1,720,968 research outputs found
Prostota, czytelność, pomysł i oryginalność w projektowaniu książki. Cztery zasady Janusza Górskiego
No full textSome reflections have been presented on book design by Janusz Górski, an outstanding graphic artist, author, and publisher, as well as the head of the Book Design Studio at the Academy of Fine Arts in Gdańsk. Górski’s path to professional maturity was shown, as well as his attitude to tradition and the history of the book. Górski is convinced that in design the main goal is not beauty, elegance, or crossing the established order in search of more attractive solutions. The most important is the reader and his reading comfort. Simplicity, legibility, originality, and idea are Górski’s “four rules” that he has developed over many years of professional practice. These principles are discussed in detail, illustrated with examples.
The most important source material on which this article is based is a recording containing an extensive interview of the author with Janusz Górski, as well as an autopsy analysis of over three hundred editions designed by him. Interviews and articles published elsewhere were also used.Janusz Górski — projektant, edytor wydawca. Droga do projektowania książki. Tradycja książki i wyzwania czytelności. Cztery zasady: prostota, czytelność pomysł i oryginalność. 
"Nie robię sztuki, pomagam czytać". Poglądy Leona Urbańskiego na temat kształtowania szaty typograficznej książki
No full textI don’t create art, I help people to read. Leon Urbański’s views on the development of typographic layout of booksThe paper presents the views of Leon Urbański 1926-1998, a distinguished Polish typographer, on the development of book typographic layout, as well as the artist’s inspirations – his fascination with the word, book history, classic typography and oriental art. The author examines Urbański’s attitude towards the typographic profession and the main principles of creating graphic layouts of books, e.g. the duty to thoroughly learn, understand and accept the content of the designed book and then to look for the most appropriate form for the presented content. So far there has been no attempt to carry out a comprehensive academic analysis of Urbański’s work. Collecting the artist’s scattered oeuvre and thus saving it from obscurity is now becoming a necessary and increasingly urgent task.I don’t create art, I help people to read. Leon Urbański’s views on the development of typographic layout of booksThe paper presents the views of Leon Urbański 1926-1998, a distinguished Polish typographer, on the development of book typographic layout, as well as the artist’s inspirations – his fascination with the word, book history, classic typography and oriental art. The author examines Urbański’s attitude towards the typographic profession and the main principles of creating graphic layouts of books, e.g. the duty to thoroughly learn, understand and accept the content of the designed book and then to look for the most appropriate form for the presented content. So far there has been no attempt to carry out a comprehensive academic analysis of Urbański’s work. Collecting the artist’s scattered oeuvre and thus saving it from obscurity is now becoming a necessary and increasingly urgent task
Walter Crane, O zdobnictwie książek dawnych i nowych, pod redakcją naukową i ze wstępem Katarzyny Krzak-Weiss, Towarzystwo Autorów i Wydawców Prac Naukowych „Universitas”, Kraków 2018, 340 ss., il., ISBN 97883-242-3468-4, e-ISBN 978-83-242-3375-5
No full textRecenzja: Acta Poligraphica. Czasopismo naukowe poświęcone poligrafii, 2013, R. 1, wol. 1, Centralny Ośrodek Badawczo-Rozwojowy Przemysłu Poligraficznego, Warszawa, 118 s., il. ISSN 2299-9981
No full textEstetyka zaangażowana. Rola "Poligrafiki" w podnoszeniu poziomu estetycznego polskiej produkcji wydawniczej w latach 1947–1956
No full textCommitted Aesthetics. The Role of “Poligrafika” in Increasing Aesthetic Criteria of Polish Publishing in 1947–1956 The article analyses the role of “Poligrafika. Czasopismo Poświęcone Zagadnieniom Przemysłu Poligraficznego” in propagating the idea of beautiful print and increasing the aesthetic criteria of Polish publishing in 1947–1956. “Poligrafika” was the first post-war periodical devoted to publishing and the first to emphasise the significance of aesthetics in printing. It featured articles concerned with theory and practice of typography and graphic art in books, selected issues in the history of printing as well as presenting printers and graphic designers. The periodical organised contests and exhibitions of beautiful books, strived to unify Polish graphic terminology and presented professional literature. Initially 1947–1948, “Poligrafika” treated the issue of aesthetics in printing very ambitiously, propagating the idea of a beautiful book, newspaper, poster and occasional prints, emphasising that the design of prints has an artistic scope. It postulated the development of new aesthetics for the masses, “committed aesthetics”, and attempted to reconcile the mass-produced book with the highest typographic standards, advising that each print should display an individual graphic form worthy of its content. Much attention was devoted to the criticism of the quality of printing, postulating the need for change. After a two-year break “Poligrafika” was published again, focusing on the requirements of the six-year plan 1951–1956. While it still criticised bad quality of published prints and looked for ways of mending the difficult situation, the ultimate task was to increase production output and efficiency through standardising production process and introducing severe, frequently absurd cost-cutting measures. Aesthetics was subjugated to new trends, following the changes introduced in the publishing market in the Soviet Union. Committed Aesthetics. The Role of “Poligrafika” in Increasing Aesthetic Criteria of Polish Publishing in 1947–1956 The article analyses the role of “Poligrafika. Czasopismo Poświęcone Zagadnieniom Przemysłu Poligraficznego” in propagating the idea of beautiful print and increasing the aesthetic criteria of Polish publishing in 1947–1956. “Poligrafika” was the first post-war periodical devoted to publishing and the first to emphasise the significance of aesthetics in printing. It featured articles concerned with theory and practice of typography and graphic art in books, selected issues in the history of printing as well as presenting printers and graphic designers. The periodical organised contests and exhibitions of beautiful books, strived to unify Polish graphic terminology and presented professional literature. Initially 1947–1948, “Poligrafika” treated the issue of aesthetics in printing very ambitiously, propagating the idea of a beautiful book, newspaper, poster and occasional prints, emphasising that the design of prints has an artistic scope. It postulated the development of new aesthetics for the masses, “committed aesthetics”, and attempted to reconcile the mass-produced book with the highest typographic standards, advising that each print should display an individual graphic form worthy of its content. Much attention was devoted to the criticism of the quality of printing, postulating the need for change. After a two-year break “Poligrafika” was published again, focusing on the requirements of the six-year plan 1951–1956. While it still criticised bad quality of published prints and looked for ways of mending the difficult situation, the ultimate task was to increase production output and efficiency through standardising production process and introducing severe, frequently absurd cost-cutting measures. Aesthetics was subjugated to new trends, following the changes introduced in the publishing market in the Soviet Union. 
Andrzej Tomaszewski wobec „najazdu barbarzyńców” i upadku estetyki polskiej książki (1989‒2000)
No full textThis article characterises the activity of Andrzej Tomaszewski, an outstanding Polish typographer, designer, publicist, editor and printer, between 1989 and 2000, during the great crisis and the decline of the aesthetics of Polish books. Rapid political, economic and technological transformations led to chaos on the Polish market — books began to be published by technically and intellectually unprepared random people, and the earlier standards, which had been developed over years, were no longer valid. Tomaszewski tried to actively counteract this. His journalistic achievements from that period are impressive, consisting of over 90 articles printed in trade magazines. His publications provide a substantive analysis of the current situation and the problems that occurred. He became known not only as a mature observer but also as a lover of books and expert in the history of books, showing modern digital systems as a natural continuation of the historical process of developing print culture. Overcoming his initial resistance to digitization, he Polonised over 900 fonts available on the market (mainly American, British and German) and quickly became a valued specialist and spokesman for modern technologies. He designed books, maintaining high typographic standards, and did not yield to widespread commercialisation. Like many ambitious publishers, he also experienced a publishing failure. The magazine Pro Typo, which he initiated, failed. However, his work from the 1990s provides valuable source material and contributes to a better understanding of the situation on the book market at that time.Kryzys polskiego edytorstwa po 1989 roku. Sylwetka Andrzeja Tomaszewskiego i jego osiągnięcia na polu typografii. Jego publikacje dotyczące sytuacji polskiego edytorstwa. Działalność wydawnicza i organizacyjna. Własne projekty typograficzne
Model kształcenia typografów według Leona Urbańskiego
Full text linkTypographer education model according to Leon Urbański Leon Urbański 1926–1998 was one of the most eminent Polish typographers, winning many awards in Poland and abroad. He was an honorary member of the elite international society of publishers and typographers Double Crown Club, which had ten more foreign members aside from Urbański. He worked as a designer, teacher and lecturer at the Academy of Fine Arts in Warsaw, and established the first Typographic Design Studio at the faculty of Graphic Arts of the Academy. He understood the need to train typographers in Poland and stressed that a typography specialist needed to have not only talent and intuition, but, more importantly, also erudition. He believed that one could learn book design only through a lengthy, laborious process. In his opinion one could learn painting techniques in two weeks, given enough talent, but books had to be placed in the right context and that required profound knowledge and interdisciplinary education. Urbański said that successful typography needed more than imitation, even of the greatest masters. The quality of lettering, he believed, was equally important. Typography education should begin with sensitizing students to letters, their shape, the connection between signs. Urbański intuitively sensed that there was a connection between typography and bibliography.Typographer education model according to Leon Urbański Leon Urbański 1926–1998 was one of the most eminent Polish typographers, winning many awards in Poland and abroad. He was an honorary member of the elite international society of publishers and typographers Double Crown Club, which had ten more foreign members aside from Urbański. He worked as a designer, teacher and lecturer at the Academy of Fine Arts in Warsaw, and established the first Typographic Design Studio at the faculty of Graphic Arts of the Academy. He understood the need to train typographers in Poland and stressed that a typography specialist needed to have not only talent and intuition, but, more importantly, also erudition. He believed that one could learn book design only through a lengthy, laborious process. In his opinion one could learn painting techniques in two weeks, given enough talent, but books had to be placed in the right context and that required profound knowledge and interdisciplinary education. Urbański said that successful typography needed more than imitation, even of the greatest masters. The quality of lettering, he believed, was equally important. Typography education should begin with sensitizing students to letters, their shape, the connection between signs. Urbański intuitively sensed that there was a connection between typography and bibliography
- …
