以其无论从视觉上及立意上都要引起读者视觉上和心理上共鸣。封面
和生动性，用各种形式的美去选择、比较，别出心裁的立意与设计才能打动
读者的心。“照亮使其看得见”，封面就是为未看见、看清楚的书中内容照
上光线，赋予图书活力。
Cover design is top priority of book design. Cover design can be
conceived as a kind of visual communication artwork, which means
that it could arouse a visual and psychological resonance of readers
in terms of vision and conception. The conception of cover is a
concentrated expression of the designers’ own artistic culture and
cultural deposits. The cover should be full of sense of times and
vividness. It is through different forms of choice and comparison
that the conception and the design could be really arouses the
readers’ feelings. "Light to see” means that the cover is just to give
a beam of sunlight onto the invisible content of the book, and thus
make the book full of vitality.
根据图书内容不同，设计师在构思和草图过程中，尝试不同点、线、面、
体、空间、质感、色彩以及来自于乐活人生的灵感形成图书设计巧妙的构思
及深度的设计。
According to the book content, designers in the process of
conceiving and sketching always try to combine the view of point,
line, surface, body, space, texture, colour and living experience into
the design ideas and design.
面、扉页、正文版式、书眉的设计等采用统一的视觉语言对图书内容进行完
美的传达。经典的图书设计，在其图书内容传达过程中能够呈现出一位优秀
设计师引人入胜的创意和直逼人心的精神力量。
Only after the designers have understood the content of a book do
they start to choose the form of art to express the book content.
The integrated visual language of the cover, title page, text layout
and top margin could give a perfect presentation of the book’s
content. A classic design could really present the original creativity
and fascinating spiritual of the designer.
图书内容的传达是靠形式设计来实现的，形式设计不单纯是为形式而形式、
为表现而表现、为设计而设计，而是要注重内容，内容决定着形式并且从微
观到宏观把握着图书整体，设计师能够善于灵活运用形式设计来充分表现图
书内容，便能够达到内容与形式的高度统一。此外，版式的形式、设计美感
的把握是图书视觉传达设计的一个重要环节。图书形式设计不仅要与图书内
容所传达的信息在逻辑上保持一致，而且要具备一定的视觉美感的强烈冲击
力。在图书设计中，字体、线条、色彩等元素任何一个细微的变化都能够使
读者在阅读时感觉到不同的形式所带来的不同的观感。图书设计是由文字、
图像、色彩等要素构成，它包括一切可以支配的视觉形象的捕捉和运筹来传
达文章内容和核心，形象思维的理性表达可以超越文字本身的表现力，从而
产生增值效应。
The expression of the book’s content is always realised by the
form design. Form design is not simply refers to a kind of form
or design, but to focus on the content, which determines the
form and grasps the book overall from the view of microworld to
macroworld. Designers that could apply the form design flexibly to
present the book’s content will be able to integrate the content with
form completely. In addition, the creation of the layout design’s
aesthetics is an important part in the visual communication design
of a book. That is to say, form design should not only consistent
with the message that the book expresses from the view of logic,
but also need giving strong visual aesthetic impact. In the book
design, any subtle changes of the fonts, lines, colours and other
elements could provide a different experience for readers. The
book design always consists of words, images, colours and other
elements, including the capture of the any disposable visual image
and management to convey the content and core of the text. A
rational expression of the imagery thinking can go beyond the
expression of the words, so that to generate added value for the
book.
视觉流程也是一个重要的设计因素，视觉流程是一种视觉空间的运动，是视
线随着各种视觉元素在一定空间沿着一定的轨迹运动的过程。视觉流程主要
在于引导视线随着设计元素的有序、清晰、流畅的完成设计本身信息传达的
功能。一本优秀的图书设计应包含时间和空间两个方面，它们是贯穿图书始
终的一条脉络，是肉眼所无法看到的。设计师需要把这肉眼所看不见的脉络
转化为图形或形象化的语言展现在读者面前。因此，设计师需要利用版式中
的各个组成部分相互联系、相互作用，创造出一个理性且富有设计情感的视
觉环境，主观控制设计的内容与形式的相关联的各种元素，重新组合，使其
脉络清晰、整体。
Book is not an instant static solid, so in the conveying of the
book’s content should pay more attention on the visual process,
which is a kind of movement in the visual space. It refers to the
process that the sight with various visual elements in a certain
space goes along a certain trajectory. It aims to guide the eyes
following with the design elements to convey the messages of the
design. A good book design should include two aspects of time and
space, which is one thread, runs through the book and could be
invisible. Designers need to turn this invisible thread into graphic or
figurative language to show the readers. Therefore, designers need
to use the interrelated and interactive relationship between various
components to create a rational and emotional visual design
environment. They should control the content of design and various
elements associated with the form subjectively and re-combine
them, so that make the whole text clear and integrated.
图书内容的传达即追求形式与内容的统一的过程，因为图书内容需要形式来
展现，如若脱离内容去追求形式，便会导致失败的作品。以另外一种视角来
看，内容决定着形式，形式服务于内容。毋庸置疑，两者相辅相成、“不离
不弃”。设计师需要建立对图书内容的时间空间构造意识，设计师要了解读
者阅读时的时空层次化和视线流的流动，从而使设计能够对读者阅读时产生
一定的引导和渗透。
The expression of the book’s content refers to the integration and
unification of the form and the content, for the content needs
to be presented by the form. Any work that separates from the
content to pursuit of form would turn to be a failure. In another
perspective, the content determines the form, and the form serves
for the content. Needless to say, they complement each other,
"never betray". Designers need to be aware of the structure of time
and space on the book content, and understand the hierarchical
space and time as well as the temporal flow in sight, so that to
catch the readers’ eyes.
 008－009

Component Design of A Book

图书部件设计

当一本图书从整体到细节都散发一种独特的美感之时，它可能不仅仅是一本 社会的丑恶现象为内容的书籍则宜用白色、黑色；表现青春活力的宜用鲜亮 percent of a book”. Generally, most of books sold in bookstores are increases the value of book, attracting more buyers.
普通的图书，我们可以毫不夸张的称其为艺术品。外观的惊艳并不代表一 的色彩等。对于读者来说，因文化素养、民族、职业的不同，对于书籍的色 always inserted in the shelf and can not be completely displayed,
切，只有细节设计达到极致，才能给读者带来从内心到观感上的双重共鸣。 彩也有不同的偏好。 at this time, book spine turns to be the first visual language to 扉页设计要跟图书的封面设计一样，需体现图书内容的主题思想。为了更好
A book that gives a unique aesthetics from the overall to the details The colour of cover is always determined by the content of book as express the style of a book. Therefore, design of the spine is very 地在封面与图书内容之间架起这座桥梁，就要巧妙运用插画、摄影、书法
may not just an ordinary book; it could be a kind of artwork. well as the readers’ age, educational level and other characteristics. important. 等艺术形式或印刷工艺来完美的协调封面与图书内容之间的关系。扉页是图
Stunning appearance is not everything, only the perfect details of Bright colours are always applied in the children's books; soft and 书整体设计的一个组成部分，所以扉页设计要与封面及其他设计相协调、统
design can bring readers to get the double resonance in mind and pleasing colours are always can be seen in the elderly reading; 书脊这一平面通常空间狭小，设计师需要进行精细的版式设计以使这块“寸 一，不应喧宾夺主。设计师既要有继承，又要有创新。伴随新材料、新工艺
feeling. while colours between bright and gray should be used in young 土寸金”的地方发挥其最大的作用。书脊通常是以运用独特的构图与绚丽的 的出现，其不仅起到突破设计师传统的设计理念，设计师更可以充分利用这
people's books. In addition, the content of the book also has 色彩形成强烈的视觉冲击力，从而在众多繁杂的图书中脱颖而出。但是在设 些新科技从而设计出更加新颖、独特的图书。
1. 封面 specific requirements for colours, for instance a book that focuses 计书脊的时候同样要考虑使书脊设计与整本图书的艺术设计风格融为一体,并 The design of fly page is required to reflect the theme of the book
1. Cover on the revolutionary theme is suitable to red tones; some theme 且适合图书内容。 content just as the cover design. In order to construct a good
that emphasises on exposing the dark social evils is appropriate for The space of spine is usually narrow and small, which needs the bridge between the cover and content of a book, illustrations,

如果把图书看作是一种产品，那么封面毫无疑问的成为产品的包装，在传统 white or black colour; while the fresh and energetic book prefers designers to provide a refined layout design to make this special photography, calligraphy and other art forms or printing process

行业里产品包装设计是一个至关重要的门类，如果产品包装设计上出现败 bright colours, etc. Readers with different cultural awareness, place play its supreme role. Usually, spine is often appropriate to should be employed. As an integral part of the overall design, the

笔，这势必会对产品的销售等产生一系列连锁消极反应。 封面是图书的表 nationality and occupation could have different colour preferences use the unique composition and brilliant colours to form a strong fly page should go harmoniously with the cover and other design.

情。当读者看到图书时，封面的“表情”在第一时间内是否能给读者的心灵 for books. visual impact and thus stands out from the crowd. However, the Designers should inherit the design tradition and also be innovative.

带来深深的触动，这就成为一本图书成功销售的关键。 design of spine should go harmoniously with the style and content The emergence of the new materials and new craft not only plays
If a book is seen as a product, then there is no doubt that cover 封面设计应有所创新，这就需要设计师掌握多元化的知识。比如建筑、音 of the whole book. a breakthrough role in the traditional design concept, but also
is the packaging of the product. In traditional industry, packaging 乐、戏剧、影视文学等都能够给予设计师新鲜且丰富的设计灵感。封面设计 calls the designers to take advantage of these new technologies to
design is a vital category, which means that the failure of packaging 师必须具备良好的绘画基础和一定的空间立体想象力，以便有能力充分地表 3. 扉页 design more innovative and unique books.
design would cause a series of negative reaction for sales and 现图书的形、色、质感，引起人们感觉上的共鸣。 3.Fly Page
others. Cover is an expression of a book. Whether it could touch An innovative cover requires the designer to master a wide range 4、目录
the readers’ mind or not became a key to the success of a book. of knowledge. The knowledge of architecture, music, drama, film 扉页是封面与图书内部之间的一座桥梁。一本经典的图书如若缺少扉页，就 4 .Contents
literature and so on can provide rich and fresh inspiration for 好比白玉之瑕，减弱了其收藏价值。扉页包括扩页、空白页、像页、卷首插
封面不仅要体现书的内容、性质，同时又要给予读者以美的享受，并且还能 designers. Designers in designing the cover must have a good solid 页或丛书名、正扉页（书额）、版权页、赠献题词或感谢等。随着人们审美 从近几年获奖目录版式设计所体现出设计风格，我们可以看到，这些目录版
够起到保护图书的作用。封面设计的内容包括书名、编著者名、出版社名等 foundation and a certain space of imagination in order to have 的提高，扉页的质量亦越来越好，有的采用高质量的特种纸，类似肌理的效 式设计都在尽可能地舍去繁缛的花线，变来变去的字体。有的设计师热衷于
文字及装饰形象、色彩及平面构成等。如何使封面能够体现出图书的内容以 the ability to fully express the book's shape, colour and texture to 果，有的甚至散发出清香；有的附有一些装饰性的图案或与书籍内容相关且 色彩的应用，凭喜好罗列一些漂亮的颜色在目录版式设计上，色彩过于“凸
及如何能使封面起到感应人的心理等，是封面设计中最重要的一环。 touch the readers’ feeling. 有代表性的插图设计等。这些对于爱书之人无疑是一份难以言辞的喜悦，从 出”或“凹陷”。这些都会造成读者在翻开图书时的视觉疲劳。一位优秀的
Cover not only to reflect the content, nature, but also to provide 而提高了书籍的附加价值，吸引更多的购买者。 设计师通常不会滥用色彩，只是让图书的色调更接近于自然，如果设计师选
readers with the aesthetics, and well protect the book. Cover 2 . 书脊 The fly page is a bridge between cover and inside of a book. A 择应用颜色来达到美观悦目的效果，就应当注意组成霓虹的阳光的次序。我
design includes the design of title, names of the author and 2.Book Spine classic book lacks of the fly page, just like a flaw on the white jade, 们看到的优秀作品，更多类似于国画中的留白，空白可以使读者在阅读时产
publishers as well as the decorative images and colours. How to greatly reduces the value of its collection. The fly page includes 生轻松、愉悦之感，标题越重要，就越要多留空白。如果能在密密麻麻的目
make the cover reflect the content of the book and how to make it 书脊设计在图书设计当中是仅次于封面的又一重要视觉语言。汉斯・皮特・ expansion page, blank page, like page, frontispiece inserts or 录中使读者的眼睛能够突然看到某块空白，相信这感觉仿佛在长期的黑暗中
affect the readers’ mind are the most important parts in the cover 维尔堡在《发展中的书籍艺术》中这样说到：“一本书籍一生的百分之九十 title page (the amount of books), copyright page, inscription, 突然见到了光明般愉悦。
design. 显露的是书脊而不是别的。”大部分图书在书店销售的时候并不能将封面设 thank offering, etc. With the improvement of the aesthetics, the Seen from the award-winning design of the contents of books,
计完整的展现在读者面前，而是插在书架当中，通常会被书脊这一平面取而 quality of the fly page is also getting better and better, some of we can see that the layout design of contents has got rid of the

封面设计的色彩是由书的内容与阅读对象的年龄、文化层次等特征所决定 代之，成为呈现在读者眼前的第一视觉语言，因而书脊设计显得尤为重要。 which use high quality specialty paper, and some fly pages even coloured thread and changeable font as much as possible. Some

的。鲜丽的色彩多用于儿童的读物；沉着、和谐的色彩适用于中、老年人的 Design of the book spine is an important visual language second emit fragrance; while some with a number of decorative patterns designers interest in the application of colour, with some beautiful

读物；介于艳色和灰色之间的色彩宜用于青年人的读物。此外，图书内容对 to that of cover in a book. Hans Pitt Virbo mentioned in his book or illustrations relate with the content of the book. Undoubtedly, colour preferences listed in the directory layout design, this "bulge"

色彩也有特定的要求，如描写革命斗争史迹的书籍宜用红色调；以揭露黑暗 Developing of the Books Art that “it is spine that presents ninety this improvement will be a joy for the book lovers and thereby or "depression" results could cause the readers’ visual fatigue while
 010－011
turning over the book. A good designer will not abuse the colour,
just let the book's tone close to nature. If he chooses multi-colour
to achieve aesthetically pleasing results, he would pay attention
to the order of composition of neon. In many masterpieces, there
are some blanks just like that in the Chinese painting could give
readers a sense of relaxing and pleasing. The more important of
the title is, the more blanks are needed. Blank in the dense layout
of the contents just likes a beam of sunlight in the darkness, giving
a sense of pleasure.
5. 版式
5. Layout
版式设计是指图书正文的全部格式设计。通常来讲，除封面、环衬和扉页之
外，前言也包括在其中。版面设计的最终效果要尽量达到既新颖、美观、大
方、雅俗共赏，而且在版式设计的过程中，设计师要将设计风格与图书自身
定位相结合。视觉是人的主要审美感官。所以当读者翻开一本书时，版式设
计要优先于图书内容给读者留下深刻印象，往往优秀的版式设计会吸引读者
进一步阅读图书内容。相反而言，当读者翻开一本没有设计感的图书，它的
版式设计甚至给读者带来窒息感，读者恐怕会很难继续阅读图书内容。这也
就是说，版式设计具有“广告效应”。版式设计中每一个具体可感的对象，
其色彩、线条等形式因素都能够引起读者的感受。
Layout design refers to format design of the full text in a book.
Generally, besides the cover, the lining papers and the title page,
the forewords are also included. The layout design should be
original, beautiful, simple and popular and go harmoniously with
the book's contents. Visual sense is the main sense organ of
the human’s appreciation of the beauty. Therefore, the layout
design comes before the book content to impress the readers; an
excellent layout design will attract readers to read the book content
further. In contrast, a book without a sense of design whose layout
design even gives a sense of suffocation will be hard to attract the
readers. This means that the layout design has "advertising effect."
Colour, line and other elements of each particular object in the
layout design are able to arouse the reader's feelings.
在版式设计里，对称形式是被广泛应用的一种设计形式。这种设计形式给人
以稳定、统一、稳重大方的感觉。在实践中，绝对对称的版式设计是及其少
见的，且过分强调对称亦容易使整个版面显得呆板木讷，此时设计师通常会
巧妙运用版式平衡的形式来弥补对称形式的不足，如稍微增加版面的不平衡
性，也就是将原本绝对对称的版面稍微“打破”，从而使画面变得不平衡，
此时就需要设计师运用平衡的形式协调绝对对称与不平衡之间的矛盾体以摆
脱整体过于统一带来的僵化，给人以新奇活泼的感觉。在设计的过程中，要
注意避免因变化过强而导致失衡。
In the layout design, symmetry as a design form has been used
widely. This design gives a sense of stability, unification and
elegance. In practice, absolute symmetry of the layout design is
rare, and too much emphasis on symmetry is also easy to make
the layout look stiff. Designers will usually clever use the form
of balance on typography to make up for the shortcoming of the
symmetry. Subtle changes in the layout that are a little "breaks"
of the absolutely symmetrical layout could give a sense of novelty.
This sense is generated by designers’ applying the form of balance
to coordinate the contradiction between absolute symmetry and
unbalance. In the design process, designers should avoid imbalance
caused by too much changes.
图文并茂的书，一般图片需要很强的视觉冲击力并且占据了绝对的视觉作
用。有时图片的质量直接影响到版面的效果。图片可以根据构图需要而夸张
的放大，甚至可以跨页排列和出血处理。这样使版面更加生动活泼，给人的
观感带来舒展感。版式中的文字排列也要符合人体工学。过长的字行会给阅
读带来疲劳感，降低阅读速度。
Generally, in a book with texts and images, unique images will
give the readers a strong visual impact. Sometimes, quality of
the picture will directly affect the layout design. Images can be
enlarged according to the needs of composition or even dealt with
cross-page order and bleeding. This will make layout more lively
and bring a sense of relaxing. What’s more, the arrangement of
text should correspond with the human engineering. Overlong lines
will cause reading fatigue and reduce the reading speed.
读者见到大多数的版式为二维平面设计。对版面元素进行近、中、远的空间
设计，版式上能够产生一定深度且具有三维空间的视觉效果。文字的大小起
伏变化, 颜色的有层次区分都是使空间具有层次的有效方式，浅颜色给人以
较近空间感，反之，深颜色会略远一些。此外，将版面元素的大小比例、位
置方向、颜色搭配等细节进行不断的编排完善，逐步形成成熟完美的视觉空
间感。这就是建立于二维平面基础上的一种三维假象空间。其目的是使整个
版面产生韵律，显得灵活而深远，又能清晰地传达信息，有利于吸引读者的
注意力和增强理解力。
Most of the layout is two-dimensional graphic design. Adjustment
of the layout elements in accordance with the distance could create
a three-dimensional visual effect. The changes of the font size and
colour could contribute to a sense of layer. Compared with the dark
colours, light colours seem closer to the readers. In addition, the
improvement of the arrangement of layout elements which refers
to the scale, directions, colours and other details could help forming
a mature perfect visual sense of space gradually. This is so called
a three-dimensional illusion of space based on a two-dimensional
plane. It aims to make the entire layout full of rhythm, appears
flexible and far-reaching, but also to convey information clearly, will
attract the reader's attention and enhance their comprehension.
6. 版权页
6. Copyright Page
版权页包括书名、作者、编者、评者的姓名；出版者、发行者和印刷者的名
称及地点；书刊出版营业许可证的号码；开本、印张和字数；出版年月、版
次、印次和印数；统一书号和定价等。
Copyright page includes book title, the name of author, editor,
criticizer, publishers and the name and location of printers and
license number of book publishing business permits as well as
format, printed sheet, number of words. In addition, there are
also date of publication, order in the edition and printed, printing
number as well as ISBN and pricing.
版权页，其文字书名字体略大，其余文字分类排列，有的设计并运用线条分
栏和装饰用，起着美化画面的作用。
The title types in the copyright page are larger than other types
in this page, and the rest of the text is arranged according to the
classification. Some layout design also use columns and decorative
lines to fresh the page.
 012－013

Design Methods
图书设计方法

现存的图书设计方法多种多样，在面对新的设计案例的时候，设计师的头脑 文字的字体、字号、粗细、行距、字距的选择不同，在版式设计中形成的面 solemnity. The symbolism of colour is formed with experience

里已储存的N种设计方法的记忆，此时如能将这些记忆陌生化以进行二次设 的明度也有所不同，由此决定版式构成中黑白灰的整体布局。文字之间的字 accumulation and habits while people cognizing and using colours.
计，便是一种重新的创造。这样方能将设计推向一个更高的层次，其作品必 形大小变化和字体种类选择，使文字的设计反映出内容的因素，让读者能从
然拥有不落陈规的清新。 中品味出刊物的精神与内涵。标题一般不宜采用过于潦草或过于怪异难认的 4. 图片排列
Design methods now are various. For a new case, the designer 字体。短小的文字内容不宜采用粗壮、浓黑的字体等。简单的直线和弧线组 4. The Arrangement of Images
redesigns the existing design methods in mind and re-creates it 成的字体给人以柔和、平静之感；漂亮而优雅的“花体字”，具有皇家贵族
which can greatly improve the design and make the book design 的高贵感觉；圆润、较粗的字体则显得有些卡通化等等。把握这些常识和规 近几年版面空白是使版面注入生机的一种有效手段。大胆、合理的留白能够
always being fresh. 律是设计一本优秀图书的基础。 字体的选择在设计师眼里往往是理解与直觉 传达出设计师高雅的审美品位并打破死板呆滞的常规惯例，从而使整个版面
的相结合，这种直觉取决于经验的积累。 通透、开朗、跳跃、清新。
1. 网格设计 The brightness of pages varies with the difference of the font, size, In recent years, blank layout is gradually developed into an
1. Gridding thickness, row spacing and kerning distances which determine the effective means to fresh the layout. Bold and rational use of blank
layout of the composition in the colour of black and white and grey. could perfectly present the good aesthetic taste of designers and
网格设计不是简单地把文字和图片放置在一起，而是从画面结构中的相互联 The changes of font size and the choice of font could reflect the break the old and dull layout, so that giving the whole page a sense
系发展出来的一种形式法则。强调比例感、秩序感、连续感、清晰感、时代 content of the text elements, giving readers a taste of publications of transparence, openness and brightness as well as cleanness.
感、准确性和严密性。网格使版面中所有的设计元素之间的协调性成为可 from the spirit and the content. The type of the title should not
能。从本质上说，网格是图书版式设计的骨骼，能够给设计带来秩序感和结 be too illegible or unrecognisable. Brief and small type should not
构感。 employ the strong and thick black font. Font which is made up
Gridding is not simply to put the words and pictures together, but with simple lines and arcs gives a sense of softness and calmness;
a form of rule that is developed from the interrelated composition. the beautiful and elegant "decorated letters” always give a sense
It emphasizes the sense of proportion, order, continuity, clarity, of nobleness; round and thick font always could be used in the
times, accuracy and rigor. It perfectly coordinates the relationship cartoons. These general knowledge and disciplines are the base of
between the design elements. In essence, grid is the skeleton of designing a good book. In the designer's opinion, the choice of font
layout design which can bring a sense of order and structure for is a combination of understanding and intuition, while the intuition
design. comes from the accumulation of experience.

2. 字体选择 3. 色彩搭配
2. The Selection of Fonts 3.The Combination of Colours

设计师应把文字作为图书设计的重要构成元素，要具有鲜明的特色与风格。
通过不同字体的选择来引导读者阅读是一种理想的设计方式。文字本身也是
一种艺术形式，无论汉字还是英文，都有俊秀、浑厚、奔放、柔和等各种风
格，通过采用适应书籍的内容和风格的字体可控制读者阅读的舒适度，方向
感和紧密度。
Type plays important role in the book design, which should have
distinct characteristics and styles. The ideal design is to select
different fonts to guide the readers. Text itself is an art form,
whether Chinese or English can be with handsome, vigorous, lively,
soft and other styles. It is convenient for readers to read that the
font goes harmoniously with the content and style.
通常色彩是赋予感情的，从某种意义上说，色彩是人性格的折射。同理，色
彩有时也可以直接展示出一本书的精神情感的感觉。色彩本无注定的感情
内容，但色彩呈现在我们面前，总是能引起生理和心理活动，比如说，黑、
白、黄等单调、朴素、庄重的色调可以给图书带来肃穆之感。色彩的象征意
义，是人们长期认识、运用色彩的经验积累与习惯形成的。
Generally, colours are usually given to the feelings. In a sense,
colours reflect human’s character. In a similar way, the colour
sometimes can show the spirit of a book. Actually, the colour
content has not definitive meaning, while it always causes physical
and mental activity on us. For example, the monotonous and
simple colours of black, white, yellow, always bring a sense of
 设计机构:
014－015 …,staat创意公司
完成时间:

BIS / BNO. Real Dutch Design Biennial

2006年
客户:
BIS出版社，荷兰设计师协会
描述:
BIS出版社&荷兰设计师协会/《真正的荷兰设计》双年刊
系列图书《真正的荷兰设计》为双年刊，主
要展现荷兰300多个创意公司设计的最新跨
界作品，而该项目是…,staat创意公司提供的
该系列图书2006－2007年版的创意理念与设
计。这个100页的图书的中心议题是“到底什
么才是真正的荷兰人设计？”…,staat创意公
司邀请不同设计领域的先锋人物对这一问题
进行了完美诠释，他们分别是斯特凡・施德
明、维姆・克鲁维尔、安东・科宾、马克・
纽森。在《真正的荷兰设计》2006－2007
年版一书中，读者将能够欣赏到这些设计大
师对上述问题的透彻分析以及300多个荷兰
设计公司的最新创作作品。该系列丛书分为
两个版本，材质对比鲜明，而设计上采用荧
光塑料与普通纸板相结合的方式将书页进行
装订。这些看似矛盾的包装元素却完美地融
合在一起，并向人们证明了设计的无限可能
性。《真正的荷兰设计》采用双面设计，并
拥有荷兰语、德语和英语三种语言版本。

Design Agency:
…,staat creative agency
Production Date:
2006
Client:
BIS / BNO
Description:
The Dutch Design books are published every two years, showing an uncensored
cross-section of the current state of affairs in Dutch design, representing over
300 agencies. …,staat created the concept and design for the 06/07 edition. This
nearly 1000-page book is based around the question: “What exactly is real Dutch
design?”. The creative agency asked various key players in different design areas
this question – from Stefan Sagmeister and Wim Crouwel to Anton Corbijn and
Marc Newson. You will find their answers and thoughts in Real Dutch Design 0607,
together with the most recent work of more than 300 Dutch design agencies.
The set consists of two books and is all about contrast in material and in design
– fluorescent plastic combined with basic cardboard binds the pages together.
Between these contradictory extremes, everything is possible. Real Dutch Design
can be read from either side, and is published in Dutch, German and English.
016－017

The World According to Concrete 《混凝土建筑联合公司》

Design Agency:
…,staat creative agency
Production Date:
2007
Client:
Concrete
Description:
The designer, …,staat saw this book as a "space". In collaboration with Thonik, ...,staat
created square space within a book, or a book within a book; a shape within
a shape. The book (content) is a square, the book (material) is a rectangle. It
shows Concrete’s vision of the world and contains work from various artists, such
as Erwin Olaf, Fritz Kok, Damien Hirst, Vincent van Gogh, Blommers & Schumm,
KesselsKramer, Banksy, Marcus Harvey and Maurice Scheltens.

设计机构:
…,staat创意公司
完成时间:
2007年
客户:
混凝土建筑联合公司
描述:
…,staat创意公司将该书的设计设想成一个空间的打造。该公司与设计师托尼克合作，在
书中巧妙地打造了一个方形空间，使书中有书，形中见形。书中的内容是一个方形，而书
的材料则是一个矩形。该设计彰显了混凝土建筑联合公司的世界观，并重点展示了多位艺
术家的创意风格。这些艺术家分别是欧文·奥拉夫，弗里兹·库克，达米安·赫斯特，文
森特·凡·高，布罗莫斯&舒姆，凯瑟斯·克莱默，班克斯，马库斯·哈维和莫里斯·斯
彻尔滕斯。
018－019

A Miracle of Modern Colour Photography

《现代彩色摄影的奇迹》

Design Agency:
3 Deep Design
Production Date:
2007
Client:
Justin Edward John Smith
Description:
A Miracle of Modern Colour Photography was a publication designed by 3 Deep Design to
accompany an exhibition of the same name at the Goddard De Fiddes Gallery, in Perth, Western
Australia. The artist, Justin Edward John Smith, is an English-born artist, who now lives in Perth
and who has a lineage in Fashion photography and the performing arts. Julian Goddard, principal
of Goddard De Fiddes Gallery comments here on the exhibition and Justin's work.

设计机构：
3deep设计工作室
完成时间：
2007年
客户：
贾斯汀・爱德华・约翰・史密斯
描述：《现代彩色摄影的奇迹》是3deep设计工作室为在澳大利亚西部珀斯城举办的同
名展览而设计的出版物。艺术家贾斯汀・爱德华・约翰・史密斯出生于英国，现定居
于澳大利亚珀斯，对时装摄影和表演艺术具有很深的造诣。此外，该书中还涵盖了戈
达德・德・费德斯画廊的负责人朱利安・戈达德对该展览以及贾斯汀作品的评价。
 020－021

Goalkeeper Forever 《永远的守门员》

Design Agency:
3group
Designer:
Ryszard Bienert
Production Date:
2009
Client:
Galeria Piekary
Description:
Book “Goalkeeper Forever” was designed
for the photography exhibition of Zbigniew
Sosnowski in Piekary Gallery in Poznan,
Poland. In its character design relates to 1970s'
photography style. There are 5 different kinds
of paper used inside the book: coated matt,
offset white, cream, handmade paper and
different grammature of “newspaper like” stock.
Shots are printed by use of duotone Black and
Pantone Gray. Cover has two differently-sized
sleeves, the bigger one is a poster printed
on uncoated paper, the smaller one is gloss
laminated. There inserts of different size in the
book printed on the thin stock, gloss laminated
throughout.

设计机构:
3group设计工作室
设计师:
赖斯扎得・贝恩耐特
完成时间:
2009年
客户:
Piekary画廊
描述:
《永远的守门员》一书专为在波兰波兹南城Piekary画廊举办的Zbigniew Sosnowski摄影
展而设计。个性化的设计与20世纪70年代的摄影风格相得益彰。书中运用了五种不同材质
的纸张，包括亚光涂布纸、双胶纸、挤花纸、手抄纸以及不同材质的报纸式原浆纸。球路
采用双黑双色调和彩通灰色进行印刷。
封套的尺寸为两种，较大的一个是将海报直接印刷到胶版纸上，而较小的一个则采用了覆
膜上光模式。书中不同尺寸的插页均以薄型原浆纸为原料，覆膜，带光胶。
022－023

Kingdom 《王国》

Design Agency:
3group
Designer:
Ryszard Bienert
Production Date:
2010
Client:
Galeria Piekary
Description:
Book “Kingdom” was designed for the exhibition of Dorota
Nieznalska in Piekary Gallery in Poznan, Poland. In its character
design relates to 1970s' style. There are two different kinds of
paper used inside the book: coated matt, offset white. Book is
printed by use of full colour and Pantone Red 032. Cover is matt
laminated. Catalogue is full of strong typography.

设计机构:
3group设计工作室
设计师:
赖斯扎得・贝恩耐特
完成时间:
2010年
客户:
Piekary画廊
描述:
《王国》一书专为在波兰波兹南城Piekary画廊举办的
Dorota Nieznalska摄影展而设计。个性化的设计具有鲜
明的20世纪70年代的气息。书中运用了两种不同材质的
纸张，包括亚光涂布纸、双胶纸两种。图书采用全色和
潘通色卡红色032号进行印刷。封面运用了亚光覆膜处
理。目录字体全部采用大写格式。
024－025

Ska 《斯卡》

Design Agency:
3group
Designer:
Ryszard Bienert
Production Date:
2009
Client:
Galeria Wozownia
Description:
Ska catalogue was designed for Wozownia Gallery
in Torun, Poland. It consists of over 100 pages
printed in 6 colours. Printed on Munken Print
Cream 15-150 gsm. Cover is made with 350 gsm
cardboard printed with two pantone colours, matt
laminated and covered with brocade/sparkling foil.

设计机构:
3group设计工作室
设计师:
赖斯扎得・贝恩耐特
完成时间:
2009年
客户:
Wozownia画廊
描述:
《斯卡》目录专为波兰托伦城Wozownia画廊而设计。该
书共包括100多页，采用六色印刷。印刷材料为规格是
15~150克重的轻型胶版印油纸。封面由规格为350克重
的纸板构成，采用两种潘通彩色印刷，亚光覆膜，并外
覆织锦/泡沫锡纸。
 026－027

Spinka 《斯宾卡》

设计机构:
3group设计工作室
设计师:
赖斯扎得・贝恩耐特
完成时间:
2006年
客户:
Piekary画廊
描述:
该项目是专为年轻的设计师亚历山德拉・斯卡设计的限量200册的目录。
这一特别版设计有两种不同的封面设计，每一种封面印刷100册。目录采
用大开本设计，折叠后的尺寸为34厘米×45厘米，方便读者更好地欣赏
设计师作品的细节，了解材质的制作原料。目录中的三个跨页以１:１的
比例展示了作品的片段。为此，封面和书脊的结构较为特别。封面以３
毫米的DH硬纸板与涂层原浆纸胶合之后，采用丝网印刷，运用潘通色卡
金属色，涂以紫外线，局部上光，书钉装订，书脊采用帆布设计。帆布
的颜色选择严谨、别致，与金黄色油墨相得益彰，和谐融为一体。

Design Agency:
3group
Designer:
Ryszard Bienert
Production Date:
2006
Client:
Galeria Piekary
Description:
Limited edition of two hundred copies of the catalogue for the young artist Aleksandra Ska. There are two different cover designs to
accentuate the special edition, each printed in quantity of 100. The large format of the catalogue - 34 cm (width) x 45 cm (height) when
folded - lets the viewer appreciate the artist’s work in much detail, and see the materials they are created from. Three spreads in the
catalogue show fragments of works in scale 1:1. For this reason, an unusual solutions to the construction of the cover and spine was
created. Cover used 3 mm cardboard, DH Board, and was glued with coated stock, in addition with silk screen printed with metallic
pantone, UV spot varnish, steel stapled, and was finished with canvas spine. The canvas colour was selected with care to match yellow
metallic ink.
 028－029

The Truth of Painting 《油画的真谛》

设计机构:
3group设计工作室
设计师:
赖斯扎得・贝恩耐特
完成时间:
2010年
客户:
Piekary画廊
描述:
《油画的真谛》专为艺术家卡米尔・库斯克卧斯基而设
计，以呈现其最近几年的艺术作品为主题。该书中运用了

Design Agency: 多种不同材质的纸张（７种不同的原浆纸、涂层和色彩）

3group 以强调出该艺术家所运用的千变万化的创作技巧。常用

Designer: 色彩与作品中的特色色彩完美地融合。该目录分为四个章

Ryszard Bienert 节，每一章拥有一种独特的色调和纸质。该目录在模仿艺

Production Date: 术家运用的创作手法的同时，以简约、低调的风格与作品

2010 相得益彰。

Client:
Galeria Piekary
Description:
The catalogue “The Truth of Painting” was designed for an artist, Kamil Kuskowski and presents his works from the last few years. Different kinds of papers were used throughout the book (seven different
stocks, coated and coloured) to accentuate several techniques used by the artist. Stock colours were matched with particular distinctive colours in the artist's works. There are four chapters in the catalogue,
each one has its colour and different kind of stock. The aim of the catalogue was to resemble techniques used by the artist but at the same time keep it simple, similarly to the style of works.
 030－031

Waiting for the Barbarians 《等待巴巴利亚武士》

Design Agency: 设计机构:

3group 3group设计工作室
Designer: 设计师:
Ryszard Bienert 赖斯扎得・贝恩耐特
Production Date: 完成时间:
2007/8 2007年8月
Client: 客户:
Galeria Piekary Piekary画廊
Description: 描述:
“Waiting for the Barbarians” - limited publication of 200 copies for two artists that held 《等待巴巴利亚武士》是一个限量200册的出版物，专为两位艺术家在Piekary 5画
exhibition at the Piekary 5 Gallery. Both of them have different reative approaches to 廊举办的展览而设计。由于这两位艺术家运用了不同的艺术手法进行创作，因此，
art so 3group decided to use two different typographic approaches (serif and sans-serif) 设计师决定运用两个不同的版式设计（衬线－无衬线）以与两个设计师的不同作品
throughout the parts relating to them. Delicate and massive fonts were used to enhance 交相辉映。精致而厚重的字体能够有效地强化风格的对比性。黑色和白色的内封采
the contrast/difference in styles. Inside covers, different for each artist, designed in black 用不同的版式风格象征着两位设计师的不同创作手法。一个由单张材料制成，正面
and white, and in a different typographic style respectively. Binding these two covers 和背面相连的封面将这两个内封装订在一起，以无涂层的原浆纸为原料，采用亚光
together is a wrap around cover, matt laminated on uncoated stock. Covers were made of 覆膜模式。封面以3毫米的纸板为原料，与无涂层原浆纸进行胶合，采用紫外线进
3 mm-cardboard, glued together with uncoated stock and UV printed. Inside is printed 行印刷。内封以无涂层原浆纸为原料，运用特殊的高保真六色色彩系统中的黑色色
on uncoated stock with special hexachrome black ink to intensify the contrast between 调，以强化黑白色的对比效果。
white and black colour.
 032－033

Satellites Mistaken for Stars 《错把卫星当恒星》

Design Agency:
Alexander Egger
Designer:
Alexander Egger
Production Date:
2010
Client:
Rupa Publishing
Description:
Everybody gets a little bit lost sometimes. It is
a monograph, with 180 pages, softcover and
dustjacket.

设计机构:
亚历山大・艾格
设计师:
亚历山大・艾格
完成时间:
2010年
客户:
Rupa出版社
描述:
每个人都会有失误的时候。这本以《错把卫星当恒星》为
名的专题著作共180页，平装书，外部覆以防尘书套。
 Description: 描述：
034－035 The third edition of a loose series of publications edited by Designforum Vienna 该项目是由维也纳设计论坛编辑的系列出版物之第三版，记录了维也纳设计论坛在创办后
documents its activities in the first four years of its existance. Designforum 的四年间所从事的活动。维也纳设计论坛成立于2006年，位于维也纳的博物馆广场，是

Dokument – Designforum Wien

Vienna is located since 2006 in the Museumsquartier in Vienna and presents itself 有关设计的专业中心与协调服务平台，其主要功能包括宣传设计，提高公众对设计的兴趣
as a centre of competence, of interest intermediation and service whose function 和意识，强化与设计有关的对话，以及强调设计对经济和社会的重要影响力等。其宣传
consists of propagating and increasing the interest in design and its underlying 的手段包括展览、讲座、研讨会、讲台讨论、活动和比赛等。通过丰富的大纲设计，维
conditions to the public awareness and to deepen the dialogue about design, its 也纳设计论坛成功地向公众展示了其在创建最初的四年中凭借多样化的设计主题吸引了
《记录－维也纳设计论坛》
fuctions and its importance for economy and society. Which is achieved through 大量的观众，并在奥地利媒体景观中留下了难以磨灭的印象。《记录—维也纳设计论坛
exhibitions, lectures, symposiums, podium discussions, events and competitions. 2006-2010》描述了由学院发起的活动架构以及发起人、支持者与赞助商的目的所在。
Design Agency: 设计机构:
With its manifold programmes Designforum Vienna sucessfully presented in 该书以淳朴、浑厚的格调彰显出演说的开放与自由。书中也同样彰显出这种气息：一个厚
Alexander Egger, Isolde Fitzel 亚历山大・艾格,埃舍尔德・菲泽尔
the period of the last four years substantial design topics to a growing audience 重的装订作品组合被两个大型纸板封面进行包装，浮雕、裸露式书脊、充满概念情趣的字
Creative Director: 创意总监：
and left also a lasting impression in the Austian media landscape. DOKUMENT- 体、编码的尝试、不同章节中跨页开端的间距、浓烈而清晰的色彩等等元素使该书独树一
Alexander Egger 亚历山大・艾格
Designforum Wien 2006–2010 describes the framework of the activities originated 帜，匠心独运。书中折叠双面海报，使外观富于变化，强调出该书的程序性和实时性的特
Designer: 设计师:
by the institution and the motivation of its initiators, supporters and sponsors. 征，并从两个看起来似乎完全不同的封面中形成一种灵活的观点。
Alexander Egger, Isolde Fitzel 亚历山大・艾格,埃舍尔德・菲泽尔
The book breathes a raw and strong power with tendencies to an open discourse. An approach
Photography: 摄影:
which is reflected also in the design: a thick bound portfolio of work encased by two heavy cardboard
Lisa Fleck 丽莎・富莱克
covers, embossment, open spine, conceptual playful typography, experiments of codes and space in
Client: 客户:
the opening spreads of the different chapters, strong and clear colours which determine the single.
Designforum Vienna 维也纳设计论坛
The book comes infolded in a double-sided poster which gives variation in appearance, underlines
Production Date: 完成时间:
the processual and temporary character of the book and generates a flexibility of viewpoints through
2010 2010年
seemingly two different covers.
Nationality: 国家:
Italy/Germany 意大利/德国
 036－037

NIMBUS XXI
《光轮》
Designer:
Andreas Preis
Client:
Georg Simon Ohm University of Applied Sciences
Production Date:
2009
Description:
Increasingly fewer people call themselves religious. Only 15 percent
of registrated Christians in Germany attend church on Sundays.
At the same time, masses surge to football games, concerts and
other major events. People worship brands, idols and lifestyles and
behave just as devoutly as the most obedient believer.
On 164 pages this illustrated book describes how nowadays the
church and belief are replaced by modern surrogate religions and
new created gods.

设计师:
安德烈斯・普雷斯
客户:
乔治・西蒙・欧姆应用科学大学
完成时间:
2009年
描述:
如今，人们的宗教意识正日趋淡化。在德国，仅有15%的基
督徒去教堂做礼拜。与此相反，绝大部分民众将闲暇时间用
在观看球赛、参加音乐会以及其他活动之中。人们对乐队、
偶像以及个性生活方式的追求如同一个虔诚的信徒。这个
164页的插画图书充分地展示了当代教堂及宗教信仰被当代
新事物和新的膜拜对象所代替的现象。
 038－039

Rolling Stone
《滚石》
Designer:
Anthonys Timola
Client:
Student work
Production Date:
2010
Description:
The project was to rebrand a company that falls into a defined set
of criteria: dead, dying, or defunct. The designer was to bring the
brand back to life through relevant and well thought out branding
techniques.
The designer defined Rolling Stone as a brand that was
dying in comparison to its prior prowess as the go-to-
magazine for all things counter culture. The designer
chose to call on the DIY movement in order to bring
back the brand's connection with the counter culture
and provided a brand extension of high pigment spray
paint and markers. In addition there are gallery spaces
that are also locations for community centers; creating
a venue for expression.
Comments:
This project is the culmination of the past two years; the mfa
program at the Academy of Art is highly competitive, and pushes
you to be the best. The designer is very proud of this project, as it
came together in a strong way.

设计师:
安东尼斯・蒂莫拉
客户:
学生作品
完成时间:
2010年
描述:
该项目的重点是为一个公司提供品牌重塑设计。设计师旨在
通过深刻而巧妙的品牌塑造技巧赋予品牌以全新的形象。设
计师安东尼斯・蒂莫拉将《滚石》定义成一个受反主流文化
的影响而失去往日光辉的品牌。设计师响应“自己动手做”
的运动以将该品牌与反主流文化进行衔接，并运用高级色素
喷漆和彩笔描绘进行品牌延伸。除此之外，独特的画廊空间
专为社区中心而设立，打造了一个独特的交流场所。
评论：
该项目是过去的两年时间中的精品之作；在艺术学院中艺术
专业学位的项目竞争十分激烈，一个优秀的作品能够轻松使
创作者脱颖而出。这个独特、感染力极强的设计作品令该设
计师十分欣慰。
 040－041

Friendly Fire 《友善开火》

Designer: 设计师:
Anthonys Timola 安东尼斯・蒂莫拉
Photography: 摄影:
Dominic Stimola 多米尼克・斯蒂莫拉
Client: 客户:
student work 学生作品
Production Date: 完成时间:
2010 2010年
Description: 描述:
This book was created as an informational and archival guide for the Friendly Fire Film Festival. Friendly Fire is 《友善开火》一书是专为《友善开火》电影节而设计的信息和档案指南。《友善开火》是一个虚构的电影节，
a fictitious film festival that celebrates the filmmaker Oliver Stone, and an era of social turbulence in America 旨在彰显电影人奥利弗・斯通的杰出编剧才能，以发生在美国和东南亚的社会骚乱为题材。该电影节在纽约、
and South East Asia. The three locations of the film festival, New York City, Washington DC, and Ho Chi Min 华盛顿特区、胡志明市三个城市举办，以庆祝这一时期中所发生的重大事件。
City were chosen to comemorate the many momentous occations of the era. 评论：
Comments: 由于这一时代在设计师的家庭中具有深刻的意义，因此，设计师在整个设计中可谓全情投入。其父亲是一名越
The designer put in a lot of personal heart and soul into the piece as the era is an important one in his family. His father is a Vietnam 战老兵，这一身份使设计师对这些老兵拥有独特的感情和了解。实际上，要想抛开个人情感陈述事实是一件非
Veteran and it was very important to him to aim this towards his fellow veterans. He found it difficult to put persoanl feelings aside; if he 常困难的事情，在设计师看来，如果再给一次机会的话，他将会尽量避开这种敏感话题。
was to do it again, He would have steered clear of such personal subjects.
042－043

The Many Faces of San Franciso's Architecture

《旧金山建筑的多面性》

Designer:
Anthony Stimola
Production Date:
2010
Description:
This book is the product of two individuals who have
a great love and also distain for the very different
social structure of San Francisco. The designer
wanted to produce a piece that would display the
beauty of San Francisco without using the clichés of
colour and bright content. The idea is to show the
city through a lens that has not yet been utilised.
Comments:
The designer would have liked to see this book build out further,
however short turnaround time and tight deadlines kept the
book short. The structure of the book is there and it could be
reformated to reflect any city.

设计师:
安东尼斯・蒂莫拉
完成时间:
2010年
描述:
该书阐释了两位建筑专业人士对旧金山地区社会建筑的独
道看法和见解。设计师意在不使用传统色彩和醒目的目
录，以展现出旧金山的天然之美。设计的理念是利用一个
尚未被采用的透镜将整个城市之美完美呈现。
评论：
该书的设计受到制作时间和截稿时间的影响，而作了简短
处理。该书的结构独特，还可以将书中的城市替换成其他
任何城市。
044－045

Lezioni Di Paesaggio
《景观课程》

Design Agency:
Artiva Design
Designer:
Daniele De Batté, Davide Sossi
Client:
Plug_in edition
Production Date:
2008
Description:
The book is a collection of writings and photos on the landscape
not only in terms of architectural and artistic heritage.
Comment:
The cover represents the duality between open and
closed space.

设计机构:
Artiva设计工作室
设计师:
丹尼尔・代巴特，大卫・索希
客户:
Plug_in edition出版社
完成时间:
2008年
描述:
该书以建筑和艺术遗产景观为主题，图文并茂、匠心独
运。
评论：
封面象征着开放空间与封闭空间的二元性。
 设计机构:
046－047 Artiva设计工作室
设计师:

Utopia & Comunità

丹尼尔・代巴特，大卫・索希
客户:
《乌托邦与公共社区》
Plug_in edition出版社
完成时间:
2009
描述:
该书以社区和公共住宅为论题，通过卡片的分类和摄影材
料的整合进行阐释和讨论。
评论：
黑白色调的运用与20世纪60年代的地铁杂志风格相得益
彰。
此外，设计师还运用好利获得打字机使某些页面上的字体
风格富于变化、独树一帜。

Design Agency:
Artiva Design
Designer:
Daniele De Batté, Davide Sossi
Client:
Plug_in Edition
Production Date:
2009
Description:
The book deals with communities and cohousing, reading and consultation are
facilitated by the division in cards and the integration of photographic materials.
Comment:
The use of black and white is a reference to the underground magazines of the
1960s.
Designers also used on some pages typefaces olivetti's typewriter to have a
more different and original typography.
048－049

Poetry Books and Covers 《诗歌书籍与封面》

Design Agency:
Massachusetts College of Art and Design
Award:
Bookbuilders of Boston Scholarship, 2008
Production Date:
2008
Description:
Books are hardcovered with a dust jacket, uncoated
paper.
Comments:
The book covers and interior design from this series
are a modern visual interpretation of the writings of
Federico Garcia Lorca. Metaphorical representation,
bold use of colour and of shapes hint at the
important influence of Spanish folklore on Lorca's
work. Its initial illustrated capital letters invite the 设计机构:
reader to embark on a journey of sensuality, music, 马萨诸塞州艺术设计学院
奖项名称:
2008年波士顿图书设计奖学金
完成时间:
2008年
描述:
精装书，外部覆以防尘书套，无涂层纸张。
评论:
该书的封面和内部设计旨在对诗人费德里科・加西亚・洛
尔迦的作品进行现代主义风格的视觉诠释。象征性的表现
手法、大胆的色彩和图形运用，暗示了西班牙民俗对该诗
人作品的影响。说明性大写字母引领读者进入一个感官之
旅，尽享音乐、憧憬和爱情之美。
050－051

John Cage: Music of Changes 《约翰・凯吉:音乐的转变》 Humans 《人类》

Design Agency:
Ateljé Altmann HB
Design Agency:
Designer:
Massachusetts College of Art and Design
Christian Altmann, Oskar Holmquist
Client:
Client:
Massachusetts College of Art and Design
Kristina Dalberg
Award:
Production date:
Bookbuilders of Boston Scholarship 2008
2009
Production Date:
Description:
2008
'This performance was inspired by a dream. It combines films
Description:
(Boat, Bridge, Building, Moon, Stars, and Wall) with short
Hardcover, uncoated and special paper.
stories, personal reflections and facts in order to tell a bigger
Comments:
story about people, cities and the human condition.' Kristina is
This book celebrates the creative work and
transfering her films and lecture 'Humans' into book form. We
philosophy of American avant-garde composer John
decided to release it with four different coloured dust jackets
Cage. The visual language of this publication reflects
made of the finest muted coloured Kolorit paper available
the textures and dynamism found in Cage’s music,
from the swedish paper distributor Map. Kristina loved the
while the structure of the book retains a sense of
idea to clad the stories in this slightly dusted coat in fine
unpredictability. The book’s design is based on a
colour nuances. Very personal views deserve warm regards
lecture on composition given by Cage in Darmstadt
for it. Together with Oskar Holmquist we delivered something
which was in sync with the length of “Music of
we will be proud for many years to come. which was in sync
Changes”, the musical piece.
with the length of “Music of Changes”, the musical piece.
设计机构:
马萨诸塞州艺术设计学院
客户:
马萨诸塞州艺术设计学院
奖项名称:
2008年波士顿图书设计奖学金
完成时间:
2008年
描述:
精装书籍，无涂层特殊材质纸张。
评论:
该书旨在彰显美国前卫作曲家约翰・凯吉的创意作品和理
念。该出版物的视觉语言完美地体现了约翰・凯吉作曲的
音乐中的质感和精髓，而该书的结构保持了一种不可预见
之感，与约翰・凯吉的创意风格具有异曲同工之妙。该书
的设计以凯吉在德国达姆施塔特市进行的有关作曲讲座为
基础，与名为《音乐的转变》乐章的长度相得益彰。

设计机构:
Ateljé Altmann HB设计工作室
设计师:
克莉斯汀・艾尔特曼，奥斯卡・霍尔姆奎斯特
客户:
克莉斯汀娜・戴尔博格
完成时间:
2009年
描述:
该项目的设计受到一个梦境的启发。它将电影（涉及船只，小桥，房
屋，月亮，繁星，墙壁等内容）与短篇故事和个人情感以及事实相结
合，以陈述一个有关人类、城市和人类生存状态的大型故事。该书的设
计主旨在于将克莉斯汀娜的电影和讲座以图书的形式展现出来。设计师
决定采用四种不同颜色的防尘书套对图书进行包装，该封套的材料源自
精致而柔和的彩色科罗里特纸，该纸张由瑞典迈普纸张经销商加工生
产。精致的书套与巧妙的色彩完美搭配，为书中的内容起到了良好的衬
托作用。同时也令克莉斯汀娜感到十分欣慰。该作品着实可以堪称是
一部佳作。Ateljé Altmann HB设计工作室与奥斯卡・霍尔姆奎斯特合
作，共同打造的该作品将令设计师在接下来的几年中备感骄傲和自豪。
 052－053
Occupying Time 《抢占时间》

KI Arkitektur Och Kunskapsmiljö Design Agency:

Ateljé Altmann HB
Designer:
《KI建筑与知识环境》 Christian Altmann
Client:
Ramia Mazé
Design Agency:
Production date:
Ateljé Altmann HB
2007
Designer:
Description:
Christian Altmann
Our good friend Ramia came to us with the aim to get the best possible
Client:
appearance of her texts and dress them into a bold but timeless book design.
Akademiska Hus
We designed cover and layout with the intention to inform in a straight
Production Date:
forward but elegant way. Keep the cover simple black and white with a hint
2010
to typographic abstraction. We wanted it to pop out on the bookshelves.
Description:
The book presents historical content about KI's campus development from 设计机构:
the 1940s through to today and is complimented with spacial analysis Ateljé Altmann HB设计工作室
models from the School of Architecture/KTH. 设计师:

设计机构: 克莉斯汀・艾尔特曼

Ateljé Altmann HB设计工作室 客户:

设计师: 拉米亚・马斯

克莉斯汀・艾尔特曼 完成时间:

客户: 2007年

学术论坛 描述:

完成时间: 拉米亚・马斯委托Ateljé Altmann HB设计工作室为其作品提供最佳的外观设计，并

2010年 使之前卫大胆而历久弥新。该书的封面和版式设计风格直观而不失淡雅气息。封面以

描述: 黑白色调为基础，抽象的字体设计赋予封面以独特之美。匠心独运的设计在书架上能

这本书介绍了KI校园从20世纪40年代至今的发展历程，巧妙运用建筑学院/瑞典皇 够轻松捕获读者的眼神，真正做到独树一帜。

家理工学院提供的空间分析模型进行阐释。
054－055
International Space Syntax Symposium
Static! Designing for Energy Awareness 《国际空间语法研讨会》
Design Agency:

《静电!能源意识的设计》 Ateljé Altmann HB

Designer:
Christian Altmann
Design Agency:
Client:
Ateljé Altmann HB
Architecture School/KTH
Designer:
Production Date:
Christian Altmann, Oskar Holmquist
2009
Client:
Description:
The Interactive Institute
Christian Altmann designed a logo that consists of
Production Date:
two vertical bars, set apart to allow for space... That
2010
mark became the visual metaphor for the 7th Space
Description:
Syntax Symposium 2009. The commission included
This book presents the Static! design examples and perspectives on issues in
an organisational website, a on-screen event
(sustainable) design today. Grounded in passion and humour, as well as rigor and
animation (in collaboration with Kristofer Vahlström
research, the book asks designers and consumers – that is, all of people – to rethink
at Propeller), poster series for different architectural
the form, and future, of electricity in the world.
events, a conference pack containing the book of
proceedings, programmes, noteblock and other
materials.
设计机构:
Ateljé Altmann HB设计工作室 设计机构:
设计师: Ateljé Altmann HB设计工作室
克莉斯汀・艾尔特曼，奥斯卡・霍尔姆奎斯特 设计师:
客户: 克莉斯汀・艾尔特曼
互动研究所 客户:
完成时间: 建筑学院/瑞典皇家理工学院
2010年 完成时间:
描述: 2009年
这本书完美展现了静电设计的案例，并阐释了对当今环保设计问题的观点 描述:
和看法。该书以充满激情和幽默的方式为基调，设计严谨、调查深入，引 由CA设计工作室设计的标识是两个分离开的垂直金属杆。
起设计师、消费者等所有人对周围世界形态、未来以及电荷的重新思考。 该标识成为2009年第七届空间语法研讨会的视觉象征符
号。该项目的设计包括网站的设计、一个屏幕活动动画的
设计（与Propeller设计公司的克里斯托佛・瓦尔斯多姆合
作共同完成）、各种建筑活动的系列海报以及大会资料册
（包括会议记录、规划、便签纸以及其他材料）的设计。
 056－057

Die 15-Minuten-Welt 《15分钟看世界》

Design Agency:
BEIHOFER+ADOLF
Designer:
Rainer Beihofer, Ronald Adolf
Client:
HfG Schwäbisch Gmünd
Production Date:
2008
Description:
Die 15-Minuten-Welt is a book about the development of the Tagesschau,
Germany's most important newscast.
Besides a background report with a lot of information about newscasts the
book offers a newly-created visual system that translates real parameters like
responsibility, time, command structure, technics, etc. into graphic parameters
which allows the reader to analyse the steps very fast and easily. Every chapter is
introduced by an decoration font which was especially created for this book. While
the most pages use uncoated paper with soft haptics and very low opacity the
single steps of the newscast's genesis, which are place in the middle of the book,
were printed on double coated paper.

设计机构:
贝霍弗+阿道夫设计工作室
设计师:
瑞那・贝霍弗，罗纳德・阿道夫
客户:
HfG Schwabisch Gmund大学
完成时间:
2008年
描述:
《15分钟看世界》一书重点阐释了德国最重要的新闻广播“每日新闻”的发展历程。
除提供许多有关新闻广播的后台报道和信息之外，该书还特别设计了一个创新型视觉系
统，将职责、时间、指令结构、技术等实际参数完美转化成图形参数，帮助读者快速而简
单地分析每一个步骤。每一个章节均采用了一个专为该书设计的装饰字体。大部分的纸张
采用了柔软低透明度的无涂层纸，书的中央区域设置了新闻广播生成的每一个单一步骤，
采用双层涂布纸进行印刷。
 058－059

Abschlusskatalog 10
《2010年毕业设计目录》

Designer:
Britta Siegmund, Christina Eike
Client:
University of Applied Sciences and Arts Hannover
Production Date:
2010
Description:
This publication shows all final projects from the University of Applied Sciences
and Arts Hanover. The last projects from the old diploma programme were shown
along with the first projects from the new bachelor’s and master´s projects.

设计师:
布利塔・西格门德，克里斯蒂娜・埃克
客户:
汉诺威应用科学与艺术大学
完成时间:
2010年
描述:
本出版物中所展示的是汉诺威应用科学与艺术大学所有的毕业设计方案。较早的毕业设计
方案与全新的学士和硕士设计项目一同展出。
060－061

EiGEN/ARTIG
《有趣的习惯》

Designer: 设计师:
Britta Siegmund 布利塔・西格门德
Production Date: 完成时间:
2010 2010年
Description: 描述:
Everyone has his or her little idiosyncrasies. One person always puts his right shoe on first, another counts 每个人都拥有自己的一种风格和气质。有的人经常在穿鞋
steps as she goes up or down. This is all merely human. But when these little habits become compulsions a 的时候先穿右脚，也有人习惯在走路的时候数数。这仅仅
little habit turns into a complicated system of rituals. Over time, a compulsion can become a great burden. 是人类的一种习惯而已。然而，当这些看似不经意的习惯
形成一种定式，那么它就可能会转化成为一个复杂的固定
程序系统。长期下去，一种强迫型习惯将演变成为一种沉
重的负担。
 设计师:
062－063 艾伦・潼州・赵
地点:

I Am You
法国，巴黎
完成时间:
《我是你》
2007年
描述:
《我是你》一书以讲述自身的属性、设计理念、结构和意义为主题。该书可以从两个方向
进行阅读，并设有两个开篇。强调阅读的瞬间，独立与共享之间的融合贯穿在整本书之
中，带给读者独特的视觉体验。此时此刻，两种身份（该书与作者或者是该书与读者又或
者是读者与作者）之间进行完美地互动。这本书旨在唤起读者对其创作意义、作者、读者
以及阅读的思考。

Designer:
Ellen Tongzhou Zhao
Location:
Paris, France
Production Date:
2007
Description:
This project "I Am You" is a book which talks about itself, its conception, its
construction and its reading. It can be read in two directions and it has two
beginnings. It highlights the moment of reading, this both solitary and shared
meeting between the object of the book and the person who reads it. It is also in
this moment that the two identities (of the book and the author, or of the book
and the reader, or of the reader and the author) confront each other. This book
invites the reader to think about the meaning of the book, the author, the reader,
and the act of reading.
 064－065

Cool Readings Book Collection 《酷》系列读物

Design Agency:
CASA REX
Creative Director:
Gustavo Piqueira
Designer:
Gustavo Piqueira, Samia Jacintho
Illustration:
Gustavo Piqueira, Samia Jacintho
Client:
Editora Biruta
Production Date:
2009
Description:
The project developed for the early teen’s books Cool Readings Collection published by Editora Biruta
propose a new paradigm of teen literature and creates a complementary narrative, more adjusted to the
visual repertory of current youth.
The illustrations were produced from pictures shot by not so orthodox techniques, since were taken from
cellphone cameras, eliminating the barrier of a illustration that works only as a text support. More than just
a visual treatment or a series of regular illustrations, each book brings a parallel visual narrative (exploring
colours and different images for each publication), almost in a cinematographic way, subverting what we
know as an early teen’s publication.

设计机构:
CASA REX设计工作室
创意总监：
古斯塔沃・皮奎拉
设计师:
古斯塔沃・皮奎拉，萨米亚・杰西迪奥
插画设计:
古斯塔沃・皮奎拉，萨米亚・杰西迪奥
客户:
Editora Biruta出版社
完成时间:
2009年
描述:
该项目专为由Editora Biruta出版社出版的早期青少年读物而设计，该读物旨在提供一个独特的青少年文学典范，并创造一
个互补的叙述方式，尤其适合于当代青少年的阅读。设计师在设计插画之初先用相机进行拍摄，拍摄的手法突破常规，较
为特别，设计师首先用手机相机进行拍摄，随后清除一个插画中的界线以符合文本的要求。该书不单单是一种视觉处理或
一系列传统的插图设计,每一本书均以一种电影摄影术的方式为读者展开一种相同的视觉陈述（每个出版物运用不同的色
彩和图像），打破了传统的青少年读物的设计方式。
066－067
My Amerindian Friend Design Agency:
CASA REX
Creative Director:

Our Movie 《我们的电影》

《我的印第安人朋友》 Gustavo Piqueira
Designer:
Gustavo Piqueira, Samia Jacintho
Client:
Design Agency:
Editora Biruta
CASA REX
Production Date:
Creative Director:
2009
Gustavo Piqueira
Description:
Designer:
The adolescent book "My Amerindian Friend" traces
Gustavo Piqueira, Samia Jacintho
the story of friendship and conflicts that arise when
Illustration:
Amerindian children start to study at a school with
Gustavo Piqueira, Samia Jacintho
other kids who come from different backgrounds and
Client:
traditions. While it broaches the subject of inclusion at
Jogo de Amarelinha
school, the book also inevitably deals with the other
Production Date:
side of the story - the exclusion and the prejudice. In
2010
developing the book graphics, this theme of portraying
Description:
different sides of a story have been taken into
Our Movie is a book that tells a story about two young lovers. Instead of
consideration. The result is a unique project that has
creating illustrations that portray the book’s narrative, the designer used
made unusual use of illustrations positioned at different
visuals in the form of soft shapes that weave through the pages in parallel
angles creating a metaphoric sense of perspective.
to the narrative, almost like a sound track. These emotive fluid graphics
follow the relationship and story of the couple from their first date through 设计机构:
to the romance, the sex, and finally, their split. CASA REX设计工作室
创意总监：
古斯塔沃・皮奎拉
设计师:
古斯塔沃・皮奎拉，萨米亚・杰西迪奥
客户:
Editora Biruta出版社
完成时间:
2009年
描述:
青少年读物《我的印第安人朋友》重点讲述的是印第安小朋
友入学后与其他文化背景和传统的小朋友在一起相处产生
的友谊和矛盾。在阐明学校中所学科目的同时，该书也指出
了不可避免地排外和歧视现象。在为该书进行平面创作的过
程中，设计师强调对一个故事的不同侧面进行描述。因此，
最终的设计独特、巧妙，非凡的插画设计从不同角度进行展
示，营造出一种透视之感。

设计机构:
CASA REX设计工作室
创意总监：
古斯塔沃・皮奎拉
设计师:
古斯塔沃・皮奎拉，萨米亚・杰西迪奥
插画设计:
古斯塔沃・皮奎拉，萨米亚・杰西迪奥
客户:
Jogo de Amarelinha出版社
完成时间:
2010年
描述:
《我们的电影》一书,讲述了一个有关两个年轻爱侣之间的
故事。取代了传统的叙事性插画的运用，设计师精心设计
了一些柔和的图形并使之贯穿在书页之中，并行于故事的
内容，其形态犹如一部声带。这些流畅而充满表现力的图
形随着故事的展开而一直延伸，以二人的相识、相知、相
恋直至分手为设计的主线。
068－069
Science, History and Art
Design Agency:
CASA REX
Designer:

Writings About Jade - Classic Chinese Poetry 《科学、历史与艺术》 Gustavo Piqueira, Samia Jacintho
Assistant Designer:
Camile Leão
《翡翠言》－中国古典诗歌 Creative Director:
Design Agency: Gustavo Piqueira
CASA REX Client:
Creative Director: Editora EDUSP
Gustavo Piqueira Production Date:
Designer: 2010
Gustavo Piqueira, Samia Jacintho Description:
Client: This book is a compilation of a series of rare and special works of science,
Ateliê Editorial history and art from the Bioscience Institute, which is part of one of the most
Production Date: renowned Universities in São Paulo. The antique elements and images have
2010 been retained and are showcased in a contemporary setting augmented
Description: by beautiful hand-drawn line illustrations, all designed to accentuate the
"Writings About Jade" is a classic Chinese poetry book translated by one exclusiveness of the publication.
of Brazil’s best known "concrete" poets (modern poetry that uses visual
设计机构:
composition as part of its structure). To portray this unusual relationship, the
CASA REX设计工作室
designer created a book cover that integrated ancient Chinese books and their
设计师:
main design characteristics with a modern approach. The open bookbinding
古斯塔沃・皮奎拉，萨米亚・杰西迪奥
beautifully showcases the intricate and colourful Chinese drawing on the front
助理设计师:
page. Visual appeal is further enhanced by the contrasting black and white
卡米尔・里奥
treatment used on the inside pages.
创意总监：

设计机构: 古斯塔沃・皮奎拉

CASA REX设计工作室 客户:

创意总监： EDUSP出版社

古斯塔沃・皮奎拉 完成时间:

设计师: 2010年

古斯塔沃・皮奎拉，萨米亚・杰西迪奥 描述:

客户: 这本书重点展现的是圣保罗最著名的大学之一—生物科学研究所的一系列罕见而独特的

Atelie出版社 科学、历史及艺术作品。书中保留了古色古香的元素和图像，并利用美妙的手绘线条插

完成时间: 画进行现代风格背景的渲染，所有的设计均以彰显出该出版物的独特性为主旨。

2010年
描述:
《翡翠言》是一本经典的中国古典诗歌书籍，由巴西最著名的具体派诗人之一（现代
诗歌艺术，运用视觉构图作为诗歌结构的一部分）翻译。为描绘这一不同寻常的关
系，设计师精心设计了一款图书封面，将中国古代书籍及采用现代手法塑造的主要设
计风格完美结合在一起。裸露的图书装订在首页完美展现了中国绘画的精致与多彩多
姿。内页中的黑白色调处理使视觉形象得到了进一步强化。
 070－071

Information - In Formation 《信息-构造之中》

Designer:
Christian Grutsch
Client:
Information - In Formation
Production Date:
2010
Description:
Diploma thesis on abstraction. The book is divided
into two sections. On the one hand there is a short
overview on abstract theory, on the other hand a
personal interpretation. For personal interpretation
the designer collected printed matter and made a
selection. Out of this selection the designer created
abstract compostitions, leaving only colour and
basic geometric shapes. Some compositions, even
when abstracted, are still readable, others remain a
miracle.

设计师:
克里斯汀・格拉西奇
客户:
《信息-构造之中》通讯
完成时间:
2010年
描述:
这是一个以抽象为主题的毕业论文。该书分为两个部分，
包括抽象理论的短评和个人诠释。对于个人诠释而言，设
计师在众多印刷品中进行选择，随后利用独特的彩色和基
本的几何形态巧妙打造出抽象作品。有些作品，尽管十分
抽象却依然能够被解读，而有一些则较为深奥，吸引读者
的探知。
072－073

The LAB Book

《LAB画廊之书》

Design Agency:
Creative Inc
Creative Director:
Mel O’Rourke
Designer:
Ciara Cantwell
Client:
Dublin City Council
Production Date:
2009
Description:
The objective of the book was to showcase the work of 40 Artists that have exhibited in The LAB Gallery on
Dublin’s Foley Street. This book was part of The LAB’s overall visual identity.
Using interesting combinations of stock and alternating between four colour process and spot printing,
the designer's aim was to produce a compelling and unique backdrop which showcased the work without
distracting from it.

设计机构:
创意有限公司
创意总监：
梅尔・阿・洛克
设计师:
希亚拉・坎特韦尔
客户:
都柏林市议会
完成时间:
2009年
描述:
这本书的设计目的在于向人们展示曾在都柏林市佛利大街LAB画廊参展的40位艺术家的设计作品。该书
是LAB画廊整体视觉识别系统的一个部分。设计师将原浆纸和四种交替变化的色调以及圆点印刷完美结
合，以打造一个引人注目、独树一帜的背景，在不干扰展示作品特色的同时，起到良好的衬托作用。
074－075

Barnardos Wizard of Words 《巴纳度语言向导》

Design Agency:
Creative Inc
Creative Director:
Mel O’Rourke
Designer:
Tony Matthews
Client:
Barnardos
Production Date:
2009
Description:
Barnardos Wizard of Words is a school reading programme, undertaken by volunteers from an
older age bracket, designed to improve childrens’ reading abilities and also to improve their
social and personal skills through their interaction with their mentor. The design uses strong,
vibrant colour and impactful type to engage the participant and is visibility compliant according
to EU regulations.

设计机构:
创意有限公司
创意总监：
梅尔・阿・洛克
设计师:
托尼・马修斯
客户:
巴纳度儿童慈善团体
完成时间:
2009年
描述:
《巴纳度语言向导》是一个学校阅读项目，由一个志愿参与的年长的年龄组发起，设计的目的在于提高
孩子们的阅读能力，并通过他们与指导者之间的互动改善他们的社交能力和个人生活技巧。设计师运用
了醒目、充满活力的色调以及具有较强感染力的字体以有效地鼓舞参与者的积极参与，并满足欧洲联盟
规则的要求。
 Designer: 设计师:
076－077 Deniz Tekkul 丹尼兹・特库尔
Production Date: 完成时间:

Everything Is Going To Be Alright

2008 2008年
Description: 描述:
As his final project on his MA, Deniz Tekkul produced two books as a critique of 该项目是设计师的硕士毕业设计作品，设计师设计了两本书以对媒体所宣传的文化恐惧进
the culture of fear that is promoted by the media. 行评论为主题。第一本书，设计师取景于自己身边的环境，包括公寓内和室外环境，然后
《一切都会好起来》 利用他所发现的恐怖清单逐一为照片进行编号。这些编号在书后的索引中设有注解。
For the first book, Deniz took pictures of his everyday life surroundings, in his flat
and outside, then numbered in these pictures the phobias from the phobia list he
found. The numbers were explained in the index on the back of the book.
078－079

MA Research Book
《硕士学位研究类图书》

Designer:
Deniz Tekkul
Production Date:
2008
Description:
Deniz Tekkul designed this book to document all his
research and design process during the MA Graphic design
communication at Chelsea College of Art and Design, London.

设计师:
丹尼兹・特库尔
完成时间:
2008年
描述:
设计师所设计的这本书旨在记录其在伦敦切尔西艺术设计学院平面设
计传达专业硕士学位学习中所有的研究和设计过程。
080－081

Tons Líricos
《抒情诗欣赏》

Designer:
Diogo Montes
Photography:
Paula Abreu, Diego Correia and Stock.XCHNG
Client:
Editora Eldorado and Ronei Recker
Production Date:
2009
Description:
Tons Líricos (Lyric Tones) is a prose poetry book
written by Ronei Recker.

设计师：
迪奥戈・蒙特斯
摄影：
保拉・阿布鲁，迪亚哥・科雷亚，Stock.XCHNG摄影团体
客户：
埃尔多拉多出版社，罗内・雷克
完成时间：
2009年
描述：
《抒情诗欣赏》是诗人罗内・雷克创作的散文诗集。
082－083

Hering Berlin
《郝林・柏林》

Design Agency:
Edenspiekermann
Client:
Hering Berlin
Production Date:
2009
Description:
The complex shapes and decorations of Hering
porcelain come to life in the image brochure;
blind embossing, die cuts, metallic paints and
spot varnishes make the porcelain look as lifelike
as objects can possibly get in print. There’s also
the 700-page general catalogue with the highest
standard of clarity and design. No wonder then
that the company’s appearance has caused such
a stir in the industry. The product catalogue and
the brochure won Silver European Design Award in
May 2009.

设计机构:
Edenspiekermann设计工作室
客户:
郝林・柏林
完成时间:
2009年
描述:
造型独特、精致，极富装饰效果的郝林・柏林瓷器在图片手册中栩栩如生；拱花、模切、烫印以及局部上光使这些
瓷器分外生动、逼真。此外，书中还提供了700页的综述目录，设计和分类清晰、合理。大手笔的设计与该公司的
风格相得益彰，也难怪其在上市的瞬间即在同行业中掀起一阵风暴。产品的目录和手册设计在2009年5月获得了欧
洲设计大奖的银奖殊荣。
084－085

Futu Design Guide

《发布者设计指南》

Design Agency:
Publishing and Design Guide
Creative Director:
Edgar Bąk
Client:
Publishing and Design Guide
Production Date:
2009
Description:
It is a guide about design, fashion, architecture and
music, published bimonthly.

设计机构:
出版与设计指南
创意总监：
埃德加・贝克
客户:
出版与设计指南
完成时间:
2009年
描述:
该书是一本以设计、服饰、建筑和音乐为主题的入门书
籍。该书每两个月出版一期。
086－087

Patinir 《帕蒂尼尔》

Design Agency:
Erretres
Client:
Museo del Prado
Production Date:
2007
Description:
With over 400 pages, Erretres designed the catalogue
for Museo del Prado as part of the exhibition of the
famous Flemish painter, Joaquim Patinir.

设计机构:
Erretres设计工作室
客户:
普拉多博物馆
完成时间:
2007年
描述:
该书一共400多页，是Erretres设计工作室专为佛兰德著名
画家若阿金・帕蒂尼尔在普拉多博物馆举办的展览而提供
的目录设计。
 088－089

Horacio Coppola Fotografía 《奥拉西奥・科波拉摄影》

Design Agency:
Erretres
Designer:
Erretres
Client:
Fundacion Telefonica, Madrid, Spain
Production Date:
2008
Description:
Fundación Telefónica organised an exhibition about the works of Argentinean photographer, Horacio
Coppola. This catalogue highlights his works as one of Latin America’s prominent photographers during
the 20th century. In addition, Erretres designed the exhibition’s logo, its entire environmental graphics and
website. The design team received the 2008 Visual Award for Best Book Design.

设计机构:
Erretres设计工作室
设计师:
Erretres设计工作室
客户:
西班牙马德里电信基金会
完成时间:
2008年
描述:
阿根廷摄影师奥拉西奥・科波拉在西班牙电信基金会举办了一个个人摄影展。该目录的设计旨在展现摄影作品的同
时，彰显出该摄影师作为20世纪拉丁美洲的最有影响力摄影师的独特身份。与此同时，Erretres设计工作室还为本次展
览提供了标识设计、系统化的环境平面设计及网站设计。该项目在2008年荣获了最佳图书设计视觉奖。
090－091 Design Agency:
Erretres

Marín
Client:
Fundación Telefónica, Madrid, Spain
《马林》
Production Date:
2007
Description:
Erretres designed the logo and exhibition graphics,
as well as the catalogue and website for the
exhibition Marín, showcasing a selection of the
works of the unknown photographer, Luis Ramón
Marín, now considered one of the precursors of
photojournalism in Spain. The design team received
the 2008 PHotoEspaña Award for Best Photography
Book.
设计机构：
Erretres设计工作室
客户：
西班牙马德里电信基金会
完成时间:
2007年
描述:
Erretres设计工作室为马林摄影展提供的标识设计、展览
平面设计以及目录和网站设计，重点展现一位名为路易・
拉蒙・马林的摄影师的摄影作品，目前，该摄影师被称为
西班牙新闻摄影领域的先驱。该项目荣获了2008年最佳摄
影书籍PHotoEspana奖。
092－093

Obras Maestras 《杰作》

Design Agency:
Erretres
Client:
La Fábrica, Madrid, Spain
Production Date:
Since 2009
Description:
Obras Maestras are books designed in big format
that offer a deep analysis of the life and works of
the most important contemporary photographers
of Spain. Two books are published each year and
amongst the material edited, personal albums and
chronologies of the authors are included. The most
recent books include the works of Chema Madoz,
Català-Roca and Isabel Muñoz.

设计机构：
Erretres设计工作室
客户：
西班牙马德里La Fábrica出版社
完成时间：
2009年
描述：
《杰作》是一套大开本的图书，重点阐释的是对西班牙最
具影响力的当代摄影师生活和作品的深入分析。两种书籍
每年出版一次，同时还包括编辑材料、个人相册以及作者
的年表等。近期出版的图书主要包括切玛・玛多斯，卡特
拉・罗卡，伊莎贝尔・姆诺兹的作品。
 设计机构：
094－095 Erretres设计工作室
客户：

PHotoEspaña Books
西班牙马德里PHotoEspana摄影节
完成时间：
《PHotoEspana图书》
2010年
描述：
PHotoEspana是欧洲最具影响力的摄影节。迄今为止，该节日的相关出
Design Agency: 版物已经拥有12个版本，723部作品在马德里重要的博物馆、展览馆，画
Erretres 廊和艺术中心等展出。作为一个极具影响力的节日，PHE摄影节为摄影、
Client: 视频和艺术装置提供展示平台的同时，完美展现了国内外知名摄影师的佳
PHotoEspaña, Madrid, Spain 作。Erretres设计工作室为PHE摄影节提供了一个全新的作品集，并命名为
Production Date: PHE图书。此外，他们还提供了标识设计，并对整个编辑项目进行监督。
Since 2010 字体的运用十分严谨，印刷的材料也相当考究，最终的设计方案实用、易
Description: 识别，并与PHE品牌巧妙地衔接在一起。
PHotoEspaña is the leading photography festival in Europe. To date, twelve
editions have taken place since its beginning and 723 works have been presented
in main museums, exhibition halls, galleries and art centres in Madrid. PHE is
characterised by being a very influential festival that provides the opportunity to
showcase photographic projects, videos and artistic installations, and the works
of national and international photographers. Erretres developed their new book
collection called PHE Books. Erretres designed the logo and oversaw the entire
editorial project. The use of typography was rigorous and the materials selected
for printing were of the upmost quality, resulting in an effective and recognisable
collection, intimately tied to the PHE brand.
096－097

Batecs A Mig Cami

《人在旅途》

Design Agency:
Esteve Bou
Client:
Joaquima Nolla
Production Date:
Since 2009
Description:
Design and illustration of "Batecs A Mig Cami", a poetry book that speaks about
the essence of the human condition: emotions, pain, joy, love and hope...
important moments of my aunt Joaquima Nolla, collected after half a lifetime and
a long road travelled and lived.

设计机构:
Esteve Bou设计工作室
客户:
乔奎玛・诺拉
完成时间:
2009年
描述:
这本融合了设计与插画的《人在旅途》一书是一本诗集，重点阐释的人类环境的本真，即情感、痛
苦、快乐、爱情和希望…该诗歌是设计师姑母乔奎玛・诺拉在年过半百、饱经沧桑之后对人生所进
行的感悟。
098－099

Cami "Road" 《卡米“路”》

Design Agency:
Esteve Bou
Client:
Pilar Gonzalez & Esteve Bou
Production Date:
Since 2009
Description:
Creation and design of a road that runs through the
city in two routes that intersect throughout the day
at different urban crossroads.
In these meeting points, special moments: a
bouquet of flowers, a good movie, quiet dinner...and
at the end of the routes, the most special moment
of all: a hand requested in marriage, a declaration of
commitment. Conceptually the ring represents the
union between two people. Simple lines and robust
sculpturality emphasize that union.

设计机构：
Esteve Bou设计工作室
客户：
皮拉尔・冈萨雷斯，Esteve Bou设计工作室
完成时间：
2009年
描述：
该项目专为一条贯穿于城市的一条公路而设计。该公路分
成两个路线，并在不同的城市十字路口进行交叉。
在这些汇合点上，某些特殊的时刻可能会出现：一束鲜
花、一部好电影、宁静的晚餐……而在路线的终端，将上
演最特别的时刻：求婚仪式、宣誓。从概念上讲，指环象
征着两个人的结合。简单的线条和粗犷的雕刻特性强化了
这一结合性。
100－101

Spaghetti Grafica 2:
Contemporary Italian Graphic Design
《意式面条图案2—当代意大利平面设计》

Design Agency:
Ginette Caron
Designer:
Ginette Caron
Photography:
Marirosa Toscani Ballo
Client:
Ministero della Grafica
Production Date:
Since 2009
Description:
Spaghetti Grafica 2: Contemporary Italian Graphic
Design is the title of an exhibition.
The logo plays with spaghettis and the number "2"
to emphasize the second edition of the exhibition.
The book was divided into chapters where the studios
were classified regarding to their areas of occupancy.
The dividers in fact represent in a photographic way
the quantity of square metres from 1 to 500.

设计机构：
吉奈特・卡隆
设计师：
吉奈特・卡隆
摄影师：
马里罗萨・托斯卡纳・巴罗
客户：
图案设计部
完成时间：
2009年
描述：
《意式面条图案2—当代意大利平面设计》是一个展览的
标题。标识运用意式面条和数字“2”强调出该展览的第
二版身份。该书按照章节进行划分，设计工作室根据其自
身的占地面积进行分类。设计师采用摄影方式进行分隔，
匠心独运，平方米面积总数从1到500不等。
 102－103

Individual Portfolio 《个人作品》

Designer: 设计师:
Goncalo Dures 格纳卡罗・杜蕾斯
Client: 客户:
Individual Portfolio 个人作品
Production Date: 完成时间:
2004 2004年
Description: 描述:
Final course project where the designer had to create an object to present their 《个人作品》项目完美展现了格纳卡罗・杜蕾斯从过去的一年至现在的设计作品。设计
works from the past year. The designer chose to make an interactive book, a book 师选择制定一个交互式图书，这种图书能够以多媒体的形式呈现。
that reply a multimedia presentation.
 104－105

Uma História Chamada Tipografia 《历史的呼唤 —— 排版》

Designer: 设计师:
Gonalo Dures, Pedro Motta, Rita Alves 格纳卡罗・杜蕾斯，佩德罗・莫塔，丽塔・阿尔维斯
Client: 客户:
Proposal 建议出版社
Production Date: 完成时间:
2003 2003年
Description: 描述:
Academic project of a book was developed to present a theoretic research about 这是一本有关学术的图书，以呈现排版的理论研究为中心。设计师利用由字母构成的人物
typography. Designers created a short story, a tale, with characters made of 进行短篇小说和故事的编排，以阐释排版的规则。
letters who go explaining the rules of typography.
 106－107

Typographic - Mimesis 《版式—模仿》

Designer:
Hyoun Youl Joe
Production Date:
2008
Description:
A 16x16 book for typographic re-presentation
of sixteen students. This book takes a form of
copying typographic and editorial systems ranging
from the design of jan tschichold in the 1930s to
contemporary graphic design to re-present texts and
images of 16 students.

设计师:
赵显佑
完成时间:
2008年
描述:
这是一本尺寸为16开的版式设计图书，书中展现了16位学
生的设计作品。书中以仿形排版和编辑的模式为主题，所
仿照的样本来自20世纪30年代的印刷术专家简・奇措德以
及当代平面设计师的设计作品，通过对比和文字阐释以展
现这16位学生的创意理念。
108－109

Steppe Stories
《草原故事》

Design Agency:
iji-design
Designer:
Dmitry Galsan
Client:
Publishing Project "Buryad-Mongol Nom"
Production Date:
2010
Description:
This book is a collection of both ancient and
contemporary stories, amusing legends and tales
that are still living among the people of Buryat-
Mongolia (Buryatia), Oirat-Mongolia (Kalmykia),
Mongolia and Inner Mongolia Regions. This book is a
dedication to everyone who is interested in history,
folklore, life and traditions of the Mongol people.
Written in Russian, with titles translated into classical
Mongolian script.

设计机构:
iji-design设计工作室
设计师:
德米特里・吉尔森
客户:
“Buryad-Mongol”出版项目
完成时间:
2010年
描述:
该书汇聚了来自布里亚特—蒙古（布里亚特），卫拉特—
蒙古（卡尔梅克共和国），蒙古以及内蒙古地区古老和现
代的故事以及有趣的传奇和民间故事。该书主要献给对蒙
古人民历史、民俗、生活和传统具有浓厚兴趣的人们。该
书使用语言为俄语，标题翻译成传统的蒙古手迹。
110－111

The Best Dutch Book Designs 2007

《2007年最佳荷兰图书设计》

Design Agency:
Ingeborg Scheffers
Client:
The Best Dutch Book Designs
Production Date:
2008
Description:
First there was one original book made, this was then photographed and these
images have been placed in a book again. By doing this all elements exist like
threads on threads. The spreads reproduced of the price winning book has the
same page number as in the catalogue. This is how the decision is made which
spread to choose. Special editions for prizewinners. The prize winners got an
extra reproduction of their book on glossy paper. The designer was inspired by
early full-colour reproductions of paintings in art books which where pasted in
later after being first printed in black & white.

设计机构:
英博格・斯琪福斯
客户:
2007年最佳荷兰图书设计
完成时间:
2008年
描述:
设计师首先选定一本风格独特的图书，随后对该书进行拍摄，最后将拍摄后的照片转移到
另外一本书之中。所有元素之间的处理采用串联式结构，书页的边缘印刷到另一个书页之
上，字母在书页被弯曲或光线变换的同时发生变形（穿过可以触摸的原本）。再现图书获
奖价值的跨页与目录中的页码相同。这也是跨页设计的关键所在。该书是获奖作品的特别
版。获奖图书在釉纸上被额外进行复制。（设计的灵感源自早期艺术书籍中常见的绘画全
色复制模式，图片首先采用黑白色进行印刷随后粘贴到书籍之中）
112－113

Ruimte Voor Verdieping

《建筑面积》

Design Agency:
Ingeborg Scheffers
Client:
Plat form Interieur architecture
Photography:
dirkwolf.com
Production Date:
2008
Description:
"Ruimte Voor Verdieping" details the importance of
having a masters' programme in interior architecture.
The report addresses the differences between the
advanced study of architecture and that of interior
architecture. Nowadays both qualifications overlap
one another in certain aspects. As a result, there
deserves to be an increase in both the quality and
intensity of interior architecture education. The book
is designed inside-out. De front (cover) of the book
is on the inside. The pages of the book are folded
together and bound along the spine of the book. To
be found on the inside of these pages are pictures
of the facades of buildings designed by interior
architect. The pages are printed on thin paper
enabling the silhouettes of these facades to shine
through, while on the front of the page is text about
interior architecture and an explanation about what
the interior architect has designed for that building.

设计机构:
英博格・斯琪福斯
客户:
室内建筑平台
摄影:
dirkwolf.com
完成时间:
2008年
描述:
该书详细阐释了室内建筑中主题规划的重要性。深入分析
了建筑与室内建筑高等研究的区别。现今，某些方面的限
定性条件相互重叠。因此，室内建筑教育的质量和强度亟
待改善。而这也是该书创作的主要目的所在。该书的封面
设置在内部。书页折叠在一起并沿着书籍进行装订。这些
书页的内部是室内建筑师设计的建筑立面图片。书页采用
轻薄的纸质材料，使这些建筑立面的轮廓能够隐约呈现，
相互映衬；书页的前端设置了有关室内建筑的文字以及室
内建筑师设计建筑的原因注解。
 114－115

Proefkoken Voor De Koningin (Testcooking

For The Queen) 《女王口味烹饪－为女王提供的烹饪测试》

Design Agency:
Ingeborg Scheffers
Client:
Cuisine Culinaire Nederland (CCN)
Production Date:
2008
Description:
This is a cookbook for CCN. The design of this book is based
on this fact. This book has been made specifically for the semi- 设计机构:
professional. The pages in the book have a special line to fold 英博格・斯琪福斯
the page along. Using this, a cook can choose if he wants to cook 客户：
without the detailed steps and only have the list of ingredients. If 荷兰烹饪部
he decides to make a particular dish it is easy to fold the pages 完成时间:
in a unique way. In this way, a very hardworking cook will end 2008年
up with a book which has this special shape. This way of folding 描述:
(dog-ear) will get you quick to your favorite dishes. Also, this 《女王口味烹饪－为女王提供的烹饪测试》是专为荷兰烹饪部而设计的食谱书。该书的设计从食谱的角度出
cookbook has measurements in the back of the book. Different 发，专为非专业烹饪而设计。书中的书页特别设置了一条折叠线。这样的设计可以帮助烹饪者根据罗列出的
cooks were asked several things like what a pinch of salt or a 原料清单进行自由烹饪，无需研究详尽的烹饪细节。如果烹饪者打算烹饪一道特色菜式，可以轻松地用一种
hand of capers amounts to. By using photographs it is attempted 独特的方式将对应的书页进行折叠。如此，随着一道佳肴烹饪的完成，食谱书的外形也发生了微妙的改变。
to make the size of these measurements clear. In the recipes of 这种折叠方式（书页的卷折）能够帮助人们快速找到自己最钟爱的菜肴。此外，这本食谱书籍在书后还设置
the book you get directed to this measurements chapter. 了测量尺寸。不同的烹调所要求的作料的数量不同，例如盐少许或一小撮酸豆等等。照片的运用使这些测量
Award: Bronze price OUTPUT 10 (International Contest in Graphic 的规格更加清晰。在该书中，别出心裁的测量章节将令读者眼前一亮。获奖名称：曾在来自38个国家900名
Design; 900 participants from 38 different countries) 参赛者的国际平面设计竞赛中获得了铜奖。
116－117
Lettering System for Paris Airport 《巴黎机场的字体设计系统》

40 Stories
Designer:
James Kuo and Profis
《40个故事》 Designer: 设计师:
Client:
Javier Melon Gil 哈维尔・梅伦・吉尔
40 Stories
Client: 客户:
Production Date:
Savannah College of Art and Design 萨凡纳艺术设计学院
2009
Production Date: 完成时间:
Description:
2010 2010年
In 2009, Toronto Christian Resource Centre (CRC) published 40 Stories. In
Description: 描述:
design perspective, the designer chose typefaces for the body text and headline
Lettering System for Paris Airport is a typographic book based on Frutiger's work at Charles 《巴黎机场的字体设计系统》是一种典型的版式设计图书，以弗鲁蒂格为查
allowing for a maximum word count per page within the layout golden section
de Gaulle International Airport. The designer took the shape of an airline ticket and created 尔斯・戴高乐国际机场设计的弗鲁蒂格无衬线字体为基础。设计师从机票的
grid. In overcoming the design challenge, art direction chose to make the text-
interesting layouts with an European design style. After learning different typographic 形态入手，以一种欧洲设计风格使版式的设计妙趣横生。该书是设计师在对
heavy book appealing and universal by balancing words with contemporary, full-
treatments the designer was assigned to create a book, this is the result. 多种版式处理进行研究之后，着手创作的第一本书。
bleed photography, as well as by using a golden section grid design for the book
structure and content presentation.

设计师:
詹姆斯・郭，普洛菲斯
客户:
40个故事
完成时间:
2009年
描述:
在2009年，多伦多基督教资源中心(CRC)出版了名为《40个故事》一书。从设计的角度来
看，设计师为主体文字和标题精心选择了字体，尽量在确保版式的黄金网格比例中每个页
面上文字的数量最大化。为克服设计的困难，该项目的艺术总监选择打造一个拥有庞大文
字量的图书形象，运用现代、无边框的照片以及图书结构的黄金网格和目录使之迎合大众
的观赏口味。
 118－119

Guggenheim's Hugo Boss Prize

《古根海姆博物馆的雨果・波士奖作品》

Design Agency:
Karlssonwilker Inc.
Designer:
Jan Wilker, Hjalti Karlsson
Client:
Guggenheim Museum, NYC
Production Date:
2006
Description:
The book features the winners of Hugo Boss' Bi-
Annual Art Prize 2006.

设计机构:
纽约Karlssonwilker公司
设计师:
简・尔克，哈杰尔蒂・卡尔森
客户:
纽约市古根海姆博物馆
完成时间:
2006年
描述:
本书展示的是2006年雨果・波士双年展艺术奖的获奖作
品。
 120－121

Curious Boym Book

《奇特的博埃姆图书》

Design Agency:
Karlssonwilker Inc.
Designer:
Jan Wilker, Hjalti Karlsson
Client:
Princeton Architectural Press / Boym Partners Inc.
Production Date:
2004
Description:
It is a monograph on New York based product designer Duo Boym.

设计机构:
Karlssonwilker公司
设计师:
简・尔克，哈杰尔蒂・卡尔森
客户:
普林斯顿建筑出版社，博埃姆联合公司
完成时间:
2004年
描述:
该书是纽约产品设计师多・博埃姆的专题著作。
 122－123

Tell Me Why 《告诉我为什么》

Design Agency:
Karlssonwilker Inc.
Designer:
Jan Wilker, Hjalti Karlsson
Client:
Princeton Architectural Press
Production Date:
2003
Description:
It is a monograph on Karlssonwilker, an New York
based design studio.

设计机构:
Karlssonwilker公司
设计师:
简・尔克，哈杰尔蒂・卡尔森
客户:
普林斯顿建筑出版社
完成时间:
2003年
描述:
该书是纽约karlssonwilker设计工作室的专题著作。
 124－125

Save Game Book 《游戏帮助》

Design Agency: 设计机构：

Kolektiv Studio Kolektiv设计工作室
Designer: 设计师：
Michal Krul 米甲・克鲁尔
Production Date: 完成时间：
2008 2008年
Description: 描述：
This is a concept book as personal project. 该项目是一个概念型图书，个人创作作品。
126－127

Borkebjs-The Return of The Monsters

《Borkebjs-怪物的回归》

Design Agency:
KOREFE
Client:
Borkebjs
Production Date:
2009
Description:
The Borkebjs are the origin of all monster stories.
Invisible to those humans lacking in imagination,
they live in Helfjlaf Forest in the far North. After
humans destroyed their home, they were forced to
leave the forest. With the exception of one: Frejlif
Borkebie. 300 years later, the final survivor decides
it is time to fetch the Borkebjs back home. But he
needs your help in waking the spirits and bring the
forest back to life.
Awards:
Cannes Gold, Eurobest Silver, NY Festivals Gold,
London International Awards Silver

设计机构:
KOREFE设计工作室
客户:
Borkebjs丛书
完成时间:
2009年
描述:
《Borkebjs-怪物的回报》是一本童话故事书籍。
Borkebjs-怪物们居住在遥远的北方Helfjlaf森林之中。在
家乡遭到人类摧毁之后，它们被迫背井离乡。而一只名为
Frejlif Borkebie留了下来。300年后，最后的幸存者决定带
领Borkebjs-怪物们重返家园。但是需要读者参与唤醒它
们的意识，令森林恢复原貌。
获奖名称：戛纳金奖，欧洲最佳银奖，纽约节金奖，伦敦
国际银奖。
128－129

Fibre Art Wales 《威尔士纤维艺术》

Design Agency:
Kutchibok
Designer:
Alwyn Thomas, Sion Dafydd
Client:
Fibre Art Wales
Production Date:
2010
Description:
Fibre Art Wales is a selected group of professional
fibre artists. As well as exhibiting fibre art members
work to commission, they have won international
awards and prizes and have their work included in
many public and private collections worldwide.
The brief was to design a publication comprised
of Fibre Art Wales’ latest work, promoting the
d e ve l o p m e n t an d g r o w t h o f t h e g ro up and
celebrating their 10th year anniversary.

设计机构:
Kutchibok设计工作室
设计师:
艾尔文・托马斯,锡安・戴法德
客户:
威尔士纤维艺术创意工作室
完成时间:
2010年
描述:
威尔士纤维艺术创意工作室是一个专业的纤维制品设计团
体。该书以展示纤维艺术家的设计作品为重点，他们所设
计的作品多次获得国际设计大奖，这些作品也多次在国际
团体和个人展览中展出。这本书的主旨是为该工作室的近
期作品提供一个展示平台，以弘扬该团体的创作力量，促
进该团体的发展，并欢庆其创建十周年的到来。
 130－131
Look Book Informations Design
《潜在的信息设计》

BEUYS 《波依斯》

Designer:
Lina Khesina
Client:
BEUYS
Production Date:
2006
Description:
It's on student’s projects on the University of Applied
Sciences Potsdam. Text, idea, design, layout and
publication are subjective discourse to the quotations
of Joseph Beuys.

设计师:
琳娜・科辛纳
客户:
波依斯
完成时间:
2006年
描述:
这是波茨坦应用科学大学的学生设计项目。文字、理念、
设计、版式、出版等遵循了约瑟夫・波依斯的理论和风
格。

Design Agency
Moniteurs GmbH
Production Date:
2008
Description:
Under the supervision of Heike Nehl and Sibylle
Schlaich, a group of students were challenged to
research the potentials of information design. The
brief was to critically examine this particular topic for
its spectrum of possible applications, to explore the
everyday and multiple uses. The students' results
emphasise the importance of systematic information
graphics for all areas of our life and society. In
this context, scientific data, instruction manuals,
calendars, along with interactive programs and
experimental films have been visualised.

设计机构
Moniteurs股份有限公司
完成时间:
2008年
描述:
在海克・奈尔和希贝勒・斯科莱彻的指导下，一组学生进
行潜在的信息设计研究。主要的理念是以批判的角度检测
这一特定主题的可能应用范围，以开发日常和多功能应
用。学生的研究结果以突出系统的图形信息在我们日常生
活和社会中的重要性为主旨。在这种背景下，科学数据、
使用说明书、日历以及交互式程序和实验电影等最终实现
了具体化。
132－133

The Origins of Film-Catalan Film Producers

《电影的起源—加泰罗尼亚电影制片人》

Design Agency: 设计机构：

LeCool Publishing LeCool出版社
Client: 客户：
LeCool Publishing & Catalan Films LeCool出版社，加泰罗尼亚电影公司
Production Date: 完成时间：
2009 2009年
Description: 描述：
It is the Catalan Film directors' directory. 该项目是加泰罗尼亚电影的目录指南。
 设计机构:
134－135 LeCool出版社
客户:

Denit Hotel Guide

Grupo Majestic公司
完成时间：
《Denit酒店指南》
2010年
描述:

Design Agency: 该项目是专为Denit酒店设计的指南与手册。项目的特别

LeCool Publishing 之处在于其独特的理念，即在酒店的墙面之上展示出该手

Client: 册的内容，包括城市小贴士、评论、地点、饮食与旅游景

Grupo Majestic 点。插画与文字描述巧妙地装饰着室内建筑的周围空间。

Production Date:
2010
Description:
It is the art direction and design for Denit Hotel's
notebook. The particularity of this project is the
idea to show the contents of the notebook (city tips,
comments, places to go, to eat and to visit) on the
walls of the hotel itself. The illustrations and text
decorate discreetly the surroundings of the interior
building.
136－137

Notes from Barcelona 《关注巴塞罗那》

Design Agency:
LeCool Publishing
Client:
Grupo Majestic
Production Date:
2008
Description:
It is an illustrated guide of nice places of Barcelona.

设计机构:
LeCool出版社
客户:
Grupo Majestic公司
完成时间:
2008年
描述:
该项目是专为优美的巴塞罗那城而设计的插画指南。
 138－139
Not Just A Notebook 《不仅仅是一个笔记本》

Led-a-porter Catalogue 《Led-a-porter目录》 Design Agency:

LeCool Publishing
Client:
Pullitzer Hotel
Design Agency: Production Date:
LeCool Publishing 2009
Client: Description:
Led-a-porter This guide and notebook has been conceived and designed for the Regina Hotels clients. Its main feature is
Production Date: the way it combines a practical guide with the personal and interactive experience. Also, each section and city
2009 has a different and personal language. The final result expects to be a soft and poetic notebook that gives the
Description: visitor the opportunity to create his private and customised way to understand the guide.
Led a Porter is a firm that manufactures LEDs and
also takes over lighting projects. The alphabet
for this project has been designed using only
the light given by LEDs. With a colour bar and a
long photographic exposure, the whole alphabet
was created. It was used to illustrate the brand's
catalogue and stationery.

设计机构:
LeCool出版社
客户:
Led-a-porter公司
完成时间:
2009年
描述:
Led a Porter是一家以生产LED以及其他照明设备的公司。
该项目中所运用的字母表采用LED照明设计。整个字母表
完美利用了一个彩条和一个狭长的摄影曝光控制设备。此
外，该设计还被应用到该品牌的目录和文具用品之中。

设计机构:
LeCool出版社
客户:
Pullitzer酒店
完成时间:
2009年
描述:
这一指南书册专为雷吉娜酒店的客户而设计。主要的特点
在于其巧妙地将实用指南与个人和交互式体验相结合。此
外，每一部分和城市都设置了一个不同的语言。最终的设
计方案将为客户呈现一个温暖而诗情画意的手册，帮助访
客自由、灵活地使用指南。
 设计机构：
140－141 m-m设计工作室
客户：

Sing for Darfur

电影《为达弗歌唱》
完成时间：
《为达弗歌唱》
2009年
描述:
"Sing for Darfur"是一部非盈利性的电影。而本

Design Agency: 书则随电影附赠，共64页，反映了该电影的主

m-m design 要内容。

Client:
Sing for Darfur
Production Date:
2009
Description:
"Sing for Darfur" is a non-profit movie. Being attached to the movie, this book
is 64 pages, mainly reflects the content of the movie.
 设计机构：
142－143 m-m设计工作室
客户：

Porno Para Mujeres

《有色女人》
完成时间：
《有色女人》
2009年
描述：
这是一本提倡女性主义的图书，粉红色是女性的代表色彩，因此本
书的主色调选用了粉红色。

Design Agency:
m-m design
Client:
Porno Para Mujeres
Production Date:
2009
Description:
This book advocates feminist, and for the reason that pink is always used to
represent for the female, hence, the book choses pink colour as the main tune.
144－145

If... 《如果…》

Design Agency:
m-m design
Client:
If...
Production Date:
2009
Description:
This book is divided into nine sections, with each chapter has different
identification and colour, so as to convenience the readers' reading.

设计机构：
m-m设计工作室
客户：
如果…
完成时间：
2009年
描述：
这本书分为九个部分，在每个部分的篇章页上都有各自的标识与色彩，方便读者的阅
读。
146－147

Living Identity 《居住身份》

Design Agency:
Moving Brands
Client:
Self initiated project
Production Date:
2009
Description:
"Living identity" is the first self-initiated paper from the Moving
Brands' studio. To help the book "live" beyond its printed form, the
designer made their logo – featured on the book’s cover – into a
marker for Augmented Reality (AR) technology. The book is divided
in to two sections, both in content and paper. The designer wanted
to place their written views up front, so the first section was printed
on Cyclus, uncoated stock to give it the feel of notepaper. In the
second section, which showcases the work, the designer used a gloss
stock with spot varnish for the images. The cover is a 12 page gate
fold and acts as a "reveal" for their project timeline, spanning eleven
years of our history.

设计机构:
运动品牌设计工作室
客户:
个人设计项目
完成时间:
2009年
描述:
《居住身份》是运动品牌设计工作室首个自行创作的纸质项目。为使该书超
越其印刷形式，设计师将特别设计的标识置于该书的封面之上，使之成为
扩增实境技术的一个书签。该书被划分成两个部分，无论是内容还是纸张
材料。设计师希望能够将他们的写作观点置于显眼的位置，因此，第一部分
以循环使用无涂层原浆纸为原料，使之具有信纸般质感。而该书的第二部分
以重点展现作品为主，设计师运用了亮光局部上光的原浆纸以便于图像的展
示。该书的封面采用门式折页的方式，完美彰显出该工作室的项目创作年
表，以及11年的创作历史。
 Design Agency:
148－149 M-Space / Making Waves
Creative Director:

De Pasar Malam van Tong Tong, Een Indische

Marcel van den Berg, Sabrina Luthjens
Designers:
Marcel van den Berg, Sabrina Luthjens

Onderneming 《巴刹・马拉姆・童童－印度公司》
Client:
Stichting Tong Tong
Nationality:
Dutch
Production Date:
2007
Description:
This book tells the history of the 50-year existence of
the Pasar Malam Besar (the largest Eurasian festival
in the world) in the Hague, the Netherlands.

设计机构:
M-Space / Making Waves设计工作室
创意总监：
马塞尔・范・博格，塞布丽娜・卢斯杰恩斯
设计师:
马塞尔・范・博格，塞布丽娜・卢斯杰恩斯
客户:
印度童童基地文化组织
国家:
荷兰
完成时间:
2007年
描述:
这本书讲述了在荷兰海牙举办的巴刹・马拉姆大岛(全球最
大的欧亚大陆节日) 的50年悠久历史。
150－151

Der Große Wurf - Faltungen in Der

Gegenwartskunst
《伟大的凌乱—当代艺术中的折叠》

Design Agency:
nowakteufelknyrim
Creative Director:
Petra Knyrim, Stefan Nowak
Designer:
Carla Meurer
Client:
Self initiated projec
Production Date:
2008
Description:
设计机构:
This catalogue is published on the occasion of the
Nowakteufelknyrim设计工作室
exhibition "Falling right into place - The fold in
创意总监：
contemporary art", Kunstmuseum Krefeld / Museum
佩特拉・肯利姆，斯蒂芬・诺瓦克
Haus Lange.
设计师:
卡拉・穆赖尔
客户:
个人创作项目
完成时间:
2008年
描述:
该目录的出版专为在克雷菲尔德美术馆/豪斯兰格博物馆中举办的名为“当代艺术中的折叠”的展览而设计。
 152－153

Folio Book 《对开图书》

Art Directior:
Mark Pernice
Design:
Mark Pernice, Eriko Yahiro
Production Date:
2007
Description:
The designer contracted the lovely and talented Eriko Yahiro to make this
beautifully crafted book and slipcase. Black leather bound with aluminum
inlays and a solid walnut slipcase.
Black leather was bound with aluminum inlays and a solid walnut slipcase.

艺术总监：
马克・颇奈斯
设计：
马克・颇奈斯，埃里克・亚希罗
完成时间:
2007年
描述:
马克・颇奈斯邀请可亲、聪明的埃里克・亚希罗与其一同设计该书
和书套。黑色皮革与铝材镶嵌物和一个坚实的胡桃木封套订装在一
起。
 设计机构:
154－155 奥兹伦・塞吉尔
客户:

„“
乔治・西蒙・欧姆应用科学大学
完成时间:
„“ 2007年
描述:
歌德在谈到艺术家与其材料之间的关系中曾这样说道：“人们只有在受到局限的情况下才会真正地展示自己。”
该书的版式背景风格较为简约，旨在重点突出作品的描绘与个人描述，一部分以字体内容为主，其余部分则采用与插画相
结合的方式。所选用的引言内容与（设计）学生的实际情况相吻合，这些学生刚刚涉足设计领域，想要脱颖而出还要面临
很多挑战，能够运用不同的印刷手法，并将优质的纸张与精湛的设计手法相结合。
评论：
在奥兹伦・塞吉尔打算设计一本手工印刷插画书籍之初，很担心会酿成一个难以挽回的错误。然而，最终他惊奇地发现这
些缺陷能够激发他的继续创作灵感，而这些无法预见的事故却恰恰使这本书更加独特、充满新意。

Design Agency:
Oezlen Sagir
Client:
Georg Simon Ohm University of Applied Sciences
Production Date:
2007
Description:
"It is not until limitations are put on him that the master really shows
himself", said Goethe about the relationship between the artist and his
materials.
Against the background of a clearly reduced layout, the work can
completely concentrate on the portrayal and interpretation of individual
quotations, of which some are presented typographically and others
in combination with illustrations. The content of the chosen quotes is
tailored to the situation of (design) students, who are at the start of
their professional career and still have a lot ahead of them and hand
employing different printing techniques and bound with great skill using
high quality paper.
Comment:
When the designer came up with the idea about manual printing a
complete illustrated book, he was scared to make mistakes hard to
repair. But in the end he was amazed about how this imperfections
could inspire him so much to solve further pages, as well as how this
unforeseeable accidents made this book a unique and full of new ideas one.
156－157

UNSC/R 《联合国安理会决议》

Design Agency:
Piero Zagami
Client:
UNSC/R
Production Date:
2010
Description:
This is the abbreviation for the United Nations Security Council Resolutions. These documents represent the
decisions of the UN’s executive body. This massive amount of data (more than 1700 documents) doesn’t come
in any organised form. The purpose of this project is to apply information design strategies to create visual
maps of the Resolutions to help students in politics approach the subject of the UN.

设计机构:
皮耶罗・扎格密
客户:
UNSC / R
完成时间:
2010年
描述:
UNSC / R是联合国安理会决议的缩写。这些文件代表了联合国执行机构的决议。这么大量的数据(1700多个文件)并没有
任何组织形式。这个项目的目的是运用信息设计策略，为这些决议创造视觉地图，以帮助从事政治研究的学生更好地了
解联合国。
 158－159

Volume 《书卷》

Design Agency: 设计机构:

Poero Zagami 皮耶罗・扎格密
Client: 客户:
Volume 《书卷》
Production Date: 完成时间:
2008 2008年
Description: 描述:
MA Final Show Catalogue was produced for the MAGD 2008 course at the London 文学硕士最终展示目录专为2008年伦敦传达学院MAGD课程而设计。该目录收集了70位
College of Communication. In charge of collecting visual material of each of the 70 学生设计项目的视觉材料。该目录同时也展示了书中一些摄影图片。封面设计和目录的
students' projects. In charge of the photography of several content images in the 版式设计收到了E. 霍夫曼、D.奈格勒、N.迪安格的鼎力协助。
book. Cover design and catalogue layout were produced in collaboration with E.
Hoffmann, D. Naegele and N. Di Costanzo.
160－161

Denkmalpflege in der Stadt Bern

《伯尔尼纪念碑的保护》
Design Agency:
Pirol, Büro für Visuelle Gestaltung
in cooperation with Bern University of Arts Atelier
Designer:
Ruth Amstutz and Simone Farner
in cooperation with Franco Bonaventura (BUA)
Client:
Denkmalpflege der Stadt Bern
Production Date:
2009
Description:
The book starts with a series of orthophotos of the city of Berne, where all
the monuments mentioned in the book are marked. This map-pages and the
colour photos at the end of the book build a frame around the four-year report:
A documentation of 70 projects of preservation of monuments in pictures and
texts, grouped according to the districts of the city.

设计机构:
皮洛尔，视觉设计工作室，伯尔尼大学艺术工作室
设计师:
露丝・艾姆斯图兹，西蒙尼・法奈，弗朗格・伯纳文图拉公司
客户:
伯尔尼纪念碑保护研究院
完成时间:
2009年
描述:
该书首先以一系列介绍伯尔尼城市的正色摄影照片开篇，并展示了这个城市中有相关记
载的纪念碑。书的结尾处设置的地图页与彩色照片围绕四年的报告构建出一个框架：一
部记载了70个纪念碑保护项目的图文文献根据伯尔尼城的区域划分被巧妙地分隔开来。
162－163

Block800 《Block800装饰性产品材料》

Art Director:
Pitertsev Mikhail
Designer:
Pitertsev Mikhail
Client:
LZID Ltd.
Production Date:
2009
Description:
Block800 is the new type of finishing work material by LZID
Ltd. Block800 is an artificial decorating stonelike material
specially created for cladding surfaces. Capability of unique
colouring is avaliable.

艺术总监:
皮特赛维・米哈伊尔
设计师:
皮特赛维・米哈伊尔
客户:
LZID有限公司
完成时间:
2009年
描述:
Block800 是LZID有限公司最新生产的一种新型装饰性产品材料。
这一造型美观的装饰性仿石材料专为喷镀表面而设计。该材料具有
独特的着色性能。
164－165

ESPN - Ultimate Highlight Reel

《ESPN运动中心—终极时刻》

Art Director:
Joshua Berger
Designer:
Joshua Berger, Todd Houlette
Client:
ESPN Books / Melcher Media
Production Date:
2009
Description:
This nearly 400-page coffee table book was
produced as part of the 25th anniversary of ESPN's
SportsCenter. It contains 365 of the "wildest,
weirdest, most unforgettable SportsCenter moments
of all time."

艺术总监:
约书亚・柏格
设计师:
约书亚・柏格，托德・霍雷特
客户:
ESPN图书/梅切尔传媒
完成时间:
2009年
描述:
这个接近400页的大型画册专为ESPN运动中心成立25周年
而设计。它记录了该运动中心365个“最疯狂、最不可思
议、最难忘的”时刻。
166－167

Liza Ryan: SPILL 《莉莎・雷恩:满溢》

Art Director:
Joshua Berger
Designer:
Joshua Berger
Client:
Reed College Cooley Gallery
Production Date:
2009
Description:
It is the catalogue published on the occasion of the
exhibition Liza Ryan: SPILL, on view at the Cooley
Gallery in winter of 2009. The exhibition was curated
by gallery director, Stephanie Snyder. Subsequent
exhibition and release party were held at Griffin
Gallery, Los Angeles. SPILL was recently acquired by
the Getty Museum.

艺术总监:
约书亚・柏格
设计师:
约书亚・柏格
客户:
里德学院库勒美术馆
完成时间:
2009年
描述:
该目录出版在名为《莉莎・雷恩:满溢》的展览召开之际。
该展览在2009年冬季于库勒美术馆中举办。该展览由美术
馆的负责人史蒂芬妮・斯奈德发起举办。随后又在洛杉矶
的狮鹫画廊举办同名展览。目前，该展览还收到了盖蒂博
物馆的邀请。
 Design Agency:
168－169 qubo + Scheps Workshop
Client:

Amplificador
Scheps Workshop, Architecture University of Uruguay
Production Date:
《扩音器》
2010
Description:
Amplificador gathers a series of conferences and
workshops that took place between 2005 and 2009,
addressing various issues, each viewed from different
disciplines.
It is a low circulation, low cost book, printed only in
two inks, its design attempts to exploit the most of
these restrictions. Format, materials and finishes are
decisions that follow from this.
The two inks are used as an expressive resource, they
are visible from the outside, existing two variants of
the same book cover. Inside they alternate, separating
sections, creating textures, stopping at margins or
bleeding. The result is a delicate, diverse and powerful
object.

设计机构:
qubo + Scheps设计工作室
客户:
Scheps工作室，乌拉圭乌拉圭大学
完成时间:
2010年
描述:
《扩音器》收集了2005年至2009年间针对各种问题召开的
一系列会议和研讨会，每个项目所讨论的主题不尽相同。
该书发行量较低，成本低廉，仅仅采用两种油墨进行印刷，
其设计旨在将限制条件尽最大可能地开发。因此，该书的开
本、材料和后期处理也完全遵循了这一原则。
从书的外部即能够发现两种油墨作为一种表现资源的运用，
作为同一图书封面的两种变体而存在。在书中，这两种油墨
相互转换，划分成不同的部分、塑造结构、界定边框。这种
独特的设计令图书分外精致，内涵丰富，极具感染力。
170－171
Nomadismo
《游牧生活》

La "carpeta"en Debate 《“文件夹”的辩论》

Design Agency:
qubo
Client:
ArquitecturaRifa gen. 2001/2002
Production Date:
2008
Description:
It is interior and cover design of a booklet containing
a special selection of the Literary Contest of
ArquitecturaRifa Travel Groups, the Third Edition.

设计机构:
Qubo设计工作室
客户:
ArquitecturaRifa旅游集团2001年－2002年度
完成时间:
2008年
描述:
为一个小册子提供的内部和封面设计。该手册是
ArquitecturaRifa旅游集团第三版文学竞赛的一个特别选
Design Agency: 集。
qubo
Client:
Architecture University of Uruguay
Production Date:
2009
Description:
Interior and cover design for a book containing the result of the national contest
of the best graduation projects from the Architecture University of Uruguay
planed to select a winner to send to Archiprix 2009.

设计机构:
Qubo设计工作室
客户:
乌拉圭建筑大学
完成时间:
2009年
描述:
该项目是专为一本图书提供的内部和封面设计。这本书中涵盖了乌拉圭建筑大学参与国
家设计大赛的最佳毕业作品项目以及入选2009年Archiprix大赛的获奖项目。
172－173

My Dream 《我的梦想》

Design Agency:
Redstorm
Designer:
Alexander Kalachev
Client: 设计机构:
Uralsib bank & “Share your knowledge” charity Redstorm设计工作室
foundation 设计师:
Production Date: 亚历山大・卡拉彻维
2009 客户:
Description: Uralsib银行，“分享你的知识” 公益项目
As a part of charity project "Share your knowledge" 完成时间:
by Uralsib Bank Written-contest for Children was 2009年
initiated. Participants from orphanages all over 描述:
Russia sent their short stories where they shared 该项目是Uralsib银行为儿童发起的名为《分享你的知识》
intimate dreams. As a result of the contest in 文学竞赛的公益项目。来自俄罗斯孤儿院的参与者可以将
addition to various prizes for the participants 50 自己的梦想以短篇故事的形式发送到活动之中。大赛最后
stories were chosen to be published in "My Dream" book. 选出50个最佳参赛作品，编撰成书，并命名为《我的梦
The main goal was to make book as good for children 想》。设计的主要目标是使该书老幼皆宜。在最终设计之
as for adults. Just before final approval the designer 前，设计师决定在跨页中添加儿童图案以为该书增添活力
decided that book turns boring and added childish 气息，使之充满朝气和活力。
drawings on some spreads.
 174－175

D&AD: Annual 2008 《D&AD：2008年刊》

设计师:
内维尔・布罗迪，尼克・哈德，乔治・谢德瑞克
完成时间:
2008年
描述:
内维尔・布罗迪与研究工作室共同设计了
《D&AD：2008年刊》。该项目受到著名的
《D&AD 2008年刊》的董事会主席西蒙・沃特福
尔的邀请，2009年同时也是该书首次登陆网络的
重要时期。

Designer:
Neville Brody, Nick Hard, George Sheldrake
Production Date:
2008
Description:
Neville Brody and Research Studios have designed the
2009 D&AD Annual. Invited to undertake the prestigious
annual by the president, Simon Waterfall, 2009 was the
first time that "the book" also went online.
176－177

AKV | St. Joost Prospectus

《冲击力—圣・约斯特艺术与设计学院作品展》

Designer:
Roosje Klap
Client
Akademie voor Kunst en Vormgeving St. Joos
Production Date:
2010
Description:
Each bachelor and masterstudy at the Academy for Art and Design St. Joost has its
own colour an build up. In this prospectus is shown in pictures, texts and pie charts
what studying at St. Joost looks like.
A two-sided printed dustjacket with all the pie charts surrounds the book. Inside
the book there are little post-its with quotes the designer distilled from interviews 设计师:
they did with students. This gives colour to the plain texts about the curriculum. 卢斯耶・克莱普
Out of photographs of the academy the designer made sequences, like stop 客户：
motions, to show the real everyday feeling inside the school. 圣・约斯特艺术与设计学院
完成时间:
2010年
描述:
圣・约斯特艺术与设计学院的每个学士和硕士项目均拥有一个独立的色彩和结构。该项目
旨在以图文的形式彰显该学院的特色与风貌。
双面印刷的防尘书套与圆形图将书籍仅仅环绕。书的内页中设有小小的粘贴,上面记载了设
计师与学生们之间的对话。这种独特的设计为有关课程介绍的枯燥文字增添了无限活力。
另外，设计师在有关学院图片的排列上遵循了空间顺序，使之看起来犹如定格动画，以完
美地展示学校内部真实的日常生活。
178－179
De Zachte Atlas Van Amsterdam
Alles Voor De Kunst, De Bemiddelaar In De 《阿姆斯特丹地图》

Kunst 《一切为了艺术—艺术中的中介物》
Designer:
Roosje Klap
Client
Jan Rothuizen
Production Date:
2009
Description:
Artist Jan Rothuizen walks in cities all over the world.
He notes down everything he sees, thinks and feels
while walking - resulting in drawings that are not only
a view on things the way they are but also reveil the
way he experiences the city.
The design puts a firm finger on an itchy problem that
small drawings usually have in the middle of a spread:
things disappear in the centre.

设计师:
卢斯耶・克莱普
客户：
简・卢斯艾则
完成时间:
2009年
Designer:
描述:
Roosje Klap
艺术家简・卢斯艾则喜欢行走在世界各地的城市之中。他一
Client
边游历一边记录下自己所见、所想和所感的一切，因此，其
Fonds BKVB, Amsterdam
设计的绘画作品不仅是对某个事物的观感，更是他对整个城
Production Date:
市的印象记录。
2009
该书的设计独树一帜，小型画作被设置在一个跨页的中间地
Description:
带：事物在中心消失。
The book Alles Voor De Kunst focuses on the role and
position of the mediator (= bemiddelaar) in art. As
the mediator comes in many shapes and forms, the
designer created a publication in different sized cahiers
for each chapter and bound it together.

设计师:
卢斯耶・克莱普
客户：
阿姆斯特丹BKVB艺术基地
完成时间:
2009年
描述:
这本书以重点讲述艺术中中介物的角色和地位主题。由于中
介物的形态和形式千奇百态，因此，设计师为每个章节设计
了不同尺寸的纸页，最后将它们装订在一起。
180－181

Exquisite Gunpowder City 16 Shot 《热门城市16个镜头》

Designer:
Roosje Klap
Client
Own Commission
Production Date:
2010
Description:
Pop-up book, also containing drawings, photographs and several texts about the
idea of destruction versus construction. The book was made during a residency
project with the same name in Xiamen, China.

设计师:
卢斯耶・克莱普
客户：
个人
完成时间:
2010年
描述:
该项目是一本立体图书，其中涵盖了有关摧毁和建设理念的相关绘图、照片以及一些文字
描述。该书的制作与在中国厦门进行的一个同名项目同时进行。
 Designer:
182－183 Roosje Klap
Client

The Encyclopedia of Fictional Artists / The

JRP Ringier, Zürich (Switzerland)
Production Date:
2010

Addition 《虚构的艺术家百科全书/补充》
Description:
First published nearly a decade ago, and here
translated into English for the first time, "The
Encyclopedia of Fictional Artists" is a project
by author and editor Koen Brams, for which he
commissioned and compiled an anthology of
imaginary biographies based on the numerous
artists invented by writers across the centuries,
from the beginning of the seventeenth century to
the present. The imaginary artist is, of course, a
supremely seductive figure to readers, writers and
artists alike, being a sort of screen upon which
the most astounding imaginary creations may be
projected, without need of them ever being visible
to the eye. As such, "The Encyclopedia of Fictional
Artists" constitutes a trove of inspiration for all
manner of creative endeavor. The Addition is Krist
Gruijthuisen's editorial answer to the Encyclopedia,
in which he invites more than 30 artists to reflect on
the aspirations and ideals of encyclopedias.

设计师:
卢斯耶・克莱普
客户：
瑞士苏黎世JRP Ringier出版社
完成时间:
2010年
描述:
该书的第一版印刷大概在十年前，而这一次是首次被翻译
成英语。《虚构的艺术家百科全书》由柯恩・布莱姆编著
和编辑，在书中其虚构出众多来自十七世纪至今的艺术
家，并编纂出有关这些艺术家的列传选集。
这些对于读者来说充满诱惑力的虚构人物，诸如作家、艺
术家之类，深深根植于读者的脑海之中，臆想的形象比真
实的影响更强大。如此，《虚构的艺术家百科全书》可以
被看成是一部各种创意尝试的灵感荟萃。《补充》是克里
斯特・格里德森对该百科全书的编辑应答，书中记录了他
邀请30多位艺术家对该书的意见和建议。
184－185

We All Laughed At Christopher Columbus

《我们全部嘲笑克里斯托弗・哥伦布》

Designer:
Roosje Klap
Client:
Stedelijk Museum Bureau Amsterdam
(SMBA) & Platform Garanti, Istanbul
Production Date:
2007
Description:
Following exhibitions at Stedelijk
Museum Bureau Amsterdam (SMBA)
and Platform Garanti in Istanbul this is
the third and last presentation formed
under the title "We all laughed at
Christopher Columbus". It was realised
in the form of a publication, and
presented at the Turkish Pavillion during
the opening of La Biennale di Venezia in
2007.

设计师：
卢斯耶・克莱普
客户:
阿姆斯特丹市立博物馆，伊斯坦布尔平面设
计平台
完成时间:
2007年
描述:
名为《我们全部嘲笑克里斯托弗・哥伦布》
的展览在市立阿姆斯特丹博物馆以及伊斯坦
布尔平台当代艺术中心中举办。该项目是该
展览的第三次也是最近的一次展示模型。该
项目以出版物的形式发行，在2007年威尼斯
双年展开幕式上的土耳其展位中进行展示。
 186－187 设计机构:
罗素・肖设计工作室
设计师:

Give For Good - The Story of GiftCardGiver.com 罗素・肖

客户：
GiftCardGiver公司
《传递美好－GiftCardGiver.com的故事》 完成时间:
2010年
描述:
“礼品卡赠与者”是一个创新型非营利理念，旨在收集
使用过或部分使用的礼品卡，并将它们重新利用发放给
需要的人们或组织。该书是讲述该组织历史、战略和目
标的宣传品。
评论：
“礼品卡赠与者”的品牌风格简约而现代，与充满活力
的色彩运用方案相得益彰。因此，该书的设计要求新颖
而充满朝气，精致而与众不同，风格和意象能够与其他
非营利机构销售的材料区分开来。设计师希望人们在合
上该书之后能够对该组织心怀愉悦之情，然后参与到该
组织倡导的活动之中，而这也是该设计的成功所在。

Design Agency:
Russell Shaw Design
Designer:
Russell Shaw
Client
Gift Card Giver
Production Date:
2010
Description:
Gift Card Giver is a revolutionary non-profit idea that collects unused
or partially used gift cards and redistributes them as resources to
people and organizations in need. This book is a promotional piece
the designer created explaining the organisation’s history, strategy,
and goal.
Comments:
Gift Card Giver has a very clean and modern branding as well as
a vibrant colour scheme. So this book was designed to match: to
feel fresh and hopeful, a deliberate direction to differ - in style and
imagery - from how many other non-profit organisations’ marketing
materials emphasize sympathy for despair. The designer wanted
people to walk away from the book with positive feelings about the
organization and how they can get involved.
188－189

Across Singapore 《穿越新加坡》

Design Agency:
sciencewerk
Designer:
Octavia S.
Client
sciencewerk
Production Date:
2010
Description:
Across Singapore is a visual publication project visualising the
hustle bustle of Singapore, from the city, MRT, to suburb areas.

设计机构:
Sciencewerk设计工作室
设计师:
奥克塔维亚・S
客户：
Sciencewerk设计工作室
完成时间:
2010年
描述:
《穿越新加坡》是一个以喧嚣扰攘的新加坡为主题的视觉出版物。书中涉及了整个城市、捷运站以及城市的
郊区等地。
190－191 Design Agency:
sciencewerk

Hipsters . A World Without Them

Designer:
Octavia S.
Client

《颓废派—没有他们的世界》 sciencewerk
Production Date:
2010
Description:
It is a publication that explore about Hipster. “Hipster”
has been used in sometimes contradictory ways,
making it difficult to precisely define “hipster culture”
because it is a “mutating, trans-Atlantic melting pot of
styles, tastes and behaviour[s].”
Comments:
One commentator argues that “hipsterism fetishizes
the authentic” elements of all of the “fringe movements
of the postwar era—beat, hippie, punk, even grunge,”
and draws on the “cultural stores of every unmelted
ethnicity”, and “regurgitates it with a winking
inauthenticity.” Others, like Arsel and Thompson, argue
that hipster is a cultural mythology, crystallisation of a
mass mediated stereotype generated to understand,
categorise and marketize the indie consumer culture
rather than an objectified group of people.

设计机构:
Sciencewerk设计工作室
设计师:
奥克塔维亚・S
客户:
Sciencewerk设计工作室
完成时间:
2010年
描述:
这是一个探讨“颓废派”人群的出版物。“颓废派”在很多
时候被视为是一种非主流，准确定义“颓废派文化”很难，
因为其“变化多端，风格、品位和表现都很复杂”。
评论：
一位评论员认为,“非主流颓废派盲目迷恋纯粹”元素，战
后所有的边缘运动，包括嬉皮、朋克乃至垃圾摇滚以及“文
化商店中每个种族性”绘画和伪装的回流现象。而其他评论
员，如埃索和汤普森则认为“颓废派”是一种文化神话，是
大众对陈词滥调的抗议方式的一种具体化，从分类和市场的
角度来看，它是一种消费者文化，而不仅仅是一个客观的群
体。
192－193

Tranquility 《宁静》

Design Agency:
sciencewerk
Designer:
Octavia S.
Client
sciencewerk
Production Date:
2009
Description:
Tranquility is a visual book portraying moment of
free from disturbance. Visuals at every pages that
illustrates images sound louder than words.

设计机构:
Sciencewerk设计工作室
设计师:
奥克塔维亚・S
客户：
Sciencewerk设计工作室
完成时间:
2009年
描述:
《宁静》是一本以描绘远离喧嚣为主题的视觉图书。每一
页的图片带给读者的视觉震撼远远超过了任何文字的力
量。
 194－195

One to Ten 《一到十》

Designer:
Sergio Alves
Client
self-promotion
Production Date:
2009
Description:
Book where Sergio Alves join his ten best projects of 2008. The book was made for him
manually, since the cover made with cloth, until the stitching. This project reflects how
design is ephemeral, because in a year the works patient there are no longer goods for him.

设计师:
塞尔吉奥・阿尔维斯
客户：
自我宣传项目
完成时间:
2009年
描述:
该项目是2008年设计师诗歌最佳项目之一。该书完全采用手工制作，封面采用布料为原料，最后被
缝合在一起。该项目展现了“设计是短暂”这一主题，因为，在设计师看来，一年中设计的作品的
保鲜期很短。
 Designer:
196－197 Shiwei Ng
Client:

Shapeshifters: Shaping Fashion Silhouettes

Page One Publishing Pte Ltd
Production Date:
2010
Description:
《变形者—重塑服饰的轮廓》
In the hands of today's most experimental fashion
designers, the human silhouette is being radically
reshaped and the boundaries between fashion, art,
sculpture and architecture, fascinatingly redrawn.
Shapeshifters showcases a range of inspiring and
visually-arresting designs from all over the world.
From bulbous and voluminous to austere and
angular, the looks presented will be provocative,
exquisite and sumptuous, and will intrigue with their
demonstration of the structural potential of clothing.
Displaying astonishingly architectural concepts that
are graphically striking and sculptural.

设计师:
黄室韦
客户:
叶一堂出版有限公司
完成时间:
2010年
描述:
在当今最著名的实验型服饰设计师的手中，人类的轮廓发
生了彻底性的改变，而服饰、艺术、雕塑和建筑之间的界
线也变得更加微妙。《变形者—重塑服饰的轮廓》展示了
来自世界各地的匠心独运而醒目独特的设计作品。由凤毛
麟角到丰富多彩，从简约到特立独行，这些表情或奇特、
或精致抑或奢华，均微妙地传达出服饰的结构潜力。该书
所展示的令人惊讶的理念，鞭辟入里、生动形象。
198－199

Fellowship - Collected Works 《友谊》文集

 200－201

Design Agency: 设计机构:

Since 1416, Graphic Design & Visual Research Since 1416设计工作室,平面设计与视觉研究工作室
Designer: 设计师:
Dirk Claessens, Maarten Verweij, Kees de Klein 德克・森斯，马腾・沃维吉，吉斯・德・克莱因
Client: 客户:
Het Hooghuis Het Hooghuis学校
Production Date: 完成时间:
2010 2010年
Description: 描述:
In September 2009 a number of people were invited to contribute to the liber 2009年9月，很多人被邀请参加设计座谈会以向荷兰奥斯学院即将退休的院长汉克・彼得
amicorum in honour of the retirement of Henk Peters, an inspiring school leader in 斯表示敬意。
the city of Oss, the Netherlands. 该项目的设计主题是传达多位作者有关“合作与沟通”话题的观点。设计的多样化（包
The theme - collaboration & connection - has been approached from the 装、版式、字体）设计以文字内容的多样性为基础。
perspective of the different authors. 书中的一个不变因素是艺术家汉・科林克海默尔的作品。其作品成为贯穿整本书的一条线
The diversity of the design (paper, layout, typography) is based on the diversity of 索，并为每部分独立的文字提供完美的支撑。书中除了展示几十幅有关农民劳作的画作之
the textual content. 外，还囊括了带有汉・科林克海默尔签名的100册出版物。在他的工作室内，这100个出
A constant factor in the book is the work of fine artist Han Klinkhamer. His work 版物被排列在一个空白的帆布下，每一本书均拥有一个独特的封面。
draws a trail through the book and embraces the individual texts. Besides dozens
of paintings of farmer fields scattered through the publication, Klinkhamer has
signed the first 100 books by a painting. In his studio 100 publications were
arranged into a blank canvas, each book got a unique cover.
202－203 设计机构:
Since 1416设计工作室，平面设计与视觉研

Passing On The Anvil 究工作室

设计师:

From Smith To Industrial Metalworker

德克・森斯，马腾・沃维吉
客户:
Het Hooghuis学校
完成时间:
《传送铁砧——从铁匠到工业金属品加工工人》 2010年
描述:
该项目是一本讲述奥斯历史小镇上金属工业
现状的图书。
Design Agency:
Since 1416, Graphic Design & Visual Research
Designer:
Dirk Claessens, Maarten Verweij
Client:
Het Hooghuis
Production Date:
2010
Description:
It is a book about the current state of the metal industry in the historic town of Oss.
204－205

Startgids 《指引》

Design Agency:
Jens Dawn
Designer:
Jens Dawn
Client:
Design Platform Limburg
Production Date:
2009
Description:
The Startgids is a guide for college graduated
designers in Belgium to give advice about starting a
design practice.
This guide contains two changing colours and black
throughout the book, this makes it cheaper to print
(also cheaper for the client). Two Colours are more
relaxing for the eyes and therefore Jens Dawn think
are beneficial in reading. The Illustrations are a
collection of wild subjective inspiration taken from
the titles (topics) in the guide. The cover is the “work
in progress” page of the illustrations, that combine
all the topics together.
The book got printed on 2,000 copies and got send
to the Dutch speaking designers that finished their
years in college. In March 2011, the guide got updated
and had a new printing of another 2,000 copies.

设计机构:
延斯・潼恩
设计师:
延斯・潼恩
客户:
林堡设计平台
完成时间:
2009年
描述:
《指引》是一本为准备从事设计领域的比利时大学毕业生
提供指南的专业图书。
整本书中运用了两种变色和黑色，有效地降低了印刷成本
(同时也大大降低了运营成本)。两种变色能够有效地降低
视觉疲劳，从而有利于阅读。插画的设计灵感源自该书的
主题，充分发挥了设计师的想象力和创造力。匠心独运的
封面设计巧妙地将所有的主题结合在一起。
该书共印刷2000册，以大学中面临毕业的荷兰语设计专业
学生为主要发放目标。在2011年3月，该指南进行修订，
并再一次印刷了2000册。
206－207

2009 Graduation Book

《2009年毕业图书》

Design Agency: 设计机构:

studio Boot 靴子设计工作室
Designer: 设计师:
studio Boot 靴子设计工作室
Client: 客户:
2009 Graduation Book 《2009年毕业图书》
Production Date: 完成时间:
2009 2009年
Description: 描述:
It is the art direction photography and book design of graduation catalogue in 2009. 为2009年毕业生设计的摄影指导和图书设计目录。
208－209

Zelf Geoogst 《自己动手，丰衣足食》

Design Agency:
Studio Boot
Designer:
Studio Boot
Client:
Zelfgeoogst
Production Date:
2010
Description:
After "The Netherlands to The Soup" have received
the bestseller soup calendar, its publisher Moustache
now works with the book "Self Harvested" on super
easy garden poultry in crates. The authors knows the
subject so well that you immediately rolled up sleeves
to stabbing. The revolutionary method of vegetable
garden boxes, the fifty original recipes for harvest
Marian Flint and the beautiful design of Studio Boot
guaranteed the success in the garden and even on the
balcony.

设计机构:
靴子设计工作室
设计师:
靴子设计工作室
客户:
《自己动手，丰衣足食》
完成时间:
2010年
描述:
在小胡子出版社出版的煲汤日历获得大卖之后，他们随后又
出版了《自己动手，丰衣足食》一书。书中介绍了装在板条
箱中散居的家禽，十分引人注目，令人情不自禁想去触摸。
这一创新的蔬菜箱子、50种罕见的玛丽安燧石食谱以及美妙
的靴子设计工作室在设计之中得到了完美展现。
 Design Agency:
210－211 Studio Revolucija
Designer:

Small Book
Vladimir Končar
Client:
《微型书》
Kristalna Kocka Vedrine, Dom Kulture Sisak
Production Date:
2008
Description:
This book has a cover which is a poster on one side
and a part of a big illustration on the other. When all
four of those covers are put together, they make one
big illustration. The fourth book is in the process of
making. The entire books are done with the Scala
Sans and cover titles are made with the Officina
Serif. Paper used for press is Agripina / Maxioffset.

设计机构:
Revolucija设计工作室
设计师:
弗拉基米尔・肯卡
客户:
Kristalna kocka vedrine文化中心，西萨克大教堂文化传播
中心
完成时间:
2008年
描述:
该书封面的一面是一个海报，而另一面则是一个大型插
画。四本书的封面结合在一起，即可形成一个大幅的插
画。第四本书正在制作的过程之中。整套图书的制作是弗
拉基米尔・肯卡与斯卡拉・斯堪斯共同设计完成，封面的
题目利用了Officina衬线字体。Agripina / Maxioffset平版
印刷。
 Designer:
212－213 Márton Borzák, Réka Diósi
Client:

Szembeszélo
BT-Press
Production Date:
《分享故事》
2010
Description:
The book was designed to feature 30 interviews
and stories with famous Hungarian people. Actors,
writers and many other well-known people share
unique and interesting stories about their lives.
The cover was divided into several pieces using
recursive tiling algorithm to represent the structure
of the book: various stories in various lengths.

设计师：
马顿・博扎克，雷卡・迪奥斯
客户：
BT出版社
完成时间：
2010年
描述：
该书以30位著名的匈牙利人访谈录和故事为主题。演员、
作家和许多知名人士彼此分享自己生活中的趣闻。该书的
封面被巧妙地分成若干个部分，采用循环的贴砖原则，以
展示该书的结构，即不同的故事长短也各异。
214－215
设计机构：

All Green, Let’s Stay Together, Diary 2011

Beige设计工作室
设计师：
延斯・潼恩
客户：
《2011年让我们在一起－全绿色日记》
Beige设计工作室，Shop Around设计工作室，
PrintvisieWork设计工作室
完成时间：
2010年
描述：
记录时间是否很困难？还是会经常忘记自己的约
会？不顾一切的渴望绿色生活但结果却依然只是个
笑谈？不要慌，答案其实就在身边。Beige设计工
作室与Shop Around设计工作室、PrintvisieWork设
计工作室共同设计的必备经典《2011年让我们在一
起—全绿色日记》将为您解决各种困惑。该日记中
涵盖了大量有关提升绿色生活质量的信息、访谈、
滑稽或深邃的绿色话题。

Design Agency:
Studio Beige
Designer:
Jens Dawn
Client:
Self promotion project in cooperation with Shop
Around and PrintvisieWork
Production Date:
2010
Description:
Having difficulty keeping track of time? Keep
forgetting your appointments? Desperate to live a
greener life, but still in for a laugh? Have no fear,
the answer is near: Studio Beige designed the
instant must-have classic: "All Green, Let's Stay
Together Diary 2011", in collaboration with Shop
Around and Printvisie. The diary contains tons of
helpful information on how to get your life into green
mode, interesting interviews and lots of hilarious - as
well as deep - green quotes.
 216－217

Sweet Life, Anne Wenzel 《安妮・温泽尔的温馨生活》

Design Agency:
Studio Beige
Client:
Anne Wenzel
Production Date:
2008
Description:
Anne Wenzel's catalogue Sweet Life showcases her, often sizeable, black clay sculptures.
Her works focuses on "the aesthetics of darkness, the entrails of kitsch". Studio Beige
designed a beautifully bound book with a hard cover coated with black paper. On this cover
a negative photographic image was printed in white ink on which a silkscreen print was
superimposed in shiny lacquer. It constitutes a smart link to the work itself.
The title is foil printed in pink - the only colour Anne Wenzel embraces in her work.

设计机构:
Beige设计工作室
客户:
安妮・温泽尔
完成时间:
2008年
描述:
《安妮・温泽尔的温馨生活》目录展示了安妮・温泽尔设计的大型黑色陶土雕塑品。安妮・温泽尔
的作品强调“黑暗之美，崇尚艺术的内在之美”。 Beige设计工作室为其设计的精装图书美妙而独
特，黑色的封面坚实而醒目。封面上运用的底片摄影图片采用白色油墨，独特的丝网印刷表面上覆
以亮光漆。此外，该封面悄悄地与内页中的作品建立起微妙的联系。该书的标题采用粉色烫印，而
粉色恰恰也是安妮・温泽尔作品中的唯一彩色。
218－219

Olaf Mooij|1189.81.237 《奥拉夫・莫伊吉| 1189.81.237》

Design Agency:
Studio Beige
Client:
Olaf Mooij
Production Date:
2010
Description:
Dutch artist Olaf Mooij focuses on redefining the meaning of existing objects.
In the Netherlands he’s well known for his car sculptures.
Mooij's work is firmly rooted in the sculptural tradition. At the basis of all his
sculptures lies the artist’s ability to suggest life using only dead matter.
Olaf Mooij’s cars consist of nothing more than mere bodywork, yet he finds a
way to shape them into personalities, into living objects.
Studio Beige designed a beautiful book inspired by vintage car manuals,
using soft skincolors which Mooij frequently uses in his work as well as bold
typography. The book aspires to be a one man exhibition in print.

设计机构:
Beige设计工作室
客户:
奥拉夫・莫伊吉
完成时间:
2010年
描述:
荷兰艺术家奥拉夫・莫伊吉崇尚对现存物体的意义进行重新定义。在荷兰，其汽车雕塑
作品家喻户晓。
奥拉夫・莫伊吉的作品风格深深根植于雕塑传统之中。在其所有雕塑作品的深处都潜在
着自己对无机物质巧妙利用的能力。尽管奥拉夫・莫伊吉的汽车也同样是由普通的车身
构成，然而他却巧妙地赋予该车独特的性格，使之成为充满生机的物体。
Beige设计工作室设计的这款图书，其设计灵感源自老式汽车手册，采用柔和的肤色和
粗体作为设计的主要元素，而肤色也正是奥拉夫・莫伊吉的作品中常见的色彩。该书设
计的宗旨是成为一个印刷展品。
 220－221

Why Not, Otto Snoek 《为什么不？奥托・斯诺克》

Design Agency: 设计机构:

Studio Beige Beige设计工作室
Client: 客户:
Otto Snoek 奥托・斯诺克
Production Date: 完成时间:
2010 2010年
Description: 描述:
For over a decade photographer Otto Snoek has been photographing the people 十多年来，摄影师奥托・斯诺克为其家乡鹿特丹的人们拍摄了无数的照片。Beige设计
of his hometown Rotterdam. Studio Beige designed a comprehensive book of his 工作室收集了其最喜欢的作品，并编纂成书。设计师尝试通过完整跨页的形式铺设作品
most compelling works. The designer tried to emphasize their theatrical quality by 以呈现出它们无与伦比的品质，同时带给读者身临其境之感。合上该书，读者将会在外
mounting the works onto full spreads, which enables the reader to almost physically 部发现全灰的封面，犹如一片铺路的瓷砖，和奥托・斯诺克的居住环境，即鹿特丹大街
enter the photographs. When closed the book - dull-grey on the outside - looks like 相得益彰。
a piece of pavement or a tile, referring to Otto Snoek's professional habitat: the 获奖名称：2010年西班牙摄影节最佳图书奖提名
streets of Rotterdam.
Award: Nominated for the Best Book Award at the Photofestival Photo Espana 2010.
222－223
L.A. Lofts 《洛杉矶的阁楼》

Eternally Yours, Time in Design

《永远属于你，我的时间在设计之中》
Design Agency:
Think Studio, NYC
Design Agency:
Designer:
Thonik
John Clifford
Designer:
Client:
Thonik
Chronicle Books
Client:
Production Date:
010 Publishers
2006
Production Date:
Description:
2004
There is such a variety of spaces in the book, that one image on the cover
Description:
would not do the book justice. The thread that united all the lofts was the bold
Eternally Yours wishes to prolong the lifetime of products by way of a new design
use of color. So, the diecut cover hints at the varied colors and textures of the
mentality. The first conference in 1997 was accompanied by a publication, which sold
eclectic Los Angeles loft spaces featured within.
out very quickly. It won an I.D. Best of Category 98. The second conference in 2004
was called "Time in Design". Because of this theme, and because the first booklet
is reproduced on the last pages of the second, Thonik related some of the decisions
in the design to the former publication. On the edge of the first booklet it said
"eternally yours", now it says "Future Nostalgia". The former booklet was gilt-edged,
now Gold has replaced yellow in the CMYK printing. The first booklet had pictures
of the designers who had shortly fallen in love; the second has pictures of their
children. To enhance the book as a product all information on the cover is printed on
labels that hang from the spine.
Comment:
As a sample sheet of all possible considerations and views about this subject, this
book is worth while. Bound in embossed gold foil, Time in Design’s exquisite binding
exudes care and preciousness. You’ll want to keep it, which is exactly the point.

设计机构:
托尼克
设计师:
托尼克
客户:
010出版商
完成时间:
设计机构:
2004年
纽约思想设计工作室
描述:
设计师:
《永远属于你，我的时间在设计之中》旨在通过一个全新的设计心态延长产品的使用寿
约翰・克利福德
命。1997年，该主题大会首次召开，同时也出版了相应的刊物，该刊物一经出版，很
客户:
快被抢购一空，成为全球最畅销的98种图书之一。2004年，第二次名为“我的时间在
Chronicle Books出版社
设计之中”的大会顺利召开。考虑到这一相同的主题以及第二版中最后几页的广告手
完成时间:
册，托尼克叙述了一些有关第一期出版物的相关设计决策。第一个手册中提到“永远属
2006年
于你”，现在的版本中又提到“未来的怀旧之情”。前一个手册采用金边设计，而该版
描述:
本则采用金色，取代了黄色印刷颜色。第一个手册的图片中记录了设计师投入爱河的瞬
该书中的空间丰富多彩，读者无法从封面上想象出书中的
间；而第二个手册中则以他们的孩子为设计的主体。为强化该书的产品特性，封面上的
内容。连接所有阁楼的线索是大胆的色彩运用。模切的封
信息全部以标签的形式印刷，悬垂于书脊之上。
面将书中所描绘洛杉矶阁楼空间的色彩和纹理隐约呈现，
评论：
吸引读者的靠近。
作为该主题的样品簿，该书汇聚了所有与其相关的信息及观点，因此是一部难得一见的
好书。该书采用浮雕式烫金处理，装订精致、考究，令人爱不释手。
224－225

One Million 《100万》

Design Agency:
Think Studio, NYC
Designer:
John Clifford, Herb Thornby
Client:
Abrams Image
Production Date:
2010
Description:
设计机构:
The plan of the book is simple: two hundred pages; five
纽约思想设计工作室
thousand dots to a page. Author and New Yorker editor Hendrik
设计师:
Hertzberg wants the reader to actually see, perhaps for the first
约翰・克利福德，赫伯特
time ever, exactly one million of something. To keep the simple
客户:
design lively, the value of the dots were varied so they twinkle
Abrams Image出版社
and animate a bit. The design won AIGA 50 Books/50 Covers;
完成时间:
HOW Magazine International Design Award.
2010年
Comment:
描述:
A great example of humour intertwined with good information
该书的规划十分简单:200多页，一页5000个圆点，全书一共一百万个圆点。作者和纽约编
design.FPO/Under Consideration the design is exactly what it
辑亨德里克・赫特兹伯格希望读者能够真正地体会一百万的数值所带来的视觉震撼。为使这
should be Fast Companies Co. Design.
个简单的设计更加富有朝气和活力，设计师巧妙地将这些圆点进行变幻，使之生动，熠熠
生辉。获奖名称：美国平面设计师协会“50本书/ 50个封面”(50 Books/50 Covers) 设计大
赛；“HOW”杂志国际设计奖
评论：
该项目是一个将幽默感与丰富的信息内容融合在一起的最佳设计案例。
226－227

Open Your Eyes 《睁开你的双眼》

Design Agency:
Tiana Vasiljev
Client:
College Project
Production Date:
2008
Description:
Open Your Eyes was a final year college project that
was designed to raise awareness of poverty and its
effects. It is a collection of the third world stories and
occurrences from around the globe. Bold typography
was used as a powerful method of communication
throughout the publication. The rough application of
paint was created in combination with the imagery
and colour, to portray the chaos contained in the
stories. The final book has a rough and chaotic
personality.

设计机构:
缇纳・瓦斯里耶夫
客户:
大学项目
完成时间:
2008年
描述:
《睁开你的双眼》是大学毕业项目，设计的目的是唤起人
们对贫困及其所带来的影响的认知。书中收集了发生在第
三世界的故事以及全球所发生的事件。所采用的粗体格式
令这一出版物更具感染力。粗犷的绘图与意象和色彩完美
搭配，描绘出故事中所蕴含的混沌。最终的设计方案具有
鲜明地粗犷和混乱特性。
 228－229

Fairly Unfair
《公平与不公平》

Design Agency:
Toby Ng Design
Client:
Toby Ng
Production Date:
2007
Description:
This little game book contain games which are specially designed for lawyers.
No, sorry, not everyone is given the opportunity to take the challenge. The
rules are as set – simply the same as in all judicial courts and proceedings.
Fair enough? This piece of work is inspired by the designer's experience of
sitting in a few court sessions and listening to the discourse in them. Don’t be
fooled by the indication of trial language being your mother tongue, indeed, the
conversations are filled with specialised terminology which bar common people
from understanding. Last remark to players of these games: you should follow
the instructions, but do not think about winning or completing the tasks.

设计机构:
Toby Ng设计工作室
客户:
Toby Ng设计工作室
完成时间:
2007年
描述:
这是一本专为律师而设计的小型游戏图书。对不起,不是每个人都有机会接受挑战的。规
则是固定的，如同司法法庭和诉讼程序。绝对公平？该作品的设计灵感来源于设计师在
旁听了几件官司审判的体验。不要被母语中审判语言的象征性所误导，实际上，这些对
话中充斥的是影响大众理解的专业术语。最后，要提醒这些游戏的玩家是：你应该遵循
指令,但是不要考虑获胜或完成任务。
230－231

Rediscover The Heritage of Hong Kong

《香港遗产的再发现》

Design Agency:
Toby Ng Design
Client:
Toby Ng
Production Date:
2006
Description:
The signature red-white-blue bag weighs with
photos of some inconspicuous people, places and
heritage of Hong Kong. To savour the beauty, the
olde is captured on recycled newspaper.

设计机构:
Toby Ng设计工作室
客户:
Toby Ng设计工作室
完成时间:
2006年
描述:
这个署名的红-蓝-白条塑料袋中介绍了有关香港历史的
普通人物、地点和遗迹。再回收报纸的有效利用巧妙地为
整个设计增添了自然之美。
 Design Agency:
232－233 Toby Ng Design
Client:

Uncovered
Uncovered
Production Date:
《没有封面的故事》
2008
Description:
If a book-cover is where people identify a book, no
identity, like the ones in it, is offered to this book.
Perspective is all that matters: read the book in any
usual way and repeat the same in reverse – learn
their stories in English, or in Chinese, or in both. The
choice is upon you, but for the personages, they do
not have one.

设计机构:
Toby Ng设计工作室
客户:
《揭露》
完成时间:
2008年
描述:
如果一本书的封面是读者识别图书的一个根据，那么该书
则如同其中所介绍的人物一样不设置任何封面。透视效果
是最关键的：以任何平常的方式进行阅读，反面的文字相
同。该书设置了英语和汉语两种语言。
234－235

Concept Book & Kit For Prototype Typeface

Experimental Work
《概念图书与标准字体设计试验作品》

Designer: 设计师:
Toshiyasu Nanbu 南部俊安
Client: 客户:
Taste Inc. 品味公司
Production Date: 完成时间:
2010 2010年
Description: 描述:
In this Concept Book & Kit For Prototype Typeface 这个名为《概念图书与标准字体设计试验作品》一书是品
Experimental Works, the Taste Inc. designed by art 味公司委托设计师精心打造的一款新颖而独特的字体设计
book form is an image book by an original font of 图书。
production.
 236－237

Publication Sound & Vision 《声音和视觉出版物》

Design Agency:
Trapped in Suburbia
Client:
Institute of Sound & Vision
Production Date:
2008
Description:
For the Institute of Sound and Vision the designer
made a unique farewell present for their departing
president. In the publication they've translated video
and sound on to the 600 pages. The book contains
David Bowies "Sound and Vision" (single version),
pop-ups, a DVD, several flip booklets and a RFID tag.

设计机构:
Trapped in Suburbia设计工作室
客户:
声音和视觉学院
完成时间:
2008年
描述:
该项目是设计师在声音和视觉学院的院长在离职之际特别
设计的一个告别礼物。在该出版物中，设计师巧妙地将视
频和声音转移到600页图书之中。该书中涵盖了大卫・鲍
维斯的“声音和视觉” (单机版)、立体图片、一张DVD光
盘以及几个小册子和一个无线射频识别附属品。
 238－239

Book VJ Movement 《VJ运动图书》

Design Agency:
Trapped in Suburbia
Client:
VJ Movement
Production Date:
2009
Description:
VJ Movement gives journalist around the world the opportunity to show
their stories and tell their truths. Everyone can join the VJ Movement
and pitch their story ideas to the journalists. If you want to hear more
about a certain topic because you can’t see this on the regular news,
you can pitch your idea. If your idea get the most votes, a professional
VJ journalist will report the story for you and it will be published online.

设计机构:
Trapped in Suburbia设计工作室
客户:
VJ运动
完成时间:
2009年
描述:
VJ运动是为全球记者讲述自己的故事和经历的
平台。每个人都可以加入到VJ运动之中，将自
己的故事讲给记者。如果你想多了解某个话题
的内容，而平时在一般的新闻中却了解不到，
那么您可以将这一话题提出来。如果这一话题
获得了最多的投票，一个专业的VJ记者将会
专门为您报道这个话题，并随后在网上刊登出
来。
240－241

Crisis 《危机》

Designer:
Wilfred van der Weide
Client:
Crisis
Production Date:
2009
Description:
"Crisis" is a visual translation of the medium "newspaper" to "book". The
designer picked a random article in the newspaper as a starting point for a
change in form. The article is about how the worldwide economic crisis unfolds
itself, first being only an undefinable banking issue but later surely effecting
everyone. This observation is personalised into a poem that explains the issue
at hand in clear language.

设计师:
威尔弗雷德・范・德尔・威德
客户:
《危机》
完成时间:
2009年
描述:
《危机》旨在将报纸媒介和图书之间进行视觉转换。设计师随意在报纸上剪下一篇文章
作为变化形式的一个出发点。该文章讲述的世界经济危机如何显现，由起初的无法定义
的银行业问题，随后影响到每个人的生活。这一观察报告以诗歌的形式，运用清晰的语
言，巧妙地展现了当前发人深思的问题。
242－243 设计师:
威尔弗雷德・范・德尔・威德

Vorming
客户:
《形成》
《形成》
完成时间:
2008年
描述:
《形成》一书以设计师的同学简奈克・施密特斯为主题。书
中介绍简奈克的图片和文字展现了其性格上的逐渐成熟过
程。书的结尾处还设置了由设计师亲自拍摄的简奈克的裸身
照片。其前身和后背均喷有字母“I”和“K”的字样（IK在
荷兰语中有“我”之意）。整个项目的设计主题是记录简奈
克寻找自我的历程。

Designer:
Wilfred van der Weide
Client:
Vorming
Production Date:
2008
Description:
"Vorming" is a book revolving around the designer's
classmate Janneke Smeets. A visual journey wherein
the text and images about Janneke grow more
personal by the page. This eventually leads to a
portrait of her personal identity, for which the designer
photographed Janneke in an expressive and full-frontal
position. Her front and back are painted with the
letters "I" and "K" ("ik" is dutch for "me"). The whole
project was about the designer documenting Janneke's
search for her own identity.
244－245

Moscow Style 《莫斯科风格》

Design Agency:
Troika
Client:
Booth-Clibborn Editions
Production Date:
2005
Description:
Moscow Style was the first book Troika authored and
is a compilation of the most exciting artists, designers
and architects working in Moscow today. Troika
compiled, edited and designed the book.

设计机构:
特洛伊卡
客户:
Booth-Clibborn出版社
完成时间:
2005年
描述:
《莫斯科风格》是特洛伊卡受委托设计的第一本书，书中涵
盖了当今莫斯科最著名的艺术家、设计师、建筑师的设计作
品。特洛伊卡负责该书的编辑、校订及设计。
246－247

MacroMicro《宏观与微观》

Design Agency:
Undoboy
Designer:
Undoboy
Client:
MacroMicro
Production Date:
2005
Description:
The task is to design a book to hold two opposing
texts together about postmodern design.

设计机构:
Undoboy设计工作室
设计师:
Undoboy设计工作室
客户:
MacroMicro公司
完成时间:
2005年
描述:
将两种对立的文本装订在一起的图书，图书所探讨的主
题有关后现代设计。
 248－249

Timelife Book 《时光生活》

Design Agency:
Undoboy
Client:
Timelife Book
Production Date:
2005
Description:
The task is to redesign the 1960s' timelife book - Man and Space.

设计机构:
Undoboy设计工作室
客户:
时光生活出版社
完成时间:
2005年
描述:
该项目是为20世纪60年代时光生活出版社出版的《人类与太空》图书进行的再设计。
 250－251

The Art of Participation: 1950 to Now

《分享艺术：1950年至今》

Design Agency:
Volume Inc.
Creative Director
Adam Brodsley, Eric Heiman
Designer:
Iran Narges
Client:
The San Francisco Museum of Modern Art
Production Date:
2008
Description:
Exhibition "The Art of Participation: 1950 to Now"
presents an overview of participation-based art
since the 1950s, reflecting on how artists create
situations in which the public takes a collaborative
role in the art-making process.
The exhibit catalogue's design demands similar 设计机构:
participation on the audience's part by providing Volume公司
a space on the cover for a second, later book 创意总监：
that will be a record of how visitor contributions 亚当・布罗德斯里，埃里克・赫曼
change the form and content of the exhibition 设计师:
over its run at SFMOMA. 伊朗・纳戈斯
This theme is investigated further in the 客户:
catalogue's interior through the "incomplete" 旧金山现代艺术博物馆
nature of the headline typography and the empty 完成时间:
spaces of the body text that are meant to be 2008年
"filled in" (whether literally or mentally) by the 描述:
reader. “分享艺术：1950年至今”展览展示了20世纪50年代以来的参与艺术的
全貌，彰显了艺术家号召公众参与艺术设计的全过程。
该展览目录的设计同样要求公众的参与。首先，在封面上提供一个公众
参与的空间，随后，在书中采取同样的方式以展示参观者在旧金山现代
艺术博物馆中与展览之间所进行的互动。
这一主题在目录的内部得到了进一步深化，运用“不完备的”标题字体
以及文章主体的空白部分以期待读者将这些空白“填满”。
252－253

Zoo 09 《2009年映画设计工作室》

设计机构:
映画设计工作室
设计师:
映画设计工作室
客户:
映画设计工作室
完成时间:
2009年
描述:
本书为一个自我宣传品，其中涵盖了2009年该工作室所设
计的一些项目。

Design Agency:
Zoo Studio
Designer:
Zoo Studio
Client:
Zoo Studio
Production Date:
2009
Description:
It is a book of self-promotion that contains some of the projects realised during year 2009.
INDEX 索引

…,staat creative agency Ellen Tongzhou Zhao Mark Pernice Shiwei Ng

14,16 62 152 196

3 Deep Design Erretres Márton Borzák, Réka Diósi Since 1416, Graphic Design & Visual Research

18 86, 88, 90, 92, 94 212 200, 202

3group Esteve Bou m-m design Studio Beige

20, 22, 24, 26, 28, 30 96, 98 140, 142, 144 214, 216, 218, 220

Alexander Egger Ginette Caron Moving Brands studio Boot

32, 34 100 146 206, 208

Andreas Preis Goncalo Dures M-Space / Making Waves Studio Revolucija

36 102, 104 148 210

Anthony Stimola Hyoun Youl Joe nowakteufelknyrim Think Studio, NYC

42 106 150 223, 224

Anthonys Timola iji-design Oezlen Sagir Thonik

38, 40 108 154 222

AnyaVedmid Ingeborg Scheffers Piero Zagami Tiana Vasiljev

48, 50 110, 112, 114 156, 158 226

Artiva Design James Kuo and Profis Pirol Toby Ng Design

44, 46 116 160 228, 230, 232

Ateljé Altmann HB Javier Melon Gil Pitertsev Mikhail Toshiyasu Nanbu

51, 52, 53, 54, 55 117 162 234

BEIHOFER+ADOLF Jens Dawn Publishing and Design Guide Trapped in Suburbia

56 204 84 236, 238

Britta Siegmund Joshua Berger qubo + Scheps Workshop Troika

58, 60 164, 166 168, 170, 171 244

CASA REX Karlssonwilker Inc. Redstorm Undoboy

64, 66, 67, 68, 69 118, 120, 122 172 246, 248

Christian Grutsch Kolektiv Studio Research Studios/Neville Brody Volume Inc.

70 124 174 250

Creative Inc KOREFE Roosje Klap Wilfred van der Weide

72, 74 126 176, 178, 179, 180, 182, 184 240, 242

Deniz Tekkul Kutchibok Russell Shaw Design Zoo Studio

76, 78 128 186 252

Diogo Montes LeCool Publishing sciencewerk

80 132, 134, 136, 138 188, 190, 192

Edenspiekermann Lina Khesina Sergio Alves

82 130 194
 BOOK DESIGN
书籍设计
Author:(Poland) Bienert Andrea Guan

Print version (Hardcover) - 2012

ISBN 9787538172461
Published by Liaoning Science & Technology Publishing House
Shenyang, Liaoning, China

eBook version - 2012

ISBN 9781619870604
Published by Profession Design Press Co., Ltd
California, United States of America

Distributed by Actrace, LLC, United States of America

Website: www.actrace.com, www.design-bookstore.com

Copyright©2012 Liaoning Science & Technology Publishing House

License agreement: www.design-bookstore.com/auxpage_license
Unauthorized copying prohibited.

作者：（波）别内尔特 关木子

纸质书（精装）- 2012
书号：9787538172461
出版商：辽宁科学技术出版社
中国辽宁沈阳

电子书 - 2012
书号：9781619870604
出版商：设计专业出版有限公司
美国加州

经销商：Actrace 公司，2012
网址：www.actrace.com,www.ArchitecturalBookstore.com

版权所有：2012 辽宁科学技术出版社
版权协议：www.design-bookstore.com/auxpage_license
严禁非法复制。