Fundamentals of understanding graphics. §2

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book graphics how kind visual arts

Introduction

Each person, opening any book, newspaper or magazine next to the text, more than once noticed the drawings of artists or photographs. Such images are called illustrations. This word comes from the Latin "illustratio" - lighting, visual image. It complements or accompanies any text.

The term "illustration" can be understood in both the broad and narrow sense of the word. In a broad sense, this is any image that explains the text. There are many drawings, paintings and sculptures that were performed on literary themes, but at the same time had an independent artistic value. For example, paintings by O. Daumier, based on the novel by M. Cervantes "Don Quixote", or drawings by V. Serov for the fables of I.A. Krylov.

In a narrow, strict sense, illustrations are works intended for perception in a certain unity with the text, that is, those that are in the book and participate in its perception in the process of reading.

Illustrations for a literary work together with it represent a single whole. Book illustrations removed from the text can sometimes become obscure and inexpressive. Illustrations are not independent and according to the plot, they must correspond to the content. literary work. They are able to enrich or impoverish it.

The artist is required to become a co-author of the book, to make visible the ideas and images of the writer, thereby helping to better understand the content, more specifically imagine the era, life, environment of the characters in the book. But this does not mean at all that the illustration should be a simple pictorial and graphic retelling of the text.

Illustrations in the narrow sense of the word, therefore, either explain the text by demonstrating the appropriate visual image, or actively interpret the text. Illustrations help to orientate in the content of the book even before reading, attracting readers.

As you know, the same word "illustration" refers to images different in content and form, in meaning for the work and the reader, in the connection between the drawing and the text, in the technique of execution.

According to the goals pursued by the image, illustrations can be divided into:

1. scientific and educational (maps, plans, diagrams, drawings, etc.).

2. artistic and figurative (interpretation of a literary work by means of book graphics).

Illustrations can be an explanatory image to the text, complementing the text, and an image almost completely independent, sometimes even subordinating the text.

Book illustration has to take into account the specific features of the book, the two-dimensionality of the book page, its format, the nature of the font, the type of layout, the quality of the printed paper, the color of the printing ink, etc. Initially, the manuscripts were illustrated with miniatures made and colored by hand. After the invention of printing, illustrations were able to be replicated and took their rightful place in book graphics. Such books were very expensive and quite rare, inaccessible to most ordinary people.

The nature of the illustration system of each illustrator can be assessed from the standpoint of how he conveys in illustrations the two main categories of any action - space and time. By revising individual characteristics visual language, the artist should pay attention to how he draws a line and puts a spot, what kind of movement he gets, what the artist prefers when modeling the form - line and plasticity or light and color, how he builds spatial plans how he distributes black and white, what importance he attaches to the silhouette, what compositional principles he mainly uses, how he prefers to convey the nature of movement, gestures of characters, etc. Often all this is simply called the handwriting of the artist, although it would be more correct to call these features an individual style.

So book illustration special kind fine arts has a huge impact on the formation of sensory perception of the world, develops aesthetic susceptibility, expressed primarily in the pursuit of beauty in all its manifestations. The illustration in the book is the first meeting of children with the world of fine arts. Supplementing and deepening the content of the book, awakening in the child those feelings and emotions that a true work of art evokes in us, and, finally, enriching and developing it visual perception, book illustration performs an aesthetic function.

Purpose: to reveal the essence of the concept of book graphics and its role in art

1. get acquainted with graphics as a type of fine art.

2. Get acquainted with the history and dynamics of the development of illustrations as separate species art.

3. to complete the practical part of the coursework.

1. The history of the development of book graphics

The history of the book is closely connected with the history of fine arts and graphics, because. it was artists who played a prominent role in the creation of handwritten books. They were the creators of the font, and decorations, and drawings.

The artist, by means of fine arts, embodies the ideological and artistic design, creates the artistic and decorative appearance of the book.

He must not only know the fonts and be able to use them, but also be able to modify them, create new ones that correspond to his idea, the style of the book, the nature of the literary work. When working on an illustration, the artist must clearly imagine how it will fit with the set strip on the next page, what the spread of the book will be like.

Currently, there are various types of literature and various types of books, the purpose and circle of readers of which determines the circulation, format, degree and nature of the design. Fiction is the largest section in book publishing, it is closely related to the visual arts, so it is well designed and illustrated. Books for children are famous for their rich design, large formats, and clear, easy-to-read type. political literature, as a rule, is made out in simple and strict colors, where as illustrative material photographs are not infrequent. Scientific and technical literature (textbooks and dictionaries) is framed modestly, if not sparingly. Special editions make up a special group, which is called bibliophilic. Design and illustration of such publications is entrusted to the best masters. Rare and expensive materials are used that are not used for mass publications.

In Russia, the first handwritten books with images appeared in the 10th century. The invention of printing in the middle of the 15th century contributed to the wide dissemination of the book.

A feature of modern book graphics is its connection with printing, its dependence on the level and culture of work in printing production. The tasks of book graphics are divided into:

Book design - appearance, hand-drawn font elements, compositional construction of text types, etc.

Illustrating a book is a figurative disclosure of a literary text with the help of drawings.

In graphics, line and tone illustrations are common. There are illustrations executed in a volumetric plan and a conditionally planar interpretation. There are also their own principles for the development of chiaroscuro, volumes and perspectives, their own scales and methods of composition. That's why conventional graphic easel works, even if they are reduced to book formats, they cannot serve as illustrations and will only be reproductions pasted into a book.

It is necessary to emphasize the particularly prominent role end engraving on the tree in the art of the book.

The book is one of the most important spiritual needs modern man, it organically combines the work of both the artist and publishing workers and printers. Only the harmonious work of these people creates a full-fledged book.

2. Features of the design and illustration of the book

The history of illustration goes far back into the depths of centuries. Also in Ancient Egypt spells and hymns written on papyri were accompanied by illustrations. They were created to visualize the content of the texts. Antique specimens found in the manuscripts of the Iliad and the Aeneid have survived to this day.

In ancient Rus', already in the 11th century, illustrations were created for handwritten books ("Ostromir Gospel", "Izbornik of Svyatoslav"). They were colored, decorated with gold, executed subtly. Such books were made in one copy, highly valued and very expensive. They were not available to people with limited means, and the need for the book became more and more urgent. And then the idea of ​​a printed book arose.

With the invention of printing (late 14th - early 15th century), the history of illustration began to develop rapidly. These illustrations were the same black color as the text itself, because the boards on which the text was engraved were smeared. black paint. Vignette (from the French vignette) gained great popularity in the books of the 18th century - a graphic image completed compositionally, small in volume, plot-thematic or subject-based (often with symbolic meaning). Usually such illustrations were located on the title pages of the book, its first and last pages. history book illustration cannot be regarded as a direct and consistent path of artistic improvement.

There were moments in it when masterpieces were created, but there were also periods of decline, loss of artistic skill.

Nowadays, book graphics are divided into design and illustration of a book. The design of the book includes its decorative outfit, its decorations, hand-drawn type elements, the compositional construction of text types, etc. Illustrating a book solves the problem of figurative disclosure of a literary text with the help of drawings.

The illustration is not defined free choice artist, but a literary work. Its purpose is to “illuminate”, “make visual” what is told in the book - events and actions, as well as general idea which prompted the author to write the book.

The book, by its size and its structure, cannot but influence the features of the illustration. The size of the page limits the size of the illustrations; their close proximity to the font obliges the artist to find a harmonious solution for the book spread. Book illustration has to take into account the specific features of the book, the two-dimensionality of the book page, its format, the nature of the font, the method of layout, the quality of the printed paper, and the color of the printing ink. The printing technique also forces the artist to match the media with the printing method that is intended in this publication.

Illustrating books requires great effort and responsibility from the artist. However, the different possibilities for children and adults to perceive the pictorial language of illustrations force the artist to look for one or another figurative structure of images both in a children's book and in any other, to look for certain plots, compositional constructions, etc. The most specific work of the artist is the design of books for preschoolers and primary school children, at this age the features of children's perception are most pronounced, the goals and objectives facing the graphic designer are complex and diverse.

Based on the general methodological principles of designing book publications, children's book artists develop a special creativity to solving emerging problems that require the use of specific techniques and means of designing and illustrating children's literature.

In general, the design of children's books is closely connected with the state of contemporary art, with the achievements of painting, graphics, and design.

3. Book Design Elements

A special place in the design of the book is occupied by its appearance. The external elements of a book include the binding, cover, dust jacket, title page, illustrations, intro, ending, and initial. Work on the cover and dust jacket is carried out in parallel with work on the internal material of the book, text and illustrations.

Cover - artistic solution cover of the book in which the book block is enclosed. The cover solution should be conditionally decorative, clear, give the book a beautiful appearance, but at the same time give an accurate description of the book, reveal its main meaning, style and figurative structure. The cover should have font elements that reflect the main heading data. The book cover is not just hard pages that do not allow the book to quickly become unusable and present the title and author of the work. The cover of a book is much more than that, because it is it that can attract the reader and repel him, create a good impression of the book or a deceptive one. The cover design of a book should fully reflect its content - moreover, not only provide specific information about the work, but also to some extent reflect its genre, essence, mood. If the mood of the work is not taken into account when creating the cover design, then the reader may feel deceived - he expected to read interesting complex philosophical parables, but he got an ordinary detective story. Of course, books are chosen by authors, titles and genres, but without their knowledge, people are subconsciously guided by the cover, so it should convey the mood of a literary work.

Of the design indicators, only two have a relative influence on the principle of visual solution: the decoration of headings and illustrations. The decoration should be reflected in the general compositional scheme of the cover and binding, and, in particular, in the nature of the use of color, type design, line construction, etc. The illustration material has a great influence on the choice of the theme for the image on the cover or binding.

By the nature of the design, covers and bindings can be type, ornamental, emblematic, subject-decorative, subject-thematic, etc.

The usual cover material for a long time was paper, thicker than the sheets of a book block, but still not strong enough. The development of chemistry has made it possible to create new, more durable materials for the cover, in which paper is only the basis. The most important of them is paper coated on one or both sides with a transparent polymer. This material is not only much stronger than ordinary paper, but also noticeably differs from it in appearance and design qualities. The strength of a pure paper cover can also be increased by laminating a transparent synthetic film or varnishing on it. More durable adhesives have also been developed for bonding the cover to the book block. The strength of the publication in the cover also depends on the way it is fastened to the book block, and the design of the cover itself can become somewhat more complicated.

Issuing a paperback edition is much easier and can be done much faster than a hardcover edition. In addition, the cover is cheaper than the binding. Therefore, the release of editions in the cover is expanding.

Cover design is often presented as a file or a set of color separations, if the color separation was done manually, then as an image on thick paper with a transparent coating containing instructions or additional details.

The binding is stronger than the cover, but the strength of its various types again depends on the material and design features. Today, two types of binding are common: full-fabric and composite. On whole-fabric bindings, the text and image are applied with paint or embossing, bronze foil is often used. There is a relief stamping without paint. Bindings of this type are concise, as they are made in two or three stampings. Most often, the image on them is reduced to a sign, a symbol. Composite bindings, which consist of a fabric spine and paper-covered sides, can reproduce a multicolor image.

A book binding consists of two strong, usually hard covers (front and back) and a spine, into which the bound pages of the book are enclosed (pasted). Required element bound books are endpapers - sheets of thick paper folded in half, glued in front and behind the book to the outermost notebook of the book block and the inside of the binding cover, serving as a means of fastening the book and an element of it decoration. In addition, a bound book, as a rule, has a captal - a cotton or silk braid with a thickened edge, attached to the spine of the book block in order to most firmly fasten the pages of the book, as well as decorate it.

An important trade mark of the binding is the originality of its artistic solution, which is based on the method of decorating the binding - binding covers, spine, flyleaf and edge together. The main binding methods are as follows:

1. Printing with grated paints.

Reproducing text, ornament or drawing in a way letterpress, while images can be single-color and multi-color. It is the most simple, economical and common type of binding design for mass publications.

2. Embossing.

Technique artistic processing leather, fabric, metal, cardboard, etc., obtaining an image of a pattern or text on their surface by pressure. There are the following main types of embossing: 2.1. Flat ink inkless ("blint", fire, blind - blind (English)) is essentially a kind of letterpress inkless printing; the simplest and most economical type of embossing. 2.2. Relief, or relief. Obtaining a convex image on binding covers. Differs in great visual possibilities, complexity technological process and high cost, it is used to a limited extent, mainly in the most artistically designed editions to reproduce the portrait of the author of the book, various emblems, etc. It can be colorless and colored. 2.3. Deep colorful. Type of embossing similar to that described in paragraph 2.1 and differing from it by the presence of a colorful image. It can be with the use of binding foil (colorful and metallized).

3. Inlay, or mosaic.

4. Decoration of the binding surface with patterns or images from other materials that differ from the main one in color or quality.

4. Drawing and coloring by hand.

1. Coating with paints or gold edges of books in protective and decorative purposes; has been used since ancient times. 2. Decoration of covers (leather, paper) with spray (paint splashes) with subsequent varnishing of the surface of the material. 3. Obtaining marble (imitating the natural pattern of marble).

5. Attaching metal jewelry.

1. Decoration of covers with metal fittings (corners, centerpieces, beetles) or salary.

2. Attaching fasteners.

3. Attaching veils (closes) - shields in the form of silver plates to the upper board of the salary in order to protect the artistically designed edges of books.

6. Torchonirovanie - Processing the surface of the binding material or edges of books with special tools in order to change their texture.

The title page is the right half of the first spread of the book. The title contains more complex font elements that explain the heading and publishing data. If an illustration is placed on the left page of the first spread, or a portrait of the author is printed, such a page is called a frontispiece. The drawing on the title is used relatively rarely and has more decorative value.

Shmuttitulami are called separate sheets, which open parts, sections of the book. A heading and a simple ornamental motif or drawing are placed on the half-title.

A dust jacket is an artistically designed paper cover of a book on top of the cover. the main task- draw attention to the book and protect the cover from damage for a while.

Illustrations are drawings that figuratively reveal literary text subject to the content and style of a literary work.

Screensaver - a small composition of an ornamental nature or in the form of a picture that opens some section of the text.

Ending - a small drawing or ornamental motif that completes last page any section or the entire book.

Initial - initial in the text of the book created by the artist.

Descent or descent strip - they call the first page of the text of the book, usually decorated with a headband or initial letter.

4. Book illustration. Its types and functions

Book illustration reflects reality through a figurative, visual reproduction of its visible forms, conveys the appearance of objects and phenomena of the surrounding world, the whole variety of events perceived by vision. In turn, book graphics are an integral part of the book edition. The book includes literature, graphics, type art and printing art. Book artists develop the type of publication, the design of the book, its decoration, illustration cycle.

Illustrating classical fiction should fulfill the following tasks: help the reader navigate the appropriate era and complement the author's plot with those individual historical and household parts, which it is not always easy for the writer to highlight in the course of the development of the action (for example, detailed description appearance of the hero, costume, setting, etc.).

Depending on the size and location in the book, there are the following types of illustrations:

Frontispiece;

Screensaver;

Strip illustration (full page);

Half-band;

Centerfold (on two pages);

Frill (a small drawing surrounded by text);

Drawings in the fields;

Ending.

Frontispiece (fr. frontispice) - title illustration placed on the left half of the first spread of the book, right side which occupies the title page. The frontispiece is an illustration to the entire literary work, expressing the most essential side of the work, its ideological and artistic center. It can correspond to a specific place in a work or a group of topics combined into one whole, have an associative or generalized image. Sometimes a portrait of the writer or the main characters is placed here.

Screensaver illustrations are placed at the beginning of a part or chapter of a book on the slippage along with the text, signify the beginning of one of the parts of the story, are usually located at the top of the page and are separated from the text by a white margin. They help the reader to focus on new material, emotionally tune in to it. Screensavers may depict the scene described at the beginning of the chapter; talk about main topic parts or chapters; show a scene or landscape that should evoke the appropriate mood in the reader. Screensavers can also be subject-decorative or symbolic. Screen saver - like a small overture to the text, preparing the reader for the active perception of a literary work or chapter of a book.

Striped, half-striped, spread, frilled and marginal illustrations are placed inside the text. The choice of illustration format is determined depending on the importance of the illustrated event, image, etc. The content of such illustrations is usually directly related to the text that precedes or follows them. For large centerfold or strip illustrations choose important events works, and less significant ones are depicted on small frilled illustrations or drawn in the margins.

Illustrations largely determine the architectonics of the book, so it is necessary to pay attention to their rhythmic alternation and uniform saturation of the entire text with them.

Ending illustrations are placed at the end of parts, chapters or the entire book. They, like screensavers, can be subject-thematic, ornamental-decorative or symbolic.

Also illustrations are divided into types:

subject

abstract

figurative

drawings, diagrams, maps

The layout of an illustration on a strip depends on the format of the illustration and on the format of the strip. Allocate an open layout (the illustration is installed at the top or bottom of the strip and is in contact with the text on one or two sides). Closed layout, in which the illustration is wrapped inside the text and comes into contact with the text on two (sidewise layout) or three sides (frill layout). Blind layout, in which the illustration is covered with text on four sides (double-sided frill). Layout illustrations in the margins. Layout with access to the field. Strip illustration - occupies the entire strip. Format - the whole format. Especially important is the cognitive (or explanatory) illustration in reference, scientific, technical and educational publications. Cognitive illustrations can be of two types: believable recreation appearance object or diagram.

In the first case, the illustration appeals to visual-sensory perception, in the second, demonstrating the fundamental structure of the object or explaining the mechanism of its action, it appeals to the reader's logical thinking ability. Cognitive illustration should be documentary, accurate. in didactic and scientific publications they use entertaining illustrations that give the reader the necessary psychological relaxation. In textbooks, it is productive to use game illustrations, with the help of which the student receives and performs this or that task in a playful way. Artistic illustration is not obligatory element books. But if the publisher decides to publish a literary and artistic work with illustrations, he must realize the full responsibility of such a decision. Nothing harms an edition more than a "lightweight" illustration based on superficial reading and therefore discrediting, stupefying the writer's work. Only an artist who is able and willing to delve into the essence of the writer's text and embody its spirit in a pictorial form should be involved in the work.

The purpose of a figurative illustration is not limited to a narrowly explanatory function: it must affect the viewer as a full-fledged work of art, be executed with high graphic skill. In addition, it should be organically "embedded" in the book, become part of its overall typographic architectonics. The complementary function of illustrations is associated with the ability of the image to expand the understanding of the text, to show a part within the boundaries of the whole, or, conversely, to present the whole as constituent parts. In addition, illustrations contribute to the formation of additional experiences in the reader, which expand the possibilities of the influence of books on the emotional sphere of the individual.

The pictorial language of an illustration depends on the time of its creation. The circumstances under which the book is published are also decisive. The handwritten and limited edition book was decorated and illustrated the best craftsmen. Becoming a hot commodity, a book of the late 19th century often ends up in the hands of artisan illustrators.

One cannot, however, judge the artistic quality of an illustration solely on the basis of whether one likes or dislikes it. Such assessments can be explained by insufficient familiarity with works of art, an undeveloped ability to analyze. Displeasure can be caused by meeting with the unusual, in an unexpected way images, although this method is dictated by the literary work itself. General culture And aesthetic education are obligatory and necessary for a correct understanding of artistic illustration.

illustration book graphics design

Conclusion

Art is always in tune with its time, it is modern and reflects the worldview of society as a whole. In turn, art has a strong influence on the masses, which is why the attitude of the artist himself to life is so important. The development of diverse distorted trends in art, the so-called pseudo-art, is in tune with its era.

However, with all the variability of art forms within a given period, there have always been relatively stable artistic signs- compositional, plastic, coloristic, rhythmic and others that determine the style of a particular time.

The best representatives of culture: artists, graphic artists, sculptors, architects, cinematographers, actors, writers yesterday and today strive to reflect the best thoughts and feelings of mankind in their work, to treat the masterpieces of world culture with care.

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The book, which is one of the most important spiritual needs of modern man, organically combines the work of the artist, publishers and printers.

book graphics- one of the types of graphic art. This includes, in particular, book illustrations, vignettes, headpieces, drop caps, covers, dust jackets, etc. The history of drawing has been largely associated with the handwritten book since antiquity and the Middle Ages, and the development of engraving and lithography has been connected with the printed book. IN ancient world a font appeared, also related to graphics, since the letter itself is a graphic sign

A distinctive feature of book graphics is its close connection with printing, its dependence on the level and culture of work in printing production.

Based on the main tasks of book graphics, it is divided into design and illustration of the book. The design of the book includes its decorative outfit, its decoration, hand-drawn font elements, the compositional construction of the text set, etc. (cover, title page, half-titles, etc.). Illustrating a book (from the Latin illustratio - a visual image, description) solves the problem of figurative disclosure of a literary text with the help of drawings (illustrations). different kind).

Real illustrations in the book, with all the depth of the ideological, figurative solution, in turn, do not lose their decorative effect, do not cease to be elements of the book's decoration, in perfect harmony with the set, paper - with the nature of the book.

The history of the book begins with papyrus scrolls (from 3 thousand BC in Ancient Egypt), in the first centuries AD. parchment codices appear (type modern book) - both were decorated with drawings and miniatures. This design system is richly and intricately developed in the paper book of the Middle Ages of Europe and Asia. The invention of printing in the middle of the 15th century created a classic European book with a combination of type and engravings (first on wood, from the 17th century on metal). At 19 - beg. 20th century The rapid development of reproduction technology brought book graphics closer to printing, created the profession of a book artist and illustrator.

An illustrator working on book illustrations. An illustrator cannot do without knowledge of special complex techniques: etching, aquatin, etc. Although it happens that an illustration is just a pencil drawing. In work, the illustrator uses a computer, most often with its help a layout is made on art material. An illustrator must: be able to make sketches (so that they do not take too much time, but it is clear how the result will look), soberly calculate their strengths, cope with work on time and show sketches at the right time; be able to offer two significantly different versions of the finished picture, without the fact that their creation becomes a double job. And most importantly: it should have a pronounced and predictable style.

Book graphics as an art form, its means of expression.

The role of book illustration in the formation of artistic and aesthetic taste in preschool children.

With a children's book, the baby meets in the very first years of his life. The book is one of the first works of art with which he meets.

The artist comes to the child when he still does not know how to speak, and, along with his parents, with the author of a children's book, becomes the first educator and teacher. It forms in children a love of beauty, high aesthetic feelings, artistic taste, love to motherland.

Book graphics belongs to the visual arts. Like all types of art (painting, graphics, sculpture, architecture), it reflects reality through figurative, visual reproduction of its visible forms, conveys the appearance of objects and phenomena of the objective world, the whole variety of events perceived by vision and life processes. Fine art conveys this or that moment of development and movement, as if “stopping moments”, and helps a person to see the connections and relationships of objects real world, reveals the beauty of reality, sometimes hidden from a person by particulars, random details.

Fine art not only depicts the world around it, but also expresses the feelings and thoughts of the artist, his attitude to what is displayed. This unity of image and expression, special and general, objective and subjective, rational and emotional, determines the essence artistic image. Expressive means artwork- drawing, composition, color - "work" for the embodiment of the ideological and aesthetic concept of the artist, for the creation complete picture life, allowing you to highlight the main, basic, typical, essential in the depicted reality.

Graphics more than other types of fine arts is closer to writing, drawing, conventional sign, since its important graphic tool is the plane itself white sheet paper with lines, dots, strokes and spots applied to it.

Book graphics - illustration - these are drawings that figuratively explain the literary text, at the same time decorating the book, enriching its decorative structure. The peculiarity of illustration as a genre of fine arts is that its figurative structure is based on a given literary canvas and is subject to a specific task - to illuminate and explain the text. Genuinely art illustration always closely merges with the text of the book, forming an inseparable unity with it.

Main artistic medium illustration art for children is a figurative realistic disclosure of the ideas of literature and the phenomena of life, the meaning of everything that surrounds us. It is based on the imagery of children's thinking. The artist comes to the child when he still cannot speak, and the artist helps him understand the content of the book.

The image of the hero is one of the most important points in illustration for children. In the book for little ones, the artistic image brings the child the most diverse concepts of the world around him, serves as the first measure of life phenomena.

The creation of an artistic image in an illustration for children is carried out using a set of specific means artistic expressiveness graphics, drawings, colors, compositions book page, book layout as a whole.

Color in a children's book is the artist's main assistant. Studies show that he plays important role in the process of perception by the child of illustrations. This is due to the special emotionality of children, their increased responsiveness to color.

The complexity of the relationship of children to color is clearly visible in their drawings, where color acts as a way to distinguish objects, express emotions: often color also performs a game function. For an artist who refers not only to color perception, but also to the "color imagination" of children, it is important that this imagination is controlled both by the impressions of the visible world and emotional reaction on them, as well as the specific game logic of the child. The task of the artist is to satisfy the child's need for color harmony. Introducing children to comprehend the laws of color harmony, the artist not only develops their aesthetic feelings, but also prepares his viewers for a full perception of many other phenomena of reality.

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A distinctive feature of book graphics is its close connection with printing, its dependence on the level and culture of work in printing production.

Based on the main tasks of book graphics, it is divided into design and illustration of the book. The design of the book includes its decorative outfit, its decoration, drawn font elements, the compositional construction of text types, etc. (cover, title page, title page, etc.) Illustrating a book (from Latin illustratio - a visual image, description) solves the problem of figurative disclosure of a literary text with the help of drawings (illustrations of various types). Immediately make a reservation that such a division is very conditional. In a good book, it is impossible to trace where the design ends and the illustration begins. We know examples of convincing solutions ideological concept and building books only by means of design. All over the place in the design elements (on the cover, title page, dust jacket, etc.) we meet a drawing that contributes to the disclosure of a literary text. Real illustrations in the book, with all the depth of the ideological, figurative solution, in

in turn, they do not lose their decorative effect, do not cease to be elements of the book's decoration, perfectly in harmony with the set, paper - with the nature of the book.

The complex organism of a book consists of many elements. Let's get acquainted with those elements in the solution of which the artist plays a leading role.

Cover (hardback)- an artistic solution for the cover of the book, in which the book block is enclosed. The cover solution, in which, as a rule, color is used, should be conditionally decorative, clear, give the book a beautiful appearance, but at the same time give an accurate description of the book, reveal its main meaning, style and figurative structure. The cover should have font elements that reflect the main heading data (author and title of the book).

dust jacket(from lat. super - above, over) is called the artistically designed paper cover of the book

over the cover. The main task of the dust jacket is to draw attention to the book and to protect the cover from damage for some time.

Title or title page- the right half of the first spread of the book.

The title contains more complex font elements that explain the heading and publishing data. Sometimes this data is extended to the adjacent, left page - the countertitle. This decision is called a reversal title. If an illustration is placed on the left page of the first spread or a portrait of the author is printed, such a page is called frontispiece. The drawing on the title is used relatively rarely and has more decorative value.

Shmuttitulami Separate sheets are called, which open parts, sections of the book. A heading and a simple ornamental motif or drawing are placed on it.

Illustrations- these are drawings that figuratively reveal a literary text, subordinate to the content and style of a literary work, at the same time decorating a book and enriching its decorative structure. The tasks of illustration are also partially solved in the drawings on the cover, title, intros, and endings.

Screensaver- a small composition of an ornamental nature or in the form of a drawing, opening some section of the text (the beginning of a book, part, chapter). The splash screen is closely related to the typesetting strip and never turns into an illustration.

ending- a small drawing or ornamental motif that completes the last page of a section or entire book.

Initial(from Latin initialis - initial) - the initial letter of any section in the text of a book, manuscript, created by the artist. In everyday life, the old Russian name of the initial has been preserved - a letter.

The first page of the text of the book, usually decorated with a headband or initial letter, is called a descent or

downhill strip.

This is a short list of the elements of the book. In addition to the obligatory cover and title for each book, all other elements are introduced to the extent required by the goals, purpose of the book, its volume, circulation and artist's intention.

The creative process in the art of book graphics is complex. The artist must capture the spirit of a literary work, its style and reflect it in his work. He is faced with the task of revealing the ideological and artistic content of the work by means of fine art, preserving the unity of the figurative and decorative structure of the book with the spirit of the work, the style of the writer and giving in his individual pictorial solution contemporary assessment literary work.

An important side of the art of book graphics is the obligatory consideration of the features of the printing structure of the book, its peculiar nature as cultural value and how things. The artist of the book must work in a strictly defined, predetermined size (format). There are certain most rational standard formats.

The artist cannot arbitrarily change the proportions of the sheet, which creates certain difficulties and features in the composition. Based on the mandatory format, the artist determines the volume of the book, the number and type of pictorial elements, their distribution throughout the book, it must be clear to him what font the text will be typed in, what are the proportions of the typesetting strip and page margins. All pictorial elements in the book are very closely related to type. The creation of fonts is ancient and high art. Many generations of artists have worked on the creation of fonts beautiful drawing, perfect proportions, fonts clear, readable and varied in style. Only by having a variety of beautiful fonts, you can successfully solve the problems of book design. Type elements of the cover, titles, dust jackets, half-titles, separate headings, as a rule, are drawn by artists. It is necessary to achieve their harmonious combination with typefaces, with pictorial elements. The book artist must not only know fonts and be able to use them, but also be able to modify existing fonts and create new ones that correspond to his idea, style of the book, character

literary work. Constantly caring about the printing and artistic unity of the book, the artist must know at least the basics of printing production and be in close contact with publishing workers preparing the book for publication, and printers. All the pictorial elements of the book should be harmoniously connected with the plane of the paper, with the strip of typesetting. When working, for example, on an illustration, the artist must have a clear idea of ​​how it will be combined with the typesetting strip on the next page, what the spread of the book will be like.

Modern book graphics are characterized by a variety of searches, bold experiments by many masters, different in their creative appearance.

A separate line in the art of book graphics should be considered magazine and newspaper graphics. Specificity periodicals sets its own, special tasks for magazine and newspaper graphics. If a book serves a person for a long time and is devoted to a specific topic, one branch of knowledge, then rapidly changing (periodical) magazines and newspapers contain the most diverse material, reflecting the tasks of the day, covering the most diverse areas of human activity. The newspaper serves one day, it is read quickly, and all its visual elements should immediately fit into the mind, and therefore, be simple, beautiful and clear, convenient for quick perception. Line drawings are best perceived in newspapers. The journal publishes material of a review, generalizing nature. Quite often the magazine is addressed to a certain circle of readers (an agricultural magazine, a health magazine, a fashion magazine, etc.). But the magazine is also characterized by a variety of material and a short service life. The formats of magazines and the layout of the text in them differ significantly from those in books. The magazine drawing should be expressive and catchy, in good harmony with headings and typesetting. Very good for a sketchbook. They are favorably distinguished from photographs by the ability of the artist to display the most typical, to generalize

phenomenon, create an image, character; besides, the drawings fit much better with the set than the photographs. Today, unfortunately, our newspapers and magazines often abound with stamps that make it easy and quick to use computer technology.

Caricature(from it. caricatura< caricare – нагружать, преувеличивать) – особый satirical genre newspaper and magazine graphics. The caricature deliberately emphasizes, exaggerates character traits and features of a person or event in order to fulfill the task of exposing, ridiculing, influencing. Independent (easel) caricature is relatively rare - it is almost always associated with a newspaper, magazine, book, poster. In most cases, the cartoon is accompanied by text. Thanks to the printed editions, the caricature spreads very widely.

Distinctive featurebookstore graphics is its close relationship with printing, its dependence on the level and culture of work of printing production.

Based on the main tasks of book graphics, it is divided intodecor Andillustration books. The design of the book includes its decorative outfit, its decoration, drawn font elements, the compositional construction of text types, etc. (cover, title page, title page, etc.) Illustrating the book (from lat. illustration - a visual image, description) solves the problem of figurative disclosure of a literary text with the help of drawings (illustrations of various types). Immediately make a reservation that such a division is very conditional. In a good book, it is impossible to trace where the design ends and the illustration begins. We know examples of a convincing solution to the ideological concept and the construction of books only by means of design. Quite often in the design elements (on the cover, title page, dust jacket, etc.) we find a drawing that contributes to the disclosure of a literary text. Real illustrations in the book, with all the depth of the ideological, figurative solution, in turn, do not lose their decorative effect, do not cease to be elements of the book's decoration, in perfect harmony with the set, paper - with the nature of the book.

I. Bilibin. Cover of the book by J. Kennan "Siberia and exile". 1906.

Super cover

The complex organism of a book consists of manyelements . Let's get acquainted with those elements in the solution of which the artist plays a leading role.

Cover (hardback) - an artistic solution for the cover of the book, in which the book block is enclosed. The cover solution, in which, as a rule, color is used, should be conditionally decorative, clear, give the book a beautiful appearance, but at the same time give an accurate description of the book, reveal its main meaning, style and figurative structure. The cover should have font elements that reflect the main heading data (author and title of the book).

Title example.

V. Favorsky. Reversal title. 1931.

dust jacket ( from lat. super - above, above) is called the artistically designed paper cover of the book on top of the cover. The main task of the dust jacket is to draw attention to the book and to protect the cover from damage for some time.

Title or title page – the right half of the first spread of the book. The title contains more complex font elements that explain the heading and publishing data. Sometimes this data is extended to the adjacent, left page - the countertitle. This decision is called a reversal title. If an illustration is placed on the left page of the first spread or a portrait of the author is printed, such a page is calledfrontispiece . The drawing on the title is used relatively rarely and has more decorative value.Shmuttitulami Separate sheets are called, which open parts, sections of the book. A heading and a simple ornamental motif or drawing are placed on it.

N.I. Piskarev. Shmuttitul to the book by A.V. Lunacharsky "The Liberated Don Quixote". 1922.

Illustrations - these are drawings that figuratively reveal a literary text, subordinate to the content and style of a literary work, at the same time decorating a book and enriching its decorative structure. The tasks of illustration are also partially solved in the drawings on the cover, title, intros, and endings.

Screensaver - a small composition of an ornamental nature or in the form of a drawing, opening some section of the text (the beginning of a book, part, chapter). The splash screen is closely related to the typesetting strip and never turns into an illustration.

ending - a small drawing or ornamental motif that completes the last page of a section or entire book.

Initial (from lat. initialis - initial) - the initial letter of any section in the text of the book, manuscript, created by the artist. In everyday life, the old Russian name of the initial has been preserved - a letter.

The first page of the text of the book, usually decorated with a headband or initial letter, is called a descent ordownhill strip.

Gerasimenko-Zhiznevsky. Illustration for V. Bykov's story "The Sign of Trouble". Lithography.

This is a short list of the elements of the book. In addition to the obligatory cover and title for each book, all other elements are introduced to the extent required by the purpose, purpose of the book, its volume, circulation and artist's intention.

The creative process in the art of book graphics is complex. The artist must capture the spirit of a literary work, its style and reflect it in his work. In front of himthe task is - to reveal the ideological and artistic content of the work by means of fine art, to preserve the unity of the figurative and decorative structure of the book with the spirit of the work, the style of the writer, and to give a modern assessment of the literary work in his individual pictorial decision.

I. Bilibin. Screensaver to the poem by A.S. Pushkin "Two Crows". 1910.

I. Bilibin. Ending to A.S. Pushkin's poem "Two Crows". 1910.

An important side of the art of book graphics is the obligatory consideration of the features of the printing structure of the book, its peculiar nature as a cultural value and as a thing. The artist of the book must work in a strictly defined, predetermined size (format). There are certain most rational standard formats. The artist cannot arbitrarily change the proportions of the sheet, which creates certain difficulties and features in the composition. Based on the mandatory format, the artist determines the volume of the book, the number and type of pictorial elements, their distribution throughout the book, it must be clear to him what font the text will be typed in, what are the proportions of the typesetting strip and page margins. All the pictorial elements in the book are very closely related to type. The creation of fonts is an ancient and high art. Many generations of artists have worked to create fonts with a beautiful design, perfect proportions, fonts that are clear, readable and varied in style. Only having a variety of beautiful fonts, you can successfully solve the problem of book design. Type elements of the cover, titles, dust jackets, half-titles, separate headings, as a rule, are drawn by artists. It is necessary to achieve their harmonious combination with typesetting fonts, with graphic elements. The book artist must not only know fonts and be able to use them, but also be able to modify existing fonts and create new ones that correspond to his idea, the style of the book, the nature of the literary work. Constantly caring about the printing and artistic unity of the book, the artist must know at least the basics of printing production and be in close contact with publishing workers preparing the book for publication, and printers. All the pictorial elements of the book should be harmoniously connected with the plane of the paper, with the strip of typesetting. When working, for example, on an illustration, the artist must clearly imagine how it will be combined with the set strip on the next page, what the spread of the book will be like.

I. Bilibin. Initial. 1921.

Modern book graphics are characterized by a variety of searches, bold experiments by many masters, different in their creative appearance.

A separate line in the art of book graphics should be consideredmagazine and newspaper graphics. The specificity of periodicals poses its own, special tasks for magazine and newspaper graphics. If a book serves a person for a long time and is devoted to a specific topic, one branch of knowledge, then rapidly changing (periodical) magazines and newspapers contain the most diverse material, reflecting the tasks of the day, covering the most diverse areas of human activity. The newspaper serves one day, it is read quickly, and all its visual elements should immediately fit into the mind, and therefore, be simple, beautiful and clear, convenient for quick perception. Line drawings are best perceived in newspapers. The journal publishes material of a review, generalizing nature. Quite often the magazine is addressed to a certain circle of readers (an agricultural magazine, a health magazine, a fashion magazine, etc.). But the magazine is also characterized by a variety of material and a short service life. The formats of magazines and the layout of the text in them differ significantly from those in books. The magazine drawing should be expressive and catchy, in good harmony with headings and typesetting. Very good for a sketchbook. They are favorably distinguished from photographs by the artist's ability to display the most typical, to generalize a phenomenon, to create an image, a character; besides, the drawings fit much better with the set than the photographs. Today, unfortunately, our newspapers and magazines often abound with stamps that make it easy and quick to use computer technology.

V. Zamirailo. Descent lane. 1921.

Caricature (from it. caricatura< caricare - load, exaggerate) - a special satirical genre of newspaper and magazine graphics. The caricature deliberately emphasizes, exaggerates the characteristic features and characteristics of a person or event in order to fulfill the task of exposing, ridiculing, influencing. Independent (easel) caricature is relatively rare - it is almost always associated with a newspaper, magazine, book, poster. In most cases, the cartoon is accompanied by text. Thanks to the printed editions, the caricature spreads very widely.

There are special comic magazines, collections of cartoons, etc. Not every artist can work in this genre. A cartoonist must have a special gift, a sharp eye, notice the most characteristic, the ability to exaggerate, while remaining deep and subtle artist without falling into empty superficial banter and vulgarity. In the history of art, many such “accurate” masters are known, for example, O. Daumier, H. Bidstrup, J. Effel, V. Serov, D. Moor, Kukryniksy and many others.