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1

Model kształcenia typografów według Leona Urbańskiego

100%
Repucho E.
Bibliotekoznawstwo
|
2010
|
vol. 29
37-59
EN
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.
2

Projektowanie książki orientalnej według Leona Urbańskiego

88%
Repucho E.
Bibliotekoznawstwo
|
2011
|
vol. 30
19-38
EN
The numerous books designed by Leon Urbański (1926–1998), a distinguished Polish 20th-century typographer, included, in particular, a series published by the Polish Oriental Society between 1966 and 1987 at the Ossoliński National Institute. The series was important for the artist himself and was also highly valued by specialists, a fact confirmed by numerous awards. The article analyses the most interesting volumes in terms of their graphics and typography, showing the designer’s inspirations and his fascination with the Middle and Far East. The typographic analysis covers not only books published by the Ossolineum, but also book designs made by Urbański. A comparative analysis reveals significant differences between the designs and the end products, providing material for reflection on the work of the artist and the possibilities of publishing his designs. When comparing the books with the designs, it is easier to understand the essence of Leon Urbański’s work – the significance of the detail and of precision.
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