Search results

1

Sensotwórcze możliwości adaptacyjne typografii kinetycznej. Rekonesans badawczy

100%

Starachowicz K.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2013

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issue 5

169-177

EN

Kinetic Typography is, generally speaking, animated text. It has been considered purely in terms of graphics as well as a new kind of communication, bringing some of the expressive power of film. It is worth looking at kinetic typography in the context of typography in general, the art in which signs (letters) refer to the text – a linguistic form with a certain meaning. This kind of animation highlights tropes in the given text, dictates the pace of reading, and refers to meaning itself, building “illustrations” to the text from individual glyphs, and rendering the atmosphere of the narrative situation. In the end, the animation gains a polyphonic character, when the narration from the text is carried out in parallel with the narration resulting from the graphical layer of the message, which helps building ironic or humorous tension. That proves that kinetic typography is semantically emancipating, although it is still an adaptation.

2

Klasyk nieortodoksyjny. Estetyka książki w twórczości Andrzeja Heidricha

80%

Kielan M.

Studia o Książce i Informacji

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2017

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vol. 36

181-197

EN

Graphic design in Poland after World War II has not been completely explored so far. This article describes the state of graphic design during the Polish People’s Republic period as well as presents the life and work of Andrzej Heidrich — one of the leading designers of that time. It shows his artistic versatility, which manifests itself in designing such varied works as books, banknotes, bookplates, postage stamps, identity papers and more. The main purpose of this article is to present one of Heidrich’s work aspects — the book design. The conclusions show that Heidrich is the advocateof classic solutions, developed by former printing masters. However, he attempts to modify some elements, making them modern and original.

3

Marzyciel i pragmatyk. Emil Zegadłowicz jako kolekcjoner

70%

Bartos E.

Wadoviana. Przegląd historyczno-kulturalny

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2017

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issue 20

7-21

EN

A passion for collecting, bibliophilic fascinations, the poetic spirit and the willingness to be remembered by posterity made Zegadłowicz publish a great deal. The sketch Dreamer and pragmatistm. Emil Zegadłowicz as a collector is an attempt to look at the publishing strategies of the author of Motory, as well as the role the novel played in the reception of this work.

4

Jak Emil Zegadłowicz o typografii gawędził. Uwagi na marginesie poznańskiej edycji "Gawędy poety z typografem" z 1929 roku

70%

Krzak-Weiss K.

Studia o Książce i Informacji

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2018

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vol. 37

149-162

EN

The present text is based on a book by Emil Zegadłowicz published in 1929 by the poet’s friend, Jan Kuglin. Gawęda poety z typografem [Discourse between a poet and a typographer] was delivered for the first time during the Third Congress of Polish Bibliophiles that took place in Lwów in 1928. Its individual fragments are a point of departure for reflections upon typography at the turn of the twentieth century, especially the beautiful book trend initiated at that time as well as the bibliophile publishing houses and editions that emerged in its wake.

5

„Z dodaniem wyraźniejszego morału, dla łatwiejszego ludzi prostych i nieuków zrozumienia...”. Ruskojęzyczne adaptacje tekstów o charakterze dogmatyczno-moralizatorskim w ukraińskiej kulturze literackiej (na materiale wydań drukarni bazyliańskich XVIII wiek)

70%

Getka J.

Studia Interkulturowe Europy Środkowo-Wschodniej

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2018

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vol. 11

154-173

PL

The source for research in this article are adaptations of dogmatic and moralizing texts printed in Basilians typography in 18th century. Examined texts have Polish, Latin and Orthodox Church language origin. Their role in shaping the Ukrainian literary language and style typical of Ukrainian religious literature was studied. Analyses of their influence on the formation of recipients, and in this context the process of shaping the identity of the Uniates, shows Eastern and Western influences.

6

La typographie dans la construction du sens social

70%

Chruściel P.

Academic Journal of Modern Philology

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2020

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vol. 9

39-50

EN

The paper describes typography as one of the mechanisms contributing to the construction of social meanings.According to the French discourse analysis, we assume that social meaning results from the nomination activity, which involves multiple and diverse naming of one element of the real world. Obtaining social meaning is possible by recreating the so-called designational paradigm, i.e. establishing a list of regular reformulations of the initial word introduced by metalanguage (definitional sentences), coordination, diaphors and typography. This work mainly focuses on the latter. The subsequent parts of the article discuss the impact of the comma, colon, parentheses, double dash and quotation marks on meaning construction. The description of each of them is complemented by examples derived from the study on the social meaning of the proper name Pologne (Poland), created and disseminated by the French press. It turns out that the typographic symbols are not a simple visual representation of pauses or intonation. They also have a semantic and pragmatic role. Typography signals the reformulations (comma, colon, parenthesis, dash), introduces the secondary predicates (comma, dash) and allows a journalist to distance him/herself from the created meanings (quotation marks).

7

Edytorska lektura klasyki literatury dla dzieci

70%

Pustuła M.

Dydaktyka Polonistyczna

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2020

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issue 6 (15)

226-241

EN

Works belonging to the world literary canon are widely commented on by literary scholars. The editorial aspects of the editions of the same works, however, do not have such thorough studies. The discussion of the editorial features of children’s publications seems to be all the more important because improperly selected typographic parameters may significantly impair the quality of the reading experience and discourage reading itself. The article indicates the importance of particular architectural elements of the Polish editions of two masterpieces of children’s literature, Winnie the Pooh and Alice in Wonderland, which appeared in Poland after 1989. The indication of specific typographical sizes and layouts of illustrations makes it possible to determine reading competences which should be possessed by a reader designed by the publisher, and thus also to prove whether a particular edition has been given an appropriate editorial design for the recipient.

8

Veleslavínův „trojjazyčný“ nomenklátor a komprimace/dilatace v českém pravopisu raného novověku

61%

Koupil O.

Listy filologické (Folia philologica)

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2019

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vol. 142

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issue 1-2

49-84

EN

This text benefits from the work on the digital treatment of a Prague edition of Hadrianus Junius’ nomenclator (1586). (1) The popular nomenclator (“Remembrancer” in the English 1585 edition), written by the Dutch humanist Junius and usually published in eight European languages, was printed at this time as trilinguis (Latin, German and Czech), but the “Latin” part also included Greek words and many other examples in different languages. This was not signaled by the usual typographical means (Daniel Adam’s publishing house did not use either the Greek alphabet or different letter styles for the explicated words and for explications of their meanings) and could have negatively influenced the intended use of the book at schools. The Prague edition was based on the second (1577) or third (1583) edition published by Christophe Plantin. (2) The nomenclator 1586 has pages with a two-column layout. Such a limited space predetermined the selection of certain orthographical variants in Czech equivalents, usually interpreted as phonologic variants. Similar phenomena are to be found in the narrow marginal notes or in the layout with narrow lines made of larger letters. (3) The last part of the text attempts to define special means and ways of orthographic compression and dilatation in the Czech prints of the sixteenth and seventeenth centuries.

9

Typographie und ihr Einfluss auf den Leseprozess: Mikrotypographische Fehler in den Oberschlesischen Nachrichten

61%

Pelka D.

Academic Journal of Modern Philology

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2012

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vol. 1

85-97

EN

The first edition of “Wiadomości Górnośląskie” appeared on March 20, 1990 in the form of a Polish-German supplement to “Trybuna Opolska”. This was a starting point of the published up till now German minority newspaper – “Wochenblat.pl”. Due to that, we may treat “Wiadomości Górnośląskie” as one of the oldest press publications of the German minority in Poland after 1989. When we focus on the German texts published in “WG”, we may come across many lexical and grammatical mistakes, which make it difficult for the reader to understand the text. It is not only the mistakes that disrupt the reception of the text. This article, by means of describing the relation and the influence the typography and the reading process have on one another, indicates that micro-typographic mistakes may have a negative impact on the clarity of the text. Only when the text is properly set, can the reader focus on its message. Wrongly set words, incorrect punctuation or spaces draw the reader’s attention and cause reading difficulties. They force the reader to analyze the structure of the text and therefore draw them away from focusing on the message. The article, using particular examples taken from the corpus of ten first editions of the “Wiadomości Górnośląskie”, shows that violation of the ortotypographic rules may disturb the clarity of the text. At the same time, it is being stated that typography has an important influence as far as the clarity of the text is concerned.

10

Wizerunek e-zinu „Parallax” – charakterystyka, identyfikacja, budowanie marki

61%

Wich-Szymczak U., Uniwersytet Łódzki W. F., Urszula Wich-Szymczak – jej zainteresowania badawcze oscylują w kręgu teorii komunikacji literackiej i społecznej oraz dziennikarstwa internetowego a. t. w. k. l. s. i. o. A. o. P. l. P. k. l. i. s. X. X. w. K. E.-z. g. a. o. d. o. P. m. R. R., uwich@vp.pl

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2014

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vol. 23

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issue 1

EN

The article discusses image development in “Parallax” (an internet magazine devoted to computer games), with a special focus on aspects of visual identification. The article presents the characteristics of “Parallax”, the stages of building its image, and the building of the brand, with special attention paid to issues such as the design of name, logo, typography, and the selection of the appropriate color. The aim of the study is to demonstrate how conscious image building affects perceptions of the e-zine. Thanks to developments in interactivity, the mass media communication model is changing. The engagement of the sender and receiver provides clues for the proper functioning of this new-born journalism type, which is a key contributor that is rapidly gaining importance in relation to traditional media types. The author reveals plans to increase the contribution of graphic, visual aspects in internet media models when comparing them to “paper” media, which often seems to be underestimated by publishers and explains its importance for identity creation in internet media.

11

Sztycharz i drukarz lwowski Jan Filipowicz w świetle dokumentów archiwalnych

51%

Rusińska-Giertych H.

Roczniki Biblioteczne

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2013

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vol. 57

117 - 138

EN

The article reveals new facts from the life of the graphic artist and printer Jan Filipowicz, who in 1757–1766 ran a company comprising printing and engraving houses and a bookshop. Despite the fact that Filipowicz was a popular book illustrator in the eastern part of Poland, so far we have had very little information about his professional activities and private life. Drawing on documents from the Central State Historical Archives of Ukraine in Lviv (Центральний Державний Історичний Архів Украіни у Львові) — Filipowicz’s will and two posthumously compiled versions of his property inventory — and of the basis of contemporary Polish and Ukrainian literature, the author has managed to establish and put in order many facts concerning the life of the typographer and the operation of his company.

12

Makro- und Mikrotypographie im Titelkopf der „Oberschlesischen Nachrichten“ und ihrer Folgezeitungen

51%

Pelka D.

Germanica Wratislaviensia

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2015

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vol. 140

195 - 210

EN

The description of the headlines of some selected issues of Oberschlesische Nachrichten, and its successor newspapers, as the only present newspaper of the German minority in Poland, is the starting point and the basis for answering the question, which features of the micro- and macrotypography exert an influence (and what kind) on the reception of the signs which are to be found in them. The analysis shows that not only the significance of the speech signs plays an important part as far as the delivery of specified information is concerned. It also emphasizes that their visual form, their distribution on the space available, or their combination with non-speech signs is vital. They all have a different affective effect on the reader and cause different reception of the prevailing headline.

13

Gdy treść i forma idą w parze. O edytorskich i estetycznych walorach czasopisma „Oficyna Poetów” wydawanego w Londynie w latach 1966–1980

51%

Kaczorowski J.

Studia o Książce i Informacji

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2017

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vol. 36

151-179

EN

“Oficyna Poetów” was aliterary and cultural magazine published in London by Polish-born émigré couple, Krystyna and Czesław Bednarczyk. After World War II they settled in Great Britain, and almost immediately started private printing press. That periodical was one of their biggest projects. “Oficyna…” was one of few magazines published abroad devoted to Polish literature and art. During communism era it was aplace where Polish authors could publish not being afraid of repercussions or censorship. The magazine also integrated Polish intelligentsia around the world and was some kind of alternative for “Kultura” published in Paris. During the years the owners of “Oficyna Poetów iMalarzy” developed their skills and machine park of the press. Struggling from low budget and lack of support they still managed to maintain very high aesthetical level of their hand-made prints. The article is devoted to graphic and typographic form of the periodical. The Bednarczyks were editors, designers, typesetters and printers at the same time. They put great effort in selection of paper, print quality and acquired the most talented émigré illustrators to cooperate in “Oficyna…”. Aesthetic form of the magazine, as well as its cultural impact on Polish society in Great Britain can be sapid for researchers interested in emigration culture, literary magazines and niche printing movement in Great Britain.

14

Co mówią okładki? O jakości komunikatów wizualnych współczesnych edycji wydawanych przez bibliologów i dla bibliologów

51%

Bierkowki T., Repucho E.

Studia o Książce i Informacji

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2017

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vol. 36

11-27

EN

The aim of the article is not only to point out at low quality of typography of contemporary scientific books published in Poland, but mainly to aware that it generates negative impact on communication value. In that context 400 books published in Poland by bibliologists in last 10 years were analyzed by authors of the article. The conclusions presented in the article were based on the analysis of the semantic quality of covers (semantic relations of text and image). The most typical and repetitive errors (e.g. neutrality, literalism and incompatibility) were shown and described. Last, but not least, it was proven by some of good examples, that working on and achieving the proper quality of communication in cover’s design is possible, despite the costs. The only way to success is to understand the real needs of users and design thinking in books’ design.

15

Wygasanie oboczności leksykalnych w polszczyźnie XVI wieku. Oboczność jenże || który

51%

Michalska-Górecka P.

Język Polski

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2015

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vol. 95

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issue 1-2

180-190

PL

Artykuł ma na celu ukazanie rywalizacji dwóch wariantów: starego "jenże" i nowego "który" w drukach wytłoczonych przez XVI-wieczne oficyny działające w Krakowie. Materiał źródłowy zaczerpnięto ze "Słownika polszczyzny XVI wieku", a także z innych tekstów źródłowych epoki. Artykuł stanowi próbę odpowiedzi na pytanie, który z krakowskich impresorów tego czasu używał obydwu funkcjonujących wariantów, a który wyłącznie jednego z nich. Z zebranego materiału wynika, że forma "jenże" musiała wyjść z użycia w pierwszej połowie wieku XVI, co można uznać za zakończenie procesu normalizacyjnego rozpoczętego jeszcze w dobie staropolskiej. Szesnastowieczne notacje tego wariantu (łącznie 113 użyć) stanowią minimalny odsetek użyć w obrębie omawianej oboczności (0,1%).

EN

The aim of this text is to show the rivalry of two variants: the old "jenże" and the new "który" in texts which were published in the 16th century in Krakow. Samples of these forms were taken from "Słownik polszczyzny XVI wieku" and other texts from that time. Moreover, the article attempts to answer the question which printers in Krakow at that time used both forms and which ones only one form. The collected samples show that the variant "jenże" had to become extinct in the first half of the 16th century, which can be treated as the end of the normalization process started in the previous epoch. Samples from the 16th century (113 uses) are just a very small part of the examined variety (0,1%).

16

Druki lwowskich wydawców w XVII wieku na rzecz odrodzenia nauczycielskiej posługi kapłana w metropolii kijowskiej

51%

Nowak A. Z.

Orientalia Christiana Cracoviensia

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2018

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vol. 10

EN

Lvov typographies in the first half of the XVIIth century made efforts to promote and increase the level of teaching in the Kyiv Metropolitanate. Reformers from Lvov led a crusade to renew the custom of proclaiming the Word of God, including through the selection and printing of appropriate patristic translation works and various church books, which were escorted by paratexts, intended for priests (including for church teachers). They also put a lot of effort into forming teachers who were characterized by an appropriate level of knowledge and moral values. These efforts were an important part of the reform which also was undertaken in other educational and publishing centers (or by independent publishers) and directed at the revival of a priest’s teaching service in the Kyiv Metropolitanate.

PL

Lwowskie typografie już w pierwszej połowie XVII wieku podjęły starania o rozpropagowanie i wzrost poziomu nauczania w metropolii kijowskiej. Reformatorzy ze Lwowa prowadzili krucjatę na rzecz odnowy zwyczaju przepowiadania słowa Bożego m.in. poprzez dobór i druk odpowiednich patrystycznych dzieł przekładowych oraz rozmaitych ksiąg cerkiewnych, które eskortowane były przez nauki paratekstowe, przeznaczone dla kapłanów (w tym również dla cerkiewnych nauczycieli). Włożyli wiele wysiłku w uformowanie nauczycieli, odznaczających się odpowiednim poziomem wiedzy i moralnymi walorami. Starania te były ważną częścią składową reformy podjętej także w innych ośrodkach oświatowo-wydawniczych (lub przez samodzielnych wydawców) i ukierunkowanej na odrodzenie nauczycielskiej posługi kapłana w metropolii kijowskiej.

17

„Powieść filmowa” i materialność tekstu. O Bankructwie profesora Muellera Jana Brzękowskiego

51%

Wójtowicz A.

Forum Poetyki

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2021

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issue 23

128-139

EN

The article analyzes Jan Brzękowski’s cinematic novel Bankructwo profesora Muellera [Professor Mueller’s Bankruptcy] from the perspective of avant-garde experiments with novelistic conventions. It demonstrates how the imitation of silent film forms was translated into the “bibliographic code” (G. Bornstein), giving rise to an innovative typographic layout, thanks to which the materiality of the text (typographic composition, different typefaces, fonts, and letters) became one of the key aspects of the work. Moreover, the article draws attention to graphic design created by other artists (Witkacy, S. Taeuber-Arp, H. Stażewski).

PL

Artykuł analizuje filmową powieść Jana Brzękowskiego Bankructwo profesora Muellera w perspektywie awangardowych eksperymentów z konwencjami powieściowymi. Przedstawia, w jaki sposób naśladowanie form zaczerpniętych z kina niemego przełożyło się na „kod bibliologiczny” (G. Bornstein), owocując nowatorskim układem typograficznym, za którego sprawą jednym z kluczowych elementów utworu stała się materialność tekstu (kompozycja typograficzna, dobór kroju, stopnia oraz odmian pisma). Ponadto zwraca uwagę na projekt graficzny, na który złożyły się elementy przygotowane przez innych artystów (Witkacy, S. Taeuber-Arp, H. Stażewski).

18

Typograficzna strukturalizacja tekstu w pierwszym polskojęzycznym druku lubelskim

51%

Sawa A.

Z Badań nad Książką i Księgozbiorami Historycznymi

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2022

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vol. 16

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issue 1

33-53

PL

Pierwsza polskojęzyczna książka została wydana w Lublinie w 1630 r. Nosi ona tytuł Słonecznik albo porownanie woli ludzkiey z wolą bożą, jej autorem jest Jeremiasz Drexelius, a wydrukował ją Paweł Konrad. O drukarzu tym nie zachowały się żadne wzmianki w źródłach. Na podstawie analizy starego druku (ze szczególnym uwzględnieniem korelacji między strukturą tekstu a jego ukształtowaniem typograficznym) można stwierdzić, że P. Konrad dobrze znał współczesną konwencję wydawniczą. Umiejętnie korzystał ze swojego – dość skromnego zasobu typograficznego, aby podkreślić strukturę tekstu. Używał trzech rodzajów pisma drukowanego, stosował kapitaliki, wersaliki i pismo tekstowe, zmieniał wielkość liter, wyśrodkowywał i wyjustowywał tekst, używał inicjałów i składu tekstu w kształt kolumny szpicowej, zamieszczał w tekście ozdobniki i świadomie operował przestrzenią niezadrukowaną.

EN

The first Polish language book was published in Lublin in 1630. The book Słonecznik albo porownanie woli ludzkiey z wolą bożą by Jeremiasz Drexelius was printed in Paweł Konrad's printing house. The name of the printer was not mentioned in historical resources. The analysis of the old print (especially the correlation between the structure and the typographic layout of the text) shows that P. Konrad knew well contemporary publishing convention. He skilfully made use of his meagre composing material in order to emphasise text structure. He used three different typefaces, small capitals, capitals, and book ordinary type. He changed the letter size, used centring, justification as well as initials and the short column. Moreover, the printer placed ornaments in the text, and he consciously employed unprinted space.

19

The book collection of Jan Kuglin as a source for research on the aesthetics of print in the 20th century

51%

Repucho E., Kisilowska M.

Z Badań nad Książką i Księgozbiorami Historycznymi

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2019

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issue 13

327-345

EN

The paper describes a somewhat forgotten book collection of the outstanding Wrocław editor Jan Kuglin, in terms of the editions on print aesthetics contained therein. The collection, which is a reflection of Kuglin’s scientific passions, contains many valuable books in German, English, Polish, Russian and Czech in the field of book and printing history, editing, book design, typography, writing, graphic techniques, polygraphy, paper industry, bookbinding, etc. In the book collection of Kuglin one can find editions being examples of a perfect typography. Thus, the collection stored in the Library of the Institute of Information and Library Science of the University of Wrocław is an excellent source for research on the aesthetics of printing in the 20th century.

20

Oficyny drukarskie pierwszej połowy XVI wieku w zbiorach Biblioteki Fundacji Wiktora hr. Baworowskiego we Lwowie

51%

Ogierman L.

Bibliotheca Nostra. Śląski Kwartalnik Naukowy

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2018

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issue 4(54)

101-107

PL

W zbiorach bibliotecznych Wiktora hr. Baworowskiego z XVI wieku dominują druki z krakowskich warsztatów. Jan Haller zajmuje uprzywilejowaną pozycję, jako drukarz 38 książek. Najstarszy druk pochodzi z 1506 r., a ostatni w tej kolekcji z 1522 r. Równie liczne są książki z warsztatów Hieronima Wietora. Najstarsze, z lat 1611-1512, pochodzą z wiedeńskiego okresu działalności drukarza. Ostatni krakowski druk tłoczono w 1545 r. Zachowało się we Lwowie aż 48 tekstów, pochodzących z pracowni Floriana Unglera oraz jego wdowy i spadkobierców. Najstarsze sięgają 1512 r., a ostatni krakowski druk ma datę 1550 r. Kolekcja zawiera również 39 książek, prasowanych w krakowskiej oficynie Macieja Scharffenberga. Najstarsza została wydana w 1527 r., a ostatnia z tej tłoczni wyszła w 1547 r. Pozostałe druki pochodzenia krakowskiego były dziełami Marka i Hieronima Scharffenbergów, Jana Halicza i Łazarza Andrysowica. Dwie najstarsze książki, z 1504 i 1505, to dzieło warsztatu Kaspra Hochfedera. Baworovianum gromadziło również 50 książek, wykonanych w cenionych wówczas centrach drukarskich. Były to (w kolejności alfabetycznej): Augsburg, Bazylea, Kolonia, Lipsk, Magdeburg, Metz, Norymberga, Paryż, Rzym, Strasburg, Wenecja i Wittenbergia.

EN

The library collection of Wiktor Baworowski from the 16th century is dominated by prints from Cracow workshops. Jan Haller finds a privileged position there as a printer in 38 places. The oldest is from 1506, and the last in this collection dates at 1522. Prints coming from Hieronim Wietor workshops are equally numerous. The oldest items from 1611-1512 come from the Viennese period of the printer‘s activity. The last Cracow print is dated 1545. There are 48 prints that come from the workshop of Florian Ungler and the one run by the widow and other heirs. The oldest objects come from 1512. The last Cracow print signed with the address of the widow Unglerowa is dated 1550. The collection also contains 39 prints pressed at the Cracow publishing house of Maciej Scharffenberg. The oldest of them appeared in 1527. The last item by this printer comes from 1547. The remaining prints of Cracow ‚s origin are supposed to be the work of Marek and Hieronim Scharffenberg, Jan Halicz and Łazarz Andrysowic. The oldest two items from 1504 and 1505 are represented by the workshops of Kasper Hochfeder. Baworovianum also contains 50 prints made in the then-valued printing centers. They are (in alphabetical order): Augsburg, Basel, Cologne, Leipzig, Magdeburg, Metz, Nuremberg, Paris, Rome, Strasbourg, Venice and Wittenbergia.

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Sensotwórcze możliwości adaptacyjne typografii kinetycznej. Rekonesans badawczy

Klasyk nieortodoksyjny. Estetyka książki w twórczości Andrzeja Heidricha

Marzyciel i pragmatyk. Emil Zegadłowicz jako kolekcjoner

Jak Emil Zegadłowicz o typografii gawędził. Uwagi na marginesie poznańskiej edycji "Gawędy poety z typografem" z 1929 roku

„Z dodaniem wyraźniejszego morału, dla łatwiejszego ludzi prostych i nieuków zrozumienia...”. Ruskojęzyczne adaptacje tekstów o charakterze dogmatyczno-moralizatorskim w ukraińskiej kulturze literackiej (na materiale wydań drukarni bazyliańskich XVIII wiek)

La typographie dans la construction du sens social

Edytorska lektura klasyki literatury dla dzieci

Veleslavínův „trojjazyčný“ nomenklátor a komprimace/dilatace v českém pravopisu raného novověku

Typographie und ihr Einfluss auf den Leseprozess: Mikrotypographische Fehler in den Oberschlesischen Nachrichten

Wizerunek e-zinu „Parallax” – charakterystyka, identyfikacja, budowanie marki

Sztycharz i drukarz lwowski Jan Filipowicz w świetle dokumentów archiwalnych

Makro- und Mikrotypographie im Titelkopf der „Oberschlesischen Nachrichten“ und ihrer Folgezeitungen

Gdy treść i forma idą w parze. O edytorskich i estetycznych walorach czasopisma „Oficyna Poetów” wydawanego w Londynie w latach 1966–1980

Co mówią okładki? O jakości komunikatów wizualnych współczesnych edycji wydawanych przez bibliologów i dla bibliologów

Wygasanie oboczności leksykalnych w polszczyźnie XVI wieku. Oboczność jenże || który

Druki lwowskich wydawców w XVII wieku na rzecz odrodzenia nauczycielskiej posługi kapłana w metropolii kijowskiej

„Powieść filmowa” i materialność tekstu. O Bankructwie profesora Muellera Jana Brzękowskiego

Typograficzna strukturalizacja tekstu w pierwszym polskojęzycznym druku lubelskim

The book collection of Jan Kuglin as a source for research on the aesthetics of print in the 20th century

Oficyny drukarskie pierwszej połowy XVI wieku w zbiorach Biblioteki Fundacji Wiktora hr. Baworowskiego we Lwowie