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  1. 2 Roczniki Biblioteczne

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  1. 1 Repucho E.

  2. 1 Tomaszewski A.

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  1. 2 2009

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1

I DON'T CREATE ART, I HELP PEOPLE TO READ. LEON URBANSKI'S VIEWS ON THE CREATING OF TYPOGRAPHIC LAYOUT OF BOOKS (Nie robie sztuki, pomagam czytac. Poglady Leona Urbanskiego na temat ksztaltowania szaty typograficznej ksiazki)

100%
Repucho E.
Roczniki Biblioteczne
|
2009
|
vol. 53
237-247
EN
The paper presents the views of Leon Urbanski (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 authoress examines Urbanski'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 Urbanski's work. Collecting the artist's scattered oeuvre and thus saving it from obscurity is now becoming a necessary and increasingly urgent task.
2

HISTORICAL TYPOGRAPHY AS A SOURCE OF INSPIRATION FOR DESIGNERS TODAY (Historyczna typografia zródlem inspiracji wspólczesnych projektantów)

80%
Tomaszewski A.
Roczniki Biblioteczne
|
2009
|
vol. 53
223-235
EN
Adaptations of lettering forms from the past as well as other elements of the printing tradition point to a certain characteristic tendency in modern typography as a branch of functional design. The creators of typefaces who create graphic works for the needs of computer fonts draw on old models. This is illustrated by parallel historical and modern examples of minuscule and majuscule alternative letters, ligatures, calligraphic decorations, Lombard initials and the modus modernus typographic layout. Drawing on the aesthetic experience of the past is one of the methods to increase the attractiveness of modern typography. Supporting this tendency, designers of computer software - fonts and editing software - try to introduce mechanisms that enable the users to achieve similar aesthetic results. This can be seen in the data structure in the OpenType fonts today and the so-called typesetter's functions in modern editing software.
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