2021白金创意国际大学生平面设计大赛获奖作品选登—B6.书籍设计

白金创意国际大学生平面设计大赛由中国美术学院与浙江省美术家协会共同主办，自2000年创办至今，已成功举办22届，始终致力于为新生代设计力量创造优质、多元、国际的交流平台，年轻的准设计师们也同样以无比的热情与无畏的精神投入到竞赛当中，尽情释放自己的激情与才华。第二十二届白金创意国际大学生平面设计大赛，于2021年10月22日22时正式启动，历时66天，截止至2021年12月27日24时。

本届白金创意大赛聚集15位海内外知名设计师参与评选，先后开展了4轮的严格审核，完成了包含主题设计竞赛单以及自由主题设计竞赛单元在内，共计10项类别的评选工作。最终在众多优秀的投稿作品中选拔出476件获奖作品。

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Designer: Jiang Mengjun  |  Adviser: Hu Yifei

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书籍的内容主要是由我个人的随笔和收集来的图像组成，不依靠“视觉设计”来完成这本书，将设计藏在细节与编辑之中则成为了最初的出发点，书中的随笔是碎片化的，个人化的，通过对水产生的涟漪这一现象思考和发散而来，这些文字或抽象或感性又或偏激，都像是随时随地记录下的突发奇想，它们囊括了设计、现象、状态，与我所之及处的思考和自我论述。

整本书的开本大小就如同一个笔记本，通过内容编辑和手工粘和成为两个部分，两个部分独立且统一，第一部分主要收录了随笔，出现的图像都经过了局部放大处理，局部放大意味着图像信息的模糊和一种审视的姿态，来与随笔的感性与辩证相呼应，这些图像收集于不同的地方，它们本无联系，但根据文本信息来进行重构与拼贴则产生了新的诗意，第二部分则是图录的部分，是第一部分局部图像的完整呈现，其中拉页的设计暗示了“揭开”图像原本样貌的这一阅读行为，图像也根据在第一部分中的出现顺序进行了编号，从而与第一部分建立起联系。在最右侧书籍的外封始终是伴随整个阅读过程的，所以在上面罗列了梗概信息和符号参考信息，一二两个部分的装帧结构在阅读过程中也会错落开来，形成视觉上的暗示与呼应。

This book is mainly composed of my essays and the images I collected. This book does not rely on "visual design", and hiding the design in details and editing has become the original idea. The essays in the book are fragmented and personalized, which is the result of thinking and divergent about the phenomenon of water ripples. These words, whether abstract, perceptual or extreme, are like brainwaves recorded anytime and anywhere, including design, phenomenon, state, as well as my thinking and self-discussion.

The whole book is the size of a notebook. The whole book is composed of two parts, namely, content editing and manual pasting, which are independent yet unified. In the first part, the essay is mainly included. All the images in this part have been magnified locally, which means that the image information echoes with the sensibility and dialectics of the essay in a vague and scrutinizing manner. These images are collected in different places, and there is no connection between them. However, these images are reconstructed and collaged based on text information, which makes them produce new poetic flavor. The second part is the catalogue, which is the complete presentation of the local image in the first part. Among them, the design of the pull page implies the reading behavior of "uncovering" the original appearance of the image. The images are also numbered according to the order in which they appear in the first part, thus establishing a connection with the first part. Since the cover on the right side of the book appears throughout the reading process, the gist and symbolic reference information are listed above. At the same time, the binding structure of the first and second parts is also scattered in the reading process, thus forming a hint and echo visually.

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书籍《回响：伯格曼与你与我》最初受启发于作者本身与英格玛·伯格曼电影所产生的共鸣。作者旨在通过拆解其电影和自传《魔灯》，将故事情境碎片化，以文字和图像为媒介，构成全书四个代表伯格曼作品中广泛出现主题的篇章，以此来寻找电影导演英格玛·伯格曼的作品与他本人的联系、建立普通观众与伯格曼作品的联系。碎片化的内容、微观的角度、多元的主题是这本书呈现的主要面貌。伯格把红色当成灵魂的内在，而对人性的探讨是他电影主要的议题，因而本书在设计上大量使用红色。红胶透过书脊渗入每一页，以传达伯格曼作品给人的沉郁和直击灵魂的震荡。

The book Echoing: Bergman for All was originally inspired by my own resonance with the films of Ingmar Bergman. By deconstructing his films and autobiography The Magic Lantern, the aim is to divide the story scenarios into fragments to form the four chapters that represent themes that frequently appear in his works, and to find the connection between his films and himself through the media of words and images, so as to establish the connection between ordinary audience and Bergman’s works. Fragmented content, micro perspectives, and diverse themes discussions are the main features of this book. Red is regarded as the internality of soul by him, and his works focus on the discussion of human nature, and therefore, red color is used extensively in book design, with each page permeated with red glue, to convey the gloominess of Bergman’s work and the shock of the soul.

长大后的我时常感到自卑与困惑，并在父母的期望和自己喜欢的生活之间犹豫挣扎，我开始通过阅读自我疗愈。在这个过程中，一段段记忆浮现。这本书是我受阿德勒的个体心理学启发，通过回忆家庭教育并分析其对我的影响，由此去理解自己的产物。封面上的战斗陀螺齿条是我儿时的玩具，也是妈妈用来抽打我的武器，它是我家庭教育的最初记忆。每一个故事的背后都隐藏着我的问题及其解答。书本建立了多种索引方式：故事、育儿法、物件、问题，它们构成了解释我人格形成的线索。我将这本书作为送给自己的礼物。

During my growing-up years, I often felt self-abased and struggled between my parent's expectations and the life I like. It made me confused and usually painful. Thus, I read to cure myself, through which I found out the answer to my confusion and recalled my past. As my childhood toy and also my mother’s weapon to beat me, the winder of the Beyblade on the cover is my earliest memory of family education. This book is inspired by the Individual Psychology of Adler to understand myself through recalling my family education and analyzing its influences on me. Behind each story lies my question and analysis. The book contains multiple indexes Including stories, parenting strategies, objects, and growth problems, which become the hints of the formation of my personality. I take this book as a gift given to myself.

Designer: Wang Xiuzhu  |  Adviser: Liang Xiaoxu

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虽然祖父在我五岁时离我而去，但幸运的是，那个时代人们的爱情与亲情、艰辛与磨难，都被他记录在了胶片里。我从他留下的照片和亲人讲述的故事中去拼凑他的生活，所以在主体书的版式中，我用线条分割了照片，使照片的轮廓看起来不完整，以此来表达记忆的“破碎感”。主体书的中文字体，是中国毛笔字和现代楷体子的结合，英文字体的设计也从中文的笔画中提取的灵感，以反映时代的更迭变化和多样性的冲突。书的页边颜色是从20世纪50年代非常具有代表性的中国工装中选择的。志英，志远英才，是我祖父文革之前的名字，英白，意为智慧纯然，则是文革以后更改的。我的祖父是一个有血有肉的个体，也是那个红色年代的一个小小缩影。我把他留下的记忆制作成书，为家人留以慰藉， 为读者留作思考，也想为时代留个念想。

The book Zhiying Yingbai was created by me to honor my grandfather and to document that era. My grandfather was born in 1927 and was a typical Chinese intellectual. He witnessed, throughout many years, various stages of China- from the era of internal and external unrest to that of peace and stability, from the Cultural Revolution to the reform and opening-up, and so on. However, this part of history, for many reasons, is gradually forgotten by many young people in China. This work is divided into three parts: the gray-covered book is the main part, which tells the story of my grandfather’s life; the small red book records the history of China for the readers to better understand the background of the times; the red acrylic box represents the red era of China in which my grandfather lived, which is an echo of the atmosphere.

Although my grandfather passed away when I was five, fortunately, his film documented love, family, hardships and struggles of the people from that time. I pieced together his life from the photos he left behind and the stories told by his relatives, so in the layout of the main book, I divided the photos with lines to make the outlines of the photos look incomplete, thus expressing the "brokenness" of memory. The Chinese font of the main book is a combination of Chinese brush script and modern regular script, and the English font is also inspired by Chinese strokes to reflect the changing times and the conflict of diversity. The colors of the book's page edges were chosen from the very representative Chinese work wear of the 1950s. Zhiying, signifies ambition and talent, was my grandfather's name before the Cultural Revolution, and Yingbai, meaning wisdom and purity, was changed after the Cultural Revolution. As an intellectual at the time, not only was he an individual who was lively and real, but he was also an epitome of history and culture. I collected the memories he left behind to put together this book, bringing consolation to my family, provoking thoughts in the readers and keeping a record for the history of our time.

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Designer: Sun Yilan  |  Adviser: Zhu Jun

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Designer: Ye Jiayi  |  Adviser: Lin Tao

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Designer: Shi Jingjing  |  Adviser: Thomas Griffiths

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Designer: Jia Mingyu  |  Adviser: Lin Tao

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School: Xi'an Academy of Fine Arts

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Designer: Mao Chen  |  Adviser: Lin Tao

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School: Hangzhou Normal University

School: London College of Communication

Designer: Gong Yutian / Li Mengjie / Lin Chenchen

Adviser: Cai Wenchao / Mao Xue

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Designer: Zhang Zuheng  |  Adviser: Lin Tao

School: Hunan University of Technology

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