natgillin/translations-raw huggingface dataset:
The euro symbol was inspired by the Greek letter epsilon , reflecting the cradle of European civilisation .
Izbrani simbol za euro -- Euros -- izhaja iz grške črke epsilon ( E oziroma ε ) in simbolizira zibelko evropske civilizacije .
E is of course the first letter of the word Europe .
E je obenem tudi prva črka v imenu naše celine Evrope .
The two strong parallel horizontal lines are intended to symbolise the stability of the currency .
Dve odebeljeni vzporedni vodoravni črti sta zamišljeni kot simbol stabilnosti valute .
The official abbreviation of the euro , EUR , has been registered with the International Organization for Standardization ( ISO ) .
Uradna okrajšava za euro je EUR , ki je registrirana pri Mednarodni organizaciji za standardizacijo ( ISO ) .
© European Community
© Evropska skupnost , 2006
The euro symbol according to ISO standards .
Simbol eura po standardih ISO .
The two parallel lines aim to emphasise the stability of the currency .
Dve vzporedni vodoravni črti poudarjata stabilnost valute .
Fixing the denominations In November 1994 , the Council of the European Monetary Institute ( EMI ) , the ECB 's predecessor , decided on a sequence of 1:2:5 for the seven euro banknote denominations : ? 10 and ?
DOLOČITEV APOENOV Novembra 1994 je Svet Evropskega monetarnega inštituta ( EMI ) , predhodnika ECB , sklenil , da si bo sedem apoenov eurskih bankovcev sledilo v zaporedju 1:2:5 , torej 10 Euros in 100 Euros , 20 Euros in 200 Euros ter 5 Euros , 50 Euros in 500 Euros .
2 ; 5 cent and 50 cent , as agreed by the EU 's Economic and Financial Council ( Ecofin ) .
To zaporedje je v skladu z običajno razdelitvijo apoenov v večini valut na svetu in ustreza tudi zaporedju eurskih kovancev , ki si po odločitvi Ekonomsko-finančnega sveta EU sledijo v nizih 1 cent , 10 centov in 1 Euros , 2 centa , 20 centov in 2 Euros ter 5 centov in 50 centov .
The decision to have a very high-value banknote -- ? 500 -- was made after careful evaluation .
Odločitev za bankovec zelo velike vrednosti -- 500 Euros -- je bila sprejeta po tehtnem premisleku in poglobljeni oceni .
Prior to the changeover to euro cash , six of the euro area countries -- Austria , Belgium , Germany , Italy , Luxembourg , and the Netherlands -- had national banknotes worth between ? 200 and ?
Pred prehodom na euro je bankovce v vrednosti med 200 Euros in 500 Euros imelo šest držav euroobmočja -- Avstrija , Belgija , Italija , Luksemburg , Nemčija in Nizozemska -- in uporaba teh velikih bankovcev je naraščala .
In 2000 , for example , the demand for DM 1,000 banknotes ( equivalent to ? 511 ) was 15 times higher than in 1975 and represented 34 % of the total value of Deutsche Mark banknotes in circulation .
Tako je bilo na primer leta 2000 povpraševanje po bankovcu za 1000 DEM ( vrednost 511 Euros ) petnajstkrat večje kot leta 1975 , tisočaki pa so predstavljali kar 34 % vrednosti vseh bankovcev nemške marke v obtoku .
Moreover , in countries outside the European Union with relatively unstable monetary regimes , where inflation is high and / or there is little trust in the banking system , people often hold the cash of lowinflation currencies as a store of value . Before the introduction of euro banknotes , high-value notes such as the DM 1,000 were held .
Poleg tega so ljudje v državah zunaj EU z razmeroma nestabilnim denarnim sistemom , visoko inflacijo in šibkim zaupanjem v bančni sistem nekaj svojih prihrankov pogosto hranili v gotovini tistih valut , ki so imele nizko inflacijo .
Three EU countries -- Greece , Italy and Austria -- used very low-value banknotes ( below ? 2 ) prior to the euro cash changeover .
Tako so pred uvedbo eurskih bankovcev hranili bankovce višjih apoenov , kakršen je bankovec za 1000 DEM .
But the issuance of both very high and very low denominations would have created a banknote series with too many denominations .
12/13
5 as the lowest-value banknote . Timing the introduction of the new currency At the Madrid European Council , the heads of state and government agreed that euro banknotes and coins would start to circulate alongside the national currencies at the latest by 1 January 2002 .
ČAS UVEDBE NOVE VALUTE Na zasedanju Evropskega sveta v Madridu so voditelji držav in vlad sklenili , da se mora vzporedni obtok eurskih in nacionalnih bankovcev in kovancev začeti najpozneje 1 . januarja 2002 .
The precise date , sometime between 1 January 1999 and 1 January 2002 , was left open in order to take account of the different preferences of various cash users and the long lead times for printing banknotes and minting coins .
januarjem 1999 in 1 . januarjem 2002 je ostal nedoločen , da bi bilo mogoče upoštevati želje različnih uporabnikov gotovine in hkrati zagotoviti dovolj časa za izdelavo bankovcev in kovancev .
The date of 1 January 2002 had both advantages and disadvantages .
Datum 1 . januar 2002 je imel tako prednosti kot slabosti .
The peak period for banknote use is at the end of the year : circulation is around 10 % higher than average because of the Christmas season and the first few days of January are traditionally a sales and stocktaking period for retailers .
Ob koncu leta je v uporabi največ bankovcev , saj je zaradi božičnih nakupov , novoletnih razprodaj in inventur v tem času v obtoku približno 10 % več bankovcev kot običajno . Zato so bili sprva v igri tudi nekateri drugi datumi .
A number of other dates were considered but , in the end , 1 January 2002 was agreed to be the most convenient date , marking the start of the calendar year and being the date expected by national public administrations .
Vseeno je bil na koncu kot najugodnejši izbran 1 . januar 2002 , ki sovpada z začetkom koledarskega leta in je hkrati datum , ki so ga pričakovali nacionalni državni organi .
The Madrid European Council also decided that the euro should circulate alongside the national currencies for a maximum of six months , although subsequently , the pros and cons of shortening this period were discussed .
Na madridskem zasedanju so evropski voditelji poleg tega sklenili , da bo euro hkrati z nacionalnimi valutami v obtoku največ šest mesecev .
A shorter period would reduce the costs of handling two currencies simultaneously for banks , retailers and the public , while a longer period would make it easier to adapt vending machines .
Pozneje so sicer razpravljali o možnosti , da bi obdobje dvojnega obtoka skrajšali , saj bi tako banke , trgovci in javnost imeli manj stroškov s hkratno obdelavo dveh valut .
A compromise was reached and it was decided to shorten the transition period .
Po drugi strani bi daljše obdobje olajšalo prilagoditev prodajnih avtomatov na novo valuto . Na koncu je bila sprejeta kompromisna rešitev , da se prehodno obdobje nekoliko skrajša .
In November 1999 , Ecofin agreed that the period of dual circulation should last between four weeks and two months .
Novembra 1999 je Ekonomsko-finančni svet sklenil , da naj obdobje dvojnega obtoka traja od najmanj štirih tednov do največ dveh mesecev .
Banks would continue to change national currencies into euro after that period but those currencies would no longer be legal tender .
Tudi po izteku prehodnega obdobja bi banke zamenjevale nacionalne valute , vendar nacionalni bankovci in kovanci ne bi bili več zakonito plačilno sredstvo .
12/13 Some of the national banknotes replaced by the euro .
Tri države članice EU -- Grčija , Italija in Avstrija -- so pred zamenjavo gotovine uporabljale bankovce zelo majhnih vrednosti , torej manj kot 2 Euros .
© European Community
Poleg tega bi bilo takšne bankovce težje uporabljati , bolj zapletena pa bi bila tudi njihova obdelava in shranjevanje .
Government leaders at the Madrid European Council meeting , 15 -- 16 December 1995 .
Zato je bilo sklenjeno , da bo najnižji bankovec 5 Euros , najvišji kovanec pa 2 Euros .
The Madrid European Council meeting , with Felipe González ( left ) , then Spanish Prime Minister and President-in-Office of the Council , and Jacques Santer , then President of the European Commission .
Madridsko zasedanje Evropskega sveta s Felipejem Gonzálezom ( levo ) , takratnim španskim ministrskim predsednikom in vršilcem dolžnosti predsednika Sveta Evropske unije , ter Jacquesom Santerjem , takratnim predsednikom Evropske komisije .
Chapter 2 Design
2 . POGLAVJE OBLIKOVNA PODOBA
A collage of entries for the euro banknote design competition .
Kolaž prijav na razpis za oblikovanje eurskih bankovcev .
Selecting a design theme for the banknotes The most important factor in the design of a banknote is its « resistance » to counterfeiting .
IZBOR TEME ZA OBLIKOVNO PODOBO BANKOVCEV Najpomembnejši dejavnik pri oblikovanju bankovcev je njihova » odpornost « proti ponarejanju .
But a banknote -- and especially a series of banknotes destined for use in a large group of countries -- should also look attractive .
Obenem mora biti vsak bankovec -- še posebej pa serija bankovcev , namenjenih uporabi v velikem številu držav -- seveda tudi privlačen na pogled .
Euro banknotes needed to be acceptable to everyone in the euro area , if not beyond .
Pri oblikovanju eurskih bankovcev je bilo zato treba zagotoviti , da so ti sprejemljivi za vse uporabnike vsaj v euroobmočju , po možnosti pa tudi v drugih državah .
The notes would be circulating across borders in a variety of cultures and had to avoid any national or gender bias . This impartial approach was taken into account when choosing the design theme .
Ker je bilo jasno , da bodo bankovci pogosto prečkali državne meje in jih bodo uporabljali ljudje iz zelo različnih kultur , s svojim oblikovanjem niso smeli izpostavljati enega naroda ali spola .
The notes should also allow the incorporation of aesthetically appealing design features .
Ta nepristranski pristop je predstavljal izhodišče pri izbiri teme za oblikovanje bankovcev .
In November 1994 , the Council of the European Monetary Institute asked the Banknote Working Group to make proposals for design themes for the euro banknote series .
Prav tako je bilo pomembno , da je na bankovcih mogoče uporabiti estetske in na pogled privlačne elemente .
The group , which was made up primarily of the chief cashiers ( the persons responsible for issuing banknotes ) of the national central banks and general managers of the printing works owned by the central banks , worked closely with an external advisory body , the Theme Selection Advisory Group , which consisted of experts in the fields of history , art , psychology , general design and banknote design . The Advisory Group was asked , first , to suggest themes that would create a sense of unity or form a « family » of the seven banknote denominations , and second , to select the three best themes and rank them .
Novembra 1994 je Svet EMI delovni skupini za bankovce naročil , naj pripravi predloge tem za oblikovno podobo serije eurskih bankovcev . Člani skupine , ki so jo sestavljali predvsem glavni blagajniki nacionalnih centralnih bank ( ljudje , ki so odgovorni za izdajanje bankovcev ) ter direktorji tiskarn v lasti centralnih bank , so tesno sodelovali z zunanjo svetovalno skupino za izbiro teme , v kateri so bili strokovnjaki s področja zgodovine , umetnosti , psihologije , splošnega oblikovanja in oblikovanja bankovcev .
As the banknotes needed to be quickly and easily recognisable as European both inside and outside the European Union , it was decided that they should depict the flag and / or stars of the EU .
18/19
the other side would show architectural styles .
tem , od katerih pa so mnoge izražale nacionalne motive ali interese .
The idea was to choose a theme that stressed the common cultural heritage of the nations of Europe and carried a clear European message worldwide .
Tako je svetovalna skupina na koncu predlagala naslednje tri možne teme .
would show illustrations of famous men and women from the past ;
Navsezadnje so najslavnejše stavbe in znamenitosti Evrope po svetu bolj znane od njenih voditeljev .
the other side would show achievements in fields such as music , painting , science , architecture , literature , medicine and education .
Svetovalna skupina je imela nalogo , da najprej predlaga nekaj tem , ki bi izražale občutek enotnosti in sestavljale » družino « sedmih apoenov bankovcev , nato pa izbere tri najboljše teme in jih razvrsti od najbolj do najmanj primerne .
All seven banknotes would incorporate , as a background , a map of Europe without borders , a feature which would harmonise the appearance of the series .
Ker so morali biti bankovci že na prvi pogled očitno » evropski « tako za ljudi v EU kot tudi zunaj nje , je bilo sklenjeno , da bo na vseh bodisi zastava EU bodisi dvanajst evropskih zvezd ali pa oba elementa .
This theme was broader than the « Ages and styles » theme as it allowed seven distinct disciplines to be portrayed .
Ta dva simbola so začeli vse pogosteje uporabljati različni narodi , ki imajo različno zgodovino ter živijo in delajo kot partnerji na isti celini .
Eighth century BC to fourth century AD Classical ( Greek and Roman ) Eleventh and twelfth centuries Romanesque Thirteenth and fourteenth centuries Gothic
Na vseh sedmih bankovcih bi bil v ozadju zemljevid Evrope brez meja , s čimer bi ta element vse apoene v seriji povezoval v celoto .
It offered a high degree of design flexibility and would make it easier to include a wide range of security features , such as holograms and colour-shifting inks .
Ponujala je visoko stopnjo prilagodljivosti in vključitev širokega izbora zaščitnih elementov , kot so hologrami in črnilo spremenljive barve .
It also allowed very different approaches , so impartial designs were fairly easy to achieve . Fifteenth and sixteenth centuries Renaissance
Prav tako je omogočala zelo različne pristope , zato bi bilo razmeroma lahko najti nepristransko oblikovno podobo .
In June 1995 the EMI Council approved two of the three proposals : « Ages and styles of Europe » and « Abstract / modern design » .
Junija 1995 je Svet EMI odobril dva od treh predlogov : » obdobja in slogi v Evropi « ter » abstraktno / sodobno oblikovanje «.
It also agreed that the only words to appear on the banknotes would be the name of the currency and the initials of the ECB in the different languages .
Sklenil je tudi , da bodo edine besede , ki bodo izpisane na bankovcih , ime valute in začetnice Evropske centralne banke v različnih jezikih .
A Feature Selection Advisory Group was commissioned to define the periods and the related architectural styles for the « Ages and styles of Europe » theme :
Svetovalna skupina za izbiro oblikovnih elementov je dobila nalogo , da določi obdobja in z njimi povezane arhitekturne sloge za temo » obdobja in slogi v Evropi «:
1850 to 1914 Age of iron and glass
Od leta 1850 do leta 1914 Arhitektura železa in stekla
From the 1930s onwards Twentieth century architecture
Od leta 1930 naprej Arhitektura 20 .
The group also selected design motifs typical of each style for optional use by the designers .
Skupina je izbrala tudi oblikovne motive , značilne za vsakega od sedmih slogov , med katerimi bi oblikovalci lahko izbrali tiste , ki se najbolje vključujejo v njihovo oblikovno podobo .
Most members of the group concluded that it was virtually impossible to find totally anonymous features that would -- in the case of portraits -- be both attractive and impartial in terms of country and gender .
Večina članov skupine je menila , da je praktično nemogoče najti popolnoma anonimne značilnosti , ki bi bile -- v primeru portretov -- prijetne na pogled in hkrati nepristranske glede države in spola .
For this reason , many of the draft design proposals made reference to sculptures , such as the head from a statue of an athlete ( Classical period , envisaged for the ? 5 banknote ) and the sculpture of a head in Parma Cathedral by Benedetto Antelami ( Romanesque period , for the Euros 10 banknote ) .
Zato so se številni oblikovni osnutki raje navezovali na skulpture in kipe , na primer na glavo kipa atleta ( antično obdobje , predvidena za bankovec za 5 Euros ) ali na skulpturo glave v katedrali v Parmi kiparja Benedetta Antelamija ( romansko obdobje , bankovec za 10 Euros ) .
At the time of these discussions , specific national design features for the banknotes were still an option . They would identify the country that issued the banknotes .
V času , ko so potekale razprave o teh oblikovnih motivih , so bila še vedno v igri tudi specifična nacionalna oblikovanja bankovcev .
A national feature , for example , the portrait of a monarch , could cover up to one-fifth of the reverse side . The rest of each banknote would be identical .
Ta bi označevala državo , v kateri so bili bankovci izdani . Nacionalni elementi , na primer portret monarha , bi lahko pokrili do ene petine hrbtne strani , preostali del bankovca pa bi bil za vse države enak .
Design briefs were drawn up which specified the criteria to be met by the designers .
Pripravljena so bila navodila za oblikovanje z oblikovnimi zahtevami , ki so bile za oblikovalce zavezujoče .
Apart from being attractive , easy to recognise and difficult to fake , the banknotes needed to incorporate security features in certain positions , have particular colours and clearly contrasting value numerals .
Poleg privlačnega videza , dobre prepoznavnosti in močne zaščite pred ponarejanjem so morale oblikovne rešitve vključevati tudi zaščitne elemente na natančno določenih mestih , prevladujoče barve bankovcev ter številke vrednosti v izrazito kontrastnih barvah .
These specifications extended to 30 pages and mainly covered the technical descriptions of the security features .
Te specifikacije so obsegale 30 strani , vključevale pa so predvsem tehnične opise zaščitnih elementov .
Some excerpts from the design brief for the « Ages and styles of Europe » theme are reprinted on pages 32 and 33 .
Nekaj odlomkov iz navodil za oblikovanje bankovcev na temo » obdobja in slogi v Evropi « je v tej knjigi predstavljenih na 32 . in 33 .
Several designers used the Ephebe of Antikythera ( a classical Greek statue ) as a design motif for the euro banknotes .
Več oblikovalcev je za oblikovni motiv eurobankovcev uporabilo klasični grški kip efeba z Antikitere .
The euro banknote designs are based on the « Ages and styles of Europe » theme .
Oblikovne podobe bankovcev temeljijo na temi » obdobja in slogi v Evropi «.
Creating user-friendly banknotes Changing an element of daily life as fundamental as banknotes and coins means that everyone is affected . Visually impaired people -- and there are more than 7 million of them in the euro area -- are particularly affected .
OBLIKOVANJE UPORABNIKOM PRIJAZNIH BANKOVCEV Sprememba tako pomembne sestavine vsakdanjega življenja , kot so bankovci in kovanci , prizadene vsakogar , še posebej pa vpliva na življenje slepih in slabovidnih ljudi -- in teh je v euroobmočju več kot 7 milijonov .
The European Monetary Institute worked closely with the European Blind Union from 1995 onwards in respect of both the design and size of the banknotes .
Evropski monetarni inštitut je zato od leta 1995 naprej tesno sodeloval z Evropsko zvezo slepih , in sicer tako v zvezi s samo oblikovno podobo kot tudi glede odločitve , kako veliki naj bodo bankovci .
This vulnerable group , for obvious reasons , had to be able to handle them easily ;
Iz očitnih razlogov morajo biti bankovci zasnovani tako , da jih lahko brez težav uporabljajo ljudje iz te ranljive skupine ;
if they could do so , then everyone else could .
če jih lahko oni , jih bodo lahko tudi vsi ostali .
Each banknote -- whether Euros 5 or Euros 500 -- had to be readily identifiable by people with residual or no sight .
Predvsem je bilo treba zagotoviti , da vsak bankovec -- pa naj bo petak ali petstotak -- zlahka prepoznajo slepi in slabovidni ljudje .
For example , the differences in height between the lower , more commonly used denominations were quite distinct .
Tako je bilo na primer sklenjeno , da naj bo razlika v višini bankovcev nižjih in pogosteje rabljenih vrednosti precej izrazita .
The Euros 100 , Euros 200 and Euros 500 banknotes were made the same height -- to facilitate automatic handling -- but repetitive embossed patterns were placed on the Euros 200 and Euros 500 banknotes to differentiate them .
Nasprotno so bankovci za 100 Euros , 200 Euros in 500 Euros vsi enako visoki -- to olajšuje strojno obdelavo -- vseeno pa so za lažje razlikovanje na bankovcih za 200 Euros in 500 Euros vdelani ponavljajoči se izbočeni oz .
Large and bold value numerals were placed in a standard position throughout the series , on both sides , and sharply contrasting colours were used . They were derived principally from the colour wheel of the Swiss painter and art teacher Johannes Itten ( 1888-1967 ) .
reliefni vzorci . V celotni seriji so na standardnih mestih na obeh straneh postavljene velike številke vrednosti v krepkem tisku in močno kontrastnih barvah , izpeljanih predvsem iz barvnega kroga švicarskega slikarja in umetnostnega pedagoga Johannesa Ittna ( 1888 -- 1967 ) .
The colours chosen for successive denominations were taken from opposing segments of the colour wheel and thus strongly contrast with each other .
Barve za zaporedne apoene so vzete iz nasprotujočih si segmentov barvnega kroga in se zato med seboj močno razlikujejo .
The same is true for denominations that have digits in common , like the red Euros 10 and green Euros 100 banknotes .
To velja tudi za apoene , ki imajo v oznaki vrednosti enake števke , npr . rdeča barva za 10 Euros in zelena za 100 Euros .
Ranking the designs The designers were nominated by all the central banks in the European Union ( except Denmark 's ) and each central bank could name up to three designers .
OCENA OBLIKOVNIH PREDLOGOV Oblikovalce so predlagale vse centralne banke v Evropski uniji razen danske , vsaka pa je lahko predlagala največ tri kandidate .
All those chosen had experience of banknote design and were familiar with the challenge of combining attractive designs with effective security features .
Vsi so imeli izkušnje z oblikovanjem bankovcev in so vedeli , kako težko je združiti privlačno oblikovno podobo z učinkovitimi zaščitnimi elementi .
They were asked to submit draft designs for the complete series of banknotes showing one or both themes within seven months .
Imeli so sedem mesecev časa , da pripravijo in predložijo oblikovne predloge za celotno serijo bankovcev na eno ali obe od izbranih tem .
Each proposal would be presented to the EMI Council as a colour copy , but no production technique was specified , so some designers produced hand paintings or drawings while others produced computer-generated designs .
Predlogi so morali biti oddani v obliki barvnih kopij , ker pa tehnika izdelave ni bila določena , so nekateri oblikovalci pripravili ročno izdelane slike ali skice , drugi pa računalniško izdelane oblikovne podobe .
A total of 29 designers or design teams submitted 27 proposals with the « traditional » theme and 17 with the « modern » theme by the closing date of the competition , 13 September 1996 .
Skupno 29 oblikovalcev in oblikovalskih ekip je do roka za oddajo , 13 . septembra 1996 , oddalo 27 predlogov za » tradicionalno « in 17 predlogov za » sodobno « temo .
Each design series was then given a random three-digit number to make it anonymous , and sent to the EMI .
Vsaki seriji je bila zaradi anonimnosti avtorjev dodeljena naključna trimestna številka , nato pa so bili vsi predlogi poslani Evropskemu monetarnemu inštitutu .
At all selection stages , the draft designs were only identifiable by their respective number .
V vseh korakih izbirnega postopka so bili oblikovni predlogi označeni samo z ustrezno številko .
This ensured that the EMI Council and the advisory bodies would assess the entries objectively , and not be influenced by the country or origin .
Na ta način je bilo zagotovljeno , da so Svet EMI in svetovalni organi predloge ocenjevali objektivno in ne glede na državo , iz katere so izvirali .
Towards the end of that month a jury of independent experts in marketing , design and art history met under the chairmanship of the EMI in order to select the five best designs for each theme .
Zadnje dni septembra so se pod predsedstvom EMI sestali člani žirije , ki so jo sestavljali neodvisni strokovnjaki s področij trženja , oblikovanja in umetnostne zgodovine , da bi izbrali pet najboljših oblikovnih podob za vsako temo .