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1

FROM THE HISTORY OF 18th CENTURY SCHOLARLY BOOKS. AN ANALYSIS OF THE SPATIAL-VISUAL COMPOSITION OF JACOB THEODOR KLEIN'S 'HISTORIA PISCIUM NATURALIS' (GEDANI 1740-49). (Polish title below)

100%
Jakubowski J.
Roczniki Biblioteczne
|
2010
|
vol. 54
25-56
EN
(Polish title: Z dziejów ksiazki naukowej w XVIII wieku: analiza kompozycji przestrzenno-obrazowej Jakuba Teodora Kleina Historia piscium naturalis (Gedani 1740-49)). Jacob Theodor Klein (1685-1759), jurist and secretary of the senate of the city of Gdansk, was an eminent natural historian whose works on the zoological taxonomy were highly valued by scholars in Europe at the time. The Gdansk printing house of Thomas Johann Schreiber (1699-1778) published at least five of Klein's natural history works, richly illustrated with copperplates made in Gdansk and outside the Commonwealth of Poland. These works belong to the finest achievements of Schreiber's printing house. Among them of particular note was Klein's Historia piscium naturalis (Gedani 1740-49). Klein's ichthyological book, with its numerous copperplate illustrations depicting water fauna and allegorical vignettes related to the content of the work is part of the European canon of beautiful natural history books. Its conceptual form reflected scientific trends of the Enlightenment, while its material form was influenced by a mixture of Baroque, Rococo and Classical tendencies. In the present article the author analyses the architectural composition (cover, typographic layout, tables, annotations, quotes and mottos) and the visual composition (the author's portrait, vignettes and illustrating tables) of the Gdansk edition of Historia piscium naturalis. The print is characterised in functional and aesthetic categories in connection with the work's content and the cultural background, an approach that fully reveals the mastery of the printers, illustrators and book-binders of the period.
2

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

100%
Tomaszewski A.
Roczniki Biblioteczne
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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.
3

Perswazyjne aspekty typografii (na przykładzie reklamy prasowej)

100%
Hojka B.
Bibliotekoznawstwo
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2010
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vol. 29
25-36
EN
The article examines typography and lettering which co-create the meaning and persuasive potential of the verbal and graphic message. Selected press advertisements demonstrate such methods of typographic layout of text which together with its meaning and graphics form a coherent whole, thus facilitating multicode understanding of the message. The author discusses the relation between typography and message content: typography may strengthen the emotional or associational layer of the text message, it may illustrate the meaning of the text, and, finally, it may be a source of additional content, independent from the semantics of the written text.
4
Content available remote

[recenzja:] Krzysztof Tyczkowski: Lettera magica, Łódź 2005

100%
Dera Ż.
Toruńskie Studia Bibliologiczne
|
2008
|
vol. 1
|
issue 1
181-182
EN
The presentation of book using as guide to typography, assigned for everyone, who takes up the typographic project, disregarding of skills or profession.
5

Projektowanie książki orientalnej według Leona Urbańskiego

88%
Repucho E.
Bibliotekoznawstwo
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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.
6

MEDZERA V ELEKTRONICKOM TEXTOVOM REŤAZCI A SLOVENSKÝ PRAVOPIS

75%
Očenáš I.
Slovenská reč (Slovak Language)
|
2014
|
vol. 79
|
issue 1-2
32 - 39
EN
Written or printed texts are results of content, formal and functional concatenation of various alphanumeric characters and special graphic symbols including a space. The space is an empty position in linear graphic concatenation which is not taken by a graphic symbol. It is the distance among discrete graphic characters of a text (clusters of graphemes). Contemporary Slovak spelling textbooks include only minimal rules for its usage. A mass production of texts on computers and their editing stimulate writer ś interest in a correct usage of the space and also their need to establish principles of this usage in everyday praxis, as they were stabilized in typography and bibliography. The aim of the paper is to summarize these principles, i.e. to define principles complexly, to formulate and illustrate them by selected examples from printed and electronic texts.
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