Page 153 - Studia Universitatis Hereditati, vol 13(1) (2025)
P. 153

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               v delo Jan Žižka izpod peresa Václava Vladivoja    from a different manuscript source,  appears in
               Tomka (1879), med 1. aprilom 1971 in 30. juni-  the first major monograph on Jan Žižka, on the
               jem 1991 pa so Čehi in Slovaki isto podobo vsa-  frontispiece of Václav Vladivoj Tomek’s Jan Žiž-
               kodnevno srečevali na hrbtni strani bankovca za   ka (1879). Daily on the back of the 20 Czechoslo-
               20 čehoslovaških kron.                      vak crown banknote, Czechs and Slovaks came
                   Čornejevo delo je pravcata »biblija«. Je ob-  across this same picture between 1 April 1971
               sežna šivana knjiga, realizirana v formatu ob-  and 30 June 1991.
               rezanega B5 (165 x 235 mm), z dvobarnim črno-   Nothing less than a ‘bible’, Čornej’s work is a
               rde čim veznim pred- in zalistom, s kapitelnim   large, stitched book in trimmed B5 size (165 x 235
               trakom, z bralnima trakovoma in bogato prilogo   mm) featuring two-tone black-and-red endpa-
               za barvne reprodukcije (Čornej 2019, 609–656).   pers, a headband, two ribbon markers, and a rich
               Knjiga obsega 856 strani knjižnega bloka, natis-  appendix for colour reproductions (Čornej 2019,
               njena je na brezlesnem (1/1) ter premaznem pa-  609–656). Running 856 pages, it is printed on   153
               pirju (4/4, priloga z barvnimi reprodukcijami)   wood-free paper (1/1) and coated paper (4/4 for
               višje gramature. Tisk je kakovosten, kajti stop-  the colour appendix) of greater grammage. Espe-
               nja barvnega nanosa je 100 % (polna črna barva,   cially clear in the finely crafted index, produced
               1/1, brez sivin, kar je izrazito zlasti pri izvedbi fi-  in inverse technique – white text on a black field
               ligransko oblikovanega kazala v inverzni tehni-  – the print quality is excellent with a 100% col-
               ki: belo besedilo na črnem polju).          our density (rich black, 1/1, without greys).
                   Likovna podoba sporoča izjemno skrbnost     The visual appeal expresses exceptional at-
               in prefinjenost pri oblikovanju, knjižnem stavku   tention and sophistication in design, typeset-
               in urejanju, knjiga pa je celovito realizirana s po-  ting, and editing. A meaningful selection of
               menljivim izborom tipografije, in sicer s sodob-  typeface – especially the modern Czech type-
               no češko črkovno družino Crabath.           face Crabath – helps the book to be holistical-
                                                           ly realised.
               Tipografija
               Crabath je serifna tipografija, ki prihaja iz mo-  Typeface, Design and Typesetting
               derne češke tipografske delavnice Suitcase Type   A tribute to the Enlightenment-era Czech ty-
                       2
               Foundry  in je poklon češkemu tipografu ter   pographer and typefounder Václav Jan Krabat   Niti črno niti belo, temveč barvito! • Not Black or White, but Vibrantly Coloured!
               črko livcu iz dobe »luči in razuma« Václavu Janu   (1719–1805), Crabath is a serif typeface from
               Krabatu (1719–1805). Ta je spomladi 1761 obja-  the modern Czech typographic company Suit-
               vil latinski tipografski katalog Specimen charac-  case Type Foundry.  Krabat published a Latin
                                                                            3
               terum latinorum existentium in Pragensi typo-  typographic catalogue in spring 1761, Specimen
               rum fusura apud Wenceslaum Joannem Crabat   characterum latinorum existentium in Pragen-
               mense  Martii  Anno 1761, na  podlagi  Karbato-  si typorum fusura apud Wenceslaum Joannem
               vih proporcev za garamond antiko (Krabat 1761:   Crabat mense Martii Anno 1761. Typographer
               nr. 35) in garamond kurzivo (Krabat 1761: nr. 37)   Tomáš  Brousil  created the  Crabath  typeface
               pa je tipograf Tomáš Brousil izdelal tipografijo     based on Krabat’s proportions for Garamond ro-
               Crabath, ki jo je oblikovalka Jana Vahaliková ra-  man (Krabat 1761: no. 35) and Garamond ital-
               bila za realizacijo monumentalne knjige o češ-  ic (Krabat 1761: no. 37). Designer Jana Vahalik-
               kem bojevniku na prelomu srednjega v novi vek.
                   Glavno razpravno besedilo je stavljeno s ti-  2   Fol.  76r  of  the richly illuminated Jena  Codex  (Antithe-
                                                               sis Christi et Antichristi), created between 1490 and 1510,
               pografijo velikosti 10 pik, 75 znakov na vrsti-  preserved under signature IV B 24 at the National Mu-
               co, 43 vrstic na stran, in tako »tehta« okoli   seum  in  Prague. https://www.manuscriptorium.com
                                                               /apps/index.php?direct=record&pid=AIPDIG-NMP
                                                               _IV_B_24_3TQMIOE-cs
               2   https://www.suitcasetype.com/fonts/crabath.  3  https://www.suitcasetype.com/fonts/crabath
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