189 Holzstich zu: Enderling, Die verlorene Vergangenheit (Wilhelm Goldmann Verlag, Leipzig) of any work of science could be obtained only by a sober makemp bare of good taste of the outer cover, one will appreciate in its full sense the pioneer work performed by Stratil together with his publisher in the hne of cover design. It seems, that the pub» lisher's calculation according to which works well made up - even those ofscientific rese< arch are easier sold than plainly made up works, has been proved correct. Not only relatively more copies printed to every edition do prove this, but also the fact, that the publisher has brought under Stratil's supervisión the makemp of his special lite» rature of medicine, psychology and biology. Thus a large series ofexcellent book titles has cometo light, which byrather simple means produce an impressive eifectcolour ofcard» board, disposition of lettertype and word» ing on the surface and at times a back» ground suiting the respective contents of the book, to which some symbolical con» nection is established. Very convincing re» sults have been obtained also by means of woodcuts used in covers, whereon the word» ing has been produced either by cutting it into the surface or by placing same onto the engraved background. There are two reasons why Stratil for the illustration of his books gives preference to the technique of woodcuts and wood en» graving. The first is a merely obvious rea» son: these methods allow its author a true reproduction of his visions and further allows the buyer to acquire such graphic origináis at a modérate price. It is essential too that it is a means particularly suited to his gifts. As it works from the dark into light, it makes the play of light about the world of bodies a fundamental feature. Yet, however great his preference given to wood» cut may be, he never neglects over it the other graphic techniques, neither thecrayon or pen drawing, ñor lithography, neither etching ñor watercolour painting, even the seldomly applied red chalk drawing is at times used by him. Without pathetic ex» pression, yet decisively he declines all uni» formity or rather "onesidedness in spirit and style as well as in technique. Stratil was never a slave to fashion, as little as he ever belonged to the radical reformers who proclaimed to be themselves gauge and guide. Instead he takes his standing on a rock»founded tradition which he further develops through his masterly domination of the true artisan's craft. "L."

Archiv für Buchgewerbe und Gebrauchsgraphik de | 1938 | | page 41