Book Design書籍設計

Vice President & Chief Designer · Long Publishing Corp.龍出版社副社長兼首席設計師

Tan Huang is a book designer and Associate Professor at Sichuan Fine Arts Institute. The institute’s faculty profile lists him as Associate Dean of the School of Public Art and a member of the Illustration and Book Design Art Committee of the China Artists Association.譚璜是書籍設計師、四川美術學院副教授。學院師資介紹列明，他擔任公共藝術學院副院長，並為中國美術家協會插圖裝幀藝委會委員。

His practice spans book design, visual communication, interaction design, exhibition design and urban cultural design. His work explores how materials, structure and visual language shape the experience of reading.他的實踐涵蓋書籍裝幀、視覺傳達、交互設計、展覽展示設計與城市文化設計，關注材質、結構與視覺語言如何構成閱讀體驗。

His work has received the Printing Industries of America’s Benny Award, the China Publishing Government Award, recognition in China’s Most Beautiful Books selection, and a Silver Award at the National Book Design Art Exhibition.其作品曾獲美國印刷工業協會班尼獎、中國出版政府獎、「中國最美的書」及全國書籍設計藝術展銀獎等榮譽。

Design Statement設計說明

Lai Shenru (1929–1983) was a distinguished Chinese flower-and-bird painter and art educator whose life ended prematurely. In the cultural revival following the Cultural Revolution, his work showed an unusual artistic self-awareness and willingness to explore form. At a time of rebuilding and renewed reflection on beauty, his refined brushwork and independent vision brought a modern spirit to traditional flower-and-bird painting.賴深如先生，1929年生，1983年英年早逝，是中國當代著名的花鳥畫家與美術教育家。他的繪畫獨具風格，於“文革”之後文藝復興初期，便展現出難得的藝術自覺與形式探索。在那段百廢待興、重新審視美的年代，賴先生以筆墨精妙、獨立特行的作品，爲傳統花鳥畫注入了新的精神氣質與現代意識。

Thirty years later, his daughter Lai Xiaojing organized a solo exhibition in his memory, giving rise to Realm of Enlightenment. The project became both an artistic retrospective and a conversation across time.三十年後，女兒賴小鏡爲父親舉辦了個展，《悟境》一書亦由此誕生。這不僅是一次藝術回望，更是一次穿越時間的精神對話。

For the book design, I chose minimalism as the central language, responding to the stillness and pioneering character of Lai’s paintings.在書籍設計上，我以極簡主義爲核心語言，以回應賴老先生畫作中所蘊含的靜穆氣韻與先鋒姿態。

The cover uses white specialty paper, with all decoration and imagery removed so that only the lettering remains.封面選用白色特種紙，去除一切裝飾與圖案，唯留文字——

Lai Shenru’s name is debossed, accompanied by the title Realm of Enlightenment printed in a special gold ink. Its simplicity expresses respect and remembrance. The design honors the artist’s spirit while visually moving his work beyond conventional presentations of Chinese painting, emphasizing his independent position as a pioneer.“賴深如”三字壓凹處理，配合專色金印刷的書名《悟境》，簡潔之中傳達敬意與緬懷。這一設計，既是對藝術家精神的一種莊重表達，也有意在視覺層面上將其作品從傳統國畫語境中剝離出來，強調其“先行者”的獨立立場。

The book uses a dual-format structure to distinguish two dimensions of its content.整本書結構上，採用雙開本設計，以區分內容的兩個維度：

The main volume presents representative works from the 1970s and early 1980s, preserving the paintings’ original appearance and the breathing rhythm of their brushwork.正文部分，呈現賴先生70年代至80年代初的代表作，保留畫作原貌，力求還原其筆墨中的呼吸與節奏；

The companion volume contains research and critical essays by other writers. Because the book includes no writing by Lai himself, I separated images and texts to give each a clear place and an independent narrative.副本部分，則收錄他人所撰寫的研究文字與評論文章。由於書中並未收錄賴先生本人的文字，我選擇將圖文分置，以體現主次清晰、各自成篇的編輯態度。

Realm of Enlightenment is both a memorial volume and a quiet, restrained work of symbolic design. Through materials, production techniques and structure, it invites readers to reconsider Lai Shenru and his art with renewed attention and deeper understanding.《悟境》不僅是一部紀念之書，也是一件安靜、剋制、具象徵性的藝術設計作品。它試圖通過材質、工藝與結構，喚起讀者對賴深如其人其藝的重新關注與深層體悟。

Design Statement設計說明：

In July 2016, I designed a book of Pang Maokun’s work. As a prominent contemporary Chinese oil painter, Pang creates drawings with an artistic force of their own, revealing painting’s most immediate and essential lines of life. I began by studying his daily practice, drawing inspiration from his studio, canvases, handwriting and papers, and considering how book design could respond to the order and freedom of his artistic world.2016年7月，我為龐茂琨先生的作品進行書籍裝幀設計。身為中國當代具代表性的油畫家，龐先生的手稿本身就具有強烈的藝術魅力，呈現出繪畫創作中最本質、最直接的生命線條。在拿到這個選題之初，我第一時間深入瞭解龐先生的創作日常，從他的工作室、畫布、筆跡、紙張中汲取靈感，嘗試從裝幀設計角度去回應他藝術世界中的秩序與自由。

The book combines gold foil stamping, linen binding and several specialty papers. These materials respect the physical qualities of the drawings while expressing my initial understanding of Pang’s visual language.本書在材料選擇上，採用了燙金工藝、亞麻布裝幀以及多種特種紙，這些元素既體現了對藝術手稿質感的尊重，也傳達出我對龐先生繪畫語言的初步理解。

To emphasize the drawings’ distinctive appeal, I developed a special format in which the main body combines pages of different sizes.為了凸顯手稿的獨特魅力，我對書籍的開本結構進行了特別設定。正文部分由多種尺寸的開本構成：

The larger pages show Pang’s drawings, allowing readers to experience the texture and force of his marks at close range.大開本部分用來呈現龐先生的手稿，讓讀者近距離感受筆觸的肌理與力量；

Finished oil paintings developed from those drawings appear as smaller inserted pages. Pang and I selected and arranged them together to trace the journey from first conception to completed work.而這些手稿所衍生出的油畫成品，則以小開本插頁的形式穿插其間，由我與龐先生共同挑選、編排，講述作品從構想到完成的路徑。

For each content section, I chose paper with a corresponding character. Differences in weight, thickness and texture express the tension and transition between the works’ spiritual and material dimensions.不同的內容單元，我為其分別搭配了氣息相符的紙張質地。透過紙張的輕重厚薄、紋理差異，傳遞出作品在精神與材料之間的過渡與張力。

As readers move through the drawings, the smaller inserted pages introduce changes of rhythm: visual and tactile pauses that invite them to stop and look again. This structure helps readers follow the paintings as they take shape through successive layers of drawing and engage with Pang’s creative thinking.在翻閱過程中，讀者不僅能沉浸於藝術家的手稿世界，還會因小開本插頁所帶來的節奏變化而感受到翻閱中的「頓挫感」——那是一種視覺與觸覺的停留，一次次暫停，一次次回望。這種節奏的設計，正是為了讓讀者無遺漏地看見，那一幅幅由諸多手稿層層疊加、逐步成型的油畫，進而與龐先生的創作思想產生對話。

The result is more than a book about drawings. It is a creative journey guided by the language of book design, and an expression of resonance between designer and artist.這不僅是一本關於手稿的書，更是一段由裝幀語言引導的創作旅程，也是設計與藝術家之間的共鳴。