Typography of Jože Plečnik
ABSTRACT Purpose: This paper focuses on the typographic analysis of a small fairy tale book Makalonca designed by Plečnik, and on the analysis of its two reprints, which were unfortunately found to be inferior to the original design. Methodology/approach: The differences and inconsistencies between...
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| Language: | English |
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Slovenian Library Association & University of Ljubljana Press (Založba Univerze v Ljubljani)
2011-10-01
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| Series: | Knjižnica |
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| Online Access: | https://journals.uni-lj.si/knjiznica/article/view/14302 |
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| _version_ | 1850251160750915584 |
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| author | Klementina Možina |
| author_facet | Klementina Možina |
| author_sort | Klementina Možina |
| collection | DOAJ |
| description | ABSTRACT
Purpose: This paper focuses on the typographic analysis of a small fairy tale book Makalonca designed by Plečnik, and on the analysis of its two reprints, which were unfortunately found to be inferior to the original design.
Methodology/approach: The differences and inconsistencies between the original and the two reprints of Makalonca were studied in details by the means of a comparative analysis.
Results: The architecture of Jože Plečnik (1872–1957) is well known throughout Europe, while his graphic design and typography are less known. During the Second World War he made all the decorations, vignettes and initials for the fairy tales and elaborated the graphic design for the book which was published in two different bindings – hardcover and paperback. Two paperback reprints were subsequently published as well, the first one a year after the architect’s death in 1958 and the second one in 1988, commemorating the centenary of the fairytales. In both reprints it was stressed that the graphic design remained the same as it was done by Plečnik. On the contrary, both reprints are deformations of the original. Not only that they are different in the book and layout size and typefaces, one even differs in the type style and type size of the body text. Moreover, there are also many other differences within the rest of the text, thus representing a great loss for the Slovenian cultural heritage.
Research limitation: The research was hampered by difficulties in the accessibility and authentication of historical data of printing in Slovenia.
Originality/practical implications: This is the first detailed typographic research of a smaller part of Plečnik’s graphic design. The typographic analysis and research results can be of use at the preparation of facsimile or authentic reprints important for our cultural heritage.
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| format | Article |
| id | doaj-art-128e2d763ed545bc93fdef45e1c452e5 |
| institution | OA Journals |
| issn | 0023-2424 1581-7903 |
| language | English |
| publishDate | 2011-10-01 |
| publisher | Slovenian Library Association & University of Ljubljana Press (Založba Univerze v Ljubljani) |
| record_format | Article |
| series | Knjižnica |
| spelling | doaj-art-128e2d763ed545bc93fdef45e1c452e52025-08-20T01:57:59ZengSlovenian Library Association & University of Ljubljana Press (Založba Univerze v Ljubljani)Knjižnica0023-24241581-79032011-10-0155410.55741/knj.55.4.14302Typography of Jože PlečnikKlementina MožinaABSTRACT Purpose: This paper focuses on the typographic analysis of a small fairy tale book Makalonca designed by Plečnik, and on the analysis of its two reprints, which were unfortunately found to be inferior to the original design. Methodology/approach: The differences and inconsistencies between the original and the two reprints of Makalonca were studied in details by the means of a comparative analysis. Results: The architecture of Jože Plečnik (1872–1957) is well known throughout Europe, while his graphic design and typography are less known. During the Second World War he made all the decorations, vignettes and initials for the fairy tales and elaborated the graphic design for the book which was published in two different bindings – hardcover and paperback. Two paperback reprints were subsequently published as well, the first one a year after the architect’s death in 1958 and the second one in 1988, commemorating the centenary of the fairytales. In both reprints it was stressed that the graphic design remained the same as it was done by Plečnik. On the contrary, both reprints are deformations of the original. Not only that they are different in the book and layout size and typefaces, one even differs in the type style and type size of the body text. Moreover, there are also many other differences within the rest of the text, thus representing a great loss for the Slovenian cultural heritage. Research limitation: The research was hampered by difficulties in the accessibility and authentication of historical data of printing in Slovenia. Originality/practical implications: This is the first detailed typographic research of a smaller part of Plečnik’s graphic design. The typographic analysis and research results can be of use at the preparation of facsimile or authentic reprints important for our cultural heritage. https://journals.uni-lj.si/knjiznica/article/view/14302cultural heritagegraphic designJože Plečnikreprinttypography |
| spellingShingle | Klementina Možina Typography of Jože Plečnik Knjižnica cultural heritage graphic design Jože Plečnik reprint typography |
| title | Typography of Jože Plečnik |
| title_full | Typography of Jože Plečnik |
| title_fullStr | Typography of Jože Plečnik |
| title_full_unstemmed | Typography of Jože Plečnik |
| title_short | Typography of Jože Plečnik |
| title_sort | typography of joze plecnik |
| topic | cultural heritage graphic design Jože Plečnik reprint typography |
| url | https://journals.uni-lj.si/knjiznica/article/view/14302 |
| work_keys_str_mv | AT klementinamozina typographyofjozeplecnik |