Page 1: Great Expectations, published by GraphicDesign&, brings together 70 leading designers and typographers to celebrate the bicentenary of Charles Dickens’s birth

很可能大多数人都会把狄更斯的小说“远大前程”当作一本简陋的平装本，排版和排版对几乎每个人来说都是看不见的，专门的书呆子。

这是图形设计中的一个决定性因素

本质上是一个比较练习，第1页：远大的期望围绕着小说的第一页。由70名设计师和排版师组成的剧组-包括阿普费尔、弗雷泽·马盖里奇、研究工作室、萨姆·温斯顿和沃尔本报的主编-托尼·钱伯斯，每个人都对文本进行了排版解释。人们对这部小说的熟悉程度寄予厚望，因为主人公皮普在小说的开篇章节中提到了他父母墓碑上的刻字。

第一页的结果是深思熟虑的，而且常常令人惊讶。有些撰稿人仍然是坚定的纯粹主义者，把文本当作整本书中的第一篇；另一些人则把它当作展示文本，或者把它完全解构。

许多设计师都考虑过，如果狄更斯现在出版这部小说，他会如何看待它，比如搜索引擎、电子阅读器、剪贴画和QR代码。所有的处理方法都强调了文本中不同的东西，每一种都微妙地向读者透露了更多关于它的信息。

考虑到目前的状况，最能引起共鸣的版本可能是尼尔·唐纳利(NeilDonnelly)，它是典型的英国小报头版。狄更斯肯定会看到有趣的一面-“远大前程”最初是以报纸的形式连载的，他当然不是势利小人。“这本廉价版我的书是献给英国人的，”他在一篇废弃的作品系列文章中写道，“如果这些书在精神上是真实的，在谁的认可下，它们就会活下去，如果它们是假的，它们很快就会死去。”

The book explores the relationship between layout, typography and how both affect the way we read. Pictured here is a page typeset design by Typographics

Page 1: Great Expectations centres around page one of the novel and a cast of 70 designers and typographers have each produced typographic interpretations of the novel's opening text. Pictured here is a deconstructed offering by Cartlidge Levene

Alexander Cooper and Rose Gridneff of Workshop explore the novel's transition from magazine to book with a fold-out page

It replicates the structure and layout from 'All The Year Round', the weekly publication that Great Expectations was originally published in as a series between 1860 and 1861

Using the notions of shadows - specifically the 'shadowy misunderstandings' which loom over the characters Great Expectations, illustrator Sam Piyasena, aka Billie Jean, created a pictoral design for Page 1

The version that perhaps resonates the most - given the current state of affairs - is Neil Donnelly's, which apes a typical British tabloid front page

Wallpaper's Tony Chambers turned his typographical pet hate - the 'orphan' (a lonesome word that hangs at the top of a column) - on its head, in honour of famous literary orphan Pip

Fraser Muggeridge studio completely eliminated text in favour of an image-led interpretation

Pentagram's Luke Hayman created a contemporary version of an illustrated drop cap

Inspired by the passage '...five little stone lozenges, each about a foot and a half long...', Paul Finn of Fitzroy & Finn arranged his text in five columns, referencing rows of graves

Barnbrook's mathematical, unemotional analysis studies Dickens's grammar structure

keywords:graphic design, graphic design book, tony chambers, designers, typographers

关键词：平面设计，平面设计书，托尼钱伯斯，设计师，印刷师