natgillin/translations-raw huggingface dataset:
The designs were judged mainly on the basis of creativity , aesthetics , style , functionality as well as
Glavna merila za oceno so bila ustvarjalnost , estetika , slog , funkcionalnost ter pričakovani odziv javnosti .
likely public perception and reception . The jury agreed that a European « look » for the banknotes would be of paramount importance .
Člani žirije so se strinjali , da je najpomembnejši dejavnik evropski » videz « bankovcev .
This also explains why portraits did not feature very largely in the designs chosen by the jury : even a slight similarity to a real person could be interpreted as demonstrating national bias .
To tudi pojasnjuje , zakaj v oblikovnih predlogih , ki jih je izbrala žirija , ni veliko portretov : že bežno podobnost z dejansko osebo bi bilo namreč mogoče razumeti kot izraz nacionalne pristranskosti .
During the selection process , the jury was encouraged to make comments on design details in case a design series was generally well regarded but required amendments .
EMI je člane žirije pozval , naj med izbirnim postopkom oblikovne podobe komentirajo in predlagajo spremembe , če menijo , da je predlog na splošno dober , a v nekaterih potezah neustrezen .
The ranking took place in a three-step procedure ; those design series not supported by a minimum number of jury members were discarded .
Tisti oblikovni predlogi , ki niso dobili najmanjšega zahtevanega števila glasov članov žirije , so bili izločeni .
Robert Kalina 's design -- which would be selected by the EMI Council two months later -- was ranked second in the category « Ages and styles of Europe » .
Oblikovni predlog Roberta Kaline , ki ga je Svet EMI dva mesece kasneje izbral , se je v kategoriji » obdobja in slogi v Evropi « uvrstil na drugo mesto .
The jury said that « it clearly represents European money .
Člani žirije so namreč ocenili , da ta predlog » nedvomno predstavlja evropski denar .
Although it is based on only one main design idea , it excels on account of the interesting and meaningful selection of architectural features .
Čeprav temelji na eni sami osrednji oblikovni ideji , izstopa z zanimivim in smiselnim izborom arhitekturnih značilnosti .
A very clear distinction between the denominations is achieved by the skilful use of colours and the strong numerals ."
Zelo jasno razlikovanje med bankovci različnih vrednosti dosega s spretno rabo barv in velikimi številkami vrednosti .
Initially , the design series was chosen because of its concept , not its beauty .
« Sprva je bila ta serija izbrana zaradi svojega temeljnega koncepta in ne zaradi estetskega videza .
When the jury 's ranking was combined with the public 's response in an opinion poll , Kalina 's design was judged to be the best .
Kasneje , ko je bila razvrstitev žirije povezana z odzivom javnosti v javnomnenjski raziskavi , je predlog Roberta Kaline obveljal za najboljšega .
The jury 's shortlist was as follows : Abstract / modern theme 1 .
Žirija je sprejela naslednji izbor : abstraktna / sodobna tema 1 .
Klaus Michel and Sanne Jünger 2 .
Klaus Michel in Sanne Jünger 2 .
Terry Thorn ( Harrisons & Sons ) Ages and styles of Europe 1 .
Terry Thorn ( Harrisons & Sons ) obdobja in slogi v Evropi 1 .
Ernst and Lorli Jünger 4 .
Ernst in Lorli Jünger 4 .
Daniel and Johanna Bruun
Daniel in Johanna Bruun
Consulting the public and making the final decision All ten design series shortlisted by the jury were shown to a cross-section of the public in October 1996 in the countries likely to be participating in the euro area .
JAVNA RAZPRAVA IN KONČNA ODLOČITEV Vseh deset serij , ki jih je žirija uvrstila v ožji izbor , je bilo oktobra 1996 predstavljenih reprezentativnim skupinam javnosti iz tistih držav , za katere je bilo verjetno , da bodo sodelovale v euroobmočju .
A market research company spent a week interviewing 1,896 people about the designs .
Agencija za tržne raziskave je s 1896 ljudmi v enem tednu opravila razgovore o izbranih oblikovnih podobah .
The interviewees were aged between 15 and 86 , with 43 being the average .
Anketiranci so bili stari med 15 in 86 let , s povprečno starostjo 43 let .
787 of them said that they handled a large number of banknotes in their daily work .
Med njimi je bilo 787 takih , ki so imeli pri svojem delu vsak dan opravka z večjimi količinami bankovcev .
A higher proportion of interviewees ( 35 %) preferred the abstract / modern designs by Maryke Degryse to the traditional designs by Robert Kalina ( 23 %) .
Precejšnjemu številu vprašanih ( 35 %) je bila abstraktna oz . sodobna oblikovna podoba Maryke Degryse bolj všeč kot tradicionalna oblikovna podoba Roberta Kaline ( 23 %) .
But most interviewees -- 76 % -- felt that Kalina 's banknotes better expressed the idea of « Europe » ;
Vseeno je večina anketiranih -- 76 % -- ocenila , da Kalinini bankovci bolje izražajo idejo » Evrope «;
only a few said it reminded them of a particular region or specific country .
le nekaj jih je menilo , da spominjajo na določeno regijo ali konkretno državo .
His traditional series was felt by 60 % to inspire confidence .
Šestdesetim odstotkom vprašanih se je tudi zdelo , da njegova tradicionalna serija vliva zaupanje .
It is interesting to note that studies show that , in general , the more a banknote is immediately liked , the more it inspires confidence .
Kot je pokazala raziskava , bankovec vliva tem več zaupanja , čim bolj je ljudem všeč na prvi pogled .
The interviewees were asked around 30 questions under the headings of perception , emotion and acceptance .
Pri približno 30 vprašanjih so morali anketiranci poročati o vtisih , ki jih imajo o predlaganih oblikovnih podobah , o čustvih , ki jih vzbujajo , ter o sprejemljivosti oblikovanja .
All designs , except the series by Roger Pfund and the modern series from the Jünger team , were perceived as banknotes at first glance .
Ocenili so , da so vsi predlogi razen serije Rogerja Pfunda in sodobne serije skupine Jünger že na prvi pogled videti kot bankovci .
Those two series , and the one by Terry Thorn , reminded the respondents more of pieces of art than means of payment .
Za ti dve seriji ter za osnutke Terryja Thorna so ocenili , da bolj spominjajo na umetniška dela kot na plačilno sredstvo .
The first draft designs of banknotes are usually modified to comply with printing requirements , so the final design differs from the earlier versions .
Prvi oblikovni osnutki bankovcev se ponavadi prilagodijo tako , da so primerni za tiskanje , zato se njihova končna podoba lahko razlikuje od zgodnejših verzij .
The Banknote Working Group concluded that if certain changes were made all the shortlisted series could be converted into printed banknotes .
V primeru eurobankovcev so člani delovne skupine za bankovce ocenili , da bi bilo z določenimi spremembami vse predloge v ožjem izboru mogoče pretvoriti v tiskane bankovce .
In December 1996 , all 44 designs -- anonymised colour copies -- were presented to the EMI Council on dark cardboard panels .
Decembra 1996 je bilo vseh 44 oblikovnih predlogov -- v obliki anonimnih barvnih kopij na trdi temni podlagi -- predstavljenih Svetu EMI .
The Council was informed about the jury 's ranking , the results of the public survey and the technical comments of the Banknote Working Group .
Svet je bil seznanjen z razvrstitvijo žirije , rezultati javnomnenjske raziskave in tehničnimi opombami delovne skupine za bankovce .
The Council members quickly approved the traditional series designed by Robert Kalina ; they found the message it conveyed so striking that most of them ranked it first .
Člani Sveta so hitro odobrili tradicionalno serijo Roberta Kaline , saj je večina ocenila , da je sporočilo , ki ga posreduje ta oblikovna podoba , tako prepričljivo , da si zasluži prvo mesto .
This decision was announced on 16 December 1996 at two parallel press conferences : one at the EMI in Frankfurt by the EMI President , Alexandre Lamfalussy , and the other at the Dublin European Council by the Governor of the Netherlands » central bank , Willem F. Duisenberg ( who was designated as Lamfalussy 's successor at the EMI and later appointed as the first President of the ECB ) .
Odločitev je bila 16 . decembra 1996 objavljena na dveh vzporednih tiskovnih konferencah : na sedežu EMI v Frankfurtu jo je javnosti predstavil predsednik EMI Alexandre Lamfalussy , na zasedanju Evropskega sveta v Dublinu pa guverner nizozemske centralne banke Willem F. Duisenberg ( ki je bil izbran za Lamfalussyjevega naslednika v EMI in je kasneje postal prvi predsednik ECB ) .
A jury of experts assessed and ranked the 44 series of draft designs in 1996 .
Žirija strokovnjakov je leta 1996 ocenila in razvrstila 44 serij oblikovnih predlogov .
Some of the shortlisted designs for the « abstract / modern » theme : ? 5 -- Klaus Michel and Sanne Jünger ;
Nekaj oblikovnih predlogov iz abstraktne / sodobne teme , ki so se uvrstili v ožji izbor : 5 Euros -- Klaus Michel in Sanne Jünger ;
? 200 -- Klaus Michel and Sanne Jünger ;
200 Euros -- Klaus Michel in Sanne Jünger ;
Some of the shortlisted designs for the « Ages and styles of Europe » theme : ? 5 -- Yves Zimmermann ;
In nekateri iz teme o obdobjih in slogih v Evropi : 5 Euros -- Yves Zimmermann ;
? 20 -- Ernst and Lorli Jünger ;
20 Euros -- Ernst in Lorli Jünger ;
? 100 -- Daniel and Johanna Bruun ;
100 Euros -- Daniel in Johanna Bruun ;
? 200 -- Ernst and Lorli Jünger ;
200 Euros -- Ernst in Lorli Jünger ;
Designing the euro coins The designs for the euro coins were selected at the same time as the euro banknote designs .
OBLIKOVANJE EUROKOVANCEV Oblikovna podoba za eurske kovance je bila izbrana istočasno kot za bankovce .
The selection was coordinated by the European Commission and each coin would have a « common European side » and a « national side » .
Izbor je usklajevala Evropska komisija , ki je odločila , da bo imel vsak kovanec » enotno evropsko stran « in od države do države različno » nacionalno stran «.
In March 1997 , a European panel , chaired by the Secretary-General of the European Commission and composed of independent experts from a wide variety of fields ( including art , design and numismatics as well as consumer representatives ) selected nine series from among the 36 entries .
Marca 1997 je evropska žirija , ki so jo pod predsedstvom generalnega sekretarja Evropske komisije sestavljali strokovnjaki z najrazličnejših področij ( umetniki , oblikovalci in numizmatiki , pa tudi predstavniki potrošnikov ) , izmed 36 predlaganih serij izbrala 9 predlogov .
The directors of the European mints were consulted on the high-volume mintability of the design proposals .
Glede možnosti kovanja velikega števila kovancev s predlagano oblikovno podobo se je žirija posvetovala tudi z direktorji evropskih kovnic .
In June 1997 , the Amsterdam European Council selected the winning series , designed by Luc Luycx from the Royal Belgian Mint .
Junija 1997 je bila na zasedanju Evropskega sveta v Amsterdamu izbrana zmagovalna serija , ki jo je oblikoval Luc Luycx iz belgijske kovnice Royal Belgian Mint .
His design was also favoured by a majority of interviewees ( 64 %) in a public opinion poll conducted throughout Europe prior to the final selection .
Njegova oblikovna podoba je bila najbolj všeč tudi večini sodelujočih ( 64 %) v javnomnenjski raziskavi , ki je pred končnim izborom potekala po celi Evropi .
The designs on the common sides of the coins feature the continent of Europe depicted in different ways . They are intended to symbolise the unity of the European Union .
Oblikovne podobe na enotni strani kovancev prikazujejo na različne načine upodobljeno evropsko celino . Njihov namen je simbolizirati enotnost Evropske unije .
Islands are only depicted if they are of a certain size , i.e. over 2,500 km2 for single islands and over 5,000 km2 for archipelagos .
Otoki so upodobljeni samo , če so dovolj veliki -- večji od 2500 km2 za posamezne otoke oz . večji od 5000 km2 za otočja .
Each country had its own selection procedure for the design of the national side .
Za nacionalno stran je oblikovno podobo vsaka država izbrala sama .
The only common elements were the date of minting and the 12 stars symbolising the EU . For historical , and often constitutional , reasons , the reigning monarch is depicted on coins minted by countries that are monarchies .
Edina skupna elementa sta bila datum kovanja in 12 zvezd kot simbol EU . Iz zgodovinskih in pogosto ustavnih razlogov je na kovancih držav , ki so po svoji politični ureditvi kraljevine , upodobljen ustrezen trenutni vladar .
Coin design in republics tends to show greater continuity .
Nasprotno se kovanci republik večinoma navezujejo na daljše časovno obdobje .
For example , in Ireland , the motif of the Celtic harp was stipulated without a design competition . The three independent states of Monaco , San Marino and the Vatican City do not have their own currencies ;
Tako je bil na primer na Irskem brez razpisa izbran motiv keltske harfe . Tri neodvisne države , Monako , San Marino in Vatikan , nimajo svoje valute in uporabljajo eurske bankovce in kovance .
they use euro banknotes and coins . Special agreements with France and Italy , both acting on behalf of the EU , have made it possible for these countries to mint and issue their own euro coins in line with the common specifications .
Na podlagi posebnih sporazumov s Francijo in Italijo , pri katerih sta slednji nastopali v imenu EU , lahko te države kujejo in izdajajo lastne eurokovance v skladu s skupnimi specifikacijami .
Luc Luycx of the Royal Belgian Mint , designer of the European side of the euro coins , at work in Brussels .
Oblikovalec skupne strani eurokovancev Luc Luycx iz belgijske kovnice Royal Belgian Mint pri delu v Bruslju .
Preparing the final designs In its analysis of the printability of the draft banknote designs , the Banknote Working Group proposed some changes that were necessary for technical reasons and mainly concerned the position of the security features . For example , the security thread was embedded along the vertical middle axis , which is also the banknote 's main folding line .
Oblikovni predlogi evropske strani , ki so se uvrstili v ožji izbor . PRIPRAVA KONČNIH OBLIKOVNIH PODOB BANKOVCEV Delovna skupina za bankovce je po opravljeni analizi primernosti prejetih oblikovnih podob za tisk predlagala nekatere spremembe , ki so bile nujne iz tehničnih razlogov in so se večinoma nanašale na položaj zaščitnih elementov .
As the area where the thread is embedded has slightly lower tear resistance , the thread needed to be repositioned so as to minimise the likelihood of a banknote being damaged by folding .
Tako je bila na primer varnostna nit prvotno vtkana vzdolž navpične srednje osi , ki je hkrati glavna črta , po kateri se bankovci najpogosteje pregibajo .
Apart from such technical modifications , the Banknote Working Group suggested some changes to the original designs , especially to make them more acceptable to the public .
Ker se predel , kjer je vtkana nit , nekoliko lažje trga , jo je bilo treba premakniti tako , da bi bila nevarnost poškodovanja bankovca pri zlaganju čim manjša .
These changes involved the architectural features , the map of Europe and the EU flag . In particular , bridges , windows and gateways had to be revised to make sure that they did not closely resemble real ones , otherwise there would have been comments about a national bias .
Poleg tovrstnih tehničnih prilagoditev je skupina predlagala tudi nekaj sprememb k samim oblikovnim podobam , predvsem z namenom , da bi bili izbrani oblikovni elementi čim bolj sprejemljivi za javnost . Pri tem je šlo za spremembe arhitekturnih elementov , zemljevida Evrope in zastave EU .
But the representations did have to be typical examples of the respective age and show the structural engineering correctly . For example , a bridge on a banknote , if transferred to the real world , should be strong enough to bear the weight of traffic .
Predvsem je bilo treba spremeniti mostove , okna in portale , da ne bi bili preveč podobni resničnim , saj bi se sicer lahko pojavili očitki , da motivi izpostavljajo eno ali drugo državo .
The idea of showing a map of Europe was welcomed by the Council of the European Monetary Institute . But opinions differed sharply about how this could actually be done and , in particular , about what kind of map projection should be used .
Vseeno so morali biti upodobljeni značilni predstavniki določenega sloga ter prikazani tako , da pravilno prikazujejo strukturne značilnosti arhitekturnih elementov .
One option was to use maps from different ages , but these were sometimes difficult to recognise as representations of Europe .
To na primer pomeni , da bi bil most z bankovca , če bi ga prenesli v resnični svet , dovolj trden , da bi nosil težo prometa .
Moreover , they might have been regarded as focusing on Europe 's past rather than its future . It was therefore agreed to use images based on satellite photographs .
30/31 za tiskanje , je na vrsto prišla natančna določitev območja , ki naj bo prikazano .
After some adjustments to improve the clarity and printability of the map were made , the precise geographical area to be covered and the level of detail were considered . It was decided to include geographical Europe , but only those areas or islands that were larger than 400 km2 .
Sklenjeno je bilo , da bo zemljevid prikazoval geografsko Evropo , vendar le tista območja ali otoke , ki so večji od 400 km2 .
This limit was chosen because large-scale offset printing did not permit the consistent printing of a line representation of any area smaller than 400 km2 .
Ta velikost je bila izbrana zato , ker ofsetni tisk v velikih količinah ne zagotavlja enotne kakovosti tiskanja črtnih slik območij , ki so manjša od 400 km2 .
As the euro banknotes would also circulate in territories near and outside geographical Europe , the map had to be positioned so that they could be fitted in .
Ker so eurobankovci v obtoku tudi na območjih blizu in zunaj geografske Evrope , je bilo treba zemljevid postaviti tako , da na bankovcu ostane dovolj prostora tudi zanje .
North Africa was featured in order to include the Spanish possessions Ceuta and Melilla and the Canary Islands . The French overseas départements of French Guiana , Guadeloupe , Martinique and Réunion were placed in small boxes .
Tako je bila severna Afrika vključena zato , da bi na zemljevid lahko postavili španski eksklavi Ceuta in Melilla ter Kanarske otoke , za francoska čezmorska ozemlja Francoska Gvajana , Guadalupe , Martinique in Réunion pa so bili dodani drobni okvirčki .
Finally , the designs had to show a correct depiction of the EU flag , in blue with yellow stars , on the front of the banknotes .
In končno , oblikovne podobe so morale na sprednji strani bankovcev na pravilen način prikazovati zastavo EU z modrim ozadjem in rumenimi zvezdami .
In July 1997 , the revised designs were published , but the details of the security features were not revealed until late August 2001 , so as not to reveal valuable information to counterfeiters at an early stage and enable them to prepare copies of the security features before the banknotes were put in circulation .
Prilagojene oblikovne podobe so bile objavljene julija 1997 , vendar podrobnosti o zaščitnih elementih javnosti niso bile predstavljene vse do konca avgusta 2001 , da ponarejevalci v tej zgodnji fazi ne bi dobili dragocenih informacij in pripravili kopije zaščitnih elementov , še preden bi bankovci prišli v obtok .
Therefore , so-called « dummy designs » were published , with several security and design features shown in a distorted way .
Zato so bile objavljene samo imitacije bankovcev (» dummy designs «) , na katerih je bilo več zaščitnih in oblikovnih elementov prikazanih v popačeni obliki .
For example , the holograms were replaced by guilloches ( an ornamental pattern of circles or loops ) and the EU flag depicted in grey and white was shown on the banknotes » reverse side .
namesto holograma na srebrni foliji prikazani ornamentalni vzorci iz krožnih črt (» guilloches «) , zastava EU pa je bila zelena in bela ter nameščena na hrbtni strani bankovcev .
National features on the euro banknotes were eventually rejected because even though they might have made the banknotes more acceptable in their respective countries , they might have had the opposite effect in other countries .
Nacionalne značilnosti eurobankovcev so bile na koncu zavrnjene , ker bi jih v državah , s katerimi so povezane , uporabniki sicer morda sprejeli bolje , v ostalih pa bi bil učinek lahko ravno nasproten . Poleg tega so bankovci z enotno podobo bolj varni , saj jih je lažje primerjati med seboj .
In addition , having uniform banknotes enhances their security as they can be easily cross-checked .
Zamisel o zemljevidu Evrope je Svet EMI sicer pozdravil , mnenja pa so se močno razhajala glede vprašanja , kakšen naj bi bil zemljevid , in zlasti , v kakšni projekciji naj bo izdelan .
30/31
Ena od možnosti je bila , da bi uporabili zemljevide iz različnih obdobij , vendar je z njimi težava v tem , da je na njih včasih težko prepoznati Evropo .
Robert Kalina , designer of the euro banknotes , at work at Austria 's central bank in Vienna .
Po nekaterih prilagoditvah , ki so bile potrebne , da bi bili ti posnetki dovolj pregledni in primerni Oblikovalec eurobankovcev Robert Kalina pri delu v avstrijski centralni banki na Dunaju .
Europe is shown on the back of the banknotes .
Evropa je prikazana na hrbtni strani bankovcev .
The French overseas départements appear in tiny boxes at the bottom .
Francoska čezmorska ozemlja so v majhnih okvirčkih na spodnji strani bankovcev .
DESIGN BRIEF FOR A SERIES OF EURO BANKNOTES
NAVODILA ZA OBLIKOVANJE SERIJE EUROBANKOVCEV
-- Ages and styles of Europe -- The European Monetary Institute wishes to launch a competition for the design of a series of banknotes which reflect Europe 's cultural heritage .
-- Obdobja in slogi v Evropi -- Evropski monetarni inštitut objavlja razpis za oblikovanje serije bankovcev , ki izražajo kulturno dediščino Evrope .
1 Purpose of the Design Brief The challenge of the banknote design lies in the ingenious combination of security features and artistic interpretation .
1 Namen navodil za oblikovanje Izziv , s katerim se sooča vsak oblikovalec bankovcev , je v tem , kako domiselno združiti zaščitne elemente in umetniško interpretacijo .
When creating euro banknotes , the same considerations apply as when planning , developing and producing national banknotes .
Pri oblikovanju eurobankovcev je treba upoštevati enake dejavnike kot pri načrtovanju , razvoju in izdelavi nacionalnih bankovcev .
-* secure against counterfeiting ; -* aesthetically attractive .
Bankovci morajo biti oblikovani tako , da -* jih je mogoče z lahkoto prepoznati -* so varni pred ponarejanjem -* so estetski in privlačni na pogled .
The fulfilment of these requirements influences and restricts the creative freedom of a banknote designer .
Te zahteve določajo in omejujejo ustvarjalno svobodo oblikovalca bankovcev .
The banknotes must be clearly and identifiably European and should embody a cultural and political message that is readily acceptable to the citizens of Europe .
Bankovci morajo biti očitno in prepoznavno evropski ter morajo utelešati kulturno in politično sporočilo , ki ga državljani Evrope lahko brez zadržkov sprejmejo .
3 Broad outline of the banknote production process The banknotes will be made of cotton fibres and will be produced by offset , intaglio ( only on the front of the note ) , silkscreen ( only on the back of the note ) and letterpress printing ( only the banknote numbers , on the back of the note ) .
] 3 Postopek izdelave Bankovci bodo izdelani iz bombažnih vlaken in natisnjeni s tiskarskimi tehnikami ofsetni tisk , globoki tisk ( samo na sprednji strani ) , sitotisk ( samo na hrbtni strani ) in knjigotisk ( samo serijska številka , na hrbtni strani ) .
Additionally , a foil will be applied to the front of the note .
Na sprednji strani bankovca bo srebrna folija .
4 Design features for the banknotes [...
32/33 4 Oblikovni elementi [...
it is imperative that the designs ensure a proper balance between men and women and that national bias is avoided .
nujno je , da so na bankovcih enakovredno zastopani moški in ženske in da oblikovanje posebej ne izpostavlja nobenega naroda .