Professional Design Services
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We fully understand: the success or failure of cover design depends on design positioning. This involves good preliminary communication with the client, including specific content such as style positioning for cover design; analysis of corporate culture and product characteristics; industry feature positioning; brochure operation process; the client's views, etc., all of which may influence the style of the cover design. Therefore, good cover design is half derived from prior communication, reflecting the consumer needs of the client and bringing greater sales performance to the client.
In graphic design, image is a very important element. The designer must use appropriate images to visually convey the design content to the audience. Broadly speaking, everything that can be seen is an "image."
Book cover design is an art based on "image," giving readers an image, impression, and unique appearance. This "image" encompasses the material forms, phenomena, and pictures in the universe. Cover design uses visual language on a flat surface to reveal the content or nature of the book.
Using abstract forms, it allows readers to perceive the "spirit" of the book, immersing themselves in this "spirit."
Book cover design belongs to the art of "intention." "Words cannot fully express thoughts, and writings cannot fully express intentions." What words have yet to express, what is insufficiently expressed, can be supplemented by "image." The "image" of a book cover enriches the content of the book to a certain extent, thereby influencing the promotion of the book.
Cover design must express a certain "intention," but it cannot be arbitrary or capricious; it must establish its meaning according to the theme. That is to say, cover design has a thematic nature. This "intention" not only comes from the book title but also from the deeper meaning of the manuscript and the scope of use after completion, market needs, etc. The designer must consider the entire thematic significance of the book and try to provide the correct response; cover design not only answers the designated meaning of the theme but also displays the cultural significance of the design itself. Good design not only significantly enhances the cultural taste of the book but also the artistic beauty itself always first pleases the reader's soul. And it subtly influences all those who see it.
As practical decorative art, cover design uses symbolic methods formed by long-term cultural consciousness, life experience, literary symbols, etc., during its conception to explain certain meanings, or uses freehand techniques to subtly simulate and express beauty, forming unique pictorial languages. This makes the form of the book cover consistent with the content of the book, achieving unity with the overall presentation of the book.
As a cover designer, one cultivates their own artistic flower on the land of the book author, to bear the fruit of the book. A more reasonable way should be used to express "intention," "to illuminate divine wisdom, to categorize the emotions of all things" — using "image" to inspire readers to summarize and grasp the essence of the book from an abstract perspective and an overall concept, penetrating through appearances to delve into the core.
The conception of the cover is based on the designer's own artistic cultivation and cultural accumulation. It uses vividly characterized "images" to enrich the book with a sense of time and vitality, selecting and comparing various forms of beauty in original ways, thereby touching the reader's heartstrings. "Illuminating so they can see," the cover shines light on the unseen or unclear contents of the book, establishing "image" to fully express "intention," endowing the book with vitality.
The formal elements of "image": points, lines, planes, volumes, space, color, texture, etc... In the eyes of the designer, these should all be personalized and emotional "intentions." The expressive power of "image" composed of basic elements is infinite. In design, simplicity without being simplistic, richness without chaos should be pursued — like light emitted from a point becoming a ray, some points scattered then gathering to form a plane, planes forming volumes, and then expanding infinitely, reenacting the implications of time and speed, presenting the connotations of sun, moon, and annual rings. Simple yet rich, colorful yet clear.
Exploring the connection between "image" and "intention" requires a certain understanding of visual psychology. The Gestalt psychology school from Germany is worth referencing, such as grouping, virtual momentum, visual constancy, psychological principles of illusions, etc. Designers need to mobilize the reader's perceptual abilities, using various visual and psychological elements combined to communicate with the reader via "image," aiming for the best effect of the cover image.
During the visual communication process, designers are required to use "image" to summarize the "spirit" of the book, thinking creatively, seeking breakthroughs in "establishing images"; especially in design, attention should be paid to the fact that different professions, ethnicities, and cultural literacy levels among readers lead to differing preferences for "image." It is important to grasp the measure of "intention." Humans have known since ancient times how to use images to express ideas. Due to the influence of environment and living habits, people from different regions have different traditions in the use of images. Designers should absorb experience from tradition.
As modern cover designers, the most important thing is to find the convergence point between nationality and the world, tradition and modernity. While enriching the concepts of bookbinding design, they should absorb nutrients from other art forms, comprehend "image," seek "intention," and thus innovate.