Mednarodni gra!cni likovni center, Grad Tivoli, Ljubljana

International Centre of Graphic Arts, Grad Tivoli, Ljubljana

Za nesebi"no pomo" pri nastanku projekta se zahvaljujemo | Our thanks for their invaluable help with the project go to:

Ana Baraga Miha Benedi!i! Anina Benuli! Polde Bosnar Gordan "uka Matja# Komel $pela Rihar Luka Seme Marin $anti% Alja# Vindi&

Posebna zahvala tiskarni Hren in Narodni Galeriji | Special thanks to Hren Printing Co. & the National Gallery of Slovenia

Projekt je !nan"no podprla Mestna ob"ina Ljubljana | The project received 'nancial support from the City of Ljubljana

Razstava Podoba knjige je del dogodkov, ki soustvarjajo mestno vzdu&je v letu 2010, ko se Ljubljana pona&a z nazivom svetovna prestolnica knjige. Na razstavi so predstavljeni izdelki na temo knjige, ki so jih &tudentke in &tudenti Oddelka za oblikovanje Akademije za likovno umetnost in oblikovanje Univerze v Ljubljani oblikovali v zadnjih petnajstih letih.

Na Oddelku za oblikovanje vizualnih komunikacij posve!amo posebno pozornost oblikovanju knjig in sicer v vseh elementih knji#nega organizma. Z raznolikimi vsebinami, ki kli!ejo po oblikovanju (ilustriranju) &tudentom in &tudentkam posku&amo pribli#ati ob!utek, ki je &e najbolj podoben navdu&enju s katerim naj bi se lotili oblike knjige. K oblikovanju knjig pristopamo zelo razli!no, odvisno od knji#ne zvrsti. Poleg oblikovalskih osnov (preloma, izbora !rkovne vrste, materiala), je glavni cilj, da se oblika knjige in njena vsebina zlijeta v harmoni!no celoto.

Namen razstave Podoba knjige je pribli#ati strokovni in &ir&i javnosti razli!ne pristope pri oblikovanju knjig. Knjiga kot medij je v oblikovalski stroki eden najbolj zahtevnih in hkrati tudi zanimivih izzivov, saj s svojim ritmom in trodimenzionalnostjo od oblikovalke/ca terja &iroko paleto oblikovalskega znanja, ki je potrebno za odli!en kon!ni vizualni u!inek knjige.

Prof. Radovan Jenko

The Image of the Book exhibition is one of the events celebrating Ljubljana as the 2010 World Book Capital. The exhibition presents book designs by students of the Department of Design of the Academy of Fine Arts and Design of the University of Ljubljana from the past 'fteen years.

At the Department of Visual Communication Design we devote special attention to all aspects of book design. By introducing our students to a variety of media that call for design (illustration), we encourage them to develop genuine enthusiasm for book design. Depending on the genre, we approach book design in many different ways. In addition to our students mastering the basics (layout, typeface and materials), we seek to teach them how to make the book’s content and form coalesce into a harmonious whole.

The aim of The Image of the Book exhibition is to showcase a wide variety of approaches to book design. As a medium, the book is one of the most demanding, yet interesting challenges, while its unique rhythm and three-dimensional character require designers to rely on their extensive knowledge and experience if they are to do it justice and achieve the desired effect.

Prof. Radovan Jenko

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Nekatere knjige so za poku!ino, druge je potrebno pogoltniti in samo nekatere je potrebno pre"ve#iti in prebaviti. Francis Bacon(

(V dobi, ko je iPad odli!no nadomestilo za slikanice, kadar greste z otrokom na letalo, in ko si na Kindle lahko nalo#ite svojih 1500 najbolj priljubljenih leposlovnih del, je knjiga pravzaprav le ostanek prej&nje civilizacije, zapra&en artefakt prenatrpanih knji#nic in dnevnih sob dedkov in babic, ki so s privar!evanimi dinarji (in kasneje tolarji) posku&ali svojim bli#njim nuditi to, !esar sami niso imeli.

Kako je torej mogo!e, da se na univerzitetnem nivoju &e vedno pojavljajo projekti, ki so obrnjeni nazaj namesto naprej, ki posku&ajo podati smernice o tem, kako naj bi se dolo!ena vsebina materializirala, kako naj bi omogo!ili bralcu nemoteno sledenje avtorjevim mislim in kako bi vizualizirali vse tisto, kar nam knjiga poleg verbalnega sporo!ila lahko podari?

Preprost odgovor je v negaciji prvega odstavka.Na univerzah v tujini se opa#a porast smeri in programov, ki se fokusirano ukvarjajo s knjigo in z njo povezanimi temami, saj vidijo izzive ravno v akademskem raziskovanju branja, tipogra'je, tehnologije, problematike materialov, posebnih potreb pri branju (tudi tistih, ki izvirajo iz starajo!e se populacije) in klju!no: v povezovanju starega in novega.

Doc. dr. Petra $erne Oven

Some books are to be tasted, others to be swallowed, and some few to be chewed and digested. Francis Bacon

(At a time when the iPad makes a perfect substitute for picture books when you take your child on a plane, and when the Kindle allows you to upload 1,500 of your favourite 'ction titles, the book seems a mere remnant of a bygone civilisation, a dusty artefact from crammed libraries or the living rooms of your grandparents, who would have spent the last dinars (and later tolars) they had saved to try to get for their loved ones what they themselves had been unable to afford.

How is it, then, that at the university level, one can still 'nd projects that look back instead of forward, that seek to teach how to give concrete form to content, enable readers to follow an author’s thoughts without interruption, and visualise all that a book has to offer besides its verbal message?

Negating the 'rst sentence provides a simple and clear answer.(At universities around the world, the number of programmes and courses focusing on the book and related topics is on the rise, since academic studies of reading, typography, technology, materials, special needs associated with reading (including those arising from old age), and, most importantly, connecting the old and the new are perceived as challenges.

Petra $erne Oven PhD, Asst. Prof.

14 Zgodbo o dobro oblikovani knjigi nemalo zaplete dejstvo, da so industrije, ki se s tem ukvarjajo – tisk, zalo#ni&tvo –, na!eloma konzervativne in po!asi dojemljive za spremembe. Poleg tega jim bralce dejansko z veliko hitrostjo kradejo kometi iz krasnega novega sveta, ki se s pomo!jo “novih tehnologij” (&e vedno jih trdovratno imenujemo “nove”, !eprav so z nami #e dobrih 30 let) in sve#ine marketin&kega pristopa ka#ejo kot vabljiva osve#itev v poletni vro!ini. Zato so dobro oblikovane (doma nastale) knjige pri nas #al &e vedno redke, saj obliko diktira pravzaprav trg oziroma z njim povezan marketing, ki pa se prilagaja pomanjkljivo zahtevnemu “povpre!nemu okusu”.

V to kompleksno situacijo pa sedaj postavimo srednje-evropsko tradicijo izdelovanja knjig, nekaj zagnanih pedagogov ter mno#ico radovednih &tudentov – in dobimo pri!ujo!o razstavo. Nekaj !ez 50 analognih knjig, ki prihajajo iz razli!nih projektov in razli!nih seminarjev, je nastalo na Akademiji za likovno umetnost in oblikovanje med letoma 1996 in 2010. Ka#ejo nam pre'njeno tradicijo in ljubezen do medija. Vabijo k uporu do vsega, kar nam potro&ni&ka mrzlica trenutno ponuja na trgu, in isto!asno govorijo v prid raziskovanju in drznosti.

Ettore Sottsass je neko! dejal, da “oblikovanje ne pomeni dajati obliko bolj ali manj neumnemu izdelku za bolj ali manj so%sticirano gospodarsko podro#je; oblikovanje je na#in, kako lahko razpravlja! o "ivljenju, socialnem instinktu, politiki, hrani in celo oblikovanju.” In prav to lahko vidimo na &olskih primerih oblikovanja predstavljenih knjig.

15The story of a well-designed book becomes rather complicated when we consider the fact that the publishing industry is generally conservative and ill-disposed to change. In addition, the readership is rapidly being lured away by the stars of a brave new world, which use ‘new technologies’ (we still call them ‘new’, even though they have been around for thirty years) and inspirational marketing strategies that make them seem like refreshing alternatives on hot summer days. And this is why our own well-designed books are, unfortunately, still a rarity in Slovenia. Design, as it were, is governed by the market and marketing, which conform to the undemanding ‘average taste’.

Take this complex situation, and add to it the Central European tradition of making books, a handful of enthusiastic tutors and a crowd of eager students – and this very exhibition is the result. The 'fty plus analogue books, outcomes of various projects and seminars, were created at the Academy of Fine Arts and Design between 1996 and 2010, and re)ect a sophisticated tradition and love of this medium. They invite us to oppose everything that feverish consumerism throws at us, while honouring academic research and boldness.

To quote Ettore Sottsass, “Designing does not mean giving shape to a more or less stupid product for a more or less sophisticated industry; it is a way of discussing life, social instinct, politics, food, and even design.” And this is exactly what we can observe in these model examples of book design.

16 Kar nekaj knjig na razstavi si posku&a lastiti ve! medijev. Mentaliteta mlade generacije, neobremenjene (ali naivno neizku&ene) s stavljenjem kovinskih !rk v vsaj nekaterih primerih dosega vrhunec v projektih, ki bi bili lahko bodisi knjiga, slika na ekranu ali pa ogla&evalski plakat na panoju pred Dramo. Na knjigo gledajo skozi perspektivo MacBookProjevega ekrana, kjer je vse na dosegu roke. Navdu&enost jih sicer v!asih zanese predale!, a pedagogi posku&ajo obrusiti vogale in skrbijo za navigacijo.

Na razstavi nas preseneti raznolikost pristopov, tematik in vsebin. Knjige se lotevajo zelo razli!nih fabul: od ve!no klasi!nih zgodb Alice v #ude"ni de"eli, klenega slovenskega Krpana pa vse do osebnih poetik zapoznelih najstni&kih let. Nekaj primerov je rezultat dela &tudentov na izmenjavah v tujini in tujih &tudentov pri nas, nekaj je primerov raziskovanja pojma knjige v okviru magistrskega &tudija (Predali spominov). Nekatere so namenjene za branje (Aloneness, Br!ljan) in nekatere za gledanje (Now I exist, Oddaljena). Nekatere nam pomagajo kuhati (Bolje kuham kot !tudiram), nekatere nam predstavijo poezijo (Haiku). Najdemo prav vse: od poudarka na fotogra'ji do poudarka na taktilnosti pri knjigah za mal!ke (&ivilja in !karjice), vmes pa je skoraj povsod prisotna izrazito subtilna in izpiljena ilustracija, ki govori o mo!nih avtorskih potencialih.

Glede na stanje slovenskega zalo#ni&tva smo lahko v zaodrju zaskrbljeni za mlade avtorje. Lahko da bodo imeli sre!en trenutek

17There are several books at the exhibition that try to usurp more than one medium. In some cases, the attitude of the young generation – not tormented by (or perhaps naively inexperienced in) metal typesetting – is at its best in projects that could either be books, images on a screen, or roadside billboards. The young designers approach books as if these were on a MacBook Pro screen, where everything is within easy reach. Their enthusiasm may carry them away sometimes, but their tutors try to brush up the edges and steer them in the right direction.

The diversity of approaches and themes at the exhibition is striking. There is a variety of stories, from the all-time classic Alice in Wonderland and the mighty Slovenian Martin Krpan, to the personal poetics of belated teenage years. Some were created by exchange students (Slovenian abroad, and foreign in Slovenia), some were subjects of post-graduate research (Drawer Boxes of Memories). Some are intended to be read (Aloneness, Ivy), and others to be looked at (Now I Exist, Distant). Some help us cook (I Cook Better than I Study); others contain poems (Haiku). The details are amazing – from the focus on a photograph to the pronounced tactility of children’s books (The Seamstress and the Scissors), all accompanied by almost omnipresent, subtle and clean illustration, revealing strong artistic potential.

18 in bodo kaj od svojih idej spravili v #ivljenje preko zagnanega urednika, ki bo videl potencial, lahko pa, da bodo zaradi popularizacije povpre!ja in nevrednih honorarjev, ki jih ilustratorji in avtorji dobivajo za svoje delo, prehitro vrgli pu&ko v koruzo in se predali bolj pro'tabilnim projektom. Upam, da jih bo vsaj nekaj imelo pogum za tveganje in energijo za tek na dolge proge. Taka je pa! narava rojevanja knjig, pa ne samo na dvomilijonskih trgih, ampak tudi v globalni vasi na splo&no.

Delati razstavo knjig je v bistvu problemati!no #e v sami ideji. Knjige ne smejo biti razstavni eksponat v enem izvodu: knjige so rojene za reprodukcijo, hrepenijo po bralcu in s tem povezanimi u#itki. Knjige naj ne bi bile zaklenjene v vitrine, naj ne bi bile predmet hitrega pogleda na otvoritvi razstave, ampak bi morale dobiti ekslibris, svojega lastnika in u&esa na robovih. Naj torej tudi knjige na tej razstavi ne ostanejo v vitrini, ampak naj jih !im ve! pride do urednikov, ki jih bodo razumeli, do bralcev, ki jih bodo !utili, da bodo na ta na!in uresni!ene pomagale ru&iti stereotipe in bodo &e naprej drezale po na&i mo#ganski skorji!

19As regards upcoming authors, the state of Slovenian publishing gives some cause for concern. They may be lucky and see some of their ideas brought to life by a keen editor who will spot their potential, or they may 'nd themselves too quickly discouraged by the growing ‘averageness’ and meagre fees, and invest their creativity in more pro'table pursuits. I hope that at least a few have the courage to risk – and the energy to run – the full circle. But such is the nature of books being born – not only in markets of two million people, but throughout the global village.

When it comes to mounting a book exhibition, the idea itself might be rather a problem. Books should not be one-off exhibition pieces – they are made to be reproduced, they need readers, and are there to please them. Books should not be locked inside display cases, and merely glanced over at exhibition openings. Every book should have its ex libris, its owner, and its dog-eared corners. May the books at this exhibition not only sit in display cases, but may as many as possible reach editors who appreciate them and readers who feel them, and may they help do away with stereotypes and continue to stimulate our grey matter.

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*iga Alja# 180 –183 Miha Artnak 246–249 Ana Baraga 26–29, 44– 47, 90–93, 116–119, 138 –141, 158–161, 188–191 Eva Barbori" 238–241 Anina Benuli" 78–81 Suzana Bricelj 198–205 Filip Burburan 40 – 43, 128 –131 Nenad Cizelj 66 –69 Laura Dowling 56 –59 Andreja D#aku$i" 208 –211 Miha Erjavec 48–51 Eva Ferk 62–65 Katja Kastelic 124–127 Rada Kikelj 230 –233 Tanja Komadina 120 –123 Matja# Komel 192 –195 Eva Kosel 212–215 David Kran"an 164 –167 Tibor Kranjc 172 –175 Jaka Krevelj 242–245 Jana Pe"e"nik 220–223 An#e Pintar 52–55, 86– 89 Marko Poto"nik 184 –187 Sabina Re$i% 250–251 $pela Rihar 74–77, 108 –111 Pia Rihtari" 224–227 Luka Seme 30–31, 94–97, 142–145 Tanja Semion 32–35, 98–101, 134–137, 154–157 Ingbjörg Sigur&ardóttir 176–179 Anja 'libar 102–105 Nina 'tajner 112–115 Nika Troha 150–153 Bára Typltová 36–39 Andreja Vekar 168–171 Alja# Vesel 70–73 Tadeja Vidmar 216–219 Alja# Vindi$ 82–85, 146–149 Mina (abnikar 234–237

prof. dr. Stane Bernik prof. Lucijan Bratu$ prof. Eduard )ehovin prof. Radovan Jenko prof. Toma# Kr#i$nik prof. Ranko Novak prof. Milan Pajk prof. Zdravko Papi" prof. Peter Skalar prof. Inger Merete Skotting asist. Jernej Stritar prof. Aleksandra Vajd

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Podoba knjige | The Image of the BookRazstava $tudentskih projektov oblikovanja knjig in knji#nih ovitkov An exhibition of book and cover designs by students

Izdala Univerza v Ljubljani, Akademija za likovno umetnost in oblikovanje Published by The Academy of Fine Arts and Design of the University of Ljubljana

Zanjo | Academy representative Bojan GorenecUredil | Editing Radovan JenkoUvod | Introduction Radovan JenkoKnjige v vitrini | Books in a Display Case dr. Petra )erne OvenLektura | Slovenian language editing Maja CerarPrevod v angle&ki jezik | English translation by U.T.A. prevajanjeOblikovanje | Design Radovan Jenko, Jure Ko#uh, Tanja SemionFotogra'ja | Photography Miha Benedi"i"Tisk | Printed by R tisk, Ljubljana

Tiskano na papirju | Printed on Revive Natural Matt 115 g/m2"rkovna vrsta | Typeface Gill Sans ProNatisnjeno v Sloveniji | Printed in Slovenia 2010

CIP - Katalo#ni zapis o publikacijiNarodna in univerzitetna knji#nica, Ljubljana

74:655.3.066.11(083.824)659.125(083.824)

PODOBA knjige : razstava &tudentskih projektov oblikovanja knjig in knji#nih ovitkov : Mednarodni gra'!ni likovni center, Grad Tivoli, Ljubljana = The image of the book : an exhibition of book and cover designs by students : International Centre of Graphic Arts, Grad Tivoli, Ljubljana, 16. 7.-7. 9. 2010 / [uredil, uvod Radovan Jenko ; Knjige v vitrini Petra "erne Oven ; prevod v angle&ki jezik U.T.A. prevajanje ; fotogra'ja Miha Benedi!i!]. - Ljubljana : Akademija za likovno umetnost in oblikovanje, 2010

ISBN 978-961-92733-5-7

1. Vzp. stv. nasl. 2. Jenko, Radovan

251904512