书籍形态设计是由书籍装帧设计演变而来的。
论述了空白在书籍装帧设计中的地位、作用和魅力。
Expound introduces the status, functions and artistic charms of margins in the graphic design of a book.
本文以材料为基础，探讨材料感觉特性在书籍装帧设计中的运用。
This paper-based on materials, materials feeling of finishing the design of the books in use.
书籍装帧设计实际上就是书的包装设计，也就是塑造书的“体”和“貌”。
Binding and layout of a book actually is the design of the package of a book in deed, that is, to model the "body" and "face" of a book.
对书籍装帧设计进行简要的现状分析，提出将生态学引入书籍设计的全新思路。
Analyzing the present condition for the design of the book, the thesis tries to lead the ecosystem into the design.
杉浦康平拓宽了书籍装帧设计的表现手法，不愧是亚洲现代书籍设计的先行者。
Kohei Sugiura, broaden the technique of expression of the graphic design of a book, not the Kui is the forerunner of the modern book design in Asia.
在整个过程中设计师应该倾听读者与发行人员的意见，使书籍装帧设计定位准确。
The designers are supposed to listen attentively to the opinions of readers and publishers in order to make the orientation of book design more exactly.
优秀的书籍装帧设计应该是恰当地体现形式与内容的有机结合，是内容美与形式美的统一体。
Outstanding book design should appropriately embodies the combination of content and form organically, which is an unification of beauty from content and form.
本文从符号学原理出发，分析了书籍装帧设计中的符号语构层面、语意层面和语用层面对书籍内质的表达。
The application was analyzed the express the nature of book design from the theory of the morphology, semantic and semantic according to semiotics.
因此，我们应该确立三维视觉概念的、立体的、动态的书籍装帧设计观，使书籍装帧艺术上升到一个新的层次。
Therefore we should establish a tri-dimensional and dynamic new bookbinding concept that can make the bookbinding art go up to a new level.
本文从书籍装帧设计的图文版面、材质感知、文化内涵等方面进行阐释分析，强调树立装帧设计整体美感的重要性。
This paper analyzes the book design layout, material perception, culture connotation, and emphasizes the importance of overall aesthetic of book binding.
书籍装帧设计作业摆在旁边，懒惰的心想停止不再往前，好吧，给半小时给自己，呼吸完了回到现实中继续我的设计。
Design work is required for binding books place in the side, no longer stop lazy forward thought, ok, to a half hour to himself, breathing reality continue to return to the end of my design.
书籍装帧设计中运用空白可突出书名、突出主题、产生注意，可产生和谐和美感，可产生联想与创造，可产生简洁与轻松感觉。
Using margins in the graphic design of a book can make its title and theme more impressive, produce a sense of harmony and beauty, stir association and creation, and make the book concise and lively.
从书籍装帧设计的历史追溯中，探讨了书籍装帧设计的内容与意义，说明了书籍装帧设计的特点，提出了书籍装帧设计的创作策略。
From the trace the history of book design, the Author studies content and meaning of book design, explains the features of book design, proposes the creation strategy of book design.
在产品包装设计、商标广告、室内装潢、服装设计、书籍装帧、邮票设计、连环画等处都有它的影子。
The art form is reflected on trade marks, advertisement, interior decoration, fashion design, book binding, stamp design and cartoon books.
并借以梳理书籍装帧中各视觉元素的语意来加以分析设计如何通过有形与无形的情感暗示来打动人心，使其富有情感。
Finishing the book design in the visual elements of the semantic, analysis and design through tangible and intangible feeling hints to move people's hearts, make it full of emotion.
当我们谈到书籍装帧的时候，说的最多的是封面设计、内文版式设计、字体设计等等。
When mention Book Binding, the things that we talk about the most are the cover, layout, typographic design, etc.
并说明了版式编排与书籍装帧整体设计协调和统一的联系。
The relations between format arrangement and the harmony and unification of book adorning design were explained.
展览分工业设计、平面设计、服饰设计、环境艺术设计、书籍装帧艺术设计以及综合类设计（包括工艺美术及其他类）等专业。
Such exhibition includes industrial design, graphic design, fashion design, design of environmental art, book design and integrated design (incl. industrial arts, etc. ) and others.
文字版式设计对书籍装帧中的视觉传达效果有着直接的影响，它可以在读者与书籍之间构建信息传达的视觉桥梁。
The ultimate purpose of visual flow in format design is to induce peoples sight, so as to realize effective transmission of information.
文字版式设计对书籍装帧中的视觉传达效果有着直接的影响，它可以在读者与书籍之间构建信息传达的视觉桥梁。
The ultimate purpose of visual flow in format design is to induce peoples sight, so as to realize effective transmission of information.
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