펭귄 하드백 도착!!!
이 시리즈가 처음 나왔을때의 열광을 기억한다. 처음 이 믿기지 않을만큼 아름다운 천장정의 세계문학 시리즈를 본 것은 어느 캐나다 사람의 블로그에서였다. 알고보니, 영국에서만 판매. 그것도 죄다 품절. 영미권의 아름다운 표지의 펭귄 세계문학을 사랑하는 많은 북러버들이 영국에서, 혹은 나중에 검색검색 하다 알았는데, 캐나다의 중고서점에서 구할 수 있었다.
후에 미국 아마존에서 판다는 소식을 들은 것도 한참이 지나서였고, 반년쯤 후에야 나올 -_-; 시리즈를 프리 오더 하고 있었다. 달력에 동그라미 쳐두고, 그 달에 주문해서 마침내 받아서 처음 책을 쓰다듬었을때의 그 환희란. 우왕 -
펭귄 블로그에서 봤던 코랄 스미스의 인터뷰는 못 찾았는데, 아파트먼트 테라피에서 인용해둔거.
"All the books in this series have patterns that adhere to a strict grid...we set up mood boards of visual ideas - textures, ornaments, objects, colours, all inspired by themes from the stories or by the period, or just the novel's atmosphere"
디자인 스폰지의 인터뷰
http://www.designsponge.com/2009/10/interview-coralie-bickford-smith-penguin-classics.html
How was the Cloth-bound Classics project conceived? How did it evolve? Was coming up with patterns one of the original concepts?
The series grew out of my mild obsession with cloth bindings, which I’ve been able to indulge on an occasional basis for a while. Titles including Hans Christian Andersesn’s Fairy Tales and Penguin’s Poems for Life were well received and – crucially – sold well, so it was decided that I would bring a similar aesthetic to this series. I decided early on to use patterns that all conform to the same grid – it seemed the best way to impose a recognizable style that could work across a series of ten or more books, while allowing the covers to convey something of the character of the individual titles.
How did you choose the motifs for the patterns? Was it hard to narrow down an entire novel into one icon?
One of the great things about designing for the classics is that the material is so rich and full of possibilities – it’s not about finding the one and only perfect signifier for a book, but one that works within the context of this series, and perhaps which takes a slightly new angle on a familiar work. I read the books and discussed them with one of out picture researchers, Isabelle De Cat, then we created mood boards full of ideas, and narrowed it down from there. Some of the final patterns are more literal than others. The peacock feather on Dorian Grey, for example, plays on the book’s themes of vanity and the superficial, whereas the leaf motif on Jane Eyre refers directly to the lightning-blasted chestnut tree, a concrete element in the text that serves as a potent symbol of the book’s central relationship.
What were the biggest challenges in this project?
Getting the foil blocking right took some time. Matte foil is a tricky material, especially on cloth, with different colour foils behaving differently on press, and I was quite demanding in terms of getting as much out of the process as possible. So there were visits to the printers, discussions and experiments. I had to make fine adjustments to some of the designs to take account of the tolerances of the machines, and the printers put in a lot of work to achieve the end result as well.
북로드의 세계문학 시리즈 담당자는 무엇을 고민했는지 묻고 싶다.
실물의 퀄러티나 패턴의 디테일마저 조악해서, 서점에서 마주할때마다 존재 자체가 참담하다.
책을 그 표지로 판단하지 말라. 라는 말이 있다. 동의한다.
하지만, 출판사의 이름을 건 '세계문학' 시리즈를 내는 것에 있어, 표지와 장정에 대한 마인드를 보니,
이 시리즈는 보나마나다.
열린책들, 민음사, 문학동네, 문학과 지성사, 을유, 바벨의 도서관, 펭귄클래식코리아 등등. 세세하게 파고들면 각각의 작품들에 장단점이 있을 것이다.
하지만, 각각의 출판사들의 '세계문학' 시리즈를 관통하는 콘셉트만은 분명하다.
북로드 세계문학 시리즈의 콘셉트는 무엇일까??
* 플러스, 역자 정보 없는 세계문학 시리즈에 '북로드' 와 '더클래식'