厦门大学创意与创新学院课程成果｜实践原则02 Principles in Practice 02

实践原则02

二年级 第二学期

视觉传达设计专业

2024级

Principles in Practice 02

Semester 2 - Year 2

Visual Communication Design

2024 Cohort

教学团队

Teaching Team

Daniel Harding, Mark Bellingham,

Karim Decaneva, Sebastian Campos,

张书瑄ZHANG Shuxuan, 庄琪 ZHUANG Qi,

陈伟CHEN Wei, 杨灿赫 YANG Canhe

课程简介

本课程以一项完整连贯的项目——整本印刷书籍的设计与制作为主线，向学生讲授书籍设计的艺术理念与实操工艺。学生将以古登堡计划中已进入公有领域的经典小说为素材，重新构想一部为人熟知的文本，以面向当代读者——不仅需要考虑字体排印与版式布局，还需考量书籍本身的物质形态。

该项目围绕一系列工作坊展开，逐步培养学生排版、网格系统、图像创作与印刷制作等方面的核心技能。学生将学习字体排印的基本原理：层级结构、字距与行距、可读性，以及文字与页面之间的关系。随后，他们将进入更专业的领域，如书籍装帧、纸张选择，以及配套物品的设计——护封、书签、书腰或散页插画等——这些物品与书籍一同呈现，并拓展阅读体验。

在整个课程中，学生需持续撰写设计日志，记录其研究、创作过程及批判性反思。该日志是考核的重要组成部分，有助于呈现想法的演变过程及设计决策的生成逻辑。

本课程还鼓励学生将书籍视为具有文化与物质意义的对象。通过借鉴历史与当代的案例——从中世纪手抄本到瑞士学派的现代主义网格系统——学生建立起对形式与内容如何协同作用的批判性认知。

到本课程结束时，学生制作了一本专业印刷与装订的书籍，并配以经过深思熟虑的附加物品，以及一本反思性的设计日志。

INTRO

This module introduces students to the art and craft of book design through a single, sustained project: the design and production of a complete printed book. Working with classic out-of-copyright novels from Project Gutenberg, students are asked to re-imagine a familiar text for a contemporary audience—considering not only typography and layout, but also the material form of the book itself.

The project is structured around a series of workshops that build essential skills in typesetting, grid systems, image-making, and print production. Students explore the fundamentals of typography: hierarchy, spacing, readability, and the relationship between text and page. They then move into more specialist areas such as bookbinding, paper selection, and the design of additional items—dust jackets, bookmarks, belly-bands, or loose plates—that sit alongside the book and extend the reading experience.

Throughout the unit, students maintain a design journal that documents their research, process, and critical reflection. This journal is a key component of the assessment, offering insight into how ideas develop and how decisions are made.

The unit also encourages students to consider the book as an object with cultural and material significance. Drawing on historical and contemporary examples—from medieval manuscripts to the modernist grids of the Swiss School—students develop a critical awareness of how form and content work together.

By the end of the unit, students have produced a professionally printed and bound book, accompanied by a thoughtfully considered additional item and a reflective design journal.

学生作品｜ STUDENT WORKS

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书籍设计发展过程，任诗妍

Book Design Development, REN Shiyan

《弗兰肯斯坦》—— 任诗妍

Frankenstein: A Scientific Dossier,book designed by REN Shiyan

《弗兰肯斯坦》书籍设计将这部1818年的经典小说重新构想为一份“科学档案”。设计采用纯黑硬封面与纯白护封的极简二元结构，内页选用偏黄道林纸，配合打字机等宽字体与严谨的档案网格系统，营造出19世纪实验记录本的质感。

全书以“Dossier”（档案卷宗）的形式编排每一章节，用黑白双色剥离一切情感滤镜，迫使读者直面小说最核心的追问：谁才是真正的怪物？设计试图通过书籍的物质性本身来回应文本的深层主题——创造者的责任、被遗弃者的悲怆，以及真相与表象之间的永恒裂隙。

The book design forFrankensteinreimagines the classic 1818 novel as a "scientific dossier". The design employs a minimalist binary structure: a black hardcover beneath a white dust jacket. Inside, cream-coloured woodfree paper, monospaced typewriter fonts, and a rigorous archival grid system evoke the tactile quality of a 19th-century laboratory notebook.

Each chapter is structured in the form of a "Dossier" — stamped, dated, and archived like a piece of evidence. The black-and-white palette strips away emotional filters, compelling the reader to confront the novel's central question: Who is the real monster? Through the materiality of the book itself, the design seeks to respond to the novel's deeper themes: the creator’s responsibility, the sorrow of the abandoned, and the eternal rift between truth and appearance.

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书籍设计发展过程，王敏菁

Book Design Development, WANG Minjing

《了不起的盖茨比》—— 王敏菁

The Great Gatsby, book designed by WANG Minjing

本书籍设计以《了不起的盖茨比》为创作对象，围绕“叙事可视化”的设计理念展开实践，将版式、字体、材料与书籍结构共同作为叙事媒介。设计建立了完整的出版物系统，并通过信件、明信片、书签等附加物，将小说中的关键情节与象征意象转化为可触摸、可互动的阅读体验。在遵循出版规范的基础上，探索实验性出版语言，使书籍不仅承载文字内容，更成为连接故事、读者与媒介的叙事载体。

This book design takesThe Great Gatsbyas its creative subject and is developed around the concept of “narrative visualization”. Typography, layout, materials, and book structure are all employed as narrative media rather than purely functional elements. A complete publication system is developed, incorporating supplementary items such as letters, postcards, and bookmarks to transform key plot points and symbolic motifs from the novel into tactile and interactive reading experiences. While following publishing conventions, the design also explores experimental approaches to publication design, so that the book not only conveys textual content, but also becomes a narrative vehicle that connects story, reader, and medium.

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书籍设计发展过程，吴简宁

Book Design Development, WU Jianning

《隐形人》—— 吴简宁

The Invisible Man, book designed by WU Jianning

在科技飞速迭代的时代，科学异化正悄然消解人性温度，理性探索与自我迷失的边界日渐模糊。本次作品为H. G. 威尔斯公版小说《隐形人》进行书籍装帧设计，以科学异化为核心主题，深挖原著中科学实验失控、个体人性被异化的内核。

设计中将硫酸纸、盲文符号融入整体装帧，以朦胧通透的材质隐喻科学带来的未知与疏离，用盲文象征被技术遮蔽的人性感知。结合规整网格排版，营造冷峻神秘的阅读氛围，在还原原著小说叙事沉浸感的同时，赋予作品当代思辨视角，反思科技发展背后的人性困境，重新审视科学与自我之间的关系。

In an era of rapid technological advancement, scientific alienation is quietly eroding the warmth of humanity, and the boundary between rational inquiry and the loss of self grows increasingly blurred. This project presents a book design for H.G. Wells' public domain novelThe Invisible Man, taking scientific alienation as its central theme and exploring the novel's core concerns: the loss of control in scientific experimentation and the alienation of human nature.

Tracing paper and Braille are integrated into the overall book design. The translucent material serves as a metaphor for the uncertainty and detachment brought about by scientific progress, while Braille stands for human sensibility obscured by technology. Paired with a structured grid-based layout, the design creates a cold, enigmatic reading atmosphere. While restoring the immersive narrative quality of the original text, it also imbues the work with a contemporary critical perspective, inviting readers to reflect on the human predicament behind technological advancement and to re-examine the relationship between science and the self.

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书籍设计发展过程，陈缊凌

Book Design Development, CHEN Yunling

《血字的研究》—— 陈缊凌

A Study in Scarlet, book designed by CHEN Yunling

《血字的研究》以福尔摩斯侦探手札为设计核心。全书封面选用大地纸，内页选用道林纸印刷，搭配插图做旧效果，营造复古手记质感。书中部分字体采用手写体，辅以批注式排版，还原福尔摩斯实时推理的思考过程，拉近与读者距离。

结合原著双视角叙事，上篇贴合侦探视角，图片均是笔记效果，下篇图片则贴合凶手视角运用监控放大效果，烘托暗中追踪的复仇氛围。细节上将正文句号全部替换为红色圆点，隐喻案中血迹。周边则制作了邮票，明信片及胶片书签，统一装入档案袋中作为“物证”。整体从材质、质感、版式到视觉意象相互呼应，营造沉浸式复古探案阅读体验。

A Study in Scarletis designed with Sherlock Holmes' detective notes as the core. The cover of the entire book is made of earth-tone paper, while the inner pages are printed on Dowling paper. Paired with the vintage-style illustrations, it evokes the tactile quality of a retro notebook. Some passages in the book are hand-written, complemented by annotation-style typography to reconstruct Sherlock Holmes' real-time deductive process and foster a closer connection with the reader.

Drawing on the novel’s dual-perspective narrative structure, the design differentiates the two parts visually: the first section adopts the detective's viewpoint, with all images rendered as handwritten notes, while the second section shifts to the murderer's perspective, employing a surveillance-style close-up effect to heighten the tension of covert pursuit and vengeful intent. In terms of details, all the full stops in the main text are replaced with red dots, metaphorically representing the bloodstains from the crime. As for the peripherals, stamps, postcards, and film bookmarks are produced and put into a file envelope labelled as "physical evidence". Overall, the materials, texture, layout, and visual images echo each other to create an immersive vintage detective reading experience.

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书籍设计发展过程，陈卓君

Book Design Development, CHEN Zhuojun

《弗兰肯斯坦，或现代的普罗米修斯》—— 陈卓君

Frankenstein, or the Modern Prometheus, book designed by CHEN Zhuojun

本作品是对玛丽·雪莱的《弗兰肯斯坦，或现代的普罗米修斯》的一次当代再诠释。灵感来源于Vela Arbutina为伏尔泰酒馆设计的一系列作品，旨在解剖主人公身份认同中的“碎片化”。通过标题与页眉文字的分割、排列与重叠，设计再现了《弗兰肯斯坦》中怪物身体的重组与挣扎感。书中采用文字跨页分隔的贯穿布局，使读者在翻阅过程中，感受怪物被折叠、撕裂又重组的动态过程。在材质选择上，本书采用三种不同纸张装订：一面光滑、一面粗糙且具有透光性的单光牛皮纸，质地细腻、色调安静优雅的白卡纸，以及富有自然肌理的大地纸。三种纸张的触感交替呈现，让读者在翻页与触摸之间，更直接地体悟人物内心的挣扎与矛盾。

This book offers a contemporary reinterpretation of Mary Shelley’sFrankenstein,or the Modern Prometheus. Inspired by a series of posters that Vela Arbutina designed for Cabaret Voltaire, it seeks to dissect the “fragmentation” inherent in the protagonist’s identity. Through the division, repositioning, and layering of chapter titles and running headings, the design recreates the sense of fragmentation and struggle embodied by the monster in Frankenstein. A continuous cross-spread typographic layout runs throughout the book: text is deliberately split across facing pages, so that as readers turn the pages, they physically enact and feel the dynamic process of the monster being folded, torn apart, and pieced back together. Materially, the book is bound using three distinct types of paper: single-coated kraft paper, which is smooth on one side and rough, translucent on the other; white cardstock, prized for its refined texture and quiet elegance; and earthy-toned paper, with pronounced natural fiber texture. The alternating tactile qualities of these papers invite readers to grasp, through the very act of touching and turning the pages, the character’s inner struggles and contradictions.

以上作品仅供教学与交流使用。

部分课程作品中的图像素材来源于网络或使用 AI 生成。

The above works are for educational purposes only. Some image materials used in the student works are sourced from the internet or generated using AI.