Abstract: People's judgment on the aesthetics of books is no longer confined to flat, static visual perception, but extends to stereoscopic and dynamic visual perception. From the perspective of visual aesthetic psychology, this article discusses the issues of the production process, utility, and design methods of "visual texture" in book binding design. It hopes to inspire the creative approach to book design. Keywords: book binding design visual texture aesthetic psychology Introduction The dissemination of design information is mainly through the audience's visual access to the deciphering stage. It is self-evident that the aesthetic of the book design of books is mainly from the visual. Texture can also be called "texture" or "texture." It is a physical feeling that shows the material itself. It has the special attributes of the material itself and the feeling of human processing on the surface of the object. It belongs to the category of vision and touch. The texture is divided into visual texture and real texture. For the term “visual textureâ€, the French visual esthetician De Lucio Meyer described: “It is the texture that we can see. This visual texture invites us to touch it with our own hands. Or at least we are 'close' to our eyes, or in other words, produce a visual sensation through texture. Of course, seeing the texture also depends on relatively specific experiences such as rough, smooth, hard and soft. Book binding “visual texture†The concept analysis includes the effects of the visual perception and touch of non-visual features of books on aesthetics and design perception of books.With the strong impact of cutting-edge electronic media in the world, the connotation of modern book binding aesthetics has long been limited to cover designs. The book is regarded as a static flat display, updated to a dynamic, three-dimensional, multi-level overall form beauty.With the diversified development of people's aesthetic needs, the sophisticated materials and exquisite printing techniques become It constitutes an important factor in the beauty of bookbinding, and these aesthetics need to be conveyed to the reader through visual texture. The special material with a sense of mechanism will give the audience an unspeakable pleasure in the mind. When the reader translates this "body-emotion experience reflection" into a visual aesthetic, the sense of beauty will come out. In recent years, with the designers With the continuous updating of design consciousness, the concept of books' five senses (visual, touching, listening, smelling, and smelling) has been included in the scope of design thinking.This article will examine the “visual texture†of book binding from the perspective of visual aesthetic psychology. And design methods are discussed. 1. Analysis of Visual Perception in the Aesthetic Process of Books (Ie, how do we look at the problem?) The conceptual analysis of the book "visual texture" relates to the visual perception of non-visual characteristics of things. Therefore, the analysis of visual perception with visual characteristics is necessary to understand the visual perception of non-visual characteristics. The author summarizes the effects of visual perception on the aesthetics of books. 1.1 Visually Subjective The American philosopher Goodman pointed out: "The eye is not working as an autonomous instrument alone, but as part of a complex and ever-changing organism. What you see with your eyes and how you look at it all have to be controlled by needs and interests. It selects, abandons, organizes, distinguishes, links, summarizes, analyzes, and constructs. Rather than reflecting, it is better to say acceptance and creation. When we face a book, we generally feel its overall atmosphere first, or generally it first stops readers to read and read through its own overall image. Then readers may look at the cover more carefully. The main body image and color, from the title of the book, the layout of the text, to the details of the paper texture, are then combined with each other again to provide a more comprehensive and in-depth understanding of the aesthetics of the book design. In fact, the reader has roughly gone through The three steps of feeling, detailing, and image linking can achieve the overall beauty of book binding.In this whole-local-whole process of visual experience, the perception of the first step or the perception of the overall atmosphere promotes The evokedness of audience viewing is a summary of the general shape, color and structure of book design. 1.2 Visual law Visual psychologists have studied the visual law of people in the plane space. In the vertical direction, people are accustomed to viewing from above as a result of gravity, that is, gravity; in the horizontal direction, people are accustomed to viewing from left to right, which is consistent with the common arrangement of words from left to right. of. As a result, in a limited plane, the viewer's line of sight has the following rules: left first, right first, first upper and lower. Correspondingly, different parts of the plane become visually attractive to the viewer. The upper left and upper middle parts of the plane can be called "best views." Of course, this division is also constrained by culture. For example, the Arabic script is written from right to left and the Chinese ancient Chinese characters are from right to left. At this time, people's reading habits have changed, and the “best view†has changed. It is the upper right part. Therefore, how to use the "best view" in the book cover design and layout design is a must for the designers. 2. The process of "visual texture" of book binding Everything is a united whole, and the various parts that make up the thing are connected and dependent on each other. The various characteristics of things are also connected and complementary to each other. Such a person's perception of a certain characteristic of a thing is also associated with the perception of its other characteristics, so that under certain conditions, people can grasp certain characteristics of things that correspond to other feelings through visual knowledge. The book is no exception. As a three-dimensional hexahedron, it has functions for people to read and for people to read. In the process of visual aesthetics, people and books are in a dynamic relationship. When we approach a book, the eyes receive various visual information from the plane of the book (cover body image and color perception) to give the audience different psychological stimuli. For example, the snow-white pictures on the cover can create a crystal clear white color sensation, as well as a cold skin sensation or cold sensation, and people can even feel chilly. The texture and printing effects of the book binding display also convey many information: various kinds of specialty papers contain endless variations of texture, length, thickness, bending, verticality, parallelism, fluctuations, and other combinations. Express the vivid feelings of luxury and simplicity, elegance and vulgarity, reality and abstraction. These special textures firstly stimulate our eyes and minds through the visual; touch actions follow, and the "touch" and "vision" together with each other feel the overall image of the book. This is the joint feeling of people. The occurrence of "visual texture" is the direct effect of human body synesthesia. It refers to sensory interaction: the stimulation of a sensory sensor can also produce experience in different sensory fields. When the reader touches the cover of a burlap material or a special material with a sense of texture, it will produce a variety of “visual textures†through visual perception. This special connection will no doubt depend on life experience. It is because of experience and knowledge reserves that we can easily understand the connection between the visual and non-visual characteristics of things. 3. The Utility of "Visual Texture" in Book Framed Aesthetics 3.1 Arouse readers' attention and evoke tactile interests. In the fiercely competitive book market competition, trying to attract readers' attention is a precondition for inducing the reader's desire to purchase. It is not sufficient to rely solely on the visual stimulation of the graphics and colors of the books. Designers use different paper textures and printing techniques with special textures according to different book positioning and form content to meet different tactile needs of the audience, and reflect their design interest with a strong texture. The unique "visual texture" can give readers a special visual response, evoke a tactile sense of freshness. In recent years, with the rapid development of printing technology in China, more and more book designers have used different texture materials in a book, from hard cardboard, plastics to wood, blades of grass, metal, etc., or based on books. Themes, schema content make up uneven surface; or use logos or words to prompt the audience to open the book, making it an unexpectedly beautiful shape and so on. The special properties of these visual textures grab the reader's eyeballs for the first time, attracting readers to read through them and achieve the best display effect. For example, this is a well-known British denim brand promotional book. The book's heart is placed in a bookcase sewn with broken denim, with an exquisite brand logo. After a denim cover with varying degrees of man-made damage processing, it is easy to imagine the content of the book, and exudes a unique texture charm. What kind of design is more appealing to readers than to directly feel the texture of denim? There is also this book published by the United States, with a novel visual texture to appease the reader's appetite. The cover uses a pure white hard material to emboss the printing process. The three-dimensional effect is full, and the subject image shows beautiful and beautiful visual effects under different lighting. Another example: This "Golden Inheritance" is also uniquely decorated materials, letter sets and cover were used to bind wood and leather, wooden natural and cortex of the old visual texture is no paper can compare. 3.2 Induce readers to produce various psychological reflections, promote information exchange and emotional exchange between people and books, and deepen the content of books. The aesthetic judgement of modern book binding is a comprehensive judgment based on visual perception and other sensory functions such as touch. Therefore, to build the overall beauty of the book, we must create visual beauty and other sensory beauty. The visual texture we can see in book binding induces readers to have different psychological reflections. The glossy paper can express the beautiful and luxurious books, and the soft paper can express the gentle cultural heritage of the books. Different paper materials show different textures, smooth, or rough, or soft, or strong, or light, or heavy, will directly stimulate the human senses through the touch of the hand, with the reader silent information and emotions communicate with. The synaesthesia triggered by the various mimicry effects of the framing material also deepened the connotation of the book. For example, in the “Collection of Folk Paper-cut Works by the National Art Museum of China,†the designer consciously enhanced the texture of the binding materials in order to brew the charm of the design of the book binding. The convex and concave textures on the cover with a paper-cut pattern produce a strong texture contrast with the shiny metal, and with the red color, it expresses a strong folk culture connotation, but also elegant and magnificent style. (See Fig. 4) The book's ring lining, front page, and interior text were made of translucent sulfuric acid paper and dark green paper, respectively, making the book full of strong national characteristics. 4. How to Shape the "Visual Texture" of Book Binding 4.1 Reasonable choice of binding materials and printing binding process, so that the form and content of the unity. The use of new materials and new techniques should be consistent with the content of the books. When designers conceive, they should fully understand the personality and visual experience of various printed materials, and diversify their portfolios according to different content needs so that they can be compared and unified. Imagine applying new materials, such as foam or plastic, to a book on a traditional subject matter. This will not only lose the beauty of the material, but also cause economic losses. In short, an outstanding book designer is constantly chasing new materials and constantly trying new techniques. At the same time, he should treat the texture of the material with an aesthetic attitude and creative spirit, and use appropriate materials and techniques to add glory to the frame. 4.2 Fully mobilized and coordinated The visual elements of the book convey the overall beauty of the book. The visual texture of a book can also be represented by a flat visual image of the book. Because the use of special materials and printing processes is constrained by the cost of books, designers can also use a combination of photography technology and computers to reflect a variety of visual textures. A cleverly designed flat visual image can also arouse readers' curiosity and fully demonstrate the visual texture of the book. "THE JEHOL BIOTA" is a comprehensive and systematic demonstration of Chinese scientists' scientific research on the results of research on the Jehol Biota. Designers of Rehe Bio
Discussion on "Visual Texture" in Design of Book Binding