LIETUVOS

BANKNOTAI
LITHUANIAN
BANKNOTES

The Lithuanian School of Currency Design 1

 LEIDINYS SKIRIAMAS
LIETUVOS BANKO IR LITO
80 METØ JUBILIEJUI

DEDICATED TO THE 80TH ANNIVERSARY

OF THE BANK OF LITHUANIA
AND THE LITAS

2 Lietuviðkoji pinigø kûrimo mokykla

 LIETUVOS
BANKNOTAI
LITHUANIAN
BANKNOTES

L I E T U V O S B A N K A S 2 0 0 2

The Lithuanian School of Currency Design 3

UDK 336.74(474.5)(084)
Li-227
Sudarytojas / Compiled by
Juozas Galkus
Teksto autoriai / Text by
Arûnas Dulkys, Juozas Galkus
Redakcijos kolegija / Editorial board
Vytautas Aleksiejûnas, Nijolë Baltrûnienë, Arûnas Dulkys
Dailininkas / Designed by
Bronius Leonavièius
Konsultantas / Consultant
Arûnas Dulkys

Lietuvos bankas dëkoja Lietuviø literatûros ir tautosakos institutui, Lietuvos dailës muziejui,
Lietuvos nacionaliniam muziejui, M. K. Èiurlionio dailës muziejui,
taip pat Daliai Grimalauskaitei, Giedriui Jonaièiui, Alvydui Mandeikai,
Raimondui Miknevièiui, Rûtai ir Kazimierui Paðkauskams, Liudvikui Pociui,
Viliui Puronui, Ryèiui Valantinui ir kt.
uþ pagalbà rengiant leidiná

The Bank of Lithuania would like to express its gratitude to the Institute of Lithuanian Literature and Folklore,
Lithuanian Art Museum, National Museum of Lithuania, M. K. Èiurlionis Art Museum,
as well as Dalia Grimalauskaitë, Giedrius Jonaitis, Alvydas Mandeika,
Raimondas Miknevièius, Rûta and Kazimieras Paðkauskas, Liudvikas Pocius,
Vilius Puronas, Rytis Valantinas and others
for their assistance in preparing the publication

ISBN 9986-651-31-X © Lietuvos bankas, 2002

 Gerbiamieji, Dear Reader,

Jûs laikote savo rankose unikalø leidiná.
Tai – pirmoji tokia knyga apie Lietuvos banknotus.
Kiekvienos valstybës nepriklausomumo simbolis yra jos pinigai.
Jau XV–XVII a. Lietuvos Didþioji Kunigaikðtystë turëjo iðplëtotà pinigø ir
finansø ûká, lietuviðki pinigai buvo kalami Vilniuje, Kaune.
Lietuvos istorijai buvo labai svarbûs 1922 metai.
Steigiamasis Seimas nutarë ávesti savus pinigus – litus. Lietuviðkas litas ágijo
pasitikëjimà, tapo viena ið tvirèiausiø valiutø pasaulyje.
Lietuvai atkûrus Nepriklausomybæ, 1990 m. ásteigtas Lietuvos bankas. Savi
laikinieji pinigai talonai apyvartoje pasirodë 1992 m. pabaigoje, o 1993 m.
birþelio 25 d. á apyvartà gráþo visiems brangus litas. Buvo pradëtos taikyti
pirmosios pinigø politikos priemonës, aktyviai palaikomas stabilus lito
kursas. Toks jis ir iðliko per tuos metus. Kito litø banknotø iðvaizda ir
kokybë – jie periodiðkai atnaujinami, pradëta spausdinti dideliø nominalø
banknotus. Mûsø ðalies dailininkø ir Lietuvos banko darbuotojø pastangø
dëka mes turime lietuviðkus banknotus, atitinkanèius
ðiuolaikinius piniginiø þenklø reikalavimus.
Dëkoju knygos autoriams ir visiems, padëjusiems jà iðleisti.
You are holding in your hands a unique publication –
the first book of this kind about Lithuanian banknotes.
Money is a symbol of any independent state. The Grand Duchy
of Lithuania had a well-developed monetary and financial system as early as in
the 15th–17th centuries; Lithuanian money was minted in Vilnius and Kaunas.
The year 1922 was of supreme importance in the history of Lithuania: the
Constituent Seimas (Parliament) passed a decision on the introduction of the
national currency, the litas, witch gained credibility and became one of the
strongest currencies in the world. After the independence of Lithuania
was re-established, the Bank of Lithuania was restored in 1990. First,
the national provisional currency, the talonas, appeared at the end of 1992,
and on June 25, 1993 the cherished litas was issued again. The appearance and
quality of litas banknotes changed over time: they have been periodically
renewed, large denomination banknotes have been printed. Today, owing to
the efforts of Lithuanian designers and Bank of Lithuania staff, we have
Lithuanian banknotes that meet all requirements of the day.
I would like to express my sincere appreciation to the authors
of the book and all those who have contributed to its publication.

Reinoldijus Ðarkinas
Lietuvos banko valdybos pirmininkas
Chairman of the Board of the Bank of Lithuania

Banknotes and Peculiarities of Their Composition 7

 Lietuviðkoji pinigø kûrimo mokykla
The Lithuanian School of Currency Design
Banknotas – vos gramas popieriaus ir daþø, taèiau ði knyga gal-
bût padës á já paþvelgti su tam tikru dvasingumu ir filosofija.
Demokratijos viesulas, praûþæs per Vidurio ir Rytø Europà pra-
ëjusio amþiaus devintàjá deðimtmetá, suformavo naujas nepriklauso-
mas valstybes. Norëdamos átvirtinti suverenitetà, pirmiausia jos tu-
rëjo ávesti savo nacionalines valiutas. Nors ir neturëdama patirties,
jauna Lietuvos valstybë, 1990 m. kovo 11 d. atkûrusi Nepriklauso-
mybæ, pradëjo svarstyti nacionalinës pinigø sistemos atkûrimo klau-
simà. Savos banknotø spaustuvës steigimo idëja buvo atmesta dël
nedidelio Lietuvos gyventojø skaièiaus, be to, finansinë ir politinë
situacija ðiame Europos regione taip pat buvo nedëkinga. Perëjimas
á laisvosios rinkos ekonomikà turëjo ávykti per kaip galima trum-
piausià laikà. Tai pagreitinti galëjo tik nacionaliniø pinigø sistemos
sukûrimas ir valiutos iðleidimas.
Taigi jaunos valstybës nacionalinës valiutos spausdinimas buvo
patikëtas uþsienio spaustuvëms. Ne tik Lietuvoje, bet ir kitose Vi-
durio ir Rytø Europos valstybëse nacionaliniø valiutø atgimimas ta-
po puikia priemone atnaujintai nacionalinio tapatumo interpretaci-
jai iðreikðti. Pinigai atliko ir reikðmingà simboliná vaidmená – juos
iðleidþianti valstybë, ávesdama nacionalinæ valiutà, tarsi átvirtina sa-
vo suverenitetà.
Prieð kalbëdami apie ðiuolaikinius litø banknotus, trumpam su-
gráþkime á tarpukario laikotarpá, kai 1922 m. spalio 2 d. pirmà kartà
á apyvartà buvo iðleisti litø banknotai. Viena ðimtoji lito buvo pava-
dinta centu. Skubant kuo greièiau ávesti nacionalinæ valiutà, ne tik
litai, bet ir centai buvo atspausdinti kaip popieriniai banknotai. Maþo
formato, nelabai saugûs, taèiau pakankamai graþaus dizaino bank-
notai buvo atspausdinti Berlyne O. Elsnerio spaustuvëje (O. Elsner
Printing House). Vëliau jau labiau apsaugoti banknotai buvo spaus-
dinami Prahoje A. Hasës spaustuvëje (A. Hase Printing House). Ágijus
patirties ir atsiradus geresnëms finansinëms galimybëms, 1925–
A banknote is just a gram of paper and inks, but this book will
perhaps help us take a glance at it with some inspiration and phi-
losophy.
The whirlwind of democracy that swept through Central and
Eastern Europe in the eighties of the previous century formed new
independent states. The young state of Lithuania, whose indepen-
dence was re-established on March 11, 1990, began considering the
issues of the restoration of the national monetary system, although
it did not have any experience. The transition to a free-market
economy had to be completed in the possibly shortest time. Only
creation of the national monetary system and introduction of the
national currency could accelerate the process. The re-birth of the
national currency was an ideal way not only for Lithuania but also
for other Central and East European states to express a renewed
interpretation of their national identity. Currency also played a sig-
nificant symbolic role of asserting the sovereignty of a young state
by issuing its national currency.
Before starting to deal with present-day litas banknotes, we should
make a short digression to the interwar period, when, on October 2,
1922, litas banknotes were first issued into circulation. One hun-
dredth of the litas was named the centas. In order to speed up the
introduction of the national currency, not only litas but also centas
were printed as paper money. Banknotes of small size and nice de-
sign, while not secure enough, were printed by O. Elsner Printing
House in Berlin. Later on, more secure banknotes were produced
by A. Hase Printing House in Prague. In 1925–1926, when more
experience was gained and the financial situation improved, the fam-
ily of litas banknotes was supplemented by 500 and 1 000 litas notes
that were well protected against counterfeiting and were printed by
the English printing company Bradbury, Wilkinson & Co Ltd. The
circulation and existence of litas banknotes was terminated on
The Lithuanian School of Currency Design 9
 Lietuvos bankas –
lito tvirtovë
1926 m. litø banknotø ðeimà papildë gerai apsaugoti nuo padirbinë-
jimo 500 ir 1 000 litø banknotai, kuriuos atspausdino Anglijos spaus-
tuvë Bradbury, Wilkinson & Co Ltd. Lito banknoto cirkuliacijà ir eg-
zistencijà 1941 m. kovo 25 d. nutraukë sovietø okupacija. Pusei am-
þiaus sustojo nacionalinës valiutos istorijos laikrodis, ir tik 1993 m.
birþelio 25 d. Lietuvos bankas á apyvartà vël iðleido litø banknotus.
Litø banknotø kûrimas nebuvo monolitinis statinys – ðis proce-
sas turëjo begalæ spalvø ir niuansø. Ðioje knygoje tai bus nagrinëja-
ma labiau kultûriniu ir meniniu aspektu. Dabartinis laikotarpis ypaè
reikðmingas, kadangi Lietuva, kaip ir kitos Rytø Europos ðalys, sie-
kia ástoti á Europos Sàjungà, todël nacionalinius pinigus greitai gali
pakeisti kosmopolitiniai eurai. Lietuvos bankas pastaràjá deðimtme-
tá iðleido daugiau negu vienà kiekvieno nominalo banknotø laidà,
taèiau ðiame leidinyje daugiau vietos bus skirta paskutiniosioms
banknotø laidoms.
Kiekviena valstybë turi savo supratimà, kaip turëtø atrodyti nacio-
nalinës valiutos banknotas. Kiekviena banknotø spaustuvë, turëdama
keliø deðimtmeèiø, o kai kurios net keliø ðimtmeèiø darbo patirtá,
taip pat daro ryðkià átakà spausdinamø banknotø dizainui ir juose
naudojamoms apsaugos priemonëms. Banknotø spaustuvës puoselëja
ir kruopðèiai saugo banknotø spausdinimo technologijos ypatybes,
taèiau per ðimtmeèius susiformavo tam tikri bendri banknotø dizaino
kûrimo principai, kuriø átaka jauèiama daugelyje pasaulio banknotø.
Jau IV tarptautinëje Interpolo konferencijoje pinigø padirbinëji-
mo klausimais, ávykusioje 1961 m. rugsëjo 1 d. Kopenhagoje, buvo
atkreiptas dëmesys á tai, kad ðiame technikos amþiuje në vienas pini-
gø gamybos procesas pats savaime neapsaugo nuo padirbinëjimo,
todël tik visø apsaugos priemoniø derinimas gali sutrukdyti pinigø
klastotojams. Konferencija priëmë rezoliucijà, kad pinigus iðleidþian-
The Bank of Lithuania – èios institucijos turëtø taikyti aukðèiausius kokybës standartus spaus-
the litas stronghold dinamiems banknotams. Kuriant ir projektuojant banknotus, turi
10 Lietuviðkoji pinigø kûrimo mokykla
March 25, 1941, as a consequence of the Soviet occupation. The
clock counting the history of the national currency was stopped for
half a century, and it was only on June 25, 1993, that the Bank of
Lithuania issued litas banknotes into circulation again.
The creation of litas banknotes was not a monolithic construc-
tion – it was a manifold process full of different colours and nu-
ances. The present period is very significant for the reason that
Lithuania, as well as other countries of Eastern Europe, is seeking
membership in the European Union, and national currencies may
be replaced by the cosmopolitan euro in the near future. The Bank
of Lithuania has issued more than one series of each denomination
of litas banknotes during the past ten years, but this publication will
focus mainly on the recent banknote issues.
Each country has its own understanding what a banknote of the
national currency should look like. Banknote printers constantly
develop technological peculiarities of banknote printing and pro-
tect them; nevertheless, certain common principles of banknote de-
sign have been established over several centuries and their influence
may be traced in the banknotes of many countries worldwide.
The 4th Interpol International Conference on Currency Coun-
terfeiting, held in Copenhagen on September 1, 1961, noted that in
this age of technology no single currency production process was in
itself a sufficient measure against counterfeiting, and only a combi-
nation of all technical security features in producing money could
be used successfully against counterfeiting. The Conference adopted
a resolution that currency-issuing authorities should apply the highest
standards of quality in printed banknotes. When creating and de-
signing banknotes, a large selection of security measures should be
incorporated both in paper production and banknote printing.
Another common standpoint was reached at the Conference that
shabby and worn-out banknotes in circulation reduce the respect

bûti naudojama didelë apsaugos priemoniø ávairovë tiek gaminant
popieriø, tiek ir spausdinant banknotus.
Ðioje konferencijoje taip pat buvo prieita prie nuomonës, kad
apsitrynæ ir susidëvëjæ banknotai cirkuliacijoje menkina pagarbà, ku-
rià pinigams turëtø jausti þmonës. Buvo atkreiptas dëmesys á tai,
kad tokie pinigai praranda savo autentiðkas savybes, o tai palengvi-
na pinigø padirbinëtojø darbà. Todël buvo priimta rezoliucija, kad
pinigus leidþianèios institucijos iðimtø ið apyvartos visus susidëvëju-
sius, o apyvartoje paliktø tik gerus pinigus.
V tarptautinëje Interpolo konferencijoje pinigø padirbinëjimo
klausimais, ávykusioje 1969 m. spalio 7–10 d. Meksike, atkreiptas
dëmesys á tai, kad daugiausia padirbtø pinigø yra atspausdinta ofse-
tu. Kitas spausdinimo bûdas – giliaspaudë – yra vienintelis spausdi-
nimo bûdas, kuris tikrai garantuoja apsaugà, nes tik labai nedaug
spaustuviø atlieka ðá procesà. Todël konferencijos metu buvo priim-
ta rezoliucija, kuri rekomenduoja spausdinant banknotus bûtinai
naudoti giliaspaudæ. Be to, spausdinimas giliaspaude turi bûti aukð-
èiausios kokybës, kad bûtø galima iðgauti visus graviravimo techni-
ka atliktus niuansus.
Ið Lietuvos banknotø á mus þvelgia þmonës, kuriø vaidmuo ku-
riant ðalies nacionaliná tapatumà buvo labai reikðmingas. Portretai
vyrauja daugelyje pasaulio valiutø, nes bûtent jie turi daugybæ sudë-
tingø ir iðraiðkingø linijø, kuriø visuma spausdinant giliaspaude pa-
deda sukurti saugø ir sunkiai nukopijuojamà banknotà. Iðgraviruo-
tame portrete turi bûti ðvelniø toniniø perëjimø, suteikianèiø portre-
tui ne tik gyvumo, bet toks banknotas saugesnis, nes kuo daugiau
neryðkiø ðeðëliniø perëjimø ir smulkiø detaliø, tuo sunkiau já nuko-
pijuoti.
Kiekvienas banknotas privalo turëti þenklø akliesiems ir silpna-
regiams. Ðie þenklai taip pat spausdinami giliaspaude, todël jie leng-
vai apèiuopiami.
Paslëptas vaizdas
apsunkina banknoto
kopijavimà
for the currency of the public. It was pointed out that such money
loses the original characteristics, which facilitates the work of coun-
terfeiters. A resolution was passed that issuing authorities should
withdraw all worn-out money from circulation and should only keep
the money which is in good condition in circulation.
The 5th International Counterfeit Currency Conference of the
Interpol held in Mexico City from 7 to 10 October 1969 noted that
the large majority of counterfeits were printed by offset. Another
printing process, known as intaglio, was the only one to offer guar-
anteed protection, as there was a very limited number of printers
capable of using this printing process. In this relation a resolution
was adopted by the Conference, recommending that intaglio should
be used for printing banknotes and the intaglio used should be of
the highest quality to gain the maximum advantages that the en-
graving technique could offer.
Lithuanian banknotes bear the portraits of the people who had
the most significant role in creating the national identity. Portraits
predominate on the banknotes of many countries, as they are formed
of a great number of complex and expressive lines, the entirety of
which, printed in intaglio, facilitates creation of secure banknotes
that are difficult to copy. The engraved portrait should have soft
tonal shifts, which not only make a portrait look more lively, but
also add more security to the banknote, due to the fact that the
greater the number of slight shade shifts and tiny details the portrait
has, the more difficult it becomes to copy the banknote.
Each banknote should have a sign for the blind and weak-sighted
people. Such signs are also printed in intaglio and can be easily felt
by touch.
This Conference also adopted a resolution on banknote paper
production. Banknotes printed on banknote paper manufactured A latent image makes a
from natural materials – usually cotton – are characterised by a spe- banknote difficult to copy
The Lithuanian School of Currency Design 11
 Vandenþenklis
atpaþástamas net
iðplautame banknote
Ðioje konferencijoje taip pat buvo priimta rezoliucija dël banknotø
popieriaus gamybos. Tik popieriniai pinigai savitai ðiugþda, nes jø
popierius gaminamas ið natûralaus gamtos produkto – daþniausiai
ið medvilnës. Pinigus leidþianèios institucijos banknotø neturëtø
spausdinti popieriuje, kuris naudojamas kitais komerciniais tikslais.
Ðiomis rekomendacijomis vadovaujasi visi centriniai bankai – pa-
prastai kiekvieno nominalo banknotui yra gaminamas kitokio at-
spalvio popierius. Þmogui, nors ið pradþiø tai gali atrodyti ir neáti-
këtina, banknoto ðiugþdesys yra labai svarbu psichologiðkai. Per ilgà
laikà jis águdo vien tik ið banknotø popieriaus specifinio ðiugþdesio
atpaþinti tikrus pinigus.
Minëtoje konferencijoje aptartas ir vandenþenklio naudojimas
banknotø dizaine. Priimtoje rezoliucijoje buvo paþymëta, jog bûti-
na kurti pakankamo dydþio ir geros kokybës vandenþenklá, kad ja-
me vaizduojamas objektas bûtø lengvai atpaþástamas, o pats van-
denþenklis nebûtø uþdengtas sudëtingais ir ryðkiais kitais dizaino
elementais. Todël ir litø banknotø vandenþenkliø vietose aiðkiai pa-
stebimas spalvø tonø suðvelnëjimas.
Banknotø gamybai naudojamas ne tik specialus popierius, bet ir
specialûs daþai. Daþai taip pat turi bûti gaminami iðskirtinai tik
banknotams, kad jø negalima bûtø ásigyti komercinëje daþø rinko-
je. Popieriniø pinigø daþø savybës yra labai svarbus jø kokybës veiks-
nys. Banknotø daþai privalo turëti aukðèiausio lygio atsparumà ir
patvarumà tokiems fiziniams veiksniams, kaip ðviesa, trintis, karðtas
ar ðaltas vanduo ir kt., bei tokioms cheminëms medþiagoms, kaip
tirpikliai, skalbikliai, rûgðtys ir pan. Minëtoje Interpolo konferenci-
joje priimta rezoliucija, nurodanti, jog pinigus iðleidþianèios insti-
tucijos turëtø nustatyti grieþtus reikalavimus, kaip pasirinkti daþus
banknotams spausdinti.
A watermark remains
recognizable even in a Kuriant banknotø dizainà, labai svarbi yra spalvø ir nacionalinio
washed banknote tapatumo sàsaja. Nors ðiuolaikiniai banknotai gana spalvingi, taèiau
12 Lietuviðkoji pinigø kûrimo mokykla
cific crackle. Currency issuing institutions should not use paper
which is widely used for other commercial purposes. Strange as it
may seem, the crackling of a banknote is very important to people
psychologically. Over the time they have become skilled in telling a
genuine banknote from counterfeits just by this specific crackle of
banknote paper.
The above Conference also considered the use of the watermark
in the design of banknotes. It was stated that the watermark should
be of adequate size and quality so that the subject of the watermark
could be easily recognized. The watermark itself should not be over-
printed by other complicated and too distinct elements of the de-
sign.
Apart from specific paper, banknote production also uses spe-
cific inks. Inks should also be manufactured specifically for printing
banknotes, so that they could not be commercially available in the
market. Banknote inks should have the highest possible degree of
resistance and stability with regard to physical factors such as light,
friction, hot or cold water, etc., and to chemical agents such as sol-
vents, detergents, acids, etc. A resolution was adopted in the above
Interpol Conference, that currency issuing institutions should lay
down stringent conditions for the choice of inks in printing
banknotes.
The relationship between colours and the national identity is of
great importance in the design of banknotes. Although modern
banknotes are quite colourful, it is quite easy to notice that one
colour usually prevails. Many factors influence the range of colours:
the artist’s choice, the decision of experts of central banks, and the
link between the colour to the represented object. However, most
of central banks stick to the principal rule that banknotes of each
denomination should have a dominant colour.
The 6th Interpol International Counterfeit Currency Conference

visai nesunku pastebëti, jog viena ið spalvø vyrauja. Daugybë veiks-
niø lemia banknotø spalvø spektrà – tai ir paèiø dailininkø pasirin-
kimas, ir centriniø bankø ekspertø sprendimas, ir spalvos susiejimas
su pasirinktu vaizduojamu objektu. Taèiau dauguma centriniø ban-
kø laikosi pagrindinës taisyklës – kiekvieno nominalo banknotas turi
turëti jam skirtà vyraujanèià spalvà.
VI tarptautinëje Interpolo konferencijoje pinigø padirbinëjimo
klausimais, ávykusioje 1977 m. kovo 8–11 d. Madride, primygtinai
raginama banknotus leidþianèias institucijas ir ateityje taikyti aukð-
tus banknotø apsaugos standartus. Spausdinant banknotus, turëtø
bûti derinami ofseto ir giliaspaudës spausdinimo bûdai.
Viena ið svarbiausiø apsaugos priemoniø, spausdinamø ofsetu,
yra averso ir reverso sutapimo þenklas. Þiûrint á ðià apsaugos prie-
monæ kiekvienoje banknoto pusëje atskirai, tai tëra tik á akis kren-
tantis nesuprantamø geometriniø figûrëliø rinkinys. Taèiau þvelgiant
á ðá þenklà prieð ðviesà, spalvotos figûrëlës susilieja á vienà pieðiná. Ðio
þenklo meninis atlikimas turi intriguoti, kad kiekvienam, rankose
laikanèiam banknotà, kiltø nenumaldomas noras já pakelti prieð ðviesà
ir ásitikinti, jog tai ne spausdinimo klaida, o tiesiog lëktuvëlis ar
knyga, kaip yra 2001 m. laidos 10 ir 20 litø banknotuose.
Atsiþvelgiant á technikos paþangà, buvo atkreiptas dëmesys á tai,
kad banknotø apsaugai naudojamas vandenþenklis privalo bûti dau-
giatonis, turintis daug ðeðëliø, smulkiø detaliø, gerai matomas prieð
ðviesà, su pastovia vieta banknoto dizaine – bûtent toks vanden-
þenklis bus atpaþástamas net iðplautame ar sulankstytame banknote.
Tokias apsaugos priemones, kaip vandenþenklis ar nominalo skai-
èiaus mikroperforacija, labiausiai pastebi þmonës.
Popieriaus gamybos metu kartu su vandenþenkliu áterpiamas ir
apsauginis siûlelis. Já ið banknoto iðtraukti nelengva. Ðiuolaikiniuo-
se banknotuose siûlelio mikrotekstas ne iðspausdinamas daþais, o
demetalizuojamas, todël plaunant banknotà cheminëmis medþiago-
Sutapimo þenklo meninis
atlikimas turi intriguoti
held in Madrid from 8 to 11 March 1977 strongly recommended to
the issuing authorities that high security standards should be fur-
ther applied in banknote printing and both offset and intaglio print-
ing processes should be combined.
One of the basic security features that are printed in offset is the
front to back perfect register mark. When this security feature is
viewed on one side of a note, only a combination of meaningless
small geometric patterns is seen. But when a banknote is held against
the light, these coloured patterns on both sides form a combined
image. The artistic implementation of this sign should have some
intrigue, so that it would raise a natural desire to hold the banknote
up against the light and to make sure that it is not a misprint but
just a small image of a plane or a book, as in 10 and 20 litas banknotes
of 2001 issue.
Taking into account the technological progress the Conference
noted the necessity of using a fixed mould multi-tone watermark
with a great number of tiny details, which could be clearly seen
against the light; such a watermark would remain recognizable even
when a banknote has been washed or folded.
In addition to the watermark, a security thread is embedded in
banknote paper at the paper manufacturing stage. A micro-text of
the security thread in modern banknotes is demetalised, not printed,
and, as a result, it does not fade or disappear after washing the
banknote with chemical agents (solvents and detergents). Different
watermarks and security threads designed for each denomination of
banknotes do not allow counterfeiters to use the paper of low de-
nomination banknotes for forging banknotes of high denominations.
With the introduction of colour copiers in the market, which
made possible simultaneous reproduction of the front and back of The artistic implementa-
tion of the see-through
documents (including banknotes), a real risk of the production of feature should have some
deceptive counterfeits emerged. Consequently, the 7th Interpol In- intrigue
The Lithuanian School of Currency Design 13
 Apsauginis siûlelis
áterpiamas popieriaus
gamybos metu
mis (tirpikliais, skalbimo priemonëmis), jis neiðblunka ir neiðnyks-
ta. Skirtingi vandenþenkliai ir apsauginiai siûleliai banknotuose pa-
dirbinëtojams atima galimybæ naudoti maþesnio nominalo bankno-
tø popieriø didesniø nominalø banknotams klastoti.
Rinkoje pasirodþius spalvoto kopijavimo aparatams, kuriais vie-
nu metu galima kopijuoti abi dokumentø (taip pat ir banknotø)
puses, iðkilo reali rizika, kad tokiais aparatais galima padirbinëti pi-
nigus. Todël VII tarptautinëje Interpolo konferencijoje padirbtø pi-
nigø klausimais, ávykusioje 1987 m. birþelio 22–27 d. Lione, centri-
niams bankams rekomenduota kuriant banknotus numatyti specia-
lias apsaugos priemones, kurios apsunkintø dokumentø kopijavimà
ir padarytø tokias kopijas lengvai atpaþástamas. Tuo tikslu banknotø
dizaine naudojami apsauginiai tinkleliai. Jie spausdinami ofsetine dau-
giaspalve spauda su vaivorykðtës efektu ir specifine smulkiø linijø, ku-
rioms kertantis suformuojami erdviniai dizaino elementai, struktûra.
Toks plonø skirtingø ir persipinanèiø spalvø linijø spausdinimas skirtas
banknotø apsaugai nuo padirbinëjimo spalvoto kopijavimo bûdu.
Spalvoto kopijavimo aparatais padirbtø pinigø daugëjo, todël
VIII tarptautinëje Interpolo konferencijoje, ávykusioje 1992 m. ba-
landþio 27 d.–geguþës 1 d. Otavoje, centriniams bankams rekomen-
duota banknotø dizaine numatyti aukðtos kokybës optiðkai kintan-
èiø ir papildomø apsaugos priemoniø, kad bûtø sunkiau padirbti
pinigus bei lengviau atpaþinti klastotes.
X tarptautinëje Interpolo konferencijoje padirbtø pinigø klausi-
mais, ávykusioje 2002 m. balandþio 8–12 d. Amsterdame, atkreip-
tas centriniø bankø dëmesys á apsaugos priemoniø naudojimà ne tik
banknotø averse, bet ir kitoje pusëje – reverse.
Kartais spausdinimo „filosofijos“ skirtumus gali pastebëti tik pa-
A security thread is tyræ ekspertai, o visuomenei jie taip ir lieka neþinomi. Plaèiajai vi-
embedded into the paper
at the banknote paper suomenei skirtos tokios apsaugos priemonës, kaip vandenþenklis,
manufacturing stage apsauginis siûlelis, giliaspaude atspausdinti portretai ir kitos, be jo-
14 Lietuviðkoji pinigø kûrimo mokykla
ternational Counterfeit Currency Conference, held in Lyons from
22 to 26 June, 1987, recommended that central banks should in-
corporate specifically adapted security features in the design of
banknotes to make them difficult to copy and the counterfeits easy
to detect. Specific fine-line structures are used to achieve this aim.
They are printed in multi-colour offset by using the rainbow effect
and specific structures of tiny lines, the crossings of which form
spatial design elements. Such printing of very thin lines with inter-
laced colour shift is designed for the protection of banknotes against
counterfeiting by colour copiers.
The amount of counterfeits produced by using colour copiers,
however, was increasing, and the 8th Interpol International Confer-
ence on Currency Counterfeiting, meeting in Ottawa from 27 April
to 1 May, 1992, recommended that future designs of banknotes
should incorporate high-quality optically variable features and
complementary security features, in order to make counterfeits more
difficult to produce and easier to recognize.
The 10th Interpol International Counterfeit Currency Confer-
ence, held in Amsterdam on 8–12 April, 2002, drew the attention
of central banks to incorporating security features not only on the
front, but also on the back of banknotes.
Sometimes only the experts can detect the differences in the “phi-
losophy” of banknote printing, and they remain unknown to the
general public. Security features meant for the general public, such
as the watermark, the security thread, and intaglio printed portraits
and others, are easily recognizable with the naked eye without the
aid of any special equipment in any circumstances.
In their daily life people usually identify banknotes without pay-
ing much attention to their design and security features, therefore
they should be very distinctive and functional. It is very important
that design elements and security features of the banknotes of all

kios specialios árangos, plika akimi ir visose gyvenimiðkose situaci-
jose lengvai atpaþástamos apsaugos priemonës. Kasdieniame gyveni-
me þmonës banknotus atpaþásta per daug nesigilindami á jø dizainà
ir apsaugos priemones, todël jos privalo bûti labai aiðkios ir funk-
cionalios. Labai svarbu visø nominalø banknotuose dizaino elemen-
tus ir apsaugos priemones komponuoti kiek galima pastovesnëse ar
net tose paèiose banknoto vietose. Centriniø bankø darbo patirtis ir
visuomeniniai tyrimai parodë, kad kiekvienas þmogus ásidëmi tik
keletà banknotø apsaugos priemoniø. Todël dizaino elementai ir
apsaugos priemonës turi bûti tiesiogiai susijæ su banknoto nomina-
lu, centrinio banko pavadinimu, portretu ar kitu pagrindiniu vaiz-
duojamu objektu.
Grafiniam banknoto pieðiniui dar toli iki banknoto, kaip mokë-
jimo ir atsiskaitymo priemonës. Dar daugybë apsaugos priemoniø
áterpiama ávairiuose spausdinimo etapuose. Ðiame daug specifiniø
ekspertø þiniø ir meniniø sugebëjimø reikalaujanèiame darbe á vie-
nà komandà suburiami dailininkai, spaustuvës bei centrinio banko
specialistai. Jø tikslas – paversti paprastà popieriaus lapelá saugiu,
patogiu naudoti banknotu. Kiekviena valstybë, nors ir laikydamasi
bendrø tarptautiniu mastu nusistovëjusiø banknotø dizaino forma-
vimo principø, siekia sukurti ir atspausdinti nacionalinæ valiutà, kuri
rodytø jos tapatumà bendroje pasaulio valiutø ðeimoje. Taip atsi-
randa, formuojasi ir vystosi nacionalinës pinigø kûrimo mokyklos,
kuriø misija – banknotà paversti ne tik mokëjimo ir atsiskaitymo
priemone, bet ir savotiðku meno kûriniu.
Ðioje knygoje pateikiama banknotø evoliucija. Reikëtø iðskirti
1997 metus – nuo tada Lietuvos bankas reguliariai atnaujina litø
banknotus naujomis, moderniomis ir veiksmingomis apsaugos prie-
monëmis. Atnaujinant apsaugos priemonëmis jau esamà apyvartoje
banknotà, bûtina ávertinti regimàjà þmogaus atmintá. Apsaugos prie
Ðiuolaikiniø banknotø dizaine ypaè daug dëmesio skiriama priemo-
Mikrotekstas tiesiogiai
susijæs su banknoto
nominalu ir centrinio
banko pavadinimu
denominations should be positioned in similar or even fixed places
of a note.
The experience of central banks and public opinion surveys have
revealed that every person memorizes only very few of the security
features incorporated in a banknote. Consequently, design elements
and security features should be directly related to the denomination
numeral of the banknote, name of a central bank, portrait or some
other central featured object.
The graphic design of a banknote has to go a long way to become
legal tender. A great number of security features are incorporated
into it in various stages of printing. A team of artists, central bank
and banknote printing experts work together to perform the task
which requires specific skills and abilities. Every country, while fol-
lowing conventional banknote design principles established world-
wide, strives to create and to print a national currency that would
have its own identity in the international family of currencies. In
this way national currency design schools emerge, establish themselves
and develop to perform their mission – make a banknote not only a
means of payment and settlement, but also an original piece of art.
The book presents the evolution of banknotes. The year 1997
should be singled out as the turning point in the history of printing
national currency, after which the Bank of Lithuania has been regu-
larly upgrading litas banknotes with new, modern and effective se-
curity features. Security features should be harmonized with the
design of the existing note. In the design of modern banknotes much
attention is given to the features which would help the blind and
short-sighted people to not only tell a genuine note from a counter-
feit, but also to easily identify each denomination. The public has
already acquired the necessary specific skills. Nowadays two-dimen- A micro-text is directly
related to the denomina-
sional security features can be easily reproduced with modern equip- tion of a banknote and the
ment. The Bank of Lithuania, similar to most other central banks, name of a central bank
The Lithuanian School of Currency Design 15
 Mikroperforacija –
naujos kartos apsaugos
priemonë
nëms, kurios padëtø akliesiems ir silpnaregiams ne tik atskirti tikrà
banknotà nuo klastotës, bet ir lengvai atpaþinti kiekvieno nominalo
banknotà. Visuomenë jau iðsiugdë tam tikrus specifinius ágûdþius.
Dviejø dimensijø apsaugos priemonës jau lengvai kopijuojamos ðiuo-
laikine áranga. Lietuvos bankas, kaip ir daugelis uþsienio centriniø
bankø, daugiausia dëmesio skiria trijø dimensijø bei optiðkai kei-
èianèioms spalvà apsaugos priemonëms. Tai nauja karta apsaugos
priemoniø, kurios gali bûti naudojamos tiek banknotø popieriaus
gamybos procese, tiek ir kiekviename spausdinimo etape. Vadovau-
jantis pinigø gamybos ekspertø rekomendacijomis, pastaruoju me-
tu vis daugiau banknoto ploto skiriama bûtent ðioms priemonëms.
Naujos kartos apsaugos priemonës banknotà daro ne tik sauges-
ná, banknoto dailininkui jos atveria naujas menines galimybes, o
pinigui suteikia estetinæ vertæ.
Apsaugos priemonës pagal jø paskirtá ir nustatymo galimybes
skirstomos á keturis lygius:
- plaèiajai visuomenei – apsaugos priemonës, kurias galima pa-
stebëti plika akimi ar pajusti pirðtais be jokiø papildomø prietaisø;
- komerciniams bankams ir prekybos objektams – apsaugos prie-
monës, kurioms nustatyti reikalingos nesudëtingos priemonës (lu-
pa, ultravioletiniø spinduliø lempa ir pan.);
- automatizuotoms banknotø iðdavimo, priëmimo ir keitimo sis-
temoms – specialios, tik maðinomis atpaþástamos apsaugos priemo-
nës, nustatomos specialiais detektoriais;
- centriniams bankams ir automatizuotoms banknotø apdoroji-
mo sistemoms – apsaugos priemonës, sauganèios nacionalinæ valiu-
tà nuo masinio pramoninio padirbinëjimo ir þinomos tik nedauge-
liui centrinio banko darbuotojø. Ðio lygio apsaugos priemonës yra
valstybës paslaptis, jas ámanoma nustatyti tik specialia ekspertø áranga.
Microperforation is a
security feature of the new Gerà centrinio banko reputacijà gali sugadinti nacionaliniø
generation banknotø dizainui netinkamai parinktas apsaugos priemoniø deri-
16 Lietuviðkoji pinigø kûrimo mokykla
pays the greatest attention to three-dimensional and optically vari-
able security features. They represent security features of a new gen-
eration that may be used both in the banknote paper manufacturing
process and in each stage of the printing process. Following the rec-
ommendations of currency production experts these features now
occupy a much bigger area on the note.
The new-generation security features make a banknote not only
more secure, but also provide the designer with possibilities for us-
ing new artistic effects, thus increasing the aesthetic value of the
currency.
According to their purpose and identification possibilities secu-
rity features are categorized into four levels, meant for:
- the general public: security features which can be identified by
the naked eye or felt by finger tips without any additional equip-
ment;
- commercial banks and points of sale: security features, the iden-
tification of which requires simple tools (magnifying glass, UV lamp,
etc.);
- automated cash dispensing, accepting and changing systems:
specific security features, which can be recognized only by special
detectors;
- central banks and automated cash processing systems: security
features protecting the national currency from industrial mass coun-
terfeiting and which are known only to a limited number of bank
employees. Security features of this level are regarded as state secret.
They can be identified only through the use of special professional
equipment.
An unsuitable combination of security features selected for the
design of national banknotes can ruin the reputation of a central
bank. Security features may add a distinctive character to a whole
series of banknotes. People usually remember two or three security

nys. Apsaugos priemonës padeda suteikti visai banknotø serijai savi-
tà charakterá. Paprastai þmogus ásimena dvi tris apsaugos priemo-
nes, taèiau kiekvienas vis kitas. Apsaugos priemoniø ávairovë skirta
ávairioms visuomenës grupëms, todël kiekvienas þmogus turi gali-
mybæ atskirti tikrà pinigà nuo klastotës. Taigi banknoto apsaugos
lygá lemia ne tik jame naudojamø apsaugos priemoniø kiekis, bet ir
parinktø apsaugos priemoniø derinys.
Popieriniai pinigai kasdienëje apyvartoje labai greitai susidëvi.
Kas gali pasitikëti nacionaline valiuta, jei dël susidëvëjimo ar neðva-
rumø negalima atpaþinti jos apsaugos priemoniø? Kuriant bankno-
tà, tenka atsiþvelgti ir á tai, jog kasdienëje apyvartoje daugelis apsau-
gos priemoniø nuo susidëvëjimo praranda savo funkcionalumà. To-
dël banknote naudojamà apsaugos priemoniø deriná bûtina papil-
dyti priemonëmis, kuriø pagrindas yra metalas, o patá banknotà pa-
dengti specialia polimerine danga.
Holograminë juostelë –
ðiuolaikinë trijø
dimensijø apsaugos
priemonë
features, but they often vary from person to person. A variety of
security features are designed for various groups of the society and
every person has an opportunity to tell genuine money from a coun-
terfeit. Thus, the security level of a banknote is predetermined not
only by the number of security features included, but also by the
combination of the selected security features.
Paper money becomes worn-out very rapidly in daily circulation.
Who would trust a national currency, the security features of which
cannot be identified because the notes are worn-out and soiled? In
the process of designing a banknote attention should be paid to the
fact that many security features lose their function because they be-
come worn-out in circulation. This is why the combination of secu-
rity features used in a banknote should be supplemented by metal-
based features, and a banknote itself should be covered with a spe-
cial polymer coating.
Holographic strip is a
modern three-dimensional
security feature
The Lithuanian School of Currency Design 17
 KOKIO NOMINALO LIETUVOS BANKNOTAS JUMS LABIAUSIAI PATINKA?
WHICH DENOMINATION OF THE LITHUANIAN BANKNOTES DO YOU LIKE MOST?
(procentais/per cent)
Analizuodamas, kaip Lietu- In order to analyse the opin-
vos visuomenë vertina naciona- ion of the Lithuanian people
linës valiutos apsaugà, Lietuvos about the security of the na-
bankas ðiuo klausimu reguliariai tional currency the Bank of
uþsako visuomenës nuomonës Lithuania regularly contracts
tyrimus. Apþvelgsime apklau- public opinion polls. The results
sos, kurià atliko Lietuvos ir Di- of the public opinion poll con-
dþiosios Britanijos rinkos ir vi- ducted by the Lithuanian-Brit-
suomenës nuomonës tyrimø ish market research and public
kompanija „Baltijos tyrimai/ opinion company Baltijos
The Gallup Organisation“, re- tyrimai/The Gallup Organiza-
zultatus. tion are reviewed below.
Tyrimø metu Lietuvos gy- During the survey the people
ventojø buvo praðoma pasaky- of Lithuania were asked to ex-
ti, kokio nominalo Lietuvos press their opinion which deno-
banknotai jiems labiausiai pa- mination Lithuanian banknotes
tinka ir kokio nominalo labiau- they liked and disliked most. The
siai nepatinka. Labiausiai þmo- most popular among the respon-
nëms patinka didþiausiø nomi- dents were the banknotes of the

KOKIO NOMINALO LIETUVOS BANKNOTAS JUMS LABIAUSIAI NEPATINKA?

WHICH DENOMINATION OF THE LITHUANIAN BANKNOTES DO YOU DISLIKE MOST?
(procentais/per cent)
nalø banknotai – 2000 m. tai highest denominations. In 2000
buvo 200 litø banknotas (48%), it was the 200 litas note (48%)
o 2002 m. þmoniø simpatijos and in 2002 the most favoured
pasidalijo tarp 500 ir 200 litø were 500 and 200 litas notes: the
banknotø: pirmasis labiausiai first one was most liked by one
patinka penktadaliui apklaustø- fifth of the interviewed people,
jø, o antrasis – ðiek tiek maþiau and the latter – by slightly less
negu penktadaliui. Iðleidus nau- than one fifth of the respondents.
jus 2001 m. laidos 10 ir 20 litø When 10 litas and 20 litas notes
nominalø banknotus, atsirado of the new 2001 issue were
daugiau þmoniø, kuriems jie pa- launched into circulation, the
tinka. number of people who viewed
2000 m. pabaigoje Lietuvos these banknotes favourably in-
gyventojams labiausiai nepatiko creased.
maþiausio nominalo banknotai In late 2000, the banknotes
(ypaè 1 Lt), o juos pakeitus mo- of low denominations (1 litas
netomis, þmonës daug maþiau note in particular) were most dis-
turi priekaiðtø dabar apyvarto- liked by the people of Lithuania.
je esantiems banknotams. Now, after these notes have been
2002 m. ketvirtadalis apklaus- replaced by coins, people ex-
tøjø (27%) atsakë, kad jie ne- pressed much less disapproval of

18 Lietuviðkoji pinigø kûrimo mokykla


turi jokiø priekaiðtø në vienam
ið dabartiniø naujø banknotø, o
dar treèdalis (32%) neturëjo
nuomonës ðiuo klausimu.
Jeigu paanalizuotume bank-
notus pagal teigiamø ir neigia-
mø vertinimø santyká, geriausiai
Lietuvos gyventojai vertina 200
litø banknotà, o blogiausiai – 50
litø banknotà. Daþniausi prie-
kaiðtai ðiam banknotui – negra-
þus dizainas, neryðkios ir iðblu-
kusios spalvos, neádomus, jau
atsibodæs, reikëtø naujo ðio no-
minalo banknoto, atrodo kaip
netikras, per daug „liûdnas“ pi-
nigas ir pan. 200 litø bankno-
tas teigiamai vertinamas uþ gra-
þø dizainà ir spalvà.
Tyrimø metu respondentø
taip pat buvo praðoma pasaky-
ti, kaip jie vertina Lietuvos
banknotø apsaugos priemones.
2002 m. tarp apklaustø 15–74
metø Lietuvos gyventojø buvo
daugiau mananèiøjø, kad
banknotai yra gerai apsaugoti
(43%), negu tø, kurie nepasi-
tiki apsaugos priemonëmis
(40%). 2000 m. buvo daugiau
mananèiøjø, kad Lietuvos bank-
notai yra blogai apsaugoti
(52%), negu tø, kurie pasitiki
apsaugos priemonëmis (45%).
Kad Lietuvos banknotai yra ge-
rai apsaugoti, mano ðiek tiek
daugiau vyrø negu moterø, taip
pat jaunesni negu 50 metø
þmonës, miestø gyventojai, tu-
rintieji aukðtàjá iðsilavinimà bei
tie, kuriø ðeimos pajamos pa-
èios didþiausios. Dar galima pa-
stebëti, kad apsaugos priemo-
nëmis labiausiai pasitiki vado-
vai, specialistai, tarnautojai,
moksleiviai ir studentai, o la-
biausiai nepasitiki darbininkai
ir bedarbiai.
The Lithuanian School of Currency Design
Banknotø bandiniø
tvirtinimas spaustuvëje
the banknotes in circulation.
One fourth of the respondents
(27%) answered that they had
no criticism of any new cur-
rently circulating banknotes,
and one third of the polled
people (32%) had no opinion
on the subject.
The analysis of the rate of
positive and negative assess-
ments shows that the 200 litas
banknote is rated most highly,
and the 50 litas note has the
lowest rating. The most fre-
quent critical comments on this
banknote are as follows: unap-
pealing design, dull and faded
colours, uninteresting, boring,
a new banknote of this denomi-
nation would be desirable, does
not look like a genuine note,
too “gloomy”, etc.
Respondents were also asked
to tell how they judged the secu-
rity features of Lithuanian
banknotes. In 2002, there were
more people (aged 15 to 74) who
considered that banknotes were
well protected (43%) than those
who did not trust security fea-
tures (40%). In 2000, the people
who had the opinion that
Lithuanian notes were poorly
protected were more numerous
(52%) than those who trusted
the security features (45%).
Slightly more men than women,
people under fifty, town dwell-
ers, people with higher education
and families with the highest in-
come considered Lithuanian
banknotes to be well protected.
It could also be noted that man-
agers, experts, public officers,
schoolchildren and students had
more trust in security features
Approval of banknote
than workers and the unem- proofs at the printing
ployed. company
19
 KAIP JÛS MANOTE, AR LIETUVOS BANKNOTAI YRA GERAI APSAUGOTI NUO PADIRBINËJIMO?
DO YOU THINK LITHUANIAN BANKNOTES ARE WELL PROTECTED AGAINST COUNTERFEITING?
(procentais/per cent)

Respondentø buvo praðoma Respondents were re-

iðvardyti visas Lietuvos bankno- quested to list all the security
tø apsaugos priemones, kurias features of banknotes they were
jie þino. Geriausiai Lietuvos aware of. The watermark was
þmonëms yra þinomi vanden- mentioned by two of three re-
þenkliai – juos paminëjo du ið spondents as a security feature
trijø apklaustøjø. Kitos dvi ge- best known to the people of
riau þinomos apsaugos priemo- Lithuania. The other two bet-
nës – tai metalizuota juostelë ter-known features were the
(paminëjo kas antras) ir apsau- metallic strip (mentioned by
giniai siûleliai (paminëjo vienas every second respondent) and
ið septyniø). Tarp pastebimø security threads (pointed out
pokyèiø galima atkreipti dëme- by every seventh respondent).
sá á tai, kad kiekvienais metais Certain changes in the attitude
atliekamø tyrimø metu pami- of the public towards money
nima vis daugiau banknotø ap- should be noted in that every
saugos priemoniø. year more and more security
Pasitikëjimui ar nepasitikë- features were mentioned by the
jimui Lietuvos banknotais, be Tyrimai atlikti 2002 m. polled people.
abejonës, turi átakos ir bendras Surveys conducted in 2002. It is expected that bank-
poþiûris á Lietuvos visuomenës notes and coins will be re-
institucijas – pasitikima jomis placed by electronic payment
ar ne. instruments in many areas of
Ar ilgai dar apyvartoje bus life in the future. Why many,
grynieji pinigai? Prognozuoja- and not all, one may wonder.
ma, jog ateityje elektroninës Psychologists maintain that
mokëjimo priemonës turëtø people prefer cash to a record
pakeisti banknotus ir monetas in a bank account. They feel
daugelyje mûsø gyvenimo sri- satisfaction when counting
èiø. Kodël daugelyje, o ne vi- money. A credit or debit card
sose? Psichologai teigia, jog Tyrimai atlikti 2002 m. tends to induce unreasonable
þmonëms labiau patinka gry- Surveys conducted in 2002. spending. Cards cannot solve
nieji pinigai, o ne áraðas sàskai- the problems of blind and
toje. Perskaièiuodamas pinigus, þmogus patiria malonumà. Su kredito short-sighted people. And there is also the shadow economy.
ar debeto kortele jis yra labiau linkæs nepagrástai iðlaidauti. Kortelës ne- The quality of the national currency allows making judgements about
iðsprendþia akløjø ir silpnaregiø problemø. O kur dar ðeðëlinë ekono- the general order in a country. Currency is an object of self-esteem of a
mika? country; it is like a mirror which should always be clean and clear.
Pagal nacionalinës valiutos kokybæ galima spræsti ir apie tvarkà vals- Ten years is certainly a short period in the history of the litas, but it
tybëje apskritai. Bet kurios valstybës sveèias pirmiausia susiduria su pi- has been a very significant one for Lithuania. Nowadays, children at
nigais. Tai – valstybës savigarba, tarsi veidrodis, kuris visada privalo schools and nursery schools write compositions about the national cur-
bûti ðvarus ir skaidrus. Deðimtmetis, þinoma, yra palyginti trumpas tarps- rency, and participate in drawing competitions, presenting their de-
nis mûsø lito istorijoje, taèiau labai reikðmingas Lietuvai. Ðiandien mo- signs of the future money; art students chose their diploma subjects
kyklose ir ikimokyklinëse ástaigose vaikai kuria raðinius apie nacionali- related to the analysis of banknote design and visions of the future money.
nius pinigus, aktyviai dalyvauja pieðiniø konkursuose vaizduodami, kaip Banknotes are not just a means of payment. For centuries the na-

20 Lietuviðkoji pinigø kûrimo mokykla


litas atrodys ateityje, dailës studentai renkasi diplominiø darbø temas,
susijusias su banknotø dizaino analize bei jø ateities vizija.
Banknotai – tai ne tik mokëjimo priemonë. Visais amþiais naciona-
liniai pinigai buvo ir yra neatsiejama tautos kultûros dalis. Vykstant
audringiems istorijos pokyèiams, kiekviena valstybë siekia átvirtinti sa-
vo nacionaliná tapatumà. Nacionaliniai pinigai ilgam iðlieka visuome-
nës atmintyje, taip sergëdami jos tautiðkumo ðaknis. Banknotai – lyg
kalba, kuria susikalba ne tik individai, visuomenës grupës, tautos, bet ir
þmonijos kartos, net civilizacijos.
Antrà kartà XX a. lietuviø tauta atkûrë savo valstybæ pasaulio þemë-
lapyje, o 1993 m. nacionalinis pinigas litas gráþo á pasaulio valiutø ðeimà.
Atgimë lietuviðkoji pinigø kûrimo mokykla.
Banknotai – lyg kalba,
kuria susikalba tautos.
Fotogr. E. Strioga
tional currency has been an inseparable part of national culture. Ev-
ery nation has sought to strengthen its identity in the turbulent course
of history. National money stays in the memory of the people for a
long time, protecting the national roots of a state. Banknotes may be
compared to language, understandable not only to individuals, social
groups or nations, but also to generations of mankind and even civi-
lizations.
The Lithuanian nation re-established its state on the map of the
world for a second time during the 20th century, and in 1993 its na-
tional currency, the litas, returned to the family of currencies of the
world.
The Lithuanian school of currency design has been revived.
Banknotes are like the
language understandable
to all nations.
Photo by E. Strioga
The Lithuanian School of Currency Design 21
 Banknotai ir jø komponavimo specifika
Banknotes and Peculiarities of Their Composition
Ið pirmo þvilgsnio banknotas – tik keturkampis, ámantriai orna-
mentuotas popieriaus lapelis su portretu, peizaþu ir tekstu. Taèiau ðis
lapelis turi didelæ galià – uþ já galima pirkti reikalingus daiktus, atsily-
ginti uþ paslaugas, be rûpesèiø keliauti per pasaulá, iðkeièiant vienoje
ðalyje iðleistus popierëlius á kitos ðalies popierëlius. Þodis „banknotas“
suprantamas beveik visame Þemës rutulyje.
Europoje banknotai, kaip visuotinai pripaþinta mokëjimo priemo-
në, þinomi nuo XVII a., o metaliniø pinigø istorija skaièiuojama tûks-
tanèiais metø. Metaliniai pinigai buvo labai sunkûs, juos tekdavo ga-
benti net veþimais, ir pirkliams, keliaujantiems ið miesto á miestà, bû-
davo nepatogu. Ieðkant iðeities ir buvo sugalvota raðteliø sistema. Pir-
mi banknotai buvo ranka raðyti raðteliai – ásipareigojimai raðtelio sa-
vininkui nurodytà sumà iðmokëti metaliniais pinigais. Dar ir dabar
kai kuriø ðaliø banknotuose spausdinami tokie tekstai. Pavyzdþiui,
ðiuolaikiniame Indijos banknote galima perskaityti: „Að pasiþadu ðio
raðtelio savininkui sumokëti 10 rupijø“.
Anksèiausiai ðià problemà ëmësi spræsti kinai. Jie dar X a. pabaigo-
je sunkius metalinius pinigus palikdavo parduotuvëse ir gaudavo ðei-
mininko pasiraðytà raðtelá apie deponuotà sumà. Tai tapus tradicija ir
atsiradus gausybei tokio pobûdþio raðteliø, pradëta juos padirbinëti.
Ieðkant bûdø apsisaugoti nuo apgavikø, raðteliams buvo pradëta ga-
minti specialø popieriø, pirkliai sugalvodavo individualias apsaugos
priemones, skolos raðtelius paþymëdavo tik jiems vieniems þinomais
slaptais þenklais, medinëmis kliðëmis spausdindavo specialius blan-
kus, gamindavo spaudus, taèiau tai nedaug padëdavo. Teismai buvo
uþversti padirbinëtojø bylomis ir pagaliau buvo imtasi priemoniø vals-
tybës mastu.
Pirmieji valstybiniai skolos raðteliai – banknotø pirmtakai – iðleisti
1024 m. Kinijoje, valdant Sungø dinastijai. Jie buvo atspausdinti va-
rinëmis kliðëmis. Anksèiau pirkliø naudotos medinës kliðës neatlai-
kydavo didesnio atspaudø skaièiaus, o raiþyti daug vienodø formø
At first glance a banknote seems to be just a quadrangular, fanci-
fully ornamented piece of paper bearing a portrait, a landscape and
some text. Nevertheless this piece of paper has great power – it allows
you to purchase necessary things, pay for services, travel around the
world exchanging the pieces of paper issued in one country for the
ones issued in other countries. The word “banknote” is familiar to
people all over the world.
Banknotes, as universally acknowledged means of payment, have
been known in Europe since the 17th century, and the history of metal
money goes back thousands of years. Metal money was very heavy so
that a bigger amount would have to be carried by carts, making it
burdensome to merchants to travel from town to town. In search for
a way out, a system of notes was invented. The first banknotes were
handwritten notes promising to pay to the holder of the note the
indicated amount of money in metal currency.
Chinese were the first to tackle this problem. As early as in the late
10 century they used to leave their metal money in shops and re-
th
ceived instead a note indicating the deposited amount signed by the
shop owner. When this became a tradition and many notes of this
type appeared, the counterfeiting of such notes began. In search for
ways to protect them against counterfeiters a special kind of paper for
these deposit bills was manufactured, and merchants used to invent
their own security features: they marked deposit bills with individual
secret signs that were known only to them, printed special blanks
with wooden plates and made stamps. But these measures were not
effective enough. Courts were overloaded with cases against counter-
feiters and, finally, measures had to be taken on the national level.
The first national promissory notes, predecessors of banknotes,
were issued in China under the reign of the Song dynasty in 1024.
They were printed with copper plates on paper made of the bark of
the mulberry tree. It was thick and coarse, but it was resistant to fold-
Banknotes and Peculiarities of Their Composition 23
 Prancûzijos nacionalinës
asamblëjos asignatas.
1792 m.

Prancûzijos nacionalinës
asamblëjos asignatas.
1794 m.

Currency bill of the

French National Assembly
dated 1792

Currency bill of the

French National Assembly
dated 1794

24 Banknotai ir jø komponavimo specifika


buvo neparanku, be to, padidëdavo ir padirbinëjimo galimybës – tarp
nevisiðkai vienodø atspaudø lengviau paslëpti neteisëtu bûdu paga-
mintus raðtelius. Pirmieji banknotai buvo spausdinami popieriuje, pa-
gamintame ið ðilkmedþio þievës. Jis buvo storas ir ðiurkðtus, taèiau
atsparus lankstymui ir glamþymui. Kiniðki pinigai buvo þymimi vy-
riausybës ir vietos, kur banknotas buvo keièiamas á monetas, antspau-
du. Maþdaug tuo laiku buvo iðrastas ir spausdinimo surenkamomis
raidëmis bûdas – á paliktà tuðèià vietà pagamintame atspaude vëliau
kita kliðe bûdavo áspaudþiamas numeris.
Labai panaðø kelià iki banknoto nuëjo ir europieèiai, tik jie vëlavo
kelis ðimtmeèius. Ðvedijos karalius Gustavas Adolfas, mëgindamas pa-
pildyti Trisdeðimties metø karo (1618–1648 m.) nualintà valstybës biu-
dþetà, ásteigë Karaliðkàjá bankà ir ágaliojo já iðdavinëti depozitinius rað-
tus uþ banke paliktus metalinius pinigus. Raðtai turëjo tokià pat vertæ,
kaip ir banke palikti pinigai. Ðiek tiek vëliau ir kitose ðalyse pradëti leisti
valstybiniai banknotai su nurodyta konkreèia suma. Ant specialaus po-
pieriaus su vandenþenkliais puoðniu kaligrafiniu ðriftu, imituojanèiu ran-
ka raðytas raides, buvo atspausdinamas tekstas, nominalo skaièius ir ban-
ko pavadinimas. Toks banknotas su ranka áraðytu numeriu, kaip doku-
mentas, buvo áregistruojamas banko knygose. Já pasiraðydavo pats ban-
ko kasininkas. Panaðûs banknotai buvo leidþiami 1794 m. Lenkijos ir
Lietuvos valstybëje Tado Kosciuðkos sukilimo metu.
Popieriniø pinigø kelias á visuomenæ nebuvo lengvas. Þmonës, pri-
pratæ prie sunkiø, patikimø, daþnai ið tauriøjø metalø nukaldintø mo-
netø, negreitai pradëjo pasitikëti ið paþiûros nepatvariu popierëliu.
Dar turëjo praeiti apie porà ðimtø metø, kol banknotai buvo visuoti-
nai priimti. Kai kuriø Europos ðaliø bankai popierinius pinigus iðlei-
do tik XIX a. pabaigoje.
Banknotas eina ið rankø á rankas, pabuvoja piniginëse, parduotu-
viø stalèiuose, automatinëse skaièiavimo maðinose, bankø saugyklo-
se. Jis pakliûva á ávairias situacijas: imamas neðvariais pirðtais, glamþo-
Varðuvos kunigaikðtystës
kasos bilietas. 1810 m.
ing and crumpling. Chinese paper money was stamped with the seal
of the government and a stamp indicating the place where the note
could be exchanged into coins. Approximately at the same time a
letterpress printing technique was invented – a movable type with a
note number to be later inserted into an empty space on the print
using a separate plate.
The Europeans followed a similar way, albeit several hundred years
later. The king of Sweden Gustavus Adolphus, in effort to replenish
the national budget after the Thirty Years War (1618–1648), estab-
lished the Royal Bank and empowered it to issue notes of deposit
against metal money deposited in the bank. The notes had the same
value as the money deposited in the bank. Some time later other coun-
tries followed, issuing state banknotes with the precise amount indi-
cated on them. The text, denomination numeral and name of a bank
were printed in elaborate calligraphic type imitating handwritten char-
acters on special paper with a watermark. Such a banknote with a
handwritten number was registered as a document in the books of the
bank. It was signed by the cashier of the bank himself. Notes of simi-
lar type were issued in the State of Poland and Lithuania in 1794
during the uprising led by Tadeusz Koúciuszko.
Paper money was not readily accepted by the public. People were
accustomed to heavy and reliable coins, often made of precious metals,
and it took some time for a piece of paper, which did not seem to be
durable, to win their trust. Several hundred years were to pass until
banknotes became generally accepted by the public. In some European
countries paper money was issued as late as at the end of the 19th century.
A banknote passes from hands to hands, it is held in wallets, in the
drawers of the cash desks in shops, automated sorting machines and
bank vaults. It turns up in various situations: a banknote is touched
Treasury note of the
by dirty fingers, crumpled in pockets with other articles and is some- Duchy of Warsaw
times even washed together with dirty laundry. It is for these reasons dated 1810
Banknotes and Peculiarities of Their Composition 25
Rusijos banknotas.
1819 m.
Rusijos banknotas.
1865 m.
mas kiðenëse drauge su kitais daiktais, kartais net iðskalbiamas su dra-
buþiais, todël jo popierius, spaudos daþai, apsaugos priemonës turi
bûti ypaè patvarûs. XX a. pradþioje amerikieèiai banknotø amþiui pra-
ilginti buvo iðradæ net specialià banknotø skalbimo maðinà. Jie iðsiaið-
kino, kad net 30 procentø á bankà gràþinamø banknotø yra ne susi-
dëvëjæ, bet paprasèiausiai neðvarûs. Buvo sukonstruota áranga, kuri,
aptarnaujama dviejø þmoniø, per valandà iðskalbdavo, iðdþiovindavo
ir iðlygindavo 5 000 banknotø. Taèiau vëliau, Pirmojo pasaulinio ka-
ro metais trûkstant linø ir popieriø pradëjus gaminti tik ið medvilnës,
skalbimo teko atsisakyti.
Gaminant banknotà, nepaprastai svarbià vietà uþima popierius –
jam keliami ypaè dideli reikalavimai. Popierius turi bûti nestoras, stan-
dus, atsparus mechaniniams poveikiams, tinkamas ávairiø rûðiø poli-
grafiniams daþams ir modernioms apsaugos priemonëms. Ðiurkðtaus
pavirðiaus, savitai ðiugþdantá banknotø popieriø þmonës, kasdien dir-
bantys su pinigais, lengvai atskiria nuo padirbto. Kiekvienam bankno-
tui gaminamas specialus tik tai laidai skirtas popierius.
Pagamintame popieriuje yra nemaþai apsaugos priemoniø, taèiau
viena ið seniausiø ir iki ðiol svarbiausiø yra vandenþenklis. Tai yra tam
tikras vaizdas – emblema, ornamentas, tekstas ar portretas. Jis sudary-
tas ið storesnio ir plonesnio popieriaus sluoksniø ir aiðkiai matomas
þiûrint prieð ðviesà. Vakarø Europoje vandenþenklis þinomas nuo
XIII a. – popieriaus manufaktûros juo þymëdavo savo gaminius, be
to, jis seniai naudojamas kaip vertybiniø popieriø apsaugos priemo-
në. Ðiuolaikiniø pinigø vandenþenklis – daþniausiai sudëtingas portre-
tas su daug detaliø ir toniniø perëjimø, poligrafiniu bûdu atspausdin-
to portreto ar kito svarbaus dizaino elemento pakartojimas.
Russian banknote Kita popieriaus apsaugos priemonë – á gaminamo popieriaus masæ
dated 1819 ámaiðoma spalvotø, matomø plika akimi, arba baltø, susiliejanèiø su
Russian banknote popieriaus mase, plauðeliø, fluorescuojanèiø banknotà apðvietus ul-
dated 1865 travioletine ðviesa.
26 Banknotai ir jø komponavimo specifika
that the paper, printing inks and security features of a note should be
particularly durable.
Paper plays a very important role in the production of banknotes
and has to meet specific requirements. It must not be thick but stiff,
resistant to mechanical effects, suitable for using various types of print-
ing inks and incorporating modern security features. People who
handle money daily are capable of distinguishing banknote paper from
any other type of paper because of its coarse surface and specific crack-
ling. Each banknote is printed on the paper produced for that par-
ticular issue.
Manufactured banknote paper has a number of security features,
among which the watermark is one of the oldest and has remained
the most important security feature until now. The watermark is a
certain image – an emblem, ornament, text or portrait. It is formed
from thicker and thinner layers of paper and is clearly seen when viewed
against the light. In Western Europe the watermark has been known
since as early as the 13th century when paper manufacturers marked
their paper with watermarks. For many years the watermark has been
used as a protection feature for securities. A modern watermark is
usually a complex portrait, containing many details and tonal shad-
ows, which is a copy of the portrait or another design element printed
on the front of the note.
Another paper security feature consists of coloured fibres, which
are visible to the naked eye, or white fibres that merge with the paper
and are visible under ultraviolet light, both introduced into the paper
in the production process.
The security thread is one more paper security feature. It was pat-
ented in 1935 in England, and was used for extremely important pa-
pers and documents. It took long years of research to find a technique
for embedding a thread into a banknote without harming the stiff-
ness of a note and affecting the speed of paper production. In 1940,

Apsauginis siûlelis – dar viena popieriaus apsaugos
priemonë. Uþpatentuotas 1935 m. Anglijoje, jis buvo
naudojamas nepaprastai svarbiems popieriams ir doku-
mentams. Ilgai ieðkota bûdø, kaip áterpti ðá siûlelá, ne-
pakenkiant banknoto standumui, nesulëtinant popie-
riaus gamybos tempo. Radus gamybininkus ir banki-
ninkus tenkinantá sprendimà, 1940 m. iðleistas 1 svaro
sterlingø banknotas su apsauginiu siûleliu. Paprastai ap-
sauginis siûlelis visas áterpiamas á popieriø já gaminant,
taèiau kartais jis matomas reguliaraus punktyro ritmu
iðkilæs á pavirðiø. Daþnai apsauginiame siûlelyje yra mik-
rotekstas. Þiûrint á banknotà prieð ðviesà, siûlelis mato-
mas kaip tamsi juostelë, vertikaliai kertanti banknotà.
Ðiuolaikiniuose banknotuose apsauginis siûlelis gali bû-
ti ávairiø ploèiø, fluorescuoti ultravioletinëje ðviesoje ar
turëti holografiná efektà.
Banknotà paprastai puoðia ornamentai, tekstai, isto-
riniø objektø pieðiniai. Visa tai atspausdinama dviem
spaudos bûdais – ofsetu ir giliaspaude. Visi komponen-
tai, vienas kità papildydami, sukuria specifiná banknoto
vaizdà.
Svarbià vietà uþima giljoðo struktûros (pranc. guillo-
che – raiþytuvas). Tai – sudëtingo pieðinio linijinis or-
namentas, atspaustas popieriuje. Pirmuosius banknotus
stengtasi puoðti ámantriais dailininko pieðtais ornamen-
tais. Jø darbà labai palengvino 1810 m. austrø iðradëjo
Jakobo Degeno (Jacob Degen) iðrasta giljoðo maðina, kuri
pieðdavo nepaprastai taisyklingus, pagal specialià formulæ
apskaièiuotus ornamentus. Banknoto erdvës uþpildomos
juvelyriðku giljoðo mezginiu. Sudëtingø plonø linijëliø
neámanoma nubrëþti ranka, jos pieðiamos specialiu, ðiais
Niujorko miesto banko
banknotas. 1863 m.
Japonijos privataus pirklio
banknotas. 1858 m.
after a solution meeting the requirements of both
manufacturers and bankers was found, a £1 note with
a security thread was issued. The security thread is usu-
ally embedded in the paper, though sometimes it is
visible as a windowed line. Security threads often con-
tain a microtext. When a banknote is held up against
the light, the security thread is seen as a continuous
dark line running vertically across the banknote. Se-
curity threads of modern banknotes may vary in width,
fluoresce under UV light or produce a holographic ef-
fect.
Banknotes are traditionally decorated with orna-
ments, texts and images of historical objects. Two print-
ing methods, offset and intaglio, are used to print all
these design elements. All design components taken
together create a specific composite look of a banknote.
A particular role is assigned to guilloche structures
(Fr. guilloche graver). They are complex patterns of lin-
ear ornaments, cut with a special mechanical instru-
ment on a metal surface and printed on paper. Early
banknotes were decorated with exquisite ornaments
hand-drawn by an artist. The work of the artists was
made much easier with the advent of the guilloche ma-
chine invented by the Austrian inventor Jacob Degen
in 1810. It allowed drawing incredibly precise line or-
naments based on a special formula. The space on a
Banknote of the New
banknote is filled with a perfectly drawn guilloche net- York City Bank
work. These complex fine lines are too complicated to dated 1863
be drawn by hand, and they are produced by using a
Banknote of a Japanese
special mechanism, which is now usually controlled private merchant
by a computer. Even modern photocopiers fail to re- dated 1858
Banknotes and Peculiarities of Their Composition 27
 V. Kudirkos portreto
graviûra 500 litø
banknote

V. Kudirkos portretas –
500 litø banknoto
vandenþenklis

Vengrijos 1930 m. laidos

banknoto giljoðas

Engraving of the portrait

of V. Kudirka on the 500
litas banknote

Portrait of V. Kudirka as
the watermark for the 500
litas banknote

Guilloche from a
Hungarian banknote
of 1930

28 Banknotai ir jø komponavimo specifika

 1924 m. V. Jomanto
sukurto 500 litø banknoto
giljoðas

Guilloche from
the 500 litas banknote
designed by
V. Jomantas in 1924

Banknotes and Peculiarities of Their Composition 29

 Tarybinio 1991 m. laidos
100 rubliø banknoto
ornamentas,
suprojektuotas pagal
Orloff metodà
laikais daþniausiai kompiuteriu valdomu prietaisu. Tokiø linijiniø
struktûrø nepakartoja net ðiuolaikinës kopijavimo priemonës, atga-
minanèios vaizdà ið maþø taðkeliø. Giljoðo ornamentas sëkmingai nau-
dojamas jau du ðimtmeèius. Net ir ðiais laikais, iðtobulëjus poligrafi-
jos árangai, kompiuteriø technologijoms, giljoðo principu sukurtas or-
namentas yra svarbi banknotø apsaugos priemonë.
Giliaspaude atspausdinta portreto graviûra – ypaè svarbi ir senas
tradicijas turinti apsaugos priemonë. Jau seniai pastebëta, kad tam
labai tinka visuomenei gerai paþástamos asmenybës portretas.
Banknoto portretà graviruoja pinigus gaminanèios firmos grave-
ris. Darbas labai kruopðtus, reikalaujantis didelës kantrybës ir meist-
riðkumo – menkiausiu netiksliu rankos judesiu galima sugadinti dau-
gelio mënesiø triûsà. Iðgraviruotoje metalo plokðtëje yra gilûs, aðtriais
kraðtais grioveliai tose vietose, kur reikia atspausdinti tamsias linijas.
Spaudos daþai áterpiami á tuos griovelius, o atspausdinus jie staigiai
iðdþiûsta ir lieka apèiuopiami nelygumai.
Nemaþiau svarbi banknotø gamybos proceso sudëtinë dalis yra spe-
cialûs daþai. Jie turi atitikti specifinius jiems keliamus reikalavimus.
Ðiø daþø negalima lyginti su tais, kuriais spausdinami spalvoti þurna-
lai ar knygos. Banknotø daþais spausdinami nominalo skaièiai, teks-
tai, kai kurios apsaugos priemonës, ámantrûs, spalvingi ornamentai ir
vaizdai – jie popieriaus lapelá paverèia pinigu. Nuo daþø kokybës ir
patvarumo priklauso, ar po ilgalaikio kasdienio vartojimo ávairiomis
sàlygomis banknotas iðliks atpaþástamas, o netinkamà apyvartai bent
bus galima pakeisti nauju.
Pinigø ekspertai ið daþø gamintojø reikalauja, kad spaudos daþai
bûtø atsparûs ðviesai, drëgmei, riebalams, ávairiems chemikalams. Daþai
bandomi specialiais testais, kurie prilygsta ekstremalioms sàlygoms.
Ornament Atspausdinti banknotai plaunami vandenyje, buitiniuose chemikaluo-
on the Soviet
100 rouble note of 1991, se, plëðomi, glamþomi, trinami su ðiurkðèiais pavirðiais – ir tik iðlaikæ
designed by Orloff method spalvà, intensyvumà, nenubyrëjæ popieriaus lenkimo vietose, pripa-
30 Banknotai ir jø komponavimo specifika
produce such linear structures: their image on the copy looks as if it
consisted of tiny dots. Guilloche ornaments have been successfully
used for two hundred years. Even in these days, when printing equip-
ment and computer technologies have become highly sophisticated,
guilloche-based ornaments remain an important security feature.
The engraved portrait printed in intaglio is an old traditional and
exceptionally significant security feature. It was noticed long ago that
the portrait of a publicly well-known person is a perfect security fea-
ture.
The portrait for a banknote is engraved by the engraver of the
banknote printing company. This task is very accurate and requires
great patience and skill: a single imprecise movement of the hand can
ruin the result of several-months’ hard work. The engraved plate has
deep, sharp-edged grooves cut in the places where dark lines should
be printed. These grooves are filled with printing inks which dry very
quickly after printing, forming ridges of ink on the surface that may
be felt by touch.
Special inks are of no less importance in the process of banknote
production. They must satisfy specific requirements. These inks should
not be identified with those used for printing colour magazines or
books. Banknote printing inks are used to print denomination nu-
merals, texts, some of security features, intricate coloured ornaments
and images – they turn a piece of paper into money. It is the quality
and stability of the inks that determine whether a note will remain
recognizable after a long period of daily circulation, while unfit
banknotes would be replaced by new ones.
Banknote experts require from ink manufacturers that printing
inks should be resistant to light, moisture, fat and various chemical
agents. Inks undergo special tests under conditions close to extreme.
Printed notes are washed in water and household chemicals, torn,
crumpled and rubbed against rough surfaces, and only in case the

þástami vertais dëmesio. Be atsparumo mechaniniam ir cheminiam
poveikiui, banknotø daþai turi daugybæ kitø specifiniø savybiø: jie
liuminescuoja ultravioletinëje ðviesoje, keièia spalvà þiûrint á bankno-
tà kitu kampu. Yra ir kitø daþø savybiø, þinomø tik pinigø eksper-
tams. Pinigai gaminami greitaeigëmis maðinomis, todël bûtina, kad
daþai momentaliai dþiûtø, nesiteptø, kad jais bûtø galima tiksliai at-
spausdinti plonytes giljoðo linijas.
Poligrafiniu bûdu spausdinama daugelis apsaugos priemoniø:
portretas, abipusio sutapimo þenklas, paslëptos raidës ar simboliai,
atpaþinimo þenklai akliesiems, mikrotekstai ir kt. Iki ðiol sëkmingai
taikomas Orloff metodas, kai ávairiø spalvø daþai nuo keliø plokðèiø
perkeliami ant vienos ir ja spausdinama popieriuje. Ðiuo metodu spaus-
dinama monotoniðka giljoðo linijëliø struktûra dizainerio numatyta
tvarka keièia spalvà ir sudaro spalvingà, nepaprastai tiksliai sutam-
pantá ornamentà.
Pastaraisiais metais pagamintuose lietuviðkuose banknotuose yra
ir viena ið moderniausiø apsaugos priemoniø – mikroperforacija. Þiû-
rint prieð ðviesà, matomas nominalo skaièius ið skyluèiø, padarytø la-
zeriu.
Didþioji apsaugos priemoniø dalis yra skirta eiliniams þmonëms.
Kiekvienas vartotojas, paëmæs á rankas banknotà ir suabejojæs jo tik-
rumu, gali nesunkiai tai patikrinti. Reikia tik pakelti banknotà prieð
ðviesà, kad pamatytume vandenþenklá, apsauginá siûlelá, abipusio su-
tapimo þenklà, paliesti, kad apèiuoptume giliaspaudës daþø reljefà,
pavartyti kupiûrà, kad ásitikintume, ar ðvyti daugiaspalvës hologra-
mos, ar yra paslëptos raidës ir simboliai. Yra ir sunkiau áþvelgiamø,
taèiau per didinamàjá stiklà regimø apsaugos priemoniø, tai – mikro-
tekstai, giljoðo linijëliø pieðinio sudëtingumas ir kt.
Aptartosios naujausiomis technologijomis pagrástos apsaugos prie-
monës nëra jokia paslaptis. Ðiais laikais kiekvienas pinigø emisijos tei-
sæ turintis bankas kartu spausdina ir masiðkai platina specialius lanksti-
10 litø banknoto sutapimo
þenklo projekto eskizai.
Dail. G. Jonaitis
10 litø banknoto sutapimo
þenklo bendras vaizdas,
aversas ir reversas.
Dail. G. Jonaitis
inks retain their colour and brightness, do not crumble off in the
places of folding the paper are they judged to deserve attention. Apart
from resistance to mechanical and chemical effects printing inks have
a number of other specific qualities: they fluoresce under ultraviolet
light and change colour when viewed from different angles. There are
some other specifications that are known only to banknote experts.
Banknotes are produced by high-speed presses, and it is therefore nec-
essary that inks should dry instantly and should not smear, so that
precise printing of fine guilloche lines was possible.
The main printing processes are used for printing many security
features: the portrait, see-through feature, latent characters or sym-
bols, recognition signs for the blind, microtext and others. Up until
now the Orloff printing method has been used to transfer inks of dif-
ferent colours from a number of plates onto one plate for further
printing on the paper. Monotonous guilloche line structures printed
in this way change colour in the order envisaged by the designer and
form a colourful ornament of precisely aligned lines.
The majority of the security features are aimed at the general pub-
lic. Every person who has a banknote in his or her hands can easily
check any doubt regarding the authenticity of the note. All one needs
to do is hold up a note against the light and see the watermark, the
security thread and a see-through feature; touch the surface to feel the
relief of intaglio printing; tilt a note to check for iridescent multicolour
holograms and latent characters and symbols. There are also security
features which are more difficult to see, such as microtext, complex Sketches of the design for
the 10 litas note’s
guilloche line patterns, etc., which can, however, be observed through
see-through feature.
a magnifying glass. Designed by G. Jonaitis
The described security features based on the state-of-the-art tech-
nologies are not secret. Nowadays, every bank of issue prints and dis- See-through feature of the
10 litas banknote (general
tributes special brochures providing comprehensive information to view, front and back).
the people about the key security features and their location on a Designed by G. Jonaitis
Banknotes and Peculiarities of Their Composition 31
 10 eurø banknotas
ultravioletinëje ðviesoje
nukus, kuriuose populiariai aiðkinamos svarbiausios apsaugos prie-
monës, jø iðdëstymo vietos. Tiesa, tam tikra banknotuose esanèiø ap-
saugos priemoniø dalis neþinoma plaèiajai visuomenei. Esant reika-
lui, jos tikrinamos specialiose laboratorijose tobula ðiuolaikine áranga.
Pinigø padirbinëjimas visais laikais buvo vienas ið didþiausiø vals-
tybiniø nusikaltimø – anksèiau uþ tai buvo baudþiama net mirtimi.
Pinigø padirbinëtojai buvo gàsdinami grasinanèiais uþraðais ant
banknotø. Pvz., 1856 m. Vokietijoje iðleistame banknote dailininkas
nupieðë aukðtà kalëjimo sienà su dantytais bokðtais ir grësmingu uþra-
ðu apie klastotojo laukiantá atpildà. Daugelis vyresnës kartos Lietuvos
þmoniø prisimena tokius pat tekstus tarybiniuose piniguose, o dar
vyresni – ir tarpukario Lietuvos lituose.
10 euro banknote under
ultraviolet light
32 Banknotai ir jø komponavimo specifika
banknote. However, there are certain banknote security features that
are not disclosed to the general public. They are checked, if necessary,
at specialised laboratories using modern equipment.
Counterfeiting of currency has always been considered one of the
greatest crimes against the state, sometimes even punishable by the
death penalty. Counterfeiters were threatened with warnings on
banknotes. In Germany, for example, a note issued in 1856 had a
picture made by an artist showing a high jagged prison wall and a
threatening warning about the punishment for counterfeiters. Many
Lithuanian people of the older generation remember texts of this kind
on the Soviet banknotes, and similar warnings on the inter-war litas
notes would be familiar to even older people.
 Spaustuvës Orell Füssli
Security Printing Ltd
reklaminio banknoto
aversas ir reversas

Promotional banknote of
the printing house Orell
Füssli Security Printing
Ltd, front and back

Banknotes and Peculiarities of Their Composition 33

Slovënijos 10 taleriø
banknoto reversas

Islandijos 10 kronø
banknoto aversas

Malaizijos 2 ringitø
banknoto aversas

Slovenian 10 thaller
banknote, back

Icelandic 10 krona
banknote, front

Malaysian 2 ringgit
banknote, front

34 Banknotai ir jø komponavimo specifika

 Egipto 1 svaro banknoto
aversas

50 eurø banknoto aversas

ir reversas

Egyptian 1 pound
banknote, front

50 euro banknote, front

and back

Banknotes and Peculiarities of Their Composition 35

 Lietuvos banknotø kûrimo bruoþai
Design Peculiarities of Lithuanian Banknotes
XVII a. Europoje pasirodæ banknotai á Lietuvà nepateko. XVIII a.
pabaigos suirutë Lenkijos ir Lietuvos valstybëje bei po to vykæ padali-
jimai galutinai likvidavo valstybæ. Norint atgaivinti ekonomikà po
1772 m. padalijimo, bandyta ieðkoti naujø kreditavimo formø. Tada
ir buvo pritaikyta Anglijos, Ðvedijos, Austrijos ir kitø valstybiø, kur
jau buvo sukurta bankø sistema, patirtis. 1774 m. Seime Janas Alek-
sandras Kraðevskis (Jan Aleksander Kraszewski) pateikë popieriniø pi-
nigø projektà, taèiau, sulaukus pasiprieðinimo, projekto atsisakyta. Vë-
liau, pritariant paèiam karaliui Stanislovui Augustui, vël pamëginta já
atgaivinti. Labai nusipelnë Varðuvos bankininkas Andþejus Kapostas
(Andrzej Kapostas), kuris parengë Valstybinio banko struktûros ir po-
pieriniø pinigø emisijos planà. Taèiau idëjà ágyvendino tik Tado Kos-
ciuðkos sukilimo vadovai, kaip minëta, jie iðleido pirmuosius popieri-
nius pinigus. Þlugus sukilimui, pasibaigë ir trumpas ðiø pinigø Len-
kijos ir Lietuvos valstybëje egzistavimas. Po Treèiojo padalijimo Lie-
tuvos Didþiàjà Kunigaikðtystæ (LDK) prijungus prie carinës Rusijos,
Lietuvoje iki pat Pirmojo pasaulinio karo kursavo rusiðki rubliai. Vo-
kieèiams uþëmus Lietuvà, 1916 m. jø karinë administracija ákûrë Ry-
tø skolinamosios kasos Kauno skyriø, kuriam pavedë leisti pinigus
Lietuvos (tada su dalimi dabartinës Gudijos ir Lenkijos) ir Kurðo (da-
bar Latvija) teritorijoms. Ðiø pinigø averso tekstai buvo spausdinami
vokieèiø, o reverso – lietuviø, lenkø ir latviø kalbomis. Pinigai buvo
vadinami ostrubliais, vëliau – ostmarkëmis, paskelbus Lietuvos nepri-
klausomybæ – auksinais. Jie iðsilaikë apyvartoje, kol buvo ávesti litai.
Nacionalinës valiutos klausimas Lietuvoje svarstytas 1919 m. pra-
dþioje. Planuota piniginá vienetà pavadinti muðtiniu. 1919 m. rug-
pjûèio mën. dailininkas Antanas Þmuidzinavièius supaþindino Mi-
nistrø Kabineto narius su banknotø projektais, taèiau, pradëjus bûgð-
tauti, kad per karus ir okupacijas sugriautas visuomenës pasitikëjimas
pinigais gali suþlugdyti ir naujuosius lietuviðkus, be to, iðkilus sunku-
mams dël pinigø gamybos, parengiamieji darbai buvo nutraukti. Po
The banknotes which appeared in Europe in the 17th century did
not reach Lithuania. The upheavals in the State of Poland and
Lithuania in late 18th century and the ensuing partitions of the coun-
try brought the state into a complete ruin. In order to revive the
economy after the partition of 1772, attempts were made to find new
crediting forms. It was then that the experience of England, Sweden,
and other states that had already established their banking systems
was applied. In 1774 Jan Aleksander Kraszewski submitted a paper
money project to the Seimas, but it met with opposition and was
rejected. Later on, efforts were made to revive the project that was
supported by King Stanislaus Augustus himself. Andrzej Kapostas
should be mentioned as a person of greatest merit: he developed a
plan for the structure of the state bank and the issue of paper money.
However, the idea was only implemented by the leaders of Tadeusz
Koúciuszko uprising who, as mentioned above, issued the first paper
money. The brief existence of these notes came to an end soon after
the revolt failed. After the Grand Duchy of Lithuania was annexed to
czarist Russia as a result of the third partition of the State of Poland
and Lithuania, Russian roubles circulated in Lithuania until the start
of World War I. In 1916, upon the occupation of Lithuania by Ger-
many, its military administration established the Kaunas branch of
the Eastern Credit Fund (Darlehnskasse Ost), which was authorised to
issue currency in the territories of Lithuania (at that time it included
a part of the present Belarus and Poland) and Curonia (present Latvia).
The texts on the front of these banknotes were printed in German,
and on the back in the Lithuanian, Polish and Latvian languages. At
first the money was named ostroubles and later ostmarks, and, after
Lithuania declared its independence, it was called auksinas. This cur-
rency remained in circulation until the introduction of the litas.
National currency issues were considered in Lithuania in early 1919.
It was intended to name the monetary unit muðtinis. In August 1919,
Design Peculiarities of Lithuanian Banknotes 37
 T. Kosciuðkos sukilimo
laikø pinigai
to dar ne kartà buvo gráþta prie pinigø klausimo, svarstytas net Suo-
mijos, Estijos, Latvijos ir Lietuvos bendros valiutos projektas, bet tik
1922 m., sustiprëjus Lietuvos politinei ir ekonominei padëèiai, buvo
imtasi konkreèiø priemoniø. Seimo Ekonominës komisijos siûlymu
nacionaliná piniginá vienetà nutarta pavadinti litu, o jo ðimtàjà dalá –
centu. Pagal dailininko Adomo Varno parengtus projektus Prahos
A. Hasës spaustuvë pinigus sutiko pagaminti per tris mënesius. Kas-
dien nuvertëjantis auksinas vertë skubëti, todël, kol Prahoje bus spaus-
dinami tikrieji banknotai, buvo nutarta iðleisti á apyvartà laikinuosius
banknotus. Jie per tris savaites buvo atspausdinti O. Elsnerio spaustu-
Money of the times of the vëje Berlyne, suprojektavus juos ið turimø ornamentø rinkiniø bei
T. Koúciuszko-led uprising priderinus lietuviðkus tekstus ir Vytá. 1922 m. spalio 2 d. laikinieji
38 Lietuvos banknotø kûrimo bruoþai
the artist Antanas Þmuidzinavièius presented banknote designs to the
Cabinet of Ministers. However, because of the fears that the distrust of
the public in money, inherited from the years of wars and occupations,
may harm the new Lithuanian currency and due to currency produc-
tion problems the preparatory work was discontinued. It was only in
1922 that actual action was taken, when the economic and political
situation in Lithuania had improved. Following the proposal of the
Seimas Economic Commission it was decided to name the national
monetary unit litas, and one-hundredth of the litas was named centas.
The first series of the Lithuanian currency contained only paper
notes from 1 centas to 100 litas. With time the banknotes of those
series, in particular those of high denominations, were replaced by

pinigai iðleisti á apyvartà, tø paèiø metø gruodþio mënesá á Lietuvos
þmoniø rankas atiduoti ir tikrøjø litø banknotai.
Pirmøjø lietuviðkø pinigø laidà sudarë vien popieriniai banknotai
nuo 1 cento iki 100 litø. Laikui bëgant, ðios laidos banknotai, ypaè
didþiøjø nominalø, buvo keièiami saugesniais ir graþesnio dizaino.
1924 m. paskelbtas konkursas 500 ir 1 000 litø banknotø projektams
sukurti. Já laimëjo dailininkai Vilius Jomantas (500 Lt) ir Adomas
Galdikas (1 000 Lt). Pinigus atspausdino Anglijos spaustuvë Bradbu-
ry, Wilkinson & Co Ltd. Vëliau visus lietuviðkus banknotus gamino
tik ði spaustuvë. 1927 m. A. Þmuidzinavièius parengë naujà 10 litø
banknoto projektà, 1928 m. iðleisti naujo pavyzdþio A. Galdiko su-
kurti 50 ir 100 litø, 1929 m. – 5 litø, 1930 m. – 20 litø banknotai.
T. Kosciuðkos sukilimo
laikø pinigai
notes that were better protected and had a more appealing design. In
1924, a tender was announced to design 500 and 1 000 litas banknotes.
The winners were Vilius Jomantas for the 500 litas banknote design
and Adomas Galdikas for 1 000. The banknotes were printed by the
British printing company Bradbury, Wilkinson & Co Ltd. Later, the
same company printed all Lithuanian banknotes. In 1927, Antanas
Þmuidzinavièius prepared a new design of the 10 litas note, and other
banknotes of a new design created by Adomas Galdikas were also
issued into circulation: 50 and 100 litas in 1928, 5 litas in 1929 and
20 litas in 1930. The new 10 litas banknote of 1938 series designed
by the same artist was also produced, yet it was never issued into Money of the times of the
circulation. T. Koúciuszko-led uprising
Design Peculiarities of Lithuanian Banknotes 39
Pirmojo pasaulinio karo
vokieèiø okupacinës
valdþios ostrubliai

Ostroubles of German
occupation authorities
during World War I

40 Lietuvos banknotø kûrimo bruoþai

 Pirmojo pasaulinio karo
vokieèiø okupacinës
valdþios ostrubliai

Ostroubles of German
occupation authorities
during World War I

Design Peculiarities of Lithuanian Banknotes 41

Pirmojo pasaulinio karo
vokieèiø okupacinës
valdþios ostrubliai

Ostroubles of German
occupation authorities
during World War I

42 Lietuvos banknotø kûrimo bruoþai

 Pirmojo pasaulinio karo
vokieèiø okupacinës
valdþios ostmarkës

Ostmarks of German
occupation authorities
during World War I

Design Peculiarities of Lithuanian Banknotes 43

Pirmojo pasaulinio karo
vokieèiø okupacinës
valdþios ostmarkës

Ostmarks of German
occupation authorities
during World War I

44 Lietuvos banknotø kûrimo bruoþai

 Nepriklausomos Lietuvos
laikinieji litai

Provisional litas of
independent Lithuania

Design Peculiarities of Lithuanian Banknotes 45

46 Lietuvos banknotø kûrimo bruoþai
 Tikrinami laikinieji
banknotai

1922 m. laidos banknotai.

Dail. A. Varnas

Provisional litas banknotes

are checked

Banknotes of 1922.
Design by A. Varnas

Design Peculiarities of Lithuanian Banknotes 47

1922 m. laidos banknotai.
Dail. A. Varnas

Banknotes of 1922.
Design by A. Varnas

48 Lietuvos banknotø kûrimo bruoþai

 1922 m. laidos banknotai.
Dail. A. Varnas

Banknotes of 1922.
Design by A. Varnas

Design Peculiarities of Lithuanian Banknotes 49

1922 m. laidos banknotai.
Dail. A. Varnas

Banknotes of 1922.
Design by A. Varnas

50 Lietuvos banknotø kûrimo bruoþai

 1924 m. laidos 500 litø
banknotas.
Dail. V. Jomantas

500 litas banknote of

1924. Design by
V. Jomantas

Design Peculiarities of Lithuanian Banknotes 51

 1924 m. laidos
1 000 litø banknotas.
Dail. A. Galdikas

1 000 litas banknote

of 1924.
Design by A. Galdikas

52 Lietuvos banknotø kûrimo bruoþai

 1927 m. laidos
10 litø banknotas.
Dail. A. Þmuidzinavièius

1928 m. laidos
50 litø banknotas.
Dail. A. Galdikas

10 litas banknote of 1927.

Design by
A. Þmuidzinavièius

50 litas banknote of 1928.

Design by
A. Galdikas

Design Peculiarities of Lithuanian Banknotes 53

 1928 m. laidos
100 litø banknotas.
Dail. A. Galdikas

100 litas banknote

of 1928.
Design by A. Galdikas

54 Lietuvos banknotø kûrimo bruoþai

 1929 m. laidos
5 litø banknotas.
Dail. A. Galdikas

1930 m. laidos
20 litø banknotas.
Dail. A. Galdikas

5 litas banknote of 1929.

Design by A. Galdikas

20 litas banknote of 1930.

Design by A. Galdikas

Design Peculiarities of Lithuanian Banknotes 55

 Neiðleistas á apyvartà
1938 m. laidos 10 litø
banknotas.
Dail. A. Galdikas

10 litas banknote of 1938,

never put into circulation.
Design by A. Galdikas

56 Lietuvos banknotø kûrimo bruoþai


1940 m. Lietuvà okupavus Tarybø Sàjungai, nutrûko nepilnus du
deðimtmeèius gyvavusio lito egzistavimas. Karø ir okupacijø sumaiðtyje
Lietuvos þmonës su nostalgija prisimindavo tvirtà tarpukario valiutà,
daugelis iðsaugojo ðiuos pinigus kaip brangø ramaus gyvenimo prisimi-
nimà. Prieðkario Lietuvos dailininkø kûrybos bruoþø galima pastebëti
ir pirmuose atgimstanèios Lietuvos dailininkø pinigø projektuose.
Nuo pat Atgimimo pradþios nedràsiai, o vëliau vis ryþtingiau buvo
kalbama apie lietuviðkus pinigus. Svarstant ekonominio savarankiðku-
mo TSRS sudëtyje problemas, tokios mintys per daug netrikdë oficia-
lios ávykiø tëkmës ir prie to pripratino visuomenæ bei tuometinius Lie-
tuvos vadovus.
1989 m. rugsëjo 11 d. Vilniuje bûrelis mokslininkø, bankininkø ir
dailininkø susirinko Istorijos institute ir aptarë lietuviðkø pinigø pro-
jektavimo gaires. Netrukus tuo reikalu sukviestame dailininkø susirin-
kime paskelbta nacionaliniø pinigø idëja sulaukë pritarimo, taèiau, kai
reikëjo imtis specifinio, didelës kantrybës, daug laiko reikalaujanèio ir
su pavojais susijusio darbo, entuziastø atsirado nedaug. Norint paska-
tinti ir padràsinti potencialius autorius, buvo nutarta organizuoti lietu-
viðkø pinigø projektø konkursà.
Naujus pinigus pradëta kurti neturint aiðkaus supratimo, kaip tai
reikëtø daryti. Niekas – nei organizatoriai, nei dailininkai – neþinojo,
nuo ko pradëti, kaip pinigai turi atrodyti, kaip jie turi bûti parengti
gamybai, kur bus spausdinami. Dabar – ne paslaptis, kad visas Lietuvos
tarpukario palikimas buvo priimamas be kritikos, profesionaliai neási-
gilinant, nelyginant su toli per 50 metø nuþengusio pasaulio laimëji-
mais, uþmirðtant, kad mûsø visuomenë tapo informaciniø technologijø
visuomene. Jauni dailininkai neturëjo galimybës þinoti, kaip projek-
tuojami ir spausdinami uþsienio ðaliø pinigai, koks jø gamybos proce-
sas. Tarybiniø pinigø gamyba buvo áslaptinta, saugoma grësmingojo
KGB. Pagaliau tada niekam net á galvà neatëjo mintis tuo domëtis, ið
anksto buvo þinoma, kad tai pavojinga.
Konkurse premijuoti
banknotø eskizai.
Dail. A. Mandeika
The existence of the litas for nearly 20 years was terminated in 1940,
when the Soviet Union occupied Lithuania. Throughout the chaos of
wars and occupations the people of Lithuania retained the nostalgia for
the stable interwar currency; many of them preserved coins and
banknotes as a cherished memory of the peaceful life. Some artistic
features used by the Lithuanian pre-war artists can be traced in the first
currency designs done by the artists in the period of Lithuanian rebirth.
From the very start of the national revival movement the necessity
of introducing Lithuanian currency was discussed, timidly at first, but
later these discussions acquired a more determined nature. As the con-
sideration of the problems of economic sovereignty within the USSR
went on, such ideas did not disturb too much the official flow of events,
yet they got the public and the Lithuanian leaders of the time accus-
tomed to them.
On September 11, 1989 a group of scholars, bankers and artists
gathered at the Institute of History in Vilnius and discussed the outline
of designing the Lithuanian currency. An extra meeting of artists was
arranged soon afterwards and the publicly announced idea of the na-
tional currency met their approval. However, there were not so many
enthusiasts when the time came to embark on a very specific, patience-
requiring, time-consuming and even dangerous task. In order to en-
courage potential authors it was decided to organize a tender for de-
signing the Lithuanian currency.
The creation of the new currency started without clear understand-
ing how it should be done. No one, neither the organizers, nor artists
knew what to start with, what the money should look like, how the
designs had to be prepared for production and where the currency would
be printed. It is no secret now that everything inherited from the inter-
war Lithuania used to be accepted without any criticism and profes-
Award-winning banknote
sional analysis, without making comparisons with the achievements of sketches.
the world made during the period of fifty years and without taking into Design by A. Mandeika
Design Peculiarities of Lithuanian Banknotes 57
 Konkurse premijuoti
banknotø eskizai.
Dail. A. Mandeika
Sàjûdþiui ásisiûbuojant, visuomenë tapo ryþtingesnë ir dràsesnë.
1989 m. gruodþio 13 d. Lietuvos TSR kultûros ministras D. Trinkû-
nas ir TSRS valstybinio banko Lietuvos respublikinio banko pirminin-
kas Z. Þilevièius paskelbë pinigø projektø rengimo konkursà. Sàlygose
buvo nurodyta: „Autoriai pateikia piniginiø bilietø (litø) ir monetø (cen-
tø) bendrà meninæ koncepcijà. Litams – bendrà visø nominalø spalvi-
nio sprendimo, grafinio apipavidalinimo, vandens þenklø, skaitmenø
komponavimo sistemà“. Buvo reikalaujama nominalo skaièiø visuose
keturiuose averso kampuose, áraðo „Uþ banknoto padirbimà baudþia-
ma ástatyme numatyta tvarka“, istoriniø asmenø portretø. Rekomen-
duota reverse abiejuose banknoto kraðtuose, o didelës vertës (50 ir
100 Lt) – dar ir apaèioje ties viduriu raðyti banknoto vertæ skaièiais,
taip pat rekomenduota naudoti „lietuviø tautinës simbolikos þenklus,
þymiø istorijos, architektûros paminklø, vietoviø ir kitus atvaizdus“.
Dailininkai á atkuriamos Lietuvos pinigus þiûrëjo kaip á tarpukario
litø tàsà ir ekonominiu, ir meniniu aspektu. Konkursui pateiktuose pro-
jektuose buvo aiðkiai pastebima tendencija sekti senaisiais lietuviðkais, o
kai kur ir rusiðkais – cariniais bei tarybiniais – banknotais. Darbus puo-
ðë ámantrûs kartuðai, manieringi ðriftai, buvo gausu liaudiðkø audiniø ir
juostø ornamentø, mediniø verpsèiø, langø papuoðimø fragmentø. Þiuri
konkursui pateiktus darbus vertino gana skeptiðkai, priekaiðtavo dël kom-
pozicijos archaiðkumo, modernesnio poþiûrio stokos. Nuspræsta pir-
mos premijos neskirti. Dvi antros buvo paskirtos: uþ banknotø projek-
tus – dailininkams Alvydui Mandeikai ir Liudvikui Pociui, uþ mone-
tas – Petrui Henrikui Garðkai ir dvi treèios uþ monetas – Jolantai Bal-
kevièienei ir Antanui Þukauskui. Antros premijos laimëtojas – jauniau-
sias konkurso dalyvis A. Mandeika, Vilniaus dailës akademijos Tapy-
bos katedros I kurso studentas – visus savo banknotus papuoðë LDK
valdovø imaginaciniais portretais. Tai – portretai, sukurti dailininko,
Award-winning banknote
sketches. niekada nemaèiusio paties portretuojamojo, o vadovaujantis vien fan-
Design by A. Mandeika tazija ir turimomis þiniomis apie tà laikotarpá. Kartais tokie portretai
58 Lietuvos banknotø kûrimo bruoþai
account the fact that this was already an information technology soci-
ety. Young artists had no opportunities to learn how foreign currencies
were designed and printed, and what printing processes were used in
banknote production. Production of the Soviet currency was a secret
protected by the menacing KGB. Moreover, no one had an idea to
show interest in the subject, as everybody knew in advance that this was
dangerous.
With the spread of the Sàjûdis movement people became more reso-
lute and courageous. On December 13, 1989, a tender was announced
by the Minister of Culture of the Soviet Republic of Lithuania Dainius
Trinkûnas and the Governor of the Lithuanian Republic Office of the
USSR State Bank Zenonas Þilevièius for drafting designs of the na-
tional currency. The terms and conditions of the tender contained the
following requirements: “Authors shall present a general artistic con-
ception of monetary bills (litas) and coins (centas). A common solution
for colours, graphic design, watermarks and numerals shall be presented
for all denominations of litas banknotes”. It was required that banknotes
should have denomination numerals in all four corners on the front,
the inscription “Counterfeiting of banknotes is punished by law” and
portraits of historical personalities. It was recommended that the de-
nomination value in words should be inscribed on both sides of the
back, and for the notes of high denominations (50 and 100) the de-
nomination numeral should be additionally placed in the centre near
the bottom edge of the note. Potential authors were also urged to use
“Lithuanian national symbols, images of famous architectural monu-
ments, places and other similar drawings”.
Artists regarded the currency of the reviving Lithuania as a continu-
ation of the interwar litas in both the economic and artistic sense. The
designs showed an obvious tendency of following old Lithuanian, in
some cases even Russian, czarist as well as Soviet, banknotes. The de-
signs contained intricate cartouches, pretentious lettering, abundant

bûdavo sukuriami po valdovo mirties praëjus net keliems ðimtmeèiams.
Dauguma LDK kunigaikðèiø portretø buvo paskelbta XVI a. Aleksandro
Gvagninio kronikoje, o kai kurie ið jø – Vytauto Didþiojo, Kæstuèio –
yra XIX–XX a. dailininkø kûrybos vaisius. Taèiau ðie portretai yra taip
áaugæ á lietuvio sàmonæ, kad niekas ir nepaþintø kitokio, pvz., Gedimi-
no. A. Mandeika valdovø portretus iðdëstë chronologiðkai. Maþiausio
nominalo banknotà papuoðë seniausiai Lietuvà valdæs karalius Mindau-
gas, o didesniø nominalø banknotai buvo skirti vëliau valdþiusiesiems.
Banknotø reversuose A. Mandeika vaizdavo Lietuvos architektûros
ir istorijos paminklus: Ðv. Onos ir Bernardinø baþnyèias, net dviejuose
banknotuose – Trakø pilá bei jos fragmentus, Tris kryþius, J. Zikaro
skulptûrà „Laisvë“ ir kt. Autorius neieðkojo teminio ryðio tarp averso ir
reverso, kiekviena banknoto pusë buvo komponuojama visiðkai sava-
rankiðkai, taèiau visus banknotø aversus siejo viena bendra komponavi-
mo schema, o reversus – kita.
Dar mokydamasis vidurinëje mokykloje, A. Mandeika kolekciona-
vo pinigus, juos pieðë savo malonumui ir buvo gerai susipaþinæs su lie-
tuviðkais tarpukario banknotais. Jo projektuose aiðkiai pastebima XX a.
treèià deðimtmetá A. Varno sukurtø banknotø átaka – pjaustinëtø me-
diniø ornamentø gausa, ámantrûs ðriftai ir Vyèio skydo formos, tekstø
bei skaièiø iðdëstymas parodo mokytojà.
Po konkurso sudarytoje pinigø projektavimo grupëje A. Mandeikai
buvo pavesta sukurti 10 litø banknotà su Vydûnu ir Klaipëdos moty-
vais. Jaunam dailininkui darbas nesisekë, matyt, trûko profesiniø ágû-
dþiø, be to, buvo sunku konkuruoti su águdusiais pieðëjais. Pagaliau
temos buvo atsisakyta (vëliau ðià temà ágyvendino dailininkas Rytis Va-
lantinas 200 Lt banknote).
Ðiek tiek modernesni buvo kito autoriaus, premijuoto antra premi-
ja, projektai. Tai þinomo vitraþisto L. Pociaus banknotø serija. Daili-
ninkas rëmësi kur kas ilgesnio Lietuvos istorijos laikotarpio asmenybë-
mis. Maþiausio nominalo 1 lito averse jis atvaizdavo Steponà Dariø ir
Konkurse premijuoti
banknotø eskizai.
Dail. L. Pocius
ornamentation traditionally used in weaving national cloths and sashes,
and fragments of window decorations. The jury was rather sceptical in
assessing the presented designs; it reproached the artists for archaic com-
positions and absence of a more modern approach. It was decided that
none of the submitted designs would be awarded the first prize. The
other prizes were awarded as follows: two second prizes to Alvydas
Mandeika and Liudvikas Pocius for banknote designs and to Petras
Henrikas Garðka for coin designs, and two third prizes to Jolanta
Balkevièienë and Antanas Þukauskas for coins. The second-prize win-
ner Mandeika, a first-year student at the Painting Department of Vilnius
Academy of Fine Arts, decorated all his banknotes with the imaginary
portraits of the rulers of the Grand Duchy of Lithuania. Mandeika
arranged the portraits of the rulers in a chronological sequence. The
lowest-denomination note featured Mindaugas, the king who was the
first to rule Lithuania, while banknotes of higher denominations were
dedicated to subsequent rulers.
The back sides of the notes designed by Mandeika showed architec-
tural and historical monuments: the churches of St Anne and the
Bernardines, Trakai Castle and its fragments (on two notes), the Three
Crosses, the sculpture “Liberty” by Juozas Zikaras, etc. The author did
not seek to disclose a thematic relation between the subjects on the
front and back of the note: each side was composed separately, yet the
fronts of the notes were unified by one layout and the backs by another.
A currency design team was formed upon the completion of the
tender and Mandeika was contracted to design the 10 litas banknote
with the portrait of Vydûnas and motifs of Klaipeda. The young artist
was not successful in accomplishing the task, probably, due to insuffi-
cient professional skills; in addition, he found it difficult to compete
with experienced drawers. Finally, the topic of the note was rejected (it
Award-winning banknote
was later implemented in the 200 litas banknote designed by the artist sketches.
Rytis Valantinas). Design by L. Pocius
Design Peculiarities of Lithuanian Banknotes 59
 Konkurse premijuoti
banknotø eskizai.
Dail. L. Pocius
Stasá Girënà, reverse – liûdinèià, tautiniais rûbais apsirengusià moterá.
3 litø aversà papuoðë Vinco Kudirkos portretas, o Kryþiø kalnà ir Rû-
pintojëlá reverse autorius sakësi skyræs okupacijø bei tremties aukoms
pagerbti. 5 litø averse atvaizduotas pirmasis Vilniaus universiteto rekto-
rius, garsus XVI a. teologas ir pamokslininkas Petras Skarga, jo rever-
se – Didysis universiteto kiemas su Ðv. Jonø baþnyèios fasadu. 10 litø
aversà su Mikalojum Konstantinu Èiurlioniu reverse palydëjo jo pa-
veikslo „Miestas“ motyvai. Laurynas Gucevièius ir Vilniaus Katedra vaiz-
duojami 50 litø banknote, o 100 litø banknote – Vytauto Didþiojo
portretas ir Trakø pilis. Taigi L. Pociaus projektuose gana aiðkus loginis
ir teminis ryðys tarp averso ir reverso. Jo pasirinkti svarbûs Lietuvos
istorijos ávykiai, asmenybës ir objektai vëliau buvo pakartoti kitø auto-
riø sukurtuose banknotuose.
L. Pocius neliko dirbti projektavimo grupëje. Ið pradþiø jis projekta-
vo 2 litø banknotà su Vytauto Didþiojo portretu bei Trakø pilimi. Vë-
liau nutarta ðiame banknote atvaizduoti kunigaikðtienæ Birutæ, dar vë-
liau – merginà senoviniais drabuþiais ir papuoðalais, o galiausiai, laiki-
nai atsisakius maþøjø nominalø banknotø, dailininkas neteko temos.
Jo nupieðtas iðraiðkingas Vytauto Didþiojo portretas nëra visiðkai origi-
nalus darbas, taèiau profesionalus pieðinys, verþli, iðraiðkinga valdovo
poza gerai perteikia populiaraus kunigaikðèio ávaizdá. Portretas nepa-
puoðë banknoto, bet bûtø gaila, jei pieðinys sudûlëtø autoriaus stalèiu-
je – jis galëtø praturtinti negausià, o daþnai ir neprofesionalià mûsø
valdovø imaginaciniø portretø galerijà.
Konkurso rezultatai buvo vieðai paskelbti, premijuotø projektø repro-
dukcijos atspausdintos „Ðvyturio“ þurnale. 1990 m. balandþio mën. vie-
toje konkurso sàlygose numatyto antro etapo buvo organizuotos daili-
ninkø ir konsultantø grupës, nuspræsta per keturis mënesius galutinai
parengti pinigø projektus. Á projektuotojø grupæ buvo átraukti dailinin-
Award-winning banknote
sketches. kai J. Tolvaiðis, R. Bartkus, G. Jonaitis, A. Mandeika, L. Pocius,
Design by L. Pocius R. Valantinas. Be konkurse premijuotø L. Pociaus ir A. Mandeikos,
60 Lietuvos banknotø kûrimo bruoþai
The designs of the other second-prize winner were slightly more
contemporary. It was a series of banknotes designed by the prominent
stained-glass artist Liudvikas Pocius. He based the designs on the per-
sonalities selected from a much wider period in the history of
Lithuania. The front of the lowest-denomination banknote, 1 litas, car-
ried the portraits of Steponas Darius and Stasys Girënas and the reverse
showed a sorrowful woman dressed in a national costume. The front of
the 3 litas note was decorated with the portrait of Vincas Kudirka, while
the Hill of Crosses and a wooden statuette of Pensive Christ on the
back were dedicated, according to the author, to the victims of occupa-
tions and deportations. The 50 litas banknote contained the portrait of
Laurynas Gucevièius and the picture of Vilnius Cathedral, and the 100
litas note the portrait of Vytautas the Great and a drawing of Trakai
Castle. Thus, a plain logical and topical relationship between the front
and back sides of the notes designed by Pocius was evident. The events,
personalities and objects of great importance in the history of Lithuania
chosen by the artist were later repeated in the banknotes designed by
other authors.
Pocius did not stay with the currency design team. At first he was
designing the 2 litas banknote with the portrait of Vytautas the Great
and Trakai Castle. Later on it was decided to represent Duchess Birutë
on that note and, some time later, a girl wearing ancient clothes and
jewellery. Finally it was decided to temporarily abandon banknotes of
low denominations and the artist lost the topic. The expressive portrait
of Vytautas the Great painted by Pocius was not an absolutely original
piece of work, however the skilfully made portrait and the eloquent
posture of the ruler well rendered the image of the popular Grand Duke.
The results of the tender were publicly announced and copies of the
awarded designs were published in the Ðvyturys magazine. In April 1990,
teams of artists and consultants were organized instead of the second
stage provided for in the terms and conditions of the tender with the

visi pakviestieji – Vilniaus dailës akademijos Grafikos katedrà baigæ jau-
ni dailininkai, pasiþymëjæ kruopðtumu, stebinæ savo kolegas juvelyrið-
kais, didelio susikaupimo reikalaujanèiais darbais. Tik grupës vadovas
dailininkas Raimondas Miknevièius, puikus grafiniø technologijø þi-
novas, buvo vyresnis. Rûpintis istorine medþiaga buvo pavesta istorikui
E. Rimðai. Konsultantais pakviesti dailininkai V. Valius, A. Kaþdailis,
A. Þvilius, A. Gurskas, B. Leonavièius ir ðiø eiluèiø autorius. Pasitari-
muose, kurie vykdavo gana reguliariai, dalyvaudavo Lietuvos Respubli-
kos Vyriausybës vadovai K. Prunskienë ir R. Ozolas, Lietuvos banko
valdybos pirmininkas B. Povilaitis, mokslininkai V. Merkys, A. Tyla,
A. Piroèkinas ir kt.
Posëdþiuose buvo diskutuojama dël banknotø formato, jø spalvø,
nominalø. Siûlyta, kad visø banknotø plotis bûtø vienodas, o ilgis pri-
klausomai nuo nominalo dydþio keistøsi – didëjant nominalui, jis ilgë-
tø. Neaiðku, kodël atsisakyta ðio ádomaus pasiûlymo, gal manyta, kad
tai apsunkins automatiná pinigø skaièiavimà ir supakavimà. Dabar jau
þinoma, kad kai kurios Vakarø Europos ðalys yra iðleidusios banknotø
su panaðiu jø dydþio kitimu. Sekant Amerikos doleriu, apsistota prie
vienodo visø nominalø banknotø dydþio. Apsisprendþiant átakos turëjo
ir gamybos iðlaidos – vienodo formato banknotø gamyba daug pigesnë.
Spalvinë bûsimø banknotø gama sutapo su tarybiniø rubliø gama –
1 lito banknotà nutarta pieðti ochros, 2 litø – þalios, 5 litø – mëlynos
spalvos. Tokiø spalvø buvo ðiø nominalø tarybiniai rubliai.
Gana aktyviai projektavimo procese dalyvavo iðeivis ið Lietuvos Kæs-
tutis Lynikas – pinigø gamybos ekspertas, gyvenæs Australijoje, tuomet
vieðëjæs Lietuvoje. Jis buvo pakviestas konsultuoti mûsø banknotø kû-
rëjus. K. Lynikas davë pirmàsias pamokas apie pinigø gamybà, jø ap-
saugos priemones, primygtinai rekomendavo pieðti kiek ámanoma di-
desnius portretus, siûlë pieðinyje iðlaikyti ðviesius tonus, apsunkinan-
èius klastotojø darbà. Graviruotas portretas, pasak K. Lyniko, yra pa-
saulyje pripaþinta apsaugos priemonë. Jis net pateikë toká pavyzdá: susi-
Konkurse premijuoti
banknotø eskizai.
Dail. L. Pocius
intention of completing the designs within four months. The artists
Justinas Tolvaiðis, Raimundas Bartkus, Giedrius Jonaitis, Alvydas
Mandeika, Liudvikas Pocius and Rytis Valantinas joined the team. All
the invited members of the team, except the prize-winners of the tender
Pocius and Mandeika, were young artists, graduates of the Department
of Graphics of Vilnius Academy of Fine Arts, who had been known for
their meticulousness and were admired by their colleagues for their ex-
tremely precise works requiring immense concentration. Only the head
of the team and expert in graphic technology, Raimondas Miknevièius,
was slightly older. The historian Edmundas Rimða was responsible for
historical material. The artists Vytautas Valius, Arvydas Kaþdailis,
Alfonsas Þvilius, Albertas Gurskas, Bronius Leonavièius and the author
of this book were invited as consultants. Government leaders Kazimiera
Prunskienë and Romualdas Ozolas, the Chairman of the Board of the
Bank of Lithuania Bronius Povilaitis, scholars Vytautas Merkys, Antanas
Tyla, Arnoldas Piroèkinas and others attended regular meetings.
The Lithuanian émigré Kæstutis Lynikas, a currency production ex-
pert from Australia staying in Lithuania at the time, was a rather active
participant in the design process. He was invited to provide consulta-
tions to our banknote designers. Lynikas gave the first lessons on cur-
rency production and its security features; he insisted on the recom-
mendation of drawing portraits as large as possible, proposed keeping
bright tints in the drawing to impede forgery. According to Lynikas, an
engraved portrait was a security feature recognised worldwide.
Lynikas criticised the prepared designs, explained that complicated
ornaments were no obstacle for counterfeiters nowadays, that in small
portraits errors made by them were difficult to notice; he proposed
enlarging portraits and giving up excessive ornamentation. He advised
avoiding vertical lines and vertically lined planes as in the process of
Award-winning banknote
printing inks wiped away in this direction from the printing plates sketches.
might damage the prints. He said that a tonal drawing prepared by an Design by L. Pocius
Design Peculiarities of Lithuanian Banknotes 61
 „Pjovëja“. 1844 m.
Dail. K. Ruseckas

Vandenþenklio projektas –
„Pjovëjos“ fragmentas.
Dail. G. Jonaitis

“The Reaper” by
K. Ruseckas, 1844

Watermark design as a
detail from “The Reaper”.
Design by G. Jonaitis

62 Lietuvos banknotø kûrimo bruoþai

 Vandenþenklio projektas –
Vytauto Didþiojo
portretas.
Dail. R. Valantinas

Watermark
design as the portrait
of Vytautas the Great.
Design by R. Valantinas

Design Peculiarities of Lithuanian Banknotes 63

Banknotø projektø eskizai.
Dail. R. Valantinas

Sketches for banknote

designs by R. Valantinas

64 Lietuvos banknotø kûrimo bruoþai

paþinai su mergina, po kurio laiko eini á pasimatymà su ja ir didelëje
minioje ið karto jà pastebi. Taip ir pinigø vartotojai – kartà ásidëmëjæ
banknoto portretà, nesunkiai pastebi klastotojø klaidas.
K. Lynikas kritikavo parengtus projektus, aiðkino, kad ðiandien su-
dëtingi ornamentai padirbinëtojams jau nëra kliûtis, kad maþuose portre-
tuose sunkiai pastebimos klastotojø daromos klaidos, siûlë iðdidinti
portretus ir atsisakyti perdëto ornamentavimo. Jis patarë vengti vertika-
liø linijø ir jomis subrûkðniuotø plokðtumø, nes spausdinimo metu ðia
kryptimi nuo spaudos formos nuvalomi daþai gali sugadinti atspaudus.
Jis sakë, kad dailininkø parengtas toninis pieðinys turi bûti paverèiamas
linijiniu paèiam autoriui priþiûrint. Pripaþinto specialisto patarimai ir
padràsinimas buvo didelë parama ðioje srityje pirmus þingsnius þen-
giantiems banknotø dizaino autoriams. Gaila, vëliau K. Lyniko paslau-
gø buvo atsisakyta. Jis iðvyko á Australijà, o gráþo tik kilus skandalui dël
pinigø spausdinimo United States Banknote Corporation (USBC) – da-
lyvavo ekspertø komisijoje, vertinusioje pagamintus banknotus.
Stengiantis pasisemti patirties, pinigø projektavimo grupës susirin-
kimuose buvo studijuojami pasaulio ðaliø banknotø katalogai, nustaty-
ta maþø ir dideliø nominalø grupiø komponavimo schema. Ið pradþiø
laikytasi prieðkarinës Lietuvos pinigø stiliaus, kuriam buvo bûdingi ne-
dideli portretai, apsupti kartuðø ir ornamentø, daugiausia ðviesûs ðriftai
tamsesniame fone ir kt. Istorikai ir kalbininkai nurodë, kieno portretai
bus vaizduojami banknotø averse ir kokios temos juos lydës reverse.
Atsiþvelgiant á tai, kad nëra autentiðkø savarankiðkos LDK valdovø
portretø, buvo nutarta atsisakyti abejotinø imaginaciniø portretø ir ap-
sistota prie XIX a. tautinio atgimimo asmenybiø bei XX a. pradþios
Lietuvai nusipelniusiø þmoniø atvaizdø. Á pasirinktø asmenybiø sàraðà
pateko tik viena moteris, ji papuoðë maþiausio nominalo banknotà. Tai
buvo padaryta jau numaèius asmenybiø sàraðà, po K. Lyniko pastabos,
kad jame nëra moterø. Jis sakë, kad, iðleidæ lietuviðkus banknotus tik su
vyrø portretais, sukelsime viso pasaulio feministinio judëjimo pasipik-
tinimà, todël bûtina ádëti bent vienos þymios Lietuvos moters portretà.
Buvo pasirinkta raðytoja Þemaitë, reverse – Palûðës baþnytëlë. Tik vë-
liau susigriebta, kad ateistei Þemaitei visiðkai netinka su religija susijæs
reverso vaizdas, bet jau buvo per vëlu.
Buvo siûloma visø banknotø reversuose pasirinkti su averso asme-
nybe glaudþiai susijusius vaizdus – architektûros ar istorijos paminklus,
peizaþus, dailës kûriniø motyvus. Deja, kai kuriø banknotø abiejø pu-
siø loginis ryðys kelia abejoniø.
Visi dailininkai dirbo atskirai, kiekvienas savo studijoje. Atneðus pro-
jektus á aptarimà, paaiðkëjo didelë kompozicijos, stiliø, ðriftø ir orna-
mentø ávairovë. Geriausia, kai vienos laidos banknotus pieðia vienas
autorius – taip iðlaikoma bendra stilistika ir komponavimo schema. Lie-
tuvoje ðis atvejis netiko: pirmiausia, neliko jokios vilties, kad vienas þmo-
gus per planuotà trumpà laikà galëtø nupieðti tiek nominalø banknotø,
antra, nebuvo tokio patyrusio dailininko, kuriam nedvejojant bûtø gali-
ma patikëti didþiulës atsakomybës, nepaprasto kruopðtumo ir specifi-
niø ágûdþiø bei þiniø reikalaujantá darbà.
artist should be turned into a linear one under the supervision of the
author. The advice and encouragement of the recognised expert repre-
sented significant support for banknote designers making the first steps
in this area. It is a pity Lynikas’ services were later relinquished. He left
for Australia to come back only after an outbreak of the scandal about
note printing with the United States Banknote Corporation (USBC)
and participated in a panel of experts which assessed the notes pro-
duced.
In order to gain experience, catalogues of banknotes of different
countries of the world were studied and a scheme for the layout of
low and high denomination groups was established during the meet-
ings of the currency design team. At the beginning, the team stuck to
the style of the pre-war Lithuanian money, characterised by small
portraits surrounded by cartouches and ornaments, mostly light let-
tering against a darker background, etc. Historians and linguists de-
cided whose portraits would be depicted on the front of banknotes
and what subjects would match them on the back. Given the fact that
no authentic portraits of the rulers of the self-dependent Grand Duchy
of Lithuania were available, the decision was taken to give up doubt-
ful imaginary portraits and settle on the images of personalities of the
19th century national rebirth movement and Lithuanian persons of
merit of early 20th century. Only one woman appeared on the list of
personalities selected to decorate the banknote of the lowest denomina-
tion. This was done after the list of personalities had been completed,
in response to Lynikas’ remark that there was not a single woman on
the list. He said that by issuing Lithuanian banknotes carrying male
portraits only we would raise indignation among the feminist move-
ment all over the world, therefore including the portrait of at least one
outstanding Lithuanian female was a must. The choice fell on the writer
Þemaitë and the back featured a small church in Palûðë. Only later was
it realised that the image on the back of the note and the atheist Þemaitë
were an absolute mismatch, but it was loo late.
With respect to the back of each note, the suggestion was to opt
for images closely relating to the personality portrayed on the front,
such as architectural and historical monuments, landscapes, and mo-
tifs of works of art. Unfortunately, in some of the banknotes the logi-
cal link between both sides has remained open to doubt.
All artists worked separately, each in their own studios. When they
brought their designs for discussion, it turned out that the range of
compositions, styles, fonts and ornaments varied greatly. Ideally,
banknotes of the same series should be drawn by one author, which
allows maintaining the general style and the layout scheme. In
Lithuania, though, this was not possible: firstly, there was no hope for
one person to draw such a number of banknote denominations over
the established short period; secondly, no experienced artist was avail-
able who could have been entrusted without hesitation with this work
requiring extreme responsibility, extraordinary diligence, and specific
skills and knowledge.
Design Peculiarities of Lithuanian Banknotes 65
Banknotø komponavimo
schema

Giljoðo projekto
fragmentas.
Dail. R. Miknevièius

Banknote layout scheme

Detail of a guilloche.
Design by R. Miknevièius

66 Lietuvos banknotø kûrimo bruoþai

 1 lito banknoto fragmento
grafinio pieðinio eskizas.
Dail. R. Miknevièius

Sketch for the graphic

design of a detail from
the 1 litas banknote.
Design by R. Miknevièius

Design Peculiarities of Lithuanian Banknotes 67

 Lietuviðki banknotai su
uþsienio banknotø
spaustuvës specialistø
siûlomais ornamentais

Lithuanian banknotes
with ornaments proposed
by the experts of a foreign
banknote printing
company

68 Lietuvos banknotø kûrimo bruoþai

 Lietuviðki banknotai su
uþsienio banknotø
spaustuvës specialistø
siûlomais ornamentais

Lithuanian banknotes
with ornaments proposed
by the experts of a foreign
banknote printing
company

Design Peculiarities of Lithuanian Banknotes 69

 Aptarinëjant projektus, buvo ieðkoma iðraiðkingesniø, modernesniø
formø, bendros maþøjø ir didþiøjø nominalø grupiø stilistikos. Lietu-
vos banko atstovai dailininkams perdavë banknotus gaminanèiø uþsie-
nio spaustuviø, su kuriomis buvo vedamos derybos, keliamus reikalavi-
mus. Buvo gautas nurodymas deðimt kartø iðdidinti banknotø projek-
tus ir teptuku imituoti iðgraviruotø portretø linijas. Manyta, kad tokiu
bûdu bus apeitas labai brangus ir daug laiko reikalaujantis portreto gra-
viravimas, be to, gamyba bus pigesnë. Dalis autoriø darbus baigë, kiti
nesuspëjo – sumanymo buvo atsisakyta.
Pinigø tematika formavosi palengva darbo metu. Aptarinëjant eski-
zus, teko keisti vienà ar kità motyvà. Kai kuriø banknotø temos ir mo-
tyvai keitësi po kelis kartus. Dailininkø grupë dirbo apie metus, vëliau,
ið grupës iðëjus A. Mandeikai ir L. Pociui, ið likusiøjø kiekvienas paren-
gë bent po vienà banknotà. 1990 m. liepos 31 d. litø projektai pristatyti
Aukðèiausiosios Tarybos Prezidiumui ir parodytas trumpas reportaþas
LTV „Panoramoje“.
Jau rengiant projektus, pradëta rûpintis banknotø gamyba. Ið pra-
dþiø galvota susitarti su artimiausiomis kaimynëmis – Baltijos respubli-
komis – ir vienoje ið jø ásteigti pinigø spaustuvæ. Paaiðkëjus, kad tai
kainuotø labai brangiai, tos minties atsisakyta ir pradëta ieðkoti galimy-
biø uþsienyje. Tartasi su Vokietijos, Ðveicarijos ir Prancûzijos banknotø
spaustuvëmis. Pasirinkta Franšois Charles Oberthur, ir dailininkai
R. Bartkus bei G. Jonaitis drauge su banko darbuotojais kelioms die-
noms iðvyko á Prancûzijà. Pinigø gamybos procesas prasidëjo, taèiau
tuoj nutrûko. Prancûzijos bankas dël susidariusios politinës padëties,
greièiausiai TSRS vyriausybës spaudþiamas, atsisakë kredituoti banknotø
spausdinimà. Tolesnës derybos ieðkant bûdø gauti paskolà buvo nesëk-
mingos. Spaustuvë darbus sustabdë, mûsø atstovai gráþo namo, o pro-
jektai liko. Lietuvos bankui jie gràþinti tik 1997 m. Ðiuo metu projektai
saugomi Lietuvos banko muziejuje.
Reikia pasakyti, kad darbai, kuriuos spaustuvë suspëjo padaryti, la-
bai nuvylë projektø autorius. Gauti bandomieji atspaudai tiesiog iðgàs-
dino dailininkus. Portretai buvo perpieðti, nepanaðûs á Lietuvoje taip
gerai paþástamus þmones, giljoðo ornamentai neestetiðki.
Siekiant sumaþinti gamybos iðlaidas, nuspræsta popieriø visiems
banknotams gaminti su vienodu vandenþenkliu. Kai kurie autoriai siû-
lë naudoti Lietuvos dailës kûriniø motyvus – skulptûrinæ galvutæ ið
Ðv. Petro ir Povilo baþnyèios ar dailininko Kanuto Rusecko „Pjovëjos“
fragmentà, kiti – imaginacinius kunigaikðèio Vytauto Didþiojo ar kara-
liaus Mindaugo portretus. Vandenþenkliu buvo pasirinktas valstybës
herbas Vytis su po juo esanèiais Gediminaièiø stulpais.
Lietuvos þiniasklaidoje buvo pasirodæ publikacijø apie nuolatiná KGB
dëmesá mûsø pinigø gamybos organizatoriams ir banknotø dailinin-
kams. Maskva neakivaizdþiai dalyvavo derybose su banknotø spaustu-
vëmis, sekë kiekvienà atsikurianèios Lietuvos þingsná. Konkursas buvo
atviras, susikûrusi pinigø projektavimo grupë taip pat dirbo nesislaps-
tydama, nors kartais þmonës pastebëdavo esà sekami. Ðalies vadovybë
baiminosi, kad parengti projektai gali bûti atimti ir sunaikinti, tuo atve-
70 Lietuvos banknotø kûrimo bruoþai
In discussing the designs, more expressive and modern forms and
styles common for low and high denomination were sought. Bank of
Lithuania representatives acquainted the designers with the require-
ments of the foreign banknote making companies negotiated with.
The artists were instructed to enlarge 10 times their banknote designs
and to imitate with the brush the lines in the engraved portraits. It
was believed that this would help avoid the very expensive and time-
consuming portrait engraving and would make production cheaper.
Part of the authors completed their work, while others failed to finish
it in time and the idea was given up.
The themes of notes emerged little by little during the work. Dis-
cussions of the sketches made change one motif or another. The themes
and motifs of some banknotes changed several times. The team of
artists worked for about one year. Later, when Mandeika and Pocius
left, each of the remaining artists designed at least one banknote. On
31 July 1990, the litas designs were presented to the Presidium of the
Supreme Council and a short news report was shown on the Pano-
rama news show on the Lithuanian TV.
Banknote production was being considered during the design pro-
cess. The original idea was to agree with the closest neighbours, the
Baltic States, on establishing a banknote printing house in one of
them. When it turned out that this would cost too much, the idea
was given up and possibilities were explored abroad. Negotiations were
held with German, Swiss and French banknote production compa-
nies. The choice was made on the Franšois Charles Oberthur and the
designers Rimvydas Bartkus and Giedrius Jonaitis left for France to-
gether with Bank of Lithuania staff for a few days’ visit. The process
of banknote production started but was soon disrupted. Owing to the
political situation, most likely under the pressure of the USSR Gov-
ernment, a French bank refused to credit the printing of the notes.
Further negotiations in search for a credit were unsuccessful. The print-
ing house stopped its work and our representatives returned home,
while the designs remained in France.
In order to lower the cost of production, a decision was taken to
produce paper with the same watermark for all notes. Some authors
suggested using motifs from Lithuanian works of art, such as the head
of a sculpture at St. Peter and Paul’s Church or a fragment from “The
Reaper” by Kanutas Ruseckas, others proposed imaginary portraits of
Grand Duke Vytautas the Great or King Mindaugas. The state em-
blem, the Vytis with Gediminas Columns underneath was finally cho-
sen for the watermark.
A few reports about the constant attention of the KGB towards
the organisers of production of our own currency and banknote de-
signers appeared in Lithuanian media. Moscow lingered behind the
scenes in negotiations with banknote companies, following every step
of Lithuania in rebirth. The tender was open; the team of currency
designers worked in the open as well, although sometimes the people
noticed being followed. National authorities feared the ready designs
 Banknotø projektø eskizai.
Dail. Ð. Leonavièius

Sketches for banknote.

Design by Ð. Leonavièius

Design Peculiarities of Lithuanian Banknotes 71

 Uþsienio banknotø
spaustuvës specialistø
siûlomi lietuviðkø
banknotø komponavimo
eskizai

Sketches of composition
for Lithuanian banknotes
proposed by the experts of
a foreign banknote
printing company

72 Lietuvos banknotø kûrimo bruoþai

ju Lietuva liktø be galimybës pasigaminti savus pinigus. Buvo nutarta
kurti atsarginius banknotø projektus ir kreiptasi á jaunà dailininkà gra-
fikà Ðarûnà Leonavièiø, kad ðis nupieðtø banknotà, pagal kurá bûtø ga-
lima sukomponuoti visø nominalø banknotus. Pageidauta, kad bankno-
tø iðvaizda primintø tarpukario litus. Dailininkas sukomponavo bankno-
tà, kuriame vyravo ornamentai. Viename banknoto kraðte nupieðë
ðvè. Mergelæ Marijà, o kitame – Vytá. Kompozicijoje paliko erdves, vie-
nà – vandenþenkliui Gediminaièiø stulpams ir aðtuonkampei heraldi-
nei þvaigþdei, o kità – keièiamam nominalo skaièiui. Be to, kiekvieno
nominalo banknotas turëjo skirtis spalva.
Dailininkas dirbo visiðkai slaptai. Apie jo darbus þinojo tik grafikos
technologijø specialistas S. Katkus ir tuometinë ðalies vadovybë
V. Landsbergis ir G. Vagnorius. Jau studijuodamas Vilniaus dailës aka-
demijos Grafikos katedroje, Ð. Leonavièius garsëjo nepaprastu kruopð-
tumu ir kantrybe. Jo studentiðki darbai buvo didelio formato ofortai –
daugiafigûrës fantastiðkø bûtybiø ir situacijø scenos, uþpildytos smul-
kiu sidabriniø linijø audiniu. Tokiam slaptam ir atsidavimo reikalau-
janèiam darbui jis labai tiko. Dailininkas savo studijoje sukonstravo
primityvià giljoðo braiþymo árangà ir pats braiþë ornamentus. Darbas
truko nuo 1990 m. rudens iki 1991 m. pavasario, kai atgimstanèioje
Lietuvoje siautëjo sovietø kareiviai. Ð. Leonavièiaus baigtus projektus
S. Katkus nuneðë á Vyriausybæ, taèiau atsarginio banknoto neprireikë –
buvo atspausdinti dailininkø grupës parengti projektai. Ð. Leonavièiaus
sukurti darbai neiðliko. Autorius neturi ir eskizø – jam buvo liepta nie-
ko nelaikyti, viskà, kas nereikalinga, sunaikinti. Tik du nedideli pieði-
nëliai, atsitiktinai uþsimetæ dailininko stalèiuose, pateko á Lietuvos na-
cionalinio muziejaus rinkinius.
Rengdami litø projektus, dailininkai suprojektavo ir laikinuosius pi-
nigus talonus, juos spausdino Kauno „Spindulio“ ir „Raidës“ spaustuvës.
could be confiscated and destroyed, in which case Lithuania would
have been deprived of the possibility of producing its own currency.
The decision was to create reserve designs and Ðarûnas Leonavièius, a
young graphic designer, was asked to draw a banknote according to
which banknotes of all denominations could be arranged. The
banknotes were to resemble inter-war litas notes. The designer made
a banknote with ornaments prevailing. He drew only St Virgin Mary
on one side of the banknote and Vytis on the other. On both sides of
the banknote he left spaces: one for the watermark, Gediminas Col-
umns and an octagonal heraldic star, the other – for a varying de-
nomination numeral. In addition, the banknotes of each denomina-
tion were to differ in colour.
The designer worked in absolute secrecy. The only persons to know
about his works were the expert in graphic technologies S. Katkus
and the top national officials of the time – Vytautas Landsbergis and
Gediminas Vagnorius. The designer constructed primitive guilloche
drawing equipment in his studio and drew the ornaments himself.
The work took from the autumn of 1990 to the spring of 1991, a
period when Soviet soldiers raged in the reviving Lithuania. Katkus
brought the completed designs by Leonavièius to the Government,
yet the reserve banknote was never used, as the designs prepared by
the team of artists were printed. Leonavièius’ designs have not sur-
vived. Nor has the author preserved any sketches: he was ordered not
to keep anything and destroy everything that was unnecessary. Only
two small drawings, lost accidentally in the artist’s drawers, remained
to enter the collections of the National Museum.
While preparing litas designs, the artists also designed the provi-
sional currency, the talonas, notes; these were printed by the Spindulys
and Raidë printing houses in Kaunas.
Design Peculiarities of Lithuanian Banknotes 73
 3 talonø eskizas.
Dail. R. Miknevièius

3 talonø reversas.
Dail. R. Miknevièius

Sketch for 3 talonas.

Design by R. Miknevièius

3 talonas, back.
Design by R. Miknevièius

74 Lietuvos banknotø kûrimo bruoþai

 5 talonø eskizas.
Dail. G. Jonaitis

5 talonø reversas.
Dail. G. Jonaitis

Sketch for 5 talonas.

Design by G. Jonaitis

5 talonas, back.
Design by G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 75

 Esant sudëtingai ekonominei situacijai ir baiminantis naujai áves-
tos savarankiðkos valiutos nuvertëjimo, buvo ieðkoma bûdø, kaip at-
siriboti nuo devalvuojanèio rublio, stabilizuoti ekonominæ padëtá, ir
tik tada, nerizikuojant lito autoritetu, iðleisti já á apyvartà. Siekdama
ðio tikslo, 1991 m. rugpjûèio 5 d. Lietuvos Respublikos Vyriausybë
ávedë bendruosius talonus, jie buvo iðmokami kaip priedas kartu su
algomis rubliais ir iki 1992 m. geguþës 11 d. funkcionavo kuponø
forma ásigyjant prekes. 1992 m. rugsëjo 16 d. Lito komitetas priëmë
nutarimà „Dël Lietuvos Respublikos laikinøjø pinigø – talonø ávedi-
mo ir rubliø iðëmimo ið apyvartos“. Ðiuo nutarimu nustatyta, kad
nuo 1992 m. spalio 1 d. Lietuvos Respublikoje cirkuliuja tik laikinieji
pinigai talonai. Rubliai á talonus buvo keièiami santykiu 1:1. Buvo
iðleistos dvi talonø laidos – 1991 m. ir 1992 m.
1991 m. iðleisti visø apyvartai reikalingø nominalø talonai, prade-
dant deðimtosiomis vieneto dalimis ir baigiant ðimtinëmis. Trijø no-
minalø deðimtøjø talonø daliø (0,1, 0,2 ir 0,5) – „centø“ – visø aver-
sø kompozicija vienoda: geltonos plokðtumos, uþpildytos banguoto-
mis linijomis, centre – valstybës herbas, o virð jo – tekstas „Lietuvos
Respublika“. Reversà dailininkas Kazimieras Paðkauskas papuoðë ða-
lavijo ðakele, ant jos sukomponuoti dideli nominalo skaièiai. Reversai
vienas nuo kito skyrësi ne tik nominalø skaièiais, bet ir jø spalva. Di-
dieji nominalai buvo spausdinami didesnio formato popieriuje su van-
denþenkliu – Gediminaièiø stulpais. Jø averse dvispalviu linijiniu or-
namentu uþpildytame fone nupieðta kiekvieno nominalo talonui ki-
tokio augalo ðakelë ir didelis nominalo skaièius, o baltame kraðte –
valstybës herbas. Reverso centre dominuoja grafinis kokio nors Lietu-
vos miðkø gyvûno pieðinys ir du nedideli nominalo skaièiai.
Talonø kompozicija paprasta ir aiðki. Þmonës prie talonø greitai
priprato ir mielai juos priëmë. Profesionaliai sukomponuoti ir nupieðti
gyvûnø siluetai laikui bëgant áaugo á þmoniø sàmonæ kaip nominalø
simboliai: drieþai, paukðèiai – tai vienetai, kiaunë, lûðis, briedis – de-
ðimtys, o Lietuvos miðkø galiûnas stumbras – ðimtinë.
Projektuojant talonus, buvo galvojama ir apie jø apsaugà. Tai jau
minëtas popierius su vandenþenkliu, serijos numeris ir giljoðu atspaus-
dintos abi talonø pusës. Tiesa, giljoðas gana primityvus – toks, koká
konspiracinëmis sàlygomis buvo galima suprojektuoti. Dailininkas
R. Miknevièius prisimena, kaip já kûrë Dailës akademijoje Architek-
tûros katedros darbuotojø padedamas su tuomet, ko gero, vieninteliu
visoje Akademijoje kompiuteriu. Talonuose, iðskyrus deðimtàsias jø
dalis, buvo spausdinami áspëjantys apie nuobaudas uþ padirbinëjimà
tekstai, taèiau tai rezultatø nedavë. Ðios priemonës neapsaugojo talo-
nø nuo padirbinëjimo.
Antrà talonø laidà (1992 m.) kûrë kà tik ásteigtos Vertybiniø po-
pieriø leidyklos vyriausiojo dailininko K. Paðkausko suburta ir vado-
vaujama dailininkø grafikø grupë: R. Lelytë, V. Jurkûnas ir A. Var-
naitë. Jø komponavimo schema iðliko tokia pat, kaip ir 1991 m. lai-
dos: averse ant dvispalvio, taèiau sudëtingesnës struktûros giljoðo bu-
vo pieðiama kiekvieno nominalo talonui kitokio augalo ðakelë ir dide-
76 Lietuvos banknotø kûrimo bruoþai
Under the complicated economic circumstances and in fear of the
depreciation of the newly introduced independent currency, ways were
sought for dissociating from the devaluing rouble, stabilising the eco-
nomic situation and only then putting the litas into circulation without
putting its reputation at risk. With this aim in view, the Government of
the Republic of Lithuania introduced the general talonas notes on 5
August 1991. These were paid along with rouble wages and salaries and
were used as coupons to pay for goods until 11 May 1992. On 16
September 1992, the Litas Committee adopted the decision “On the
Introduction of the Provisional Currency of the Republic of Lithuania,
the Talonas, and Withdrawal of Roubles from Circulation”. The deci-
sion established that only the provisional currency, the talonas, would
circulate in the Republic of Lithuania as from 1 October 1992. There
were two issues of talonas notes: in 1991 and 1992.
In 1991, talonas notes of all denominations necessary for circula-
tion were issued, from tenths of the unit to hundreds. The layout of
the front of one-tenth of talonas notes of three denominations (0.1,
0.2 and 0.5), the “cent”, was the same: yellow planes filled with wav-
ing lines, the state emblem in the centre, and the inscription “Repub-
lic of Lithuania” above it. The artist Kazimieras Paðkauskas decorated
their back with a branch of the sage, on which large denomination
numerals were arranged. The backs differed not only in denomina-
tion numerals but in colour as well. High denominations were printed
on larger size paper with the watermark. Their front carried a branch
of a plant, different for talonas notes of each denomination, and a big
denomination numeral against the background of a two-colour linear
ornament, as well as the state emblem on a white edge. The graphic
image of some Lithuanian forest animal and two small-sized denomi-
nation numerals dominated the centre of the back.
In the process of designing talonas notes, their security was also
considered, which included the already mentioned watermarked pa-
per, serial number, and both sides of talonas notes printed in guil-
loche. In fact, the guilloche was quite primitive, such as could be
designed under the conditions of secrecy. The artist Miknevièius re-
called designing it at the Academy of Fine Arts, assisted by Depart-
ment of Architecture staff with the aid of probably the only computer
available at the Academy at that time.
The second issue of talonas notes (in 1992) was designed by a
team of graphic artists set up and headed by the chief artist of the
recently established Securities Printing House Kazimieras Paðkauskas.
The team included Rûta Lelytë, Vilius Jurkûnas and Algë Varnaitë.
Their layout scheme remained the same as in the 1991 issue: a branch
of a plant on the front, different for the talonas of every denomina-
tion, and a large denomination numeral drawn on two-colour guil-
loche, yet of a more complex structure. They were framed with hori-
zontal texts at the top and bottom, and the year of issue, state emblem
and a small denomination numeral were printed on the right side.
On the back of the talonas notes Lithuanian forest birds and animals
 50 talonø aversas ir
reversas. Dail. J. Tolvaiðis

50 talonas, front and back.

Design by J. Tolvaiðis

Design Peculiarities of Lithuanian Banknotes 77

 25 talonø reversas.
Dail. R. Valantinas

100 talonø reversas.

Dail. J. Tolvaiðis

25 talonas, back.
Design by R. Valantinas

100 talonas, back.

Design by J. Tolvaiðis

78 Lietuvos banknotø kûrimo bruoþai


lis nominalo skaièius. Virðuje ir apaèioje jie buvo árëminami horizon-
taliais tekstais, o deðiniame kraðte – leidimo metai, valstybës herbas ir
maþas nominalo skaièius. Talonø reverse, dvispalvio giljoðo lauke –
Lietuvos miðkø paukðèiai ir þvërys. Pasak K. Paðkausko, sugalvota ir
papokðtauti – E. Vilkeliui pradëjus vadovauti Finansø ministerijai, jo
garbei buvo skirta didþiausia 500 talonø kupiûra, papuoðta vilkais.
Projektuojant ir spausdinant ðios laidos talonus, jau buvo sukaup-
ta tam tikra patirtis, todël stengtasi iðtaisyti 1991 m. laidos klaidas.
Pastebëta, kad Kauno J. Janonio popieriaus fabrike pagamintas po-
pierius yra prastos kokybës, greitai susidëvi, vandenþenklis sunkiai áþiû-
rimas. Þmonës, pripratæ prie gerokai maþesnio formato rubliø, skun-
dësi, kad talonai netelpa piniginëje, reikia juos lankstyti. 1992 m. ta-
lonø laidai Ðvedijoje buvo pagamintas popierius su abstraktaus orna-
mento vandenþenkliu, o talonø formatas sumaþintas – sulygintas su
vieno rublio banknoto, be to, kai kurie elementai atspausdinti nema-
tomais daþais.
Planuota iðleisti ir 1 000 talonø kupiûrà. Buvo suprojektuotas tekstø
iðdëstymas ir parengtas þvëries – viso pasaulio þvëriø karaliaus liûto –
pieðinys, taèiau, nusprendus á apyvartà iðleisti litus, jo neprireikë. Pa-
sak K. Paðkausko, talonai buvo projektuojami ir spausdinami labai
sklandþiai ir operatyviai. Per kelias dienas dailininkas parengdavo pie-
ðinius, kompozicijos elementø – tekstø, skaièiø, ornamentø – iðdësty-
mo maketà ir kalkes. Spaustuvë per parà pagamindavo formas, lei-
dyklos vyriausiasis dailininkas tuoj pat patikrindavo ir pasiraðydavo
bandomuosius atspaudus. Èia pat specialiai árengtame uþdarame ce-
che bûdavo atspausdinamas tiraþas. Visas procesas uþtrukdavo ne il-
giau kaip savaitæ.
1993 m. birþelio 25 d. iðleidus litus á apyvartà, juos pradëta keisti
santykiu 1 litas uþ 100 talonø. Á apyvartà buvo iðleistos centø mone-
tos ir 10, 20, 50, 100 litø banknotai. Paprastai bankai laikosi nuosta-
tos, kad didþiausio nominalo ðalies banknotas turi sudaryti pusæ vi-
1992 m. laidos talonø
averso projektas.
Dail. K. Paðkauskas
were printed in a two-colour guilloche field.
In the process of designing and printing the talonas notes of this
issue, a certain experience had already been accumulated and attempts
were made to correct the mistakes made in the 1991 issue. It was
noticed that the paper produced in Julius Janonis Paper Mill in Kaunas
was of poor quality, it wore out soon, and the watermark was difficult
to identify. People, used to roubles of a significantly smaller size, com-
plained that talonas notes were too large to fit into the purse and had
to be folded. For the 1992 series talonas notes, paper with the water-
mark as an abstract ornament was produced in Sweden and the size of
the talonas notes was cut to equal that of one rouble note; in addition,
some elements were printed in invisible inks.
There were also plans to issue a 1000 talonas note. The layout for
the texts was designed and a drawing of the world’s king of the beasts,
the lion, was prepared. The design, however, was never used after it was
decided to issue litas. According to Paðkauskas, the process of designing
and printing talonas notes was smooth and effective. The designer would
prepare the drawings, the layout of the compositional elements – texts,
numerals and ornaments, and transparent films in a few days. The print-
ing house would make the plates in 24 hours; the chief designer of the
printing house would immediately check and sign the proofs. Right
here, in a specially equipped closed shop, the whole print-run was
printed. The whole process would take up to one week.
When the litas was issued on 25 June 1993, it was first exchanged
into talonas notes at the exchange rate of 1 to 100. Centas coins and
banknotes of 10, 20, 50 and 100 litas denominations were put into
circulation. It is customary for banks to stick to a provision that the
note of the highest denomination in the country should stand for a
half of average earnings; thus there was no need to put into circula-
Design of the 1992
tion the 500 litas denomination banknotes that had already been series talonas notes by
printed, not to mention 1000 litas denomination banknotes. K. Paðkauskas, front
Design Peculiarities of Lithuanian Banknotes 79
 1 talono reversas.
Dail. R. Lelytë

10 talonø reversas. dutinio atlyginimo, taigi tuo metu nebuvo bûtina leisti á apyvartà jau
Dail. R. Lelytë atspausdintus 500, tuo labiau – 1 000 litø banknotus.
Þiniasklaida daug raðë apie lietuviðkus pinigus. Suskaièiuota, kiek
þemaièiø, suvalkieèiø ir aukðtaièiø atvaizduota lietuviðkuose piniguose.
Paaiðkëjo, kad daugiausia yra þemaièiø – net ðeði, trys suvalkieèiai,
vienas – ið Maþosios Lietuvos ir në vieno aukðtaièio. Dar labiau neið-
laikyta proporcija tarp vyrø ir moterø – tik raðytoja Þemaitë nusipel-
në garbës.
Lithuanian currency was the subject covered extensively in the
media. Calculations were made of how many Samogitians (north-
western Lithuanians), Suvalkians (southern Lithuanians) and
Aukðtaitians (eastern Lithuanians) decorated Lithuanian money. It
turned out that the majority were Samogitians – as many as six; three
were Suvalkians, one from Lithuania Minor and not a single one was
an Aukðtaitian. Males and females were even more out of proportion:
only one woman, the writer Þemaitë, had been honoured.

1 talonas, back.
Design by R. Lelytë

10 talonas, back.
Design by R. Lelytë

80 Lietuvos banknotø kûrimo bruoþai

 50 talonø aversas.
Dail. A. Varnaitë

200 talonø projekto

eskizas. Dail. V. Jurkûnas

50 talonas, front.
Design by A. Varnaitë

Sketch for the design of

the 200 talonas by
V. Jurkûnas

Design Peculiarities of Lithuanian Banknotes 81

 200 talonø aversas
ir reversas.
Dail. V. Jurkûnas

500 talonø reversas.

Dail. V. Jurkûnas

200 talonas,
front and back.
Design by V. Jurkûnas

500 talonas, back.

Design by V. Jurkûnas

82 Banknotai ir jø komponavimo specifika

 500 talonø aversas.
Dail. V. Jurkûnas

500 talonø projekto

eskizas. Dail. V. Jurkûnas

500 talonas, front.

Design by V. Jurkûnas

Sketch for the design of

the 500 talonas by
V. Jurkûnas

Banknotes and Peculiarities of Their Composition 83

 Vieno lito banknotas
One Litas Banknote

84 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 85
 Banknoto, kaip meno kûrinio, projektavimas prasideda dailininko
mintyse. Vaizduojamosios dailës kûrinys – grafikos lakðtas ar tapybos
drobë – yra tik paties autoriaus paþiûrø ir skonio iðraiðka, o banknotas
kuriamas didelio bûrio specialistø milijonams þmoniø. Bankas, turin-
tis emisijos teisæ, nurodo tik pagrindines gaires. Kartu su konsultan-
tais nutariama, kas bus vaizduojama vienoje ar kitoje banknoto pusë-
je, kokios bus spalvos, ðriftai ir jø iðdëstymas. Apsaugos priemonës –
vandenþenkliai, apsauginiai siûleliai, grafiniai ir giljoðo ornamentai
bei daugybë kitø ádiegiama jau gamintojø, taèiau pagal ið anksto þino-
mus banko specialistø reikalavimus. Be apsaugos priemoniø bankno-
tas bûtø tik spalvotas paveikslëlis.
Banknotø projektavimo grupë sukûrë banknotø komponavimo
schemà. Averso deðinë pusë buvo skirta portretui, dideliam nominalo
skaièiui, o kairë – vandenþenkliui. Reverso kairëje – didelë siuþetinë
kompozicija, idëjiðkai susieta su averso asmenybe, o deðiniame kom-
pozicijos kraðte – vieta vandenþenkliui. Abi banknoto puses stilistið-
kai turëjo vienyti horizontalios ornamento juostos, paveldëtos ið tar-
pukario Lietuvos banknotø – jø kompozicija ið visø pusiø buvo árë-
minta ámantriu ornamentu, o kai kuriuose banknotuose dar ir sutvir-
tinta puoðniomis rozetëmis su nominalo skaièiais viduryje. Toks
banknotas, nuo kraðto iki kraðto uþpildytas smulkiu ornamentu, darë
sunkios, sudëtingos struktûros áspûdá. Naujojo lito kompozicijoje or-
namento juostos neuþgoþia plokðtumos, palikta daugiau erdvës no-
minalo skaièiui ir tekstams, iðryðkinti svarbiausi banknoto kompo-
nentai.
Ið pradþiø 1 lito banknotà ëmësi projektuoti grupës vadovas R. Mik-
nevièius. Averse vaizduojamas valstietis ðiaudine skrybële, grojantis
medine dûdele. Apatinëje banknoto dalyje iðraiðkingai susipynæ apy-
nio lapai ir spurgai dar labiau pabrëþia linksmà kompozicijos nuotai-
kà. Deðinëje – didelis nominalo skaièius ir jo vertë þodþiais. Saulëtos
geltonos ir ðiltø þalios bei ochros spalvø banknotas atrodë labai nuo-
taikingai. Vykusiai sukomponuotas ir reversas, jo centre – liaudies
meistro iðdroþta ðv. Jurgio skulptûrëlë, o deðiniame kraðte – rozeèiø
vainikas, supantis tekstà „Vienas litas“.
Dailininko pieðinys – tik bûsimo banknoto projektas. Ðis pieðinys,
perëjæs per pinigø gamybos specialistø rankas, ágavæs sudëtingø linijø
ir ornamentø iðraiðkà, bûtø tapæs ðiuolaikiniu lietuviðku pinigu, ta-
èiau, nukalus maþøjø nominalø monetas, nebuvo reikalo skubëti su
ðiø nominalø banknotø gamyba, ir jø projektavimas buvo atidëtas.
Vëliau ðio darbo ëmësi dailininkas Giedrius Jonaitis. Gaila, kad R. Mik-
nevièiaus 1 lito ir L. Pociaus 2 litø kompozicijos liko neágyvendintos.
Kita vertus, kai vienas autorius projektuoja visà banknotø serijà, pa-
siekiama stiliaus vienovë, be to, ir dirbti lengviau – nereikia vienam
prie kito taikytis.
G. Jonaièiui buvo pasiûlyta 1 lito banknote áamþinti þymià raðyto-
jà ir visuomenës veikëjà Þemaitæ (tikroji pavardë Julija Þymantienë,
1845–1921 m.). Reikðmingiausi jos apsakymai „Marti“, „Petras Kur-
melis“, „Topylis“ ir kt. iki ðiol populiarûs, inscenizuojami, iðversti á
86 Lietuvos banknotø kûrimo bruoþai
The design of a banknote, like any piece of art, is first contemplated
in the artist’s mind. The bank of issue only gives the general guidelines.
Decisions on the themes depicted on the front and back of a note,
colours, lettering and layout are taken following the advice of consult-
ants. Security features, such as watermarks, security threads, graphic
and guilloche patterns and many others are incorporated later, follow-
ing the requirements put forward by the bank’s experts in advance.
Both front and back of this note was to be stylistically unified
through the use of horizontal ornamental bands, transferred from the
interwar Lithuanian banknotes, the composition of which was usu-
ally surrounded by a frame of intricate ornament, sometimes supple-
mented with impressive rosettes containing denomination numerals.
Such a note, whose space was entirely filled with tiny ornaments from
edge to edge, made an impression of a rigid and complex structure. In
the composition of the new litas banknotes ornamental bands did not
overshadow the plane and left more space for the denomination nu-
meral and texts to reveal the most important components of the note.
At the beginning, Miknevièius, the leader of the team, undertook
the design of the 1 litas banknote. On the front he presented the
image of a peasant wearing a straw hat playing a wooden pipe. The
intertwined leaves and cones of the hop at the bottom edge of the
note made the mood of the whole composition even livelier. A large
denomination numeral and its value in words were located on the
right side. The banknote of sunny yellow, warm green and ochre
colours made a cheerful impression. The back of the note was also
well arranged with a wooden sculpture of St George, carved by a folk
craftsman, in the centre and a wreath of rosettes enclosing the text
“Vienas litas” (one litas) on the right.
The drawing of an artist is just a draft of a would-be banknote.
Upon passing through the hands of banknote production experts and
after acquiring the form of complex lines and ornaments, such a draw-
ing would have turned into a contemporary Lithuanian banknote.
However, after the litas coins of low denominations were made, there
was no need to go ahead with the printing of the low denomination
banknotes and, consequently, their design was postponed. Later, the
task of designing this note was taken up by the artist Giedrius Jonaitis.
It is a pity that the compositions of 1 litas note by Miknevièius and 2
litas note by Pocius remained unrealised. On the other hand, a ho-
mogenous style is better achieved if a series of banknotes is designed
by one author, which makes it easier to complete the work, as one
artist does not have to adjust to another one.
Jonaitis was suggested to commemorate a prominent Lithuanian
writer and public figure Julija Þemaitë (real name Julija Þymantienë,
1845–1921). The portrait of Þemaitë – a simple country woman with
a white lace-decorated kerchief around her head – was familiar to
every Lithuanian from primary school.
The portrait of the writer dominated on the front of the banknote.
Jonaitis drew the portrait of Julija Þemaitë after her famous photo
 Banknoto projekto eskizas.
Dail. R. Miknevièius

Banknoto portreto eskizas.

Dail. R. Miknevièius

Sketch for the banknote’s

design by R. Miknevièius

Sketch for the portrait on

the banknote.
Design by R. Miknevièius

Design Peculiarities of Lithuanian Banknotes 87

 Banknoto eskizas.
Dail. R. Miknevièius

Banknoto portreto eskizas.

Dail. R. Miknevièius

Sketch for the banknote.

Design by R. Miknevièius

Sketch for the portrait

on the banknote.
Design by R. Miknevièius

88 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 89
 Banknoto eskizas.
Dail. R. Miknevièius

Sketch for the banknote.

Design by R. Miknevièius

90 Lietuvos banknotø kûrimo bruoþai

 Banknoto projektas.
Dail. R. Miknevièius

The banknote’s design by

R. Miknevièius

Design Peculiarities of Lithuanian Banknotes 91

 2 litø banknoto su
Þemaitës portretu eskizas.
Dail. G. Jonaitis
Banknoto projekto eskizas.
Dail. G. Jonaitis
daugelio kaimyniniø ðaliø kalbas. Þemaitës portretas – kaimo mote-
rëlë, apsigobusi balta mezginiuota skarele – gerai þinomas kiekvienam
lietuviui nuo pradþios mokyklos laikø.
Banknoto averso dominantë – raðytojos portretas. G. Jonaitis per-
pieðë Þemaitës portretà ið gerai þinomos XX a. pradþios fotografijos,
paryðkino iðblukusias detales, veido reljefà. Gyvenimo iðvargintos mo-
ters dëmesingas þvilgsnis, suspaustos, ðiek tiek asimetriðkos lûpos ro-
do sunkø raðytojos gyvenimà, kaimietiðka apranga ir skarelë – jos ar-
tumà kaimo þmonëms. Pinigø spaustuvës graveris meistriðkai iðgravi-
ravo pieðiná, puikiai perteikë ornamentuotos skarelës mezginius, vei-
do raukðleliø niuansus. Tai turbût vienas ið geriausiai pavykusiø mû-
sø banknotø portretø.
Ðiek tiek abejotinas reverso motyvas. Aukðtaitijos rytinio pakraðèio
Palûðës baþnytëlë ir varpinë neturi nieko bendra su raðytoja, jos þe-
maitiðko kolorito apsakymais, kuriuose nuskamba net ateistinës gai-
delës. Kaip rodo iðlikæ eskizai, ið pradþiø reversà galvota papuoðti
ðv. Jurgio skulptûrële. Motyvas, greièiausiai paveldëtas ið R. Miknevi-
èiaus kompozicijos, bûtø geriau tikæs Þemaitei, kovojusiai su kaimo
tamsumu ir blogiu. Be to, ðv. Jurgio skulptûrëlës buvo labai mëgsta-
mos Þemaitijoje ir puoðdavo daþno sodþiaus kryþkelæ ar darþelá.
Paprastai pinigø ornamentai projektuojami sudëtinga áranga. Mû-
sø dailininkai tokiø galimybiø neturëjo, taèiau jø sumanyti ir nupieðti
ornamentai neblogai tiko banknotams. Maþiausio nominalo bankno-
to horizontalios juostos, nupieðtos pagal lietuviø liaudies meno moty-
vus, sujungia visus komponentus á bendrà visumà, jø neuþgoþia ir
nesuteikia kompozicijai margumo. Kiek prastesnis, disonuojantis su
Sketch of the portrait of
Þemaitë on the 2 litas subtiliu portreto pieðiniu ir uþgoþiantis nominalo skaièius yra plokð-
banknote. tumø giljoðas. Sumanymas ornamentuotà plokðtumà uþbaigti aðtriu
Design by G. Jonaitis siluetu netiko subtiliam portreto pieðiniui, silueto formos pretenzin-
Sketch for the banknote’s gos, nors, atrodo, buvo sumanytos taip pat vadovaujantis liaudies me-
design by G. Jonaitis no pavyzdþiais. Jos iðëjo nieko nesakanèios ir neádomios. Tai pasaky-
92 Lietuvos banknotø kûrimo bruoþai
made at the beginning of the 20th century. The designer brightened
the faded details and the relief of the face. An attentive look and slightly
asymmetric, tightly pressed lips hint at the writer’s hard life, while her
country clothes and kerchief show how close she was to simple coun-
try folk. The drawing was masterfully cut by the engraver of the
banknote printing company: the laces of the ornamented kerchief and
nuances of facial wrinkles were brought to perfection. It was probably
one of the most successful portraits featured on Lithuanian banknotes.
The motif of the back of the note was somewhat disputable. The
small church and belfry in Palûðë, a place in the eastern part of
Aukðtaitija, was in no way related to the writer and her stories filled
with Samogitian traits and, sometimes, containing even an atheistic
colouring. As the remaining sketches showed, it was first intended to
decorate the back of the note with the statue of St George. The motif
was probably inherited from the composition by Miknevièius and it
fitted well the portrait of Þemaitë who fought evil and backwardness
in the country. Besides, the sculptures of St George were very popular
in Samogitia, where countryside crossroads and flower gardens were
often adorned with the statuettes of St George.
The horizontal bands used on the banknote of the lowest denomi-
nation and drawn following Lithuanian folk art motifs join all the
components into a whole; they do not overshadow the individual
components and do not make the composition too colourful. The
guilloche patterns of the planes are somewhat less successful and are
in dissonance with the subtle drawing of the portrait, and overshadow
the denomination numerals. The idea of finishing the ornamented
plane with a sharp outline does not match the subtle drawing of the
portrait. The forms of the outline, though seemingly designed in line
with folk art patterns, are pretentious, uninteresting and convey no
idea. The same could be said about the trite bent form separating the
ornamented part of the note from the clear watermark space and two
 Þemaitës portretas.
Fotografija

Portrait of Þemaitë,
photograph

Design Peculiarities of Lithuanian Banknotes 93

 Þemaitës portreto
graviûra

Engraving of the portrait

of Þemaitë

94 Lietuvos banknotø kûrimo bruoþai


tina ir apie banaliai iðlankstytà formà, atskirianèià ornamentuotà
banknoto dalá nuo ðvarios vandenþenkliui skirtos erdvës, ir apie du
nuo portreto á deðinæ atsiðakojanèius smailius þiedlapius. Jie savo grieþtu
siluetu goþia portretà, o svarbiausia, trukdo pagrindiniam nominalo
skaièiui. Portreto kairëje ornamento tinklelis ryðkus, taèiau deðinëje
nuobodi tinklelio struktûra sudaro murzinos plokðtumos áspûdá. Dël
to greièiausiai kaltas ir autoriaus nepatyrimas – per trumpà laikà spaus-
tuvëje jis turëjo sukurti banknoto ornamentus.
Neblogai iðdëstyti ir kiti banknoto komponentai – skaièiai, teks-
tai. Abejoniø kelia tik ðiek tiek per kietai á horizontalias juostas ásire-
miantis vertikalus serijos numeris. Tikslaus sutapimo þenklas logiðkai
iðplaukia ið ornamento juostø.
Reverso kompozicijos centrinë figûra – Palûðës baþnyèios ir varpi-
nës ansamblis, uþimantis vos ne pusæ banknoto. XVIII a. vidurio liau-
dies architektûros medinë baþnyèia ir varpinë kontrastingai apðvies-
tos, sienø tamsiø ir ðviesiø dëmiø ritmà trikdo tik pirmame plane á
ðventoriø vedantys varteliai. Autorius sakosi mëginæs ansamblá foto-
grafuoti ir pieðti ið natûros, bet pagaliau pasirinkæs þinomo architek-
tûros palikimo fotografo M. Sakalausko nuotraukà. Graveris iðradin-
gai ir profesionaliai perteikë lentø, gontø faktûrà, apðvietimà. Vaizdas
nenuobodus, nors ir trûksta reljefiðkumo – apðviestosios ansamblio
sienos galëjo labiau kontrastuoti su ðeðëlinëmis. Kontrastà labiau pa-
ryðkinti galëjo pieðinio spausdinimas ne plytine, o tamsesne ruda spalva,
panaðia á averso portreto spalvà – ji labiau atitiktø ir medinio pastato
charakterá. Daug blogiau iðgraviruoti medþiai ansamblio kairëje pusë-
je. Jie yra gana toli, uþ baþnyèios, taèiau lapija smulki, monotoniðka ir
plokðèia. Grafiðkai ji neturi jokio stilistinio ryðio su pirmo plano pie-
ðiniu ir atrodo visiðkai svetima nuotaikos poþiûriu – þiemos ðerkðnas
netinka prie vasariðko pastato apðvietimo. Medþiø, virðutinës juostos
ir fono tonai nesubalansuoti. Neþiûrint á tai, kad kiekvienas kompo-
nentas skiriasi grafinio audinio charakteriu, visi jie yra vienodo toni-
Palûðës baþnyèia ir
varpinë.
Fotogr. M. Sakalauskas
sharp forms in the shape of leaves branching off to the right of the
portrait. Their rigid outline suppresses the portrait; moreover, they
interfere with the main denomination numeral.
The other components of the design, numerals and texts, are also
well arranged. Some doubts may arise regarding the vertical serial
number too firmly squeezed between the horizontal bands. The see-
through feature logically emerges from the ornamental bands.
The central accent of the composition on the back of the banknote
is the ensemble of the church and belfry in Palûðë. The church and
belfry, masterpieces of the mid-18th century wooden architecture, are
represented in contrasting light; the rhythm of dark and light stains is
only broken by the gates to the churchyard. As the author himself put
it, he tried to make photos of the ensemble and to draw it from nature
himself, but finally he decided on the photo by Meèislovas Sakalauskas,
famous for his photos of the Lithuanian architectural heritage. The
engraver was very inventive and skilful in conveying the lighting as
well as the texture of wooden planks and shingles. The image is not
dull, though it lacks some feeling of relief: the lit walls of the en-
semble could be in greater contrast with the shadowed ones. More
contrast could be achieved by printing the drawing in dark brown,
similar to the one used for the portrait on the front, instead of brick
red. It would also match better the nature of the wooden building
itself. The engraving of the trees to the left of the ensemble is less
successful. They are at some distance behind the church, yet the leaves
of the trees are rather tiny, monotonous and seem flat. They are not
graphically related from the stylistic point of view to the foreground
of the drawing and seem quite strange in terms of the mood: winter
frost does not correspond with the summer lighting of the building.
The tonal colouring of the trees, the band at the top and the back-
ground are not balanced enough. Leaving aside the fact that each Palûðë church and belfry.
component of the composition differs in the character of the graphic Photo by M. Sakalauskas
Design Peculiarities of Lithuanian Banknotes 95
Banknoto fragmentas –
Palûðës baþnyèios ir
varpinës graviûra

Banknoto fragmentas –
giljoðas

nio intensyvumo ir ið pirmo þvilgsnio susilieja á neaiðkaus pieðinio
plokðtumà.
Banknoto spalvinë gama – malonus akiai ðiltø rudø spalvø deri-
nys, nors reverse vyraujanti plytinë ir smaragdinë spalvos yra per daug
kontrastingos, kad sudarytø harmoningà sàskambá. Nevisiðkai
sëkmingai parinkta ir Lietuvos Respublikos herbo skydo vieta. Jis
ákomponuotas aritmetiniame plokðtumos centre, dël to atrodo nusi-
Banknote detail – leidæs þemyn. Averse graþiai tarpusavyje dera tamsiai ruda portreto
engraving of Palûðë graviûra, juodi tekstai ir horizontalios juostos prigesintos oranþinës
Church and Belfry spalvos fone.
Banknote detail – 1994 m. laidos 1 lito banknotà atspausdino Thomas De La Rue
guilloche spaustuvë Anglijoje.
texture, they are all of the same tonal intensity and at first glance
merge into a blurred drawing.
The range of colours is a combination of appealing warm browns,
however the prevailing brick red and emerald colours on the back of
the note are too much in contrast to be in harmony. The positioning
of the shield with the coat of arms of the Republic of Lithuania is not
very successful either. It is incorporated into the arithmetical centre
of the plane and, therefore, seems to be placed lower. On the front,
the deep brown engraving of the portrait, dark texts and horizontal
bands perfectly match the subdued orange background.
The 1 litas banknote of 1994 issue was printed at the Thomas De
La Rue printing company in Britain.

96 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 97
 Dviejø litø banknotas
Two Litas Banknote

98 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 99
 Kaip jau minëta, 2 litø banknotà ið pradþiø buvo patikëta projek-
tuoti L. Pociui. Jo eskizø stilius labai artimas tarpukario Lietuvos
banknotø stilistikai – daugialypë, sudëtinga, su gotikos elementais or-
namentø struktûra, ámantrûs, stilizuoti skaièiai ir herbø skydai. Tai
ypaè akivaizdu 2 litø banknote su Vytautu Didþiuoju ir Trakø pilimi.
Aiðku, tokia stilistika netiko ðiuolaikiniams pinigams, ir autoriui
banknotus teko kurti pagal bendromis grupës jëgomis suprojektuotà
schemà. Jo parengtuose vëlesniuose eskizuose (mergina tautiniais rû-
bais averse ir Trakø pilis reverse) jau aiðkiai jauèiamos tos paèios nuo-
statos, kaip ir kitø autoriø kuriamuose maþøjø nominalø banknotuo-
se. Jei portretas bûtø deðinëje pusëje, o horizontalûs ornamentai ryð-
kesni, aversas visiðkai atitiktø nustatytà schemà. Nedaug reikëtø taisy-
ti ir reversà, o jame vaizduojama pilis labai monumentali ir áspûdinga.
Vël nutarus leisti á apyvartà maþøjø nominalø banknotus, juos kû-
rë G. Jonaitis. Nuspræsta 2 litø banknote vaizduoti vyskupà Motiejø
Valanèiø (1801–1875 m.) – þymø lietuviø raðytojà. Jis rûpinosi liau-
dies ðvietimu, steigë parapines mokyklas, reikalavo, kad jose bûtø mo-
koma lietuviðkai, kovojo su girtavimu. Savo knygose, skirtose papras-
tiems kaimieèiams, vyskupas smerkë girtavimà, tamsumà, skatino ðvies-
tis, stiprinti katalikybæ. Jo knygelës „Palangos Juzë“ herojus – per kai-
mus keliaujantis ðmaikðtus siuvëjas Juzë – populiarus ir ðiandien.
M. Valanèiaus portretà reverse palydëti Trakø pilimi nebuvo tin-
kamas komisijos sprendimas. Greièiausiai tai automatiðkai paveldëta
ið anksèiau L. Pociaus komponuoto 2 litø banknoto. Tiesa, vyskupo
knygelëse kalbama apie lietuviø kovas su kryþiuoèiais, bet tai nebuvo
pagrindinë jo apsakymø tema. Jis daugiau dëmesio skyrë liaudies pa-
proèiams, tautosakai ir buièiai. G. Jonaitis viename ið pirmø bankno-
to eskizø reverse vaizduoja þemaitiðkà koplytëlæ. Sudëtingos architek-
tûros, ið keturiø daliø susidedantis kaimo skulptoriaus kûrinys ne tik
idëjiðkai labiau artimas baþnyèios tematikai, bet bûtø ir liaudies meno
populiarinimo priemonë. Be to, graþios architektonikos, stogeliø, ko-
lonëliø, ornamentø, ðviesos ir ðeðëliø þaismo turtingas objektas bûtø
gerai tikæs sudëtingam pieðiniui, kuris bûtinas banknotui. Labai ádo-
miai atrodë ir kitas autoriaus pasiûlymas reverse ákomponuoti garsaus
kryþiø meistro Vinco Svirskio reljefà „Ðv. Izidorius – artojas“. Iðliku-
siame eskize jis, áspraustas tarp horizontaliø ornamento juostø, yra
per daug maþas, kad uþpildytø reverso staèiakampá. Reljefà padidi-
nus, galëjo iðeiti graþi kompozicija, prasmingai pratæsianti M. Valan-
èiaus – katalikiðkø liaudies tradicijø puoselëtojo, paprastø þmoniø glo-
bëjo – temà.
Pagrindinis reverso komponentas – Trakø pilis – prasmingas ar-
chitektûros paminklas, tinkantis banknotui. Pilis – populiarus turiz-
mo objektas, gausiai lankomas net tik lietuviø, bet ir uþsienieèiø, daug
ansamblio fotografijø yra albumuose apie Lietuvà. G. Jonaitis pasi-
rinko ádomø þiûrëjimo taðkà, leidþiantá parodyti sudëtingà ansamblio
planà, jo bokðtø, gynybiniø sienø iðdëstymà. Kontrastingas apðvieti-
mas akcentuoja ritmiðkà ðviesiø ir tamsiø dëmiø þaismà. Kitaip negu
1 lito banknote, tamsûs medþiø guotai iðryðkina monumentalias pa-
100 Lietuvos banknotø kûrimo bruoþai
As has been mentioned above, the design of the 2 litas banknote
was first entrusted to Liudvikas Pocius. The style of his sketches was
very close to that of the interwar Lithuanian banknotes: manifold
complex structure of ornaments containing gothic elements, intri-
cate, stylised denomination numerals and coat-of-arms shields. The 2
litas banknote with the portrait of Vytautas the Great and the Trakai
Castle served as a good illustration to support this statement. This
style, of course, was not suitable for modern currency and the author
had to redesign the banknote under the scheme worked out by the
joint efforts of the team. Later sketches of Pocius (a young girl dressed
in the national costume on the front and Trakai Castle on the back of
the note) clearly revealed the same vision as that of other authors
designing the banknotes of low denominations. If the portrait were
placed on the right-hand side, and the horizontal ornaments were made
brighter, the front of his note would be in full conformity with the set
scheme. Only the back of the note should be slightly improved, as the
castle represented on the back was very monumental and impressive.
Later, when the decision regarding the issue of low denomination
banknotes into circulation was revised, their designs were created by
Jonaitis. It was decided that Bishop Motiejus Valanèius (1801–1875),
a famous Lithuanian writer, should be featured on the 2 litas note.
The decision of the Commission that the portrait of Valanèius
should be supplemented with the image of Trakai Castle on the back
of the note was not quite adequate. It was probably automatically
inherited from the 2 litas banknote previously designed by Pocius. In
fact, the Bishop did describe the fights of the Lithuanians against the
Crusaders in his books, however the theme did not prevail in his sto-
ries. He mainly focused on the traditions, folklore and mode of life of
the people. One of the first 2 litas note sketches drawn by Jonaitis
bore a Samogitian chapel on the back. The architecturally complex
construction of four components created by a country sculptor would
have been much closer to the church motif from point of view of the
topic but would also have served as a means to popularise folk art. In
addition, an object rich in its architectonic play of tiny roofs, pillars,
ornaments, lights and shadows would have been much more suitable
for a complex drawing – a must for a banknote. The other proposal of
the author that the relief “St Isidore the Ploughman” carved by a
prominent master of cross-making Vincas Svirskis should be incor-
porated on the back was also very interesting. In a remaining sketch
the image of the relief was placed between the horizontal ornamental
bands and was too small to completely fill the rectangular space of the
back. If enlarged, the relief could have resulted in a nice composition,
meaningfully extending the theme of Valanèius, a fosterer of Catho-
lic national traditions and guardian of the simple people.
The key component of the back of the note, Trakai Castle, is an
expressive architectural monument suitable for a banknote. The castle
is a very popular object of tourism, often visited both by Lithuanians
and foreigners, and its photos are printed in many albums on Lithuania.
 Banknoto projektas.
Dail. L. Pocius

The banknote’s design by

L. Pocius

Design Peculiarities of Lithuanian Banknotes 101

 Vytautas Didysis.
Dail. L. Pociaus pieðinys

Vytautas the Great.

Drawing by L. Pocius

102 Lietuvos banknotø kûrimo bruoþai

 „Birutë“.
Dail. L. Pociaus pieðinys

“Birutë”.
Drawing by L. Pocius

Design Peculiarities of Lithuanian Banknotes 103

104 Lietuvos banknotø kûrimo bruoþai
 Trakø salos pilis.
Dail. L. Pociaus pieðinys

Trakai Island Castle.

Drawing by L. Pocius

Design Peculiarities of Lithuanian Banknotes 105

 Banknoto projektas.
Dail. L. Pocius

Dail. L. Pocius pieðia

iðdidintà banknoto
projektà

The banknote’s
design by L. Pocius

Designer L. Pocius
drawing the banknote’s
enlarged design

106 Lietuvos banknotø kûrimo bruoþai


statø formas. Gaila, kad tik poroje vietø parodyti kranto fragmentai
nesukuria salos áspûdþio, o tai vaizdui galëjo suteikti dar daugiau jau-
kumo. Taèiau èia pieðiamas ne atvirukas, o banknotas, ir ne tiek svar-
bu parodyti pilá su visa jos egzotika, kiek sukomponuoti estetiðkà ðiuo-
laikiná pinigà.
Kaip ir 1 lito banknote, per daug þemai ákomponuotas valstybës
herbas, be to, aktyvûs ornamentai trukdo ramesniam herbo pieðiniui.
Horizontalios gotikinio charakterio ornamento juostos per daug ðvel-
nios ir subtilios, kad árëmintø aktyvià banknoto plokðtumà. Nominalo
skaièius kairëje apaèioje vos matomas. Reverse aiðkiai matomas tik tam-
sus nominalo skaièius deðinëje virðuje. Jis subalansuoja kompozicijà.
Ðio banknoto averso kompozicijos schema tokia pat kaip ir 1 lito.
Stambaus plano portretas iðkyla ið apatinës ornamento juostos ir vir-
ðugalviu ið dalies dengia virðutinæ. Skvarbus vyskupo þvilgsnis, puikiai
sumodeliuotas veidas – G. Jonaièio nuopelnas. XIX a. profesionalo
fotografijoje, kuria naudojosi dailininkas, apðviestoji veido pusë plokð-
èia, ir tik gero pieðëjo ágûdþiai veidui suteikë gyvumo ir reljefiðkumo.
Neakcentuodamas smulkiø raukðleliø, iðryðkindamas tik svarbiausias
veido individualumà pabrëþianèias formas, dailininkas pasiekë mo-
numentalumo ir sodrumo.
Þemaitës portretas pavykæs kur kas geriau negu M. Valanèiaus.
Èia, nors ir iðlaikydamas aukðtà profesiná lygá, graveris neiðvengë kai
kuriø klaidø. Neátikinamai kieta plaukø sruoga deðinëje, o vyskupo
pelerina abiejose kabanèios grandinëlës pusëse atrodo taip, lyg bûtø ið
kitokio audinio. Be to, ji sumargina ir taip jau aktyvià ir ðviesià, dë-
mesá nuo veido atitraukianèià drabuþiø grafikà. Grandinëlë neplastið-
ka – lyg kabëtø ne ant þmogaus kaklo, o ant lygaus stalo. Visai averso
kompozicijai trûksta kontrastingumo – tik maþieji tamsûs nominalo
skaièiai kairëje pagilina toniná sprendimà. Vyskupo veidui kontrasto
uþtenka, taèiau jo drabuþis, galëjæs portretui suteikti svorio, praskydæs
ir susiliejæs su ornamentuota fono plokðtuma. Didelis nominalo skai-
Banknoto projekto eskizai.
Dail. G. Jonaitis
Jonaitis chose an interesting point of view of the castle, enabling him
to show the complex view of the castle ensemble and the layout of its
towers and defence walls. Contrasting lighting accentuates the rhyth-
mic play of light and dark spots. Contrary to the 1 litas note, the dark
clusters of trees serve to outline the monumental forms of the build-
ings. It is a pity that the small fragments of the coastline do not create
the impression of an island while this would have added much more
cosiness to the scene. Yet the drawing was meant for a banknote, not
a postcard, and it was not so important to show the castle and its
whole exotica but to compose a modern aesthetic note.
The front layout of the 2 litas banknote is the same as of the 1 litas
note. The close-up portrait emerges out of the bottom ornamental
band and the top band is partly covered by the vertex of Valanèius.
The piercing look and perfectly modelled face of the Bishop is the
achievement of Jonaitis. The lit-up side of the face in the professional
19th century photo used by the designer is flat, and only the skill of
the talented painter added vitality and relief to the face. Without ac-
centuating tiny wrinkles and outlining only the key individual forms
of the face the artist achieved an impression of monumentality and
richness.
The engraved portrait of Þemaitë is much better than that of
Valanèius. The engraver did not manage to avoid some mistakes, not-
withstanding the fact that, in general, the engraving is performed very
professionally. He used enough contrast in the Bishop’s face, how-
ever his robe, which might have added some weight to the portrait,
seems to be thinned and merges with the ornamented pattern of the
background. The big denomination numeral which is an important
component of the note becomes indistinct against the background
and, in fact, invisible under poor light.
Sketches for the
The colour scheme of the banknote is cold green, which becomes banknote’s design
livelier on the back due to the introduction of dark green hues. The by G. Jonaitis
Design Peculiarities of Lithuanian Banknotes 107
 Banknoto fragmentas –
Trakø salos pilies
graviûra

Detail from the banknote:

engraving of Trakai Island
Castle

108 Lietuvos banknotø kûrimo bruoþai

 Trakø salos pilis.
Fotogr. J. Polis

Trakai Island Castle.

Photo by J. Polis

Design Peculiarities of Lithuanian Banknotes 109

M. Valanèius. Fotografija

M. Valanèius.
Dail. G. Jonaièio pieðinys

M. Valanèius, photograph

M. Valanèius.
Drawing by G. Jonaitis

110 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 111
 M. Valanèiaus portreto
graviûra

Engraving of the portrait

of M. Valanèius

112 Lietuvos banknotø kûrimo bruoþai


èius – svarbus banknoto komponentas – paskæsta fone ir, esant pras-
tesniam apðvietimui, praktiðkai nematomas.
Spalvinë banknoto gama – ðalta þalia, jà reverse ðiek tiek pagyvina
tamsiai þali tonai. Dailininko eskizuose galima pamatyti ir subtilesniø
spalviniø sprendimø, gaila, kad ðilta, intensyvi, vadinamoji Veronezës,
þalia spalva buvo pakeista ðalta, ðviesia smaragdine. Reverse áspûdá pa-
taiso medþius suðildanti geltona spalva, taèiau dideliø smaragdiniø plokð-
tumø santykis su ochros spalva nesudaro malonaus akiai kolorito.
Banknoto apsaugos priemonës áprastos – tai vandenþenklis Vytis,
apsauginis siûlelis, mikrotekstai, liuminescuojantys skaièiai ir tikslaus
sutapimo þenklas. Banknotø popieriaus pavirðiuje iðsimëtæ spalvoti
plauðeliai, matomi plika akimi, ultravioletiniuose spinduliuose liumi-
nescuoja þalia ir raudona spalvomis.
1993 m. laidos banknotà atspausdino Thomas De La Rue spaustuvë.
Dailininkas G. Jonaitis
sketches of the artist display also subtler colour solutions and it is
only a pity that the warmer and more intensive green colour, also
called Veronese, was replaced by the cold and lightened emerald green.
On the back of the note the impression is improved by the yellow
colour, which makes the trees livelier, although the proportion of the
large emerald green planes to the colour of ochre does not produce an
appealing colouration.
The security features of the banknote are traditional: the water-
mark Vytis, a security thread, microtexts, luminescent numerals and
a see-through feature. The banknote paper contains embedded colour
fibres that are visible to the naked eye and fluoresce under ultraviolet
light in green and red.
The 2 litas banknote of 1993 issue was printed at the Thomas de
La Rue printing company.
Designer G. Jonaitis
Design Peculiarities of Lithuanian Banknotes 113
 Penkiø litø banknotas
Five Litas Banknote

114 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 115
 Kaip rodo eskizai, ið pradþiø 5 litø banknoto tema buvo S. Dariaus
ir S. Girëno þygdarbis. Vëliau buvo nutarta lakûnus vaizduoti 10 litø
banknote, o 5 litø banknote – J. Jablonská.
Jonas Jablonskis (1860–1930 m.) daug nusipelnë normindamas lie-
tuviø kalbà. Jis gerai mokëjo suvalkieèiø tarmæ, kurios pagrindu XIX a.
pabaigoje formavosi bendrinë lietuviø kalba. Mokslininkas, siekdamas
jà patobulinti, pritaikyti modernios visuomenës reikmëms, raðë straips-
nius kalbos kultûros klausimais, parengë ir iðleido ne vienà vadovëlá. Jis
taisë ávairiø laikraðèiø ir leidiniø kalbà, rûpinosi terminija, valë ið jos per
amþius susikaupusius barbarizmus.
Komisijai rekomendavus ðiame banknote áamþinti J. Jablonská, dai-
lininkas medþiagos ieðkojo savarankiðkai. Jis kreipësi á þinomà kalbinin-
kà, monografijos apie J. Jablonská autoriø, A. Piroèkinà. Jo padedamas
ið gana gausios ikonografinës medþiagos atrinko portretà, parodantá
mokslininko charakterá bei veiklà, ir kartu gerai paþástamà visø visuo-
menës sluoksniø þmonëms. J. Jablonskio portretas net tarybiniais me-
tais kabojo lietuviø kalbos kabinetuose, jo vardas buvo minimas pamo-
kose.
Dailininko pasirinktame portrete mokslininkas jau senas, apsiren-
gæs kambariniu ðvarku, ant galvos – XIX a. mokslininkø mëgstama ap-
vali kepuraitë. Ðià iðraiðkingà fotografijà dailininkas ir áteikë graveriui.
Portretai 1 ir 2 litø banknotuose buvo iðgraviruoti meistriðkai. Ðvel-
niø perëjimø toniná pieðiná perkeldamas á daug grieþtesniø linijø struk-
tûriná vaizdà, spaustuvës graveris në kiek nepaþeidë portretuojamo þmo-
gaus individualybës, jo nuotaikos, graþiai perteikë aprangos detales ir jø
plastikà, þodþiu, sukûrë tikrà grafikos meno kûriná. J. Jablonskio por-
treto graviûros linijos kietos, monotoniðkos, jis labai skiriasi nuo Þe-
maitës ir M. Valanèiaus portretø. Þymøjá kalbininkà atpaþástame – tam
labai padeda minëtos aprangos detalës, apvali kepuraitë, taèiau portre-
tas kelia ir abejoniø. Veido ir barzdos kietø linijø grafikà keièia dar
kietesnës, tarsi skriestuvu iðvestos drabuþiø linijos ir formos. Aprangos
raukðliø kontrastingumas uþgoþia veidà, taèiau tamsios kepuraitës silu-
eto lankas graþiai iðryðkina kaktos iðkilumà. Tamsesnio tono ðvarkas
bûtø labiau tikæs portretui.
Bendradarbiaujant su spaustuve, dailininkui gerai pavyko parinkti ir
sukomponuoti horizontaliø juostø ornamentus. Jie sudëtingo, banknotui
bûdingo, taèiau neákyraus pieðinio. Portreto fonà dengianti struktûra
yra dalis didelio apskritimo, kurio centras – mokslininko veido ovalo
viduryje. Portreto kairëje pusëje apskritimas yra ramaus giljoðinio, rel-
jefà imituojanèio pieðinio, primenanèio lietuviðkø medþio droþiniø or-
namentus, o deðinëje aðtraus silueto spinduliai primena iðskleistà pra-
ëjusiø amþiø damos vëduoklæ. Plokðèios spinduliø kraðtinës nesiderina
su sudëtinga aplinka, portretu ir dideliu nominalo skaièiumi. Dar la-
biau netinka grieþtu elipsës lanku uþsibaigiantis ðeðëlis, kuris, nors ir
neturi nei idëjinio, nei informacinio krûvio, krenta á akis daug ákyriau
negu ðviesiame lauke labai svarbus banknoto elementas – ðviesus nomi-
nalo skaièius. Dantytas vëduoklës kraðtas sutampa su skaièiaus silueto
linija ir tai trukdo skaièiui. Aversui trûksta toninio akcento, kuris su-
116 Lietuvos banknotø kûrimo bruoþai
The sketches show that originally the theme chosen for the 5 litas
banknote was the heroic deed of Steponas Darius and Stasys Girënas.
Later it was decided to feature the pilots on the 10 litas note, and
Jonas Jablonskis on the 5 litas.
Jonas Jablonskis (1860–1930) deserved recognition for standard-
izing the Lithuanian language. He had deep knowledge of the
Suvalkian dialect on the basis of which the literary Lithuanian lan-
guage formed in late 19th century.
The portrait chosen by the artist shows the scholar in old age,
wearing a casual jacket and a small round brimless hat traditionally
worn by 19th century scholars. It was this expressive photo that the
designer passed on to the engraver.
The 1 litas and 2 litas banknotes were engraved masterfully. By
transferring the drawings with soft tonal shifts into a structural image
of much stricter lines, the engraver did not hurt either the individual-
ity of the portrayed persons or their mood; he perfectly conveyed
details of clothes and their plasticity. In short, the engraver created a
real piece of graphic art. In contrast, the lines of the engraving of
Jablonskis’ portrait are hard and monotonous making it completely
different from the portraits of Þemaitë and Valanèius. The famous
linguist can be easily identified in the portrait: the above details of the
robe and the round hat serve the purpose well, while there may be
some doubts concerning the portrait itself. The graphics of hard lines
of the face and beard change into even more rigid lines and forms of
the clothing, as if drawn by a compass. The contrasts of the wrinkles
of the clothes overshadow the face, although the bow of the dark hat
nicely outlines a prominent forehead. A darker tone of the jacket would
have been more suitable for the portrait.
In co-operation with the printers the artist succeeded in choosing
and composing the ornaments of the horizontal bands. They are elabo-
rate and peculiar to banknotes, yet their pattern is not boring. The
structure of the background is a part of a big circle, the centre of
which is at the midpoint of the face oval. To the left of the portrait
the circle has a guilloche-imitating pattern which bears a resemblance
to the Lithuanian wood carving ornaments, and the sharp contours
of the beams to the right of the portrait resemble a spread-out fan
used by fashionable women in the past centuries. The flat edges of the
beams do not harmonize with the intricate surroundings, the portrait
and a large denomination numeral. Even more unsuitable is a shadow
which ends in a rigid bow of an ellipsis. Though conveying neither
topical nor informative meaning it strikes the eye much more annoy-
ingly than the denomination numeral 5 which is a very important
element in a rather light field of the note. The toothed edge of the fan
coincides with the contour of the numeral and thus obstructs it. The
front of the banknote lacks a tonal emphasis which would add some
vividness and relief to the composition, and would bring the portrait,
denomination numerals and texts to the foreground.
Dominating on the back of the note is the famous sculpture “School
 Banknoto projekto
eskizai.
Dail. G. Jonaitis

Sketches for the

banknote’s design by
G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 117

Banknoto projekto eskizai.
Dail. G. Jonaitis

Sketches for the

banknote’s design by
G. Jonaitis

118 Lietuvos banknotø kûrimo bruoþai

 J. Jablonskis. Fotografija

J. Jablonskis, photograph

Design Peculiarities of Lithuanian Banknotes 119

Dail. P. Rimðos skulptûra
„Vargo mokykla“.
Retuðuota fotografija

„Vargo mokyklos“
graviûra

Sculpture “The School of

Misery” by P. Rimða,
retouched photograph

Engraving of
“The School of Misery”

120 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 121
teiktø kompozicijai gyvumo ir reljefiðkumo, iðkeltø á pirmà planà svar-
biausius komponentus – portretà, nominalo skaièiø, tekstus.
Reverso kompozicijos dominantë – dailininko Petro Rimðos skulp-
tûra „Vargo mokykla“. P. Rimða raðë norëjæs „iðreikðti dëkingumà ir
savo mamai, visus vaikus iðmokinusiai prie ratelio lietuviðkai skaityti, ir
visoms moterims, turëjusioms valios ir energijos joms prieinamu bûdu
kovoti su cariniais suvarþymais“. Taigi skulptûra – paminklas visiems
tiems, kurie caro priespaudos metais nepabûgo gresianèios tremties, sau-
gojo ir puoselëjo lietuvybæ. Skulptûra pratæsia J. Jablonskio – moksli-
ninko – temà, tuo paèiu laikotarpiu kovojusio uþ lietuviø kalbos atgi-
mimà ir nepailstamai jà tobulinusio.
P. Rimða sukûrë kelis skulptûros variantus, gana ryðkiai besiskirian-
èius vienas nuo kito. G. Jonaitis pasirinko vienà ið vëlesniø, kurio bron-
zos liejinys yra Kaune M. K. Èiurlionio muziejuje. Banknoto dailinin-
kas skulptûrà pieðë ir fotografavo esant ávairiam apðvietimui ir ið ávairiø
taðkø. Pagaliau apsistojo prie, jo poþiûriu, tinkamiausio varianto. „Skulp-
tûrai bûdinga paprasta ir kartu apgalvota, mases ir aþûrus jungianti kom-
pozicija, figûrø judesio ir situacijos natûralumas. Nepaisant savo „konspi-
racinës“ átaigos, skulptûra alsuoja jaukia ir ramia nuotaika“, – raðoma
„XX a. lietuviø dailës istorijoje“. Jau vien ðis apibûdinimas rodo, kad
„Vargo mokykla“ nevisiðkai tipiðka skulptûra. Tai labai sudëtingos, dau-
giaplanës kompozicijos kûrinys. Jos silueto neámanoma padaryti deko-
ratyvø nepakenkiant turiniui ir meninei iðraiðkai. Þmogui, neþinanèiam
skulptûros istorijos, ji sunkokai suprantama, todël nelabai tiko plataus
kasdienio vartojimo objektui – banknotui. G. Jonaièiui teko sunkus
uþdavinys – ðá sudëtingà þanriná kûriná kiek ámanoma priartinti prie
simbolio iðraiðkos. Dailininkas skulptûrà apibendrino, atsisakë smulkiø
detaliø, toniniø niuansø, bet per daug nesikiðo, kad neiðkreiptø jos siu-
þetinio charakterio ir stilistikos. Vertikalus skulptûros siluetas nevisið-
kai proporcingai ákomponuotas ilgame banknoto staèiakampyje, kairy-
sis jo kraðtas per daug apkrautas, o deðinysis lieka visiðkai tuðèias. Padëtá
ðiek tiek gelbsti ornamento juostos, kartojanèios averso juostø audiná,
tuo tarpu skulptûros fonas ið dalies keiðiasi – vëduoklës motyvà iðlygina
smulkios giljoðo struktûros.
Spalvinë kupiûros gama – þydra violetinë. Averse intensyvia mëlyna
spalva akcentuoti nominalo skaièiai, ðvelniau mëlyna – banknoto plokð-
tuma. Ðaltos violetinës spalvos portretas ir raudoni bei violetiniai orna-
mentai averse sudaro gana sudëtingà spalvinæ struktûrà, tuo tarpu re-
verse vyrauja violetinë, o roþinë ir þydra spalvos vienoje kitoje vietoje tik
ðvelniai pagyvina spalvinæ kompozicijà.
Banknoto apsaugos priemonës áprastos. Ið jø paminëtinos: vanden-
þenklis Vytis, apsauginis siûlelis su mikrotekstu banknoto kairëje, ma-
tomas tamsiu brûkðniu þiûrint prieð ðviesà. Kai kurie komponentai –
vëduoklës klosèiø briaunos, plika akimi nematomais daþais atspausdin-
tas kvadratas su nominalo skaièiumi – apðvietus ultravioletine ðviesa,
liuminescuoja geltona ar þalia spalvomis.
1993 m. laidos banknotà atspausdino Thomas De La Rue spaustuvë.
122 Lietuvos banknotø kûrimo bruoþai
of Misery” by Petras Rimða. The sculptor wanted, as he put it down,
“to express the gratitude to my mother, who had taught all her children
to read in Lithuanian while sitting at a spinning-wheel, as well as to all
women, who had enough will and energy to fight against the czarist
restrictions in their own ways”. Thus, this sculpture is a monument to
all those who were not frightened by the menace of deportations, who
were the guardians of the Lithuanian identity and cherished it over the
years of the czarist oppression. The sculpture extends the theme of Jonas
Jablonskis as a scholar, who at the same time was fighting for the revival
of the Lithuanian language and was tirelessly developing it further.
Rimða made several rather different variants of the sculpture. Jonaitis
made his choice from the later versions the bronze cast of which is held
at the M. K. Èiulionis Museum in Kaunas. The artist made drawings
and took photographs of the sculpture under different lighting and
from various angles. He finally selected the most suitable from his point
of view. History of the Lithuanian Art of the 20th Century wrote: “The
sculpture has a simple and, at the same time, thought-out composition,
uniting the mass and the laced ornaments, and a naturally expressed
motion and situation. Despite its ‘conspiratorial’ suggestiveness, the
sculpture pulsates with a cosy and peaceful mood”. This description
shows that the “School of Misery” is not quite a typical sculpture – it is
a piece of art of a very complex multi-planed composition. It is not
possible to make its outline decorative without harming its contents
and artistic value. The sculpture is difficult to comprehend to a person
who does not know its history and, therefore, it is not quite suitable for
an object of daily use – a banknote. Jonaitis faced a challenging task of
bringing this complex piece of art closer to symbolic expression. The
artist generalised the sculpture by removing the details and tonal nu-
ances, but avoided interfering too much in order not to distort the
topical character and style. A vertical shape of the sculpture was not
quite proportionally incorporated into the long rectangular of the
banknote: the left edge of the note was overloaded with elements, while
the right edge remained completely blank.The prevailing colour of the
note is azure violet. On the front the intense azure singles out denomi-
nation numerals while the background is light blue. The portrait in
cold violet blue and ornaments in red and violet make up quite a com-
plex structure of colours on the front, and the violet colour dominates
on the back, while the colouring of the composition is made slightly
more vivid by introducing rosy and azure here and there.
The banknote contains the usual security features, among which the
watermark, the Vytis, and the security thread with a microtext, visible
as a dark line when the note is held against the light on the left-hand
side of the note, should be singled out. Some of the components –
edges of the fan folds, a square with the denomination numeral printed
in invisible inks – fluoresce under ultraviolet light in yellow or green.
The five litas banknote of 1993 issue was printed at the Thomas De
La Rue printing company.
 Banknoto fragmentas –
giljoðas

Detail of the banknote,

guilloche

Design Peculiarities of Lithuanian Banknotes 123

 Deðimties litø banknotas
Ten Litas Banknote

124 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 125
 Maþøjø nominalø banknotø komponavimo schema abiem pusëms
buvo bendra, banknotai vienas nuo kito skyrësi tik portretu ir spalva.
Juos, kaip minëta, kûrë vienas autorius, o 10, 20 ir 50 litø banknotus
projektavo skirtingi autoriai. Nors ir siekta nenutolti nuo uþsibrëþtos
stilistinës vienovës, laikytis ðios nuostatos iki galo nepavyko. Leidþiant
vëlesnes 10 litø banknotø laidas, stengtasi tai iðtaisyti.
Ið pradþiø portretai banknotuose buvo komponuojami averso cent-
re, taèiau K. Lynikas iðaiðkino, kad banknotai daþniausiai lenkiami
per pusæ, ir centre nupaiðytas portretas bus nuolat perlenkiamas. Bank-
notui dar nesusidëvëjus, portretuojamasis jau bus neatpaþástamas. Be
to, ir nejauku lenkti pinigà per þmogaus veidà. Taigi buvo nutarta
portretus komponuoti deðinëje banknoto pusëje, kairájá kraðtà palie-
kant vandenþenkliui. Ðios komponavimo schemos laikytasi visø no-
minalø banknotuose.
Laikinai atsisakius maþøjø nominalø banknotø ir visas jëgas sutel-
kus á didþiuosius, G. Jonaièiui buvo pavesta projektuoti 10 litø bankno-
tà. Autorius praktiðkai jau baigtà 5 litø banknoto kompozicijà pritai-
kë 1991 m. 10 litø banknotui.
S. Dariaus ir S. Girëno skrydis per Atlantà ir jø tragiðka þûtis ant
Lietuvos slenksèio – vienas ið XX a. garsiausiai pasaulyje nuskambëju-
siø lietuviø þygdarbiø.
S. Darius (Steponas Jusevièius, 1897–1933 m.) ir S. Girënas (Sta-
sys Girskis, 1891–1933 m.) – abu þemaièiai. Dar maþi bûdami, kartu
su tëvais persikëlë á JAV. Sumanæ iðgarsinti Lietuvos vardà skrydþiu
per Atlantà, 1933 m. liepos 15 d. jie pakilo ið Niujorko oro uosto.
Perskridæ vandenynà, jie þuvo audringà naktá Prûsijoje, netoli Soldi-
no miestelio (dabar Misliboþas Lenkijoje).
Kaip jau minëta, averso centre buvo ákomponuoti lakûnø portre-
tai, o reverse – „Lituanica“, skrendanti virð audringo vandenyno ið
Amerikos á Europà, á Lietuvà. G. Jonaitis prisimena, kad jam tada ir á
galvà neatëjo, jog kruopðtus jo pieðinukas bus reprodukuotas be jokiø
banknotui bûdingø ámantriø ornamentø ir apsaugos priemoniø. Jis
manæs, kad jo kompozicija – tik idëja, banknoto griauèiai, pagal ku-
riuos toliau dirbs pinigø gamybos specialistai.
USBC spaustuvëje buvo ádiegta keletas paprasèiausiø banknotø ap-
saugos priemoniø: pagamintas specialus popierius su spalvotais plau-
ðeliais, matomais plika akimi ir liuminescuojanèiais raudona ir þalia
spalvomis apðvietus juos ultravioletine ðviesa, neryðkus ir nepastovus
vandenþenklis Vytis su Gediminaièiø stulpais po juo. Kai kurie kom-
pozicijos elementai liuminescuoja, apatinës rëmo linijos pradþioje yra
mikrotekstas.
Vertinant aversà kaip grafinæ kompozicijà, priekaiðtø nëra daug:
gerai nupieðti portretai, jø tamsus fonas abiejose pusëse pamaþu ðvie-
sëja. Banknoto kraðtuose iðdëstyti kiti svarbûs komponentai: kairëje –
vandenþenklis, deðinëje – didelis nominalo skaièius ir jo iðraiðka þo-
dþiais. Visi banknoto elementai profesionaliai atlikti ir sukomponuo-
ti, kiekvienas savo vietoje, taèiau norimo banknoto vaizdo nëra.
Reverse vaizduojamas „Lituanicos“ skrydis. Ið miglose paskendu-
126 Lietuvos banknotø kûrimo bruoþai
The layout scheme for both sides of all the low-denomination
banknotes was common: the notes differed in portrait and colour only.
As mentioned above, they were designed by the same author, while
the designs of 10, 20 and 50 litas were made by different authors. In
spite of their attempts not to deviate from the targeted stylistic unity,
the authors did not completely achieve this aim.
Originally the portraits were positioned in the centre of the front.
However Kæstutis Lynikas explained that banknotes were usually folded
in half and the centred portrait would be always folded. Thus, the por-
trait would have become unrecognisable well before a banknote be-
came worn out. It was decided, therefore, to place the portraits on the
right-hand side of a note, leaving the left-hand side for the watermark.
After the issue of low denomination banknotes was temporarily
delayed and all effort was concentrated on the notes of higher de-
nominations, Jonaitis was contracted to design the 10 litas banknote.
The author adjusted the nearly completed composition of the 5 litas
note to the 10 litas banknote of 1991.
The flight of Steponas Darius and Stasys Girënas over the Atlantic
Ocean and their tragic death on “the threshold” of Lithuania was one
of the most famous deeds of Lithuanians in the 20th century.
Both Darius (Steponas Jusevièius, 1897–1933) and Girënas (Stasys
Girskis, 1891–1933) were Samogitians. As children they moved with
their parents to the United States of America. There they cherished the
idea of making the name of Lithuania famous and, on 15 July 1933,
their plane took off from New York airport. They successfully crossed
the Atlantic and perished on a stormy night after their plane crashed
near Soldin, a small town in Prussia (present Mysliborz in Poland).
The double portrait of the pilots, as mentioned above, was placed
in the centre of the front of the note and their plane “Lituanica” fly-
ing over the stormy ocean from America to Europe, Lithuania, on the
back. As Jonaitis recollects, he then did not have an idea that his me-
ticulously made small drawing could be reproduced on the note with-
out supplementing it with any intricate ornaments and security fea-
tures characteristic of banknotes.
The USBC printing company introduced into the banknote some
of the most simple security features: special paper with embedded
coloured fibres visible to the naked eye and fluorescent under ultra-
violet light in red and green, and the watermark – the Vytis with
Gediminas Columns. Some elements of the composition were fluo-
rescent. The beginning of the bottom frame of the note contained a
microtext.
The front should not be criticized too much as a graphical composi-
tion: skilfully drawn portraits and the dark background gradually fad-
ing on both sides. Other key elements of the composition were laid out
on the edges of the note: the watermark on the left and the big denomi-
nation numeral and its value in words on the right. All the elements of
the banknote were professionally made and composed, each in its proper
place, yet the desired image of the banknote was not attained.
 Banknoto projekto eskizai.
Dail. A. Mandeika

Sketches for the

banknote’s design by
A. Mandeika

Design Peculiarities of Lithuanian Banknotes 127

 S. Darius. Fotografija

S. Girënas. Fotografija

S. Darius, photograph

S. Girënas, photograph

128 Lietuvos banknotø kûrimo bruoþai

 „Lituanica“ debesyse.
Fotografija

“Lituanica” in the clouds,

photograph

Design Peculiarities of Lithuanian Banknotes 129

sio Amerikos þemyno virð ðëlstanèiø Atlanto bangø lëktuvas verþiasi á
tokio pat neryðkaus kontûro Europà ir jo belaukianèià Lietuvà. Kaip
paveikslas, ði kompozicija taip pat be priekaiðtø: ji turininga, emocio-
nali, áspûdinga. Svarbiausi komponentai – nominalo skaièiai, tekstas,
lëktuvas ir valstybës herbas iðdëstyti dviem horizontaliomis juosto-
mis, centras paliktas didþiulei bangai. Ið pirmo þvilgsnio, banknotas
tuðèias – vien lëktuvas ir nedideli skaièiai kampuose. Paveiksluose toks
komponavimo bûdas áprastas – tuðèia erdvë sutelkia þiûrovo dëmesá á
joje iðdëstytus, kad ir nedaug vietos uþimanèius, taèiau idëjiðkai labai
svarbius komponentus. Paveikslo, bet ne banknoto.
Banknoto abiejø pusiø pieðiniø struktûra – smulkiø, staèiu kampu
susikertanèiø trumpø ðtricheliø pilkas audinys. USBC spaustuvë tik
reprodukavo pieðiná ofsetu.
G. Jonaitis, rengdamas projektà naujai 1993 m. laidai, banko pa-
praðytas, portretus sukomponavo banknoto deðiniame kraðte. Taip
sukomponuotas banknotas buvo panaðesnis á kitus serijos banknotus,
be to, kairiame kraðte palikta vietos vandenþenkliui ir dideliam nomi-
nalo skaièiui. Averso virðuje ir apaèioje nupieðtos plaèios horizonta-
lios ornamento juostos. Kompozicija, be abejonës, labiau tiko bankno-
tui, taèiau estetiniu poþiûriu ji kai ko neteko. Ankstesnio projekto
tiksli simetriðka kompozicija buvo sugriauta, bet ne iki galo. Portre-
tus ákomponavus deðinëje, dideli tekstai liko banknotø centre, juos
dar labiau iðryðkino grubaus pieðinio ornamentas – laurø lapø pynë.
Nenuosekliai nupieðta ir apatinë ornamento juosta. Keisdama cha-
rakterá, kairëje ji pasiekia banknoto kraðtà, tuo tarpu deðinëje nutrûksta
ir baigiasi ties S. Girëno ðvarku.
Palyginti su pirmos laidos pieðiniu, nukentëjo ir iðgraviruoti S. Da-
riaus bei S. Girëno portretai. Jei ne lakûnø apranga, ne tokia kiekvieno
lietuvio akiai áprasta dviejø jaunuoliø, pasipuoðusiø pilotø kepurëmis,
fotografija, juos atpaþinti bûtø sunkoka. Graviûroje neliko individualiø
veido bruoþø – vienodi, taisyklingi veido ovalai, nosys, vienodos akys ir
tik ðiek tiek asimetriðkas S. Dariaus lûpø pieðinys leidþia atskirti vienà
veidà nuo kito. Gana mechaniðkas ir aprangos – kepuriø, ðvarkø,
marðkiniø – vaizdas. Ornamento juostos ið grubiai, retomis storomis
linijomis nupieðtø ir manieringai iðsilanksèiusiø laurø lapø sudaro mar-
gà, tekstams ir skaièiams nepalankø fonà, trukdo smulkesnëmis linijo-
mis modeliuojamiems portretams. Banknoto vaizdà ið esmës keièia plo-
nø linijëliø giljoðo tinklelis, dengiantis visà banknoto staèiakampá, per-
siliedamas ið ryðkiai violetinës á þalià, po to – á raudonà spalvà. Ðis fonas,
giliaspaude spausdinti portretai, sutapimo þenklas, ultravioletinëje ðvie-
soje liuminescuojantis centre esanèio skaièiaus kontûras bei po juo esantis
nominalo skaièius – papildomos apsaugos priemonës.
Reverso pakitimai ne tokie ryðkûs, taèiau jie aiðkiai pastebimi. Pa-
grindiniø komponentø – „Lituanicos“ ir þemynø, nominalo skaièiø ir
tekstø padëtis keièiasi nedaug. Vieno skaièiaus aukðtai kairëje atsisa-
koma, kito tik pasikeièia spalva, taèiau virð audringos jûros skrendan-
tá lëktuvà sunku atpaþinti, jis labai skiriasi nuo pirmos laidos bankno-
to lëktuvo. Kad kompozicija labiau tiktø banknotui, þemynai ir lëk-
130 Lietuvos banknotø kûrimo bruoþai
The back depicts the flight of the “Lituanica”. The plane flies over
the raging waves of the Atlantic rushing from the indistinct continent
of America to dimly contoured Europe and Lithuania impatiently
waiting for its arrival. As a composition, this would not draw any
criticism either: it is meaningful, emotional and impressive. The main
components – denomination numerals, texts, the plane and the state
emblem are laid out in two horizontal lines and the space in the cen-
tre is left for a huge wave. At first sight, the banknote seems to be
empty – just a plane and small figures in the corners. Such a compo-
sition is usual in pictures as unfilled space enables the viewer to con-
centrate attention on the arranged components, which, though occu-
pying little space, are very significant from the point of view of the
idea. But this is appropriate for a picture, not a banknote.
While preparing the design for the 10 litas banknote of the new
1993 issue, at the request of the Bank of Lithuania, Jonaitis placed
the portrait on the right-hand side of the front. Such a layout made
the banknote closer to other banknotes of the series. In addition, space
was provided on the left-hand side for the watermark and a large de-
nomination numeral. At the top and bottom edges of the front two
horizontal wide bands were drawn. This composition, no doubt, was
more suitable for a banknote, but it lost something from the aesthetic
point of view. By placing the portrait on the right side large texts
remained in the centre of the note and the rough drawing of the orna-
ment of laurels made them even more exposed. The drawing of the
bottom band was also inconsistent: on the left the band reached the
left edge of the banknote, while on the right it abruptly ended at the
intersection with the jacket of Girënas.
Compared to the drawing of the first issue, the engraved portrait
of Darius and Girënas also suffered. The individual features of the
faces disappeared leaving the same regular face ovals, noses and eyes.
Only a slightly asymmetric drawing of Darius’ lips made the faces
different. The image of dress – peaked caps, jackets and shirts – is
rather mechanical. The ornamented bands of pretentiously interlaced
laurel leaves sparsely drawn in thick lines create an adverse motley
background for the texts and figures and suppress the portraits mod-
elled from thinner lines. The look of the banknote was basically
changed due to the guilloche fine-line structure covering the whole
rectangular of the banknote and changing in colour that shifts from
bright violet to green and then red. This background, the intaglio-
printed portraits, the see-through feature, the outline of the figure in
the centre fluorescent under ultraviolet light and the denomination
numeral are additional security features.
The changes on the back are not so distinct, though still evident.
The positioning of the key components – the plane “Lituanica” and
the continents, denomination numerals and texts – did not change
much: only one numeral was removed from the top left corner and
the colour of another numeral was changed. In order to make the
composition more suitable for the banknote, the continents and the
 Pirmos laidos banknotas.
Dail. G. Jonaitis

Banknote of the first issue.

Design by G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 131

Antros laidos banknotas.
Dail. G. Jonaitis

Banknote
of the second issue.
Design by G. Jonaitis

132 Lietuvos banknotø kûrimo bruoþai

 Banknoto fragmentas –
S. Dariaus ir S. Girëno
portretø graviûros
negatyvas

Detail from the banknote:

engraving of the portraits
of S. Darius and S. Girënas

Design Peculiarities of Lithuanian Banknotes 133

 Treèios laidos banknoto
fragmentas

Detail from the banknote

of the third issue

134 Lietuvos banknotø kûrimo bruoþai

 Treèios laidos banknoto
fragmentas

Detail from the banknote

of the third issue

Design Peculiarities of Lithuanian Banknotes 135

tuvas buvo perpieðti vadovëliðkai tiksliai, kietomis techninio brëþinio
linijomis. Buvæs audringas dangus tapo lygiu, giedriu skliautu ið mo-
notoniðkai plaukianèiø vingiuotø linijëliø mezginio. Bangos surikiuo-
tos á lygiagreèias eilutes. Bet labiausiai nukentëjo þemynai. Ankstes-
niame banknote á miglà nuskendusios pietinës jø dalys dabar ágijo
ryðkø kontûrà, kurá nukerta paðiauðta jûros horizonto linija. Todël
vietoje Europos matome kaþkokià naujà neþinomà þemæ – Europà be
Italijos ir Graikijos, be Vidurþemio jûros ðiauriniø krantø. Kaip raðy-
davo senuose þemëlapiuose – terra incognita.
Pakeitimai buvo daromi tam, kad pirmos laidos paveikslëlis taptø
panaðus á banknotà, kad jis bûtø neáveikiamas falsifikatoriams. Ið da-
lies tikslas buvo pasiektas, bet su didþiuliais banknoto, kaip taikomo-
sios grafikos kûrinio, skirto ne tik pilieèiø kasdienëms reikmëms, bet
ir reprezentuoti ðalá bei jos kultûrà, nuostoliais.
1993 m. laidos banknotà, kaip ir pirmosios, spausdino USBC spaus-
tuvë.
1997 m. pasirodë dar viena to paties banknoto laida, atspausdinta
Thomas De La Rue spaustuvëje. Jo aversas buvo papildytas giljoðo or-
namento rozete, sudaranèia pagrindà didþiajam nominalo skaièiui. La-
biau komplikuota yra banknoto plokðtumø struktûra ir iki kompozi-
cijos kraðto deðinëje pratæsta siauresnë apatinë juosta. Aversas atrodo
vientisesnis, ryðkus nominalo skaièius pabrëþia pinigo charakterá.
Gerokai daugiau naujoviø ádiegta reverse. Nors nei pagrindiniai
komponentai, nei jø iðdëstymas nepasikeitë, tik Europa „atgavo“ savo
pietinæ dalá, taèiau juos uþgoþusios giljoðo struktûros vaizdà pakeitë ið
esmës. Ið bangos iðkylantys giljoðo ornamento spinduliai uþdengia vi-
sà erdvæ nuo þemyno iki þemyno, kontrastingi, prieðingø poliø spal-
vø – þydros ir oranþinës – pluoðtai visai plokðtumai suteikia margu-
mo. Buvusi putojanti banga pavirto á debesá ið smulkiø taðkeliø, á já
grubiai ásikerta oranþinë giljoðo struktûra. Spinduliai ið esmës pakei-
èia siuþeto turiná – dramatizmo kupina ir tragiðkà baigtá pranaðaujan-
ti scena virto romantiðku, taikiu paveikslëliu. Projekto autorius buvo
nuvykæs á kompanijos, spausdinusios banknotà, spaustuvæ, bet kà ga-
lëjo padaryti tada dar nepatyræs pinigø dizaineris per keletà darbo die-
nø. Dailininkas kritiðkai vertina savo projektuotà banknotà. Jis prisi-
mena: „Tada pirmà kartà kartu su kompanijos dizaineriu sëdau prie
kompiuterio ir turëjau progà tiesiogiai daryti átakà kuriant tam tikras
grafines struktûras, ðiuo konkreèiu atveju dirbau su þemëlapiø kontû-
rais“. Ir toliau: „Banknoto grafika tapo sudëtingesnë, ávairesnë, bet
matau ir trûkumø – pakankamai grubus fonas, kai kur jo negali pa-
slëpti taðkiniu bûdu pieðta banga“.
Baigiant kalbëti apie treèios laidos 10 litø banknotà, galima kons-
tatuoti, kad pinigas tapo saugesnis. Ðalia ankstesniø ádiegta naujø ap-
saugos priemoniø: averse ðalia apatinio nominalo skaièiaus, ornamen-
to juostos kairëje pusëje, atspausdintas kitas tokio pat dydþio skaièius,
bet matomas tik pakreipus banknotà tam tikru kampu, suprojektuo-
tas sudëtingesnis sutapimo þenklas – þvaigþdutë, banknotà dengian-
èià giljoðo struktûrà sunkiau nukopijuoti.
136 Lietuvos banknotø kûrimo bruoþai
plane were re-drawn in a precise academic manner by using hard lines
usually used in technical drawings. The previous image of the stormy
sky turned into a smooth and clear heaven consisting of a structure of
monotonously floating, curved tiny lines. The waves were arranged
in parallel lines. Yet the continents suffered most. Their southern parts,
formerly veiled in mist, now acquired a clear outline cut off by the
horizontal line of the wavy ocean. As a result, instead of Europe one
can see some new unknown land – Europe without Italy and Greece,
without the northern coasts of the Mediterranean Sea. A terra incog-
nita, as used to be marked on old maps.
The 10 litas banknote of 1993 issue as well as the banknote of the
first issue was printed by the USBC.
In 1997 one more issue of the same banknote, this time printed by
Thomas De La Rue, appeared in circulation. The front of the note
was supplemented with a guilloche-ornamented rosette forming a set-
ting for the large denomination numeral. The structure of the planes
of the note is more complicated and a thinner band at the bottom
extends to the right edge of the composition. The front looks more
intact and the bright denomination numeral emphasizes the charac-
ter of the banknote.
Many more innovations were introduced on the back. Though
neither the key components nor their layout changed, with the excep-
tion of Europe which “regained” its southern part, the look changed
completely as it was overshadowed by guilloche structures. The rays
of the guilloche pattern emerging from the waves cover the whole
space from continent to continent; the contrasting pencils of azure
and orange that are at the opposite poles of the colour scale give the
whole picture a motley look. The previous wave turned into a cloud
of tiny dots with a roughly intervening orange guilloche structure.
The rays, in principle, changed the contents of the theme – the dra-
matic scene predicting a tragic end turned into a romantic and tran-
quil picture. The author of the design went to the printing works of
the company producing the banknote, but there was little that the
inexperienced designer could do in a few days. The artist himself ex-
pressed criticism of his banknote. He recollected: “The graphics of
the banknote became more complex and diverse, but I can also see
some drawbacks: a rather rough background, which is difficult to mask
by the wave drawn in dots”.
With reference to the 10 litas banknote of the third issue it may be
said that the banknote was better protected. New security features
were introduced in addition to the existing ones: on the front an extra
latent denomination numeral of the same size as the one on the left-
hand side of the ornamental band at the bottom was printed and
could be visible only when the banknote was tilted towards the light;
more complex was the design of the see-through feature, a star, and
the guilloche structure, covering the whole banknote, was more diffi-
cult to copy.
In 2001 a fourth issue of the 10 litas banknotes appeared. The
 Treèios laidos banknotas.
Dail. G. Jonaitis

Banknote
of the third issue.
Design by G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 137

Ketvirtos laidos banknoto
fragmentas.
Dail. G. Jonaitis
2001 m. pasirodë jau ketvirta 10 litø banknoto laida. Pirminë G. Jo-
naièio sukurta banknoto kompozicija ryðkiau pasikeitë tik spausdi-
nant antrà laidà, o vëliau tik tobulëjo gamybos technologija, gausëjo
apsaugos priemoniø.
2001 m. laidos banknotà spausdino Ðveicarijoje, Ciuriche, ásikû-
rusi Orell Füssli Security Printing Ltd spaustuvë. Jei neþinotume, kad
banknotà spausdino kita firma, kad lakûnø portretai iðgraviruoti ið
naujo, o spræstume tik pagal graviûros linijø tëkmës ir charakterio
analizæ, galëtume pamanyti, kad visø trijø laidø portretus graviravo
vienas ir tas pats meistras. Tik labai atidþiai lyginant galima pastebëti
skirtumus. Tiesa, pastarosios laidos portretai didesni, gal ðiek tiek la-
biau panaðûs á mums gerai paþástamus lakûnus, taèiau beveik visos jau
anksèiau minëtos ydos tinka ir jiems. Ypaè neapaþástamos S. Dariaus
akys su jam nebûdingais aukðtai pakeltais antakiais.
Neþiûrint graviûros trûkumø, banknoto visuma pagerëjo: susmul-
këjæs horizontaliø ornamento juostø pieðinys sudaro jaukø fonà di-
diesiems tekstams, maloniai kontrastuoja su portretø graviûros linijo-
mis. Kairëje banknoto pusëje grieþta vertikale nutrûkstantis ornamento
kraðtas suðvelninamas ámantria giljoðo rozete, kurià sunku nukopi-
juoti. Tuðèiame plote, paliktame vandenþenkliui Vyèiui, iðdëstytos ir
kitos apsaugos priemonës. Originalus, temà atitinkantis sutapimo þenk-
las – „Lituanicos“ silueto motyvas – naudojamas ir kuriant giljoðo
struktûrà horizontaliuose banknoto pakraðèiuose.
Reverso komponentai iðliko tie patys, kaip ir ankstesniø laidø. At-
sisakius ryðkiø spinduliø, goþusiø lëktuvà ir bangà, kompozicija tapo
aiðkesnë, didelës plokðtumos, uþpildytos sudëtingos, kompiuteriu su-
kurtos struktûros audiniu, daro banknotà saugesná. Pagaliau iðspræs-
tas ilgai kompozicijà gadinæs þemynø kontûrø klausimas – þemynø
siluetas nelenda á pirmà planà kaip geografijos atlase, jiems netrûksta
jûrø ar pusiasaliø.
Averso ir reverso ornamento juostø pieðinys neákyrus, taèiau sudë-
tingas, savo stilistika jis susieja abi banknoto puses. Be reikalo daili-
ninkas nepakartojo giljoðo rozetës, suðvelninanèios grieþtà averso kom-
pozicijos kraðtà. Ji taip pat sëkmingai galëjo papuoðti ir reversà.
Kompozicijos vientisumu, atlikimo profesionalumu, spalvø kul-
tûra – tai turbût vienas ið geriausiai pavykusiø lietuviðkø banknotø.
Reikia tikëtis, kad jis bus ir vienas ið saugiausiø banknotø. Ðalia jau
anksèiau iðvardytøjø jis turi ir keletà naujø apsaugos priemoniø. Pa-
minëtina mikroperforacija, dar labai reta pasaulio piniguose: þiûrint á
banknotà prieð ðviesà, aiðkiai matomas ið maþø skyluèiø sudarytas skai-
èius „10“. Tai unikali apsaugos priemonë, jà padirbti labai sunku, o
kartu labai lengva patikrinti – uþtenka pakelti banknotà prieð ðviesà.
Labai aiðkiai matoma ir punktyrinë blizganti juostelë su mikrotekstu,
ultravioletinëje ðviesoje liuminescuojanti vaivorykðtës spalvomis.
Detail from the banknote
of the fourth issue.
Design by G. Jonaitis
138 Lietuvos banknotø kûrimo bruoþai
composition designed by Jonaitis significantly changed only when
printing the second issue of the banknote, while later only the pro-
duction technology was improved and the number of security fea-
tures increased.
The banknote of 2001 issue was produced by another company,
Orell Füssli Security Printing Ltd in Zurich, Switzerland. If we did
not know that the banknotes were printed by another company and
that the portraits were engraved again and would judge only from the
analysis of the line flow in the engraving and its character, we could
guess that the portraits of all three series were engraved by the same
master. The differences can be noticed only through a thorough com-
parison of the engravings. In fact, the portraits of the latest issue are
slightly bigger and, probably, bear more resemblance to the pilots, so
familiar to everyone. However, the portraits have nearly all of the
same drawbacks mentioned above. Particularly unfamiliar are the eyes
of Darius and his unnaturally highly lifted eyebrows.
In spite of the drawbacks of the engraving, the entire look of the
banknote improved: finer patterns of the horizontal ornamental bands
form a favourable background for the big-sized texts and pleasingly
contrast with the engraved lines of the portrait. On the left-hand side,
the abruptly cut vertical edge of the ornament is made softer by an
intricate guilloche rosette which is difficult to copy. Other security
features are also laid out in the blank area left for the watermark, the
Vytis. The original see-through feature – a motif of the shape of
“Lituanica” – designed to fit the theme is also used when creating a
guilloche pattern on the horizontal edges of the banknote.
The components of the back remained the same as those used in
the notes of the previous issues. After the bright rays overshadowing
the plane and the wave were removed, the composition became much
clearer, and the large planes filled with complex computer-designed
patterns made the banknote more secure. The problem of the out-
lines of the continents which had all the time impaired the composi-
tion was finally solved: the continents do not stand out in the fore-
ground as in geographical atlases and have all the seas and peninsulas.
This note is, probably, one of the most successful of all the
Lithuanian banknotes from the point of view of the integrity of the
composition, professional performance and the culture of colours. It
is expected that at the same time it will be one of the best-protected
banknotes. It has some new security features in addition to the ones
mentioned above, among which micro-perforation, still rarely used
in banknotes, should be noted. When the banknote is viewed against
the light, the figure 10 formed of tiny perforated holes is clearly seen.
A glossy windowed security thread with a microtext is also clearly
visible and fluoresces under ultraviolet light in rainbow colours.
Design Peculiarities of Lithuanian Banknotes 139
 Dvideðimties litø banknotas
Twenty Litas Banknote

140 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 141
 Iki ðiol iðleistos keturios 20 litø banknoto laidos. Jo kompozicijà
sukûrë dailininkas Justinas Tolvaiðis. Tai buvo tik ranka pieðtas kom-
pozicijos karkasas. Pirmos dvi ðio nominalo banknoto laidos (1991 m.
ir 1993 m.) atspausdintos USBC spaustuvëje.
Mokslininkø siûlymu ðiame banknote nutarta áamþinti þymø lie-
tuviø poetà Jonà Maèiulá-Maironá (1862–1932 m.). Kunigas, teolo-
gijos profesorius aktyviai dalyvavo tautiniame judëjime, bet labiausiai
þinomas kaip poetas, savo lyrika garsinæs didvyriðkà senovæ, kvietæs á
kovà prieð carizmà, dainavæs meilæ Lietuvai ir jos gamtai. Jo eilërað-
èiai – nauja lietuviø lyrikos epocha, jos pagrindu atsirado moderniøjø
poetø kûryba. Poemos „Tarp skausmø á garbæ“, „Jaunoji Lietuva“,
eilëraðèiø rinkinys „Pavasario balsai“ formavo ne vienos kartos pasau-
lëjautà, þadino patriotinius jausmus sunkiais okupacijø metais.
Reverse buvo pasiûlyta vaizduoti Vytauto Didþiojo karo muzie-
jaus ansamblá Kaune. Poetas ðio pastato niekada nematë, jis pastatytas
jau po jo mirties. Nors Maironis gimë Þemaitijoje, taèiau Kaune pra-
leido didelæ gyvenimo dalá, èia ir mirë. Palaidotas taip pat netoli mu-
ziejaus, Katedros sienoje. Poetui, puoselëjusiam Lietuvos atgimimà,
besidþiaugusiam savarankiðkos valstybës gyvenimo sëkmëmis ir emo-
cingai liûdëjusiam dël sunkumø, artimas ir kitas reverso komponen-
tas – J. Zikaro „Laisvës“ skulptûra, sparnuotos moters, nutraukusios
priespaudos panèius, ávaizdis.
Ne taip, kaip kiti autoriai, grindþiantys kuriamus ornamentus liau-
dies meno pavyzdþiais, J. Tolvaiðis savàjà kompozicijà papuoðë lauko
gëliø ir þolynø juosta, á jà ápindamas poeto simbolá – paukðtelá. Tam-
siai raudoname lauke, per visà banknoto ilgá apaèioje besidriekianti
þaliø lapeliø pynë sudaro palankø fonà ðviesiam tekstui ir nominalo
skaièiui. Ðiek tiek pretenzingai atrodo tik paukðteliai, ypaè tas, kuris
yra ant skaièiaus ir vos ne ant poeto peties. Kai kurios jo silueto deta-
lës grynai liaudiðkos, kitos visai natûralistinës. Jø ákomponavimo vie-
ta taip pat kelia daug abejoniø, jei ne priekaiðtø. Ið ornamento juostø
paimtas stilizuotas paukðtis aiðkiai netinka prie realistiðkai ið fotogra-
fijos perpieðto Maironio. Virðutinë juosta taip pat turi trûkumø. Ji
praktiðkai sudaryta ið dviejø pagal ornamento logikà nepersipinanèiø
elementø: ðeðialapiø þiedeliø, surikiuotø á eilæ virðuje, ir stiebeliø su
lapeliais apaèioje. Gerai, kad kairëje juosta paðviesëja ir jos struktûra
nebepastebima.
Vienas ið stambiausiø reverso kompozicijos elementø – „Laisvës“
skulptûra – per daug prispausta prie banknoto kraðto. Skulptûra, Vy-
tauto Didþiojo karo muziejaus bokðtas ir kontrastingai apðviestas mu-
ziejaus priekinis fasadas uþima pusæ banknoto ir sudalija já aðtriomis
vertikalëmis, o neiðraiðkingas, ðeðëlyje paskendæs ðoninis fasadas, – ki-
tà pusæ banknoto. Paprastai architektas sutelkia visà savo iðmonæ, kad
pastatà reprezentuojantis priekinis fasadas atrodytø ádomiai. Archi-
tektui Vladimirui Dubeneckiui tai pavyko, Vytauto Didþiojo karo
muziejus – vienas ið áspûdingiausiø tarpukario Lietuvos architektûros
ansambliø. Neaiðku, kodël banknoto autorius daugiau kompozicijos
ploto skyrë ne reprezentaciniam fasadui, o ðeðëlyje paskendusiam pa-
142 Lietuvos banknotø kûrimo bruoþai
To this time there have been four issues of the 20 litas banknote.
The designer of the banknote’s layout was Justinas Tolvaiðis. The first
two issues of the banknote of this denomination (1991 and 1993)
were printed by the USBC.
On the proposal from scholars, a decision was taken to commemo-
rate the renowned Lithuanian poet Jonas Maèiulis-Maironis (1862–
1932). The ensemble of Vytautas the Great War Museum in Kaunas
was proposed for depicting on the back. The poet had never seen this
building; it was erected only after his death. Maironis spent a sub-
stantial part of his lifetime in Kaunas, where he died, too. The poet
was buried not far from the Museum, in the wall of the Cathedral.
Another component of the back, the Statue of Liberty by Juozas
Zikaras, an image of a winged woman who has broken the ties of
suppression, was close to the poet, who cherished Lithuania’s revival,
rejoiced at success in the life of the independent state.
Unlike other authors designing their ornaments based on examples
of folk art, Tolvaiðis ornamented his design with a band of field flow-
ers and herbs, plaiting the symbol of the poet, a bird, into it. Against
a deep purple background, a garland of green leaves extends along the
bottom of the banknote, providing a favourable background for the
light-colour lettering and the denomination numeral. Only the birds
look somewhat pretentious, especially the one over the numeral, nearly
sitting on the poet’s shoulder. Some of the details of the bird’s silhou-
ette are done purely in folk style; others are quite naturalistic. Their
place in the banknote is doubtful, too, if not to be openly criticised.
The stylised bird taken from ornamental bands clearly does not go
with the realistic drawing of Maironis made after his photograph.
The upper band also has shortcomings. It is in fact composed of two
elements, which do not interlace according to the logic of the orna-
ment: six-leaf flowers arranged in a line at the top and stems with
leaves at the bottom. Luckily, the band lightens up on the left, mak-
ing its structure difficult to discern.
One of the largest compositional elements of the back, the statue
of Liberty is placed too close to the edge of the banknote. The statue,
the bell tower of Vytautas the Great War Museum and the Museum’s
contrastingly lit front fašade take half of the banknote and divide it
by sharp verticals, and the dull, shadowed side fašade takes the other
half of the banknote. Usually, the architect uses all his fantasy to make
the front fašade, which represents the building, look interesting. The
architect Vladimiras Dubeneckis succeeded in doing this: Vytautas
the Great War Museum in Kaunas represents one of the most impres-
sive Lithuanian architectural ensembles of the inter-war period. It is
unclear, why the designer of the banknote devoted more composi-
tional space not to the representative fašade but to the shadowy side
of the building. It was also a thoughtless idea to turn the shadowy side
of the Museum’s bell tower towards the viewer: the sunlit side turns
into an obscure light dash in a dark environment.
It is not important to depict objects accurately on a banknote. It is
 Maironio portretas.
Fotografija

Banknoto eskizas.
Dail. J. Tolvaiðis

Portrait of Maironis,
photograph

Sketch for the banknote.

Design by J. Tolvaiðis

Design Peculiarities of Lithuanian Banknotes 143

Dail. J. Zikaro skulptûra
„Laisvë“.
Fotogr. J. Polis

“Liberty”.
Sculpture by J. Zikaras.
Photo by J. Polis

144 Lietuvos banknotø kûrimo bruoþai

 Pirmos laidos banknoto
projektas.
Dail. J. Tolvaiðis

Design of the first-issue

banknote by J. Tolvaiðis

Design Peculiarities of Lithuanian Banknotes 145

stato ðonui. Neapgalvotai ðeðëline puse á þiûrovà pasuktas ir muziejaus
bokðtas, saulës apðviestas ðonas perspektyvoje pavirsta á neryðkø ðviesø
brûkðnelá tamsioje aplinkoje.
Banknote nëra svarbu tiksliai parodyti vaizduojamus objektus. Daug
svarbiau, kad jie bûtø atpaþástami plaèiajai visuomenei. Objektø tar-
pusavio iðdëstymas, apðvietimo ir ðeðëliø þaismas turi paklusti svar-
biausiam dësniui – padëti atskirus komponentus susieti á visumà, pa-
grástà ne natûros, o komponavimo logika.
Ypaè daug dëmesio dailininkas skyrë dangui. Audringi ávairiarû-
ðiai debesys ne tik sudarë tamsø fonà apðviestam pastatui ir suteikë
visai kompozicijai dramatizmo, bet galëjo tapti pagrindu sudëtingai
banknoto grafikai. Tuo tarpu þemë, ant kurios stovi visas ansamblis,
nupieðta neádomiai. Geriau reikëjo muziejø padidinti, kad apaèioje
jis liestø ornamento juostos kraðtinæ, o þemës nerodyti.
Praktiðkai pagal tà patá J. Tolvaiðio projektà 1993 m. atspausdinti
banknotai jau turëjo daugiau pinigams bûdingø elementø. Ankstes-
nës laidos ofsetu spausdintà pieðiná spaustuvës specialistai perpieðë gra-
finëmis linijomis. Kadangi tai darë ne pats autorius, ne visuomet spaus-
tuvës meistrai dirbo pagal jo projektà. Jie vadovavosi sava logika ir
ávedë naujoviø – gana ryðkiai pakeitë juostø plokðtumas, jas uþpildë
giljoðo struktûromis, þemiau ákomponavo didelá nominalo skaièiø.
Visa tai banknoto pieðiniui suteikë margumo. Ypaè ryðkûs pasikeiti-
mai reverse. Dramatiðkos nuotaikos su audringais debesimis ir kontras-
tingai apðviestu pastatu kompozicija, jà perpieðus techninio brëþinio
sausomis linijomis, tapo nuobodþia, nykia, be toninio intensyvumo
XIX a. vadovëlio iliustracija. Jau ir J. Tolvaiðio pieðinyje sunkiai ma-
tomas ðeðëline puse á þiûrovà pasuktas muziejaus bokðtas bei lygiagre-
tëmis ástriþomis linijomis modeliuota J. Zikaro „Laisvë“ atspausdin-
tame banknote galutinai iðtirpo vienatonëje plokðtumoje. Visi bankno-
to komponentai perpieðti gana grubiai, tuðèias, autoriaus ne iki galo
apgalvotas erdves uþbraiþant ðalta, techniðka linijø faktûra. Banknoto
staèiakampis padengtas dvispalviu giljoðo struktûrø audiniu. Mairo-
nio portretas, nominalo skaièiai, ornamento juostos iðgraviruotos ir
atspaustos giliaspaude, ádiegta daugiau apsaugos priemoniø – sutapi-
mo þenklas, nematomais daþais atspausdintas nominalo skaièius, ap-
sauginis siûlelis su mikrotekstu, liuminescuojantys elementai ir kt.
1997 m. Thomas De La Rue spaustuvëje atspausdinta treèia bankno-
to laida. Pagrindiniai komponentai vël niekuo nesiskyrë nuo ankstes-
niø, taèiau ávesta naujø apsaugos elementø. Erdvæ, skirtà vanden-
þenkliui, padengë ámantresnës struktûros audinys, ádiegtas sudëtin-
gesnis, dvipusá kopijavimà apsunkinantis sutapimo þenklas, daugias-
palviai virðutinis ir apatinis kraðtai – smulkiø linijø tinkleliai. Van-
denþenkliui naudojamas tas pats banknotà puoðiantis Maironio portre-
tas.
Kompanija stengësi tobulinti banknoto apsaugà. Meninë pusë li-
ko kaip buvusi, o kai kuriais aspektais dar ir pablogëjo – buvo su-
griautas dailininko pirminis sumanymas. Ypaè ryðkus to pavyzdys –
dangø virð architektûros ansamblio dengiantis giljoðas. Aktyvi jo struk-
146 Lietuvos banknotø kûrimo bruoþai
much more important that they are recognisable by the general pub-
lic. The way the objects are inter-positioned on the banknote, the
play of light and shadows must be subject to the key law of helping
join individual components into a whole based on the logic of ar-
rangement rather than nature.
The designer focussed particularly on the sky. The stormy clouds
of different sorts not only provided a dark background for the lit up
building and made the whole composition look dramatic but also
could serve as the basis for the complicated graphics of the banknote.
Whereas the way the ground, on which the entire ensemble stands, is
drawn is uninteresting. Instead, the Museum should have been en-
larged to reach the edge of the ornamental band and the ground should
not have been featured at all.
The banknote of 1993 issue, printed practically according to the
same design by Tolvaiðis, contained more elements typical of cur-
rency. The experts of the printing company redesigned the offset-
printed drawing of the previous issue in graphic lines. Since it was not
the author himself who did it, the company’s masters did not always
follow his design. They followed the logic of their own and intro-
duced innovations: modified the planes of the bands, filled them with
guilloche structures, and placed a big denomination numeral below.
All this made the drawing look heterogeneous. The alterations on the
back were particularly substantial. The dramatic composition of stormy
clouds and contrastingly lit building, redone in the dry lines of the
technical drawing, became a dull and grim illustration from a 19 th
century text-book, deprived of tonal intensity. The Museum’s bell
tower with its shadowy side turned towards the viewer and the “Lib-
erty” by Zikaras, designed in parallel diagonal lines which were only
hardly visible in Tolvaiðis’ drawing melted totally in the printed
banknote in a single-tone plane. All components of the banknote were
redrawn quite roughly, covering the empty spaces the author was not
sufficiently thoughtful of by a cold technical structure of lines. A two-
colour pattern of guilloche structures covered the rectangle of the
banknote. The portrait of Maironis, denomination numerals and or-
namental bands were engraved and printed in intaglio, more security
features were introduced.
In 1997, the third issue of the banknote was printed by Thomas
De La Rue. The key components, again, were in no way different
from those printed previously; however, new elements of security were
introduced. The space devoted for the watermark was covered with a
pattern of a more elaborate structure; a more complicated see-through
feature, interfering with two-side copying, was incorporated; and the
multicolour top and bottom edges were made into a grid of fine lines.
For the watermark, the same portrait of Maironis, ornamenting the
banknote, was used.
The company put more efforts in enhancing the banknote’s secu-
rity. The artistic peculiarities remained unchanged and even wors-
ened in some respects: the designer’s original idea was destroyed. A
 Pirmos laidos banknotas.
Dail. J. Tolvaiðis

Banknote of the first issue.

Design by J. Tolvaiðis

Design Peculiarities of Lithuanian Banknotes 147

Antros laidos banknotas.
Dail. J. Tolvaiðis

Banknote
of the second issue.
Design by J. Tolvaiðis

148 Lietuvos banknotø kûrimo bruoþai

 Treèios laidos banknotas.
Dail. J. Tolvaiðis

Banknote
of the third issue.
Design by J. Tolvaiðis

Design Peculiarities of Lithuanian Banknotes 149

Maironio portretai pirmos
ir antros laidø
banknotuose

Portrait of Maironis on
the banknotes of the first
and second issues

150 Lietuvos banknotø kûrimo bruoþai

 Maironio portretas treèios
laidos banknote

Portrait of Maironis
on the banknote
of the third issue

Design Peculiarities of Lithuanian Banknotes 151

 Maironio portretas
ketvirtos laidos
banknote

Portrait of Maironis on
the banknote
of the fourth issue

152 Lietuvos banknotø kûrimo bruoþai


tûra krenta á akis uþgoþdama smulkesnio modeliavimo muziejaus pa-
statà, faktûros tonas priartëja prie „Laisvës“ skulptûros tono. Bankno-
te aiðkiai ðvieèia tik nedidelis ansamblio priekinio fasado plotelis, o
visi kiti komponentai nuskæsta monotoniðkoje plokðtumoje. Joje ið-
tirpsta ir nedideli nominalo skaièiai.
Bendra averso kompozicija pavyko ðiek tiek geriau. Aktyvios hori-
zontalios ornamento juostos, kontrastingas, nors ir su trûkumais,
portretas, didelis þaliomis briaunomis nominalo skaièius, ið jo spin-
duliuojanti daugiaspalvë giljoðo struktûra daro kompozicijà pinigið-
ka, aiðkiai suprantama. Spaustuvës specialistai iðtaisë dailininko klai-
dà – buvusá raudonà paukðtelá ant poeto peties nupieðë plona linijële
ir kontrastingoje aplinkoje jis praktiðkai neáþiûrimas.
Ið naujo iðgraviruotas Maironio portretas. Jo veido ðeðëlinës dalys
per daug tamsios. Margas plaukø pieðinys susilieja su tokiu pat margu
gëliø ornamentu, ir virðugalvio siluetas iðnyksta.
Parengti projektà naujai 2001 m. banknoto laidai, kuri atspaus-
dinta Orell Füssli Security Printing Ltd spaustuvëje, buvo pakviestas
G. Jonaitis – daugiausiai patirties sukaupæs mûsø banknotø dizaine-
ris. Jis iðtaisë beveik visas banknoto kompozicijos klaidas. Averse es-
miniø pakeitimø iðdëstant komponentus nëra, taèiau estetiðkai jie pa-
teikti geriau. Banknoto plokðtumos ir ornamento juostos, padengtos
sudëtingu, smulkios giljoðo struktûros tinkleliu, graþiai dera tarpusa-
vyje ir sudaro bendrà laukà, iðkeldamos á pirmà planà portretà, nomi-
nalo skaièius ir tekstus.
Dailininkas ið esmës perkomponavo reversà: gerokai padidino Vy-
tauto Didþiojo karo muziejaus ansamblá, jo apðviestà paradiná fasadà
pasuko á þiûrovà, jis tapo ilgesnis ir pasidarë svarbiausiu visà kompo-
zicijà surikiuojanèiu objektu. J. Zikaro „Laisvës“ skulptûra, iðdidinta
per visà banknoto aukðtá, atkelta á deðiná kraðtà. Ji kerta ansamblio
ðoniná, neádomø, ðeðëlyje paskendusá fasadà ir tampa banknoto verti-
kale. Kompozicija aiðki, komponentai iðdëstyti nuosekliai. Ðioks toks
Banknoto kompozicijos
eskizas. Dail. G. Jonaitis
particularly obvious example of this is the guilloche covering the sky
above the architectural ensemble. Its active structure strikes the eye,
subduing the Museum’s building of finer modelling and the textural
tone approximates that of the Statue of Liberty. Only the small area
of the ensemble’s front fašade clearly shines in the banknote, whereas
all other components, including small denomination numerals, melt
in a monotonic plane.
The portrait of Maironis was engraved anew. The shadowy parts
of his face became too dark. The heterogeneous drawing of his hair
merged with the also heterogeneous ornament of flowers, and the
outline of the upper part of his head faded out.
Jonaitis, our banknote designer who had accumulated most expe-
rience, was invited to prepare the design for the new 2001 issue of the
banknote, which was printed by Orell Füssli Security Printing Ltd.
He corrected nearly all errors of banknote composition. The front
contains no essential modifications of the layout of components; how-
ever, their presentation is better from the aesthetical point of view.
The banknote’s planes and ornamental bands, covered with an elabo-
rate, finely structured guilloche structure, are in perfect harmony and
make a common background, putting forward the portrait, denomi-
nation numerals and the texts.
The artist virtually rearranged the back, enlarging quite substan-
tially the ensemble of Vytautas the Great War Museum and turning
its lighted front fašade towards the viewer, it lengthened and became
the key object to dominate the entire composition. The Statue of
Liberty by Juozas Zikaras, enlarged from the bottom to the top of the
banknote, was shifted to the right-hand side. It crosses the uninterest-
ing, shadow-covered side fašade of the ensemble and becomes a verti-
cal in the banknote. The composition is clear; the components are
Sketch for the layout
arranged consistently. A slight drawback is that the toning of the shad- of the banknote.
owy side of the fašade and of the statue is similar. The tonal intensity Design by G. Jonaitis
Design Peculiarities of Lithuanian Banknotes 153
Ketvirtos laidos banknoto
giljoðas.
Dail. G. Jonaitis

Guilloche of the banknote

of the fourth issue.
Design by G. Jonaitis

154 Lietuvos banknotø kûrimo bruoþai

trûkumas – ðeðëlinës fasado pusës ir skulptûros tonai panaðûs. Reikëjo
truputá prigesinti pastato toniná intensyvumà ir kontrastingiau mo-
deliuoti skulptûrà, o geriausiai bûtø buvæ jà atspausdinti daug tam-
sesne ir neutralesne spalva, o ne tokia atvira ir ðviesia raudona.
Pagerëjo ne tik banknoto vaizdas, padaugëjo ir jo apsaugos prie-
moniø. Ðalia anksèiau iðvardytø áterptos dar kelios naujos: originalus,
poeto temai tinkantis sutapimo þenklas – knyga su plunksna, punkty-
rinis apsauginis siûlelis su mikrotekstu ir mikroperforacija.
Labai pagraþëjo banknoto spalvø gama, ypaè averso. Ankstesnæ ne-
ðvarià rudà spalvà pakeitë roþinës, rudos ir tamsiai rudos spalvø sà-
skambis, iliuminuojamas ryðkesnës raudonos. Blogiau atrodo reverse
vyraujanèios þydra, ðalta raudona ir blyðki oranþinë spalvos.
Taigi po ilgø peripetijø 20 litø banknotas tapo nepriekaiðtingai
sukomponuotu pinigu.
of the building should have been subdued and the Statue should have
been modelled more contrastingly, and the best solution would have
been printing it in a much darker and neutral colour rather than in
the open light red.
Not only the appearance of the banknote improved but its secu-
rity features grew in number as well. Apart from those specified above,
a few new ones were introduced: an original see-through feature match-
ing the subject of the poet, a book with a stylus, a windowed security
thread with a microtext and microperforation. The banknote became
much more beautiful in its range of colours, especially on the front.
The previous dirty brown colour was replaced by a combination of
pink, brown and dark brown, illuminated by a more vivid red.
Thus, after many changes, the 20 litas banknote developed into a
note of impeccable arrangement.
Design Peculiarities of Lithuanian Banknotes 155
 Penkiasdeðimties litø banknotas
Fifty Litas Banknote

156 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 157
 Dailininkas Rimvydas Bartkus sukûrë 50 litø banknotà, jame áam-
þintas J. Basanavièius.
Lietuviø tautos patriarchu vadinamo Jono Basanavièiaus (1851–
1927 m.) asmenybë – populiari tarpukario Lietuvoje, ignoruota oku-
pacijos metais – po Atgimimo vël atgavo savo vietà tautos panteone.
Gydytojas, daug energijos atidavæs Bulgarijos þmoniø sveikatos ap-
saugai, J. Basanavièius niekuomet neuþmirðo pagrindinio savo gyve-
nimo tikslo – tautinio atgimimo. Gyvendamas toli nuo Lietuvos, jis
tapo pirmojo tautinio laikraðèio redaktoriumi, kovojo uþ lietuviø kal-
bos teises. 1905 m. gráþæs á Lietuvà, Vilniuje organizavo Pirmàjà lietu-
viø konferencijà, iðkëlusià lietuviø autonomijos carinëje Rusijoje idë-
jà, pirmininkavo Lietuvos Tarybai, 1918 m. vasario 16 d. paskelbu-
siai Nepriklausomybæ. Paraðë studijø istorijos, archeologijos, folkloro
klausimais, rinko ir iðleido pasakø knygø. Jo nuopelnai tautai, kilni
povyza, graþaus silueto iðraiðkinga galva gerai tiko didelio nominalo
banknotui. Dideliø abejoniø nekelia ir reversui pasiûlytas Vilniaus
Katedros su senamiesèio vaizdu motyvas. J. Basanavièius daug metø
gyveno ir mirë Vilniuje, palaidotas Rasø kapinëse.
Pirmuose eskizuose R. Bartkus kairëje reverso pusëje ákomponavo
Vilniaus miesto herbo heraldinæ figûrà – ðv. Kristoforà su kûdikëliu
Kristumi ant peèiø Katedros aikðtës ir senamiesèio fone. Tokia kom-
pozicija gal ir ádomesnë, taèiau ji neatitiko ið anksto nustatytos kom-
ponavimo schemos, ir skulptûros teko atsisakyti.
Averso kompozicija iðtæsta horizontaliai, ðá áspûdá dar labiau padi-
dina deðiniame kraðte ákomponuotas portretas ir per visà banknoto
ilgá ryðkia linija atskirta ðvelniø ðiltø spalvø tautinë ornamento juosta
su tekstu ir nominalo skaièiais. Ðviesus banknotas kairëje pusëje pa-
maþu tamsëja, ir deðinëje, tamsiame lauke, ðvieèia tik veidas. Barzdos
ir veido faktûra kontrastuoja su lygia, tamsia aprangos ir fono dëme.
Peèiai ir nugara beveik lieèia banknoto kraðtà, vëlesnëse laidose tai
buvo pataisyta – uþ portreto palikta daugiau erdvës. Raiþytos saulutës
fragmentas, iðkylantis ið ornamento juostos, neuþgoþia portreto, o tik
sudaro jaukø fonà nominalo skaièiui. Didelis, ðiek tiek nupjautas sau-
lutës apskritimas lyg ir provokuoja jo centre ákomponuoti skaièius,
taèiau dailininkas já pakëlë aukðtyn ir kairiau, tuo visai kompozicijai
suteikdamas netikëtumo áspûdá. Jei ði darni kompozicija bûtø buvusi
tinkamai, pagal pinigø gamybos reikalavimus parengta spaudai, uþ-
pildyta banknotams bûdingomis giljoðo struktûromis, áterptos apsau-
gos priemonës, profesionaliai iðraiþyta portreto graviûra, tai mes
1991 m. jau galëjome turëti puikaus dizaino banknotà.
Reverso kompozicija ne tokia racionali. Jau pats sumanymas, kai
banknote lieka tik peizaþas, palydimas nedideliø nominalo skaièiø ir
neryðkiø tekstø, sunkiai suderinamas su visiems áprastu banknotu.
Banknotas – sudëtinga, daugiasluoksnë idëjiniø komponentø ir ap-
saugos priemoniø kompozicija. Ðiuo atveju tai tik peizaþas, davæs pa-
grindà daug emocijø sukëlusiai vëlesnës laidos banknoto graviûrai.
Dailininkas neásigilino á Pilies gatvës kampiniø namø architektûros
formø ávairovæ, nepajuto senamiesèio stogø ir bokðtø ritmo. Pieðinyje
158 Lietuvos banknotø kûrimo bruoþai
The designer Rimvydas Bartkus created the 50 litas banknote com-
memorating Jonas Basanavièius.
The personality of Jonas Basanavièius (1851–1927), called the
patriarch of the Lithuanian nation, which was popular in the inter-
war Lithuania and neglected during the years of occupation, regained
its place in the Pantheon of the nation. Living far away from Lithuania,
Basanavièius became the editor of the first national paper and fought
for the rights of the Lithuanian language. On his return to Lithuania
in 1905, he organised the First Conference of the Lithuanians in
Vilnius, which put forward the idea of the autonomy of the Lithuanians
within czarist Russia; he also chaired the Council of Lithuania, which
declared independence on 16 February 1918. His merits for the na-
tion, noble carriage, and the beautiful silhouette of his expressive head
fitted well for a banknote of a high denomination. The motive of
Vilnius Cathedral with a view on the Old Town, proposed for the
back, does not raise great doubts either. Basanavièius lived for many
years and died in Vilnius; he was buried in the Rasos cemetery.
In his first sketches, Bartkus inserted the heraldic figure of the coat
of arms of Vilnius, St Christopher with the baby Christ on his shoul-
ders, against the background of the Cathedral Square and the Old
Town. Such a composition was possibly more interesting; however,
it did not correspond to the a priori established layout scheme and
therefore the sculpture had to be removed.
The arrangement of the front extends horizontally; the impression
is still strengthened by the portrait placed on the right side of the
banknote and a national ornamental band in soft warm colours with
the text and denomination numerals, separated by a distinct line along
the full length of the banknote. The banknote, light on the left, gradu-
ally darkens and on the right side only the face is shining against a
dark background. The pattern of the beard and face contrasts with
the plain, dark patch of the clothes and the background. The shoul-
ders and the back nearly touch the edge of the banknote, which was
corrected in subsequent issues by leaving more space behind the por-
trait. A fragment of a carved daisy rising out of the ornamental band
does not dominate over the portrait making only an agreeable back-
ground for the denomination numeral. The large, slightly cut-off circle
of the daisy seems to provoke placing numerals in the centre, yet the
designer pushed it upwards and more to the left thereby giving an
impression of novelty to the whole composition. Should this harmo-
nious composition had been duly prepared for printing in observance
of the requirements for currency production, filled with guilloche struc-
tures peculiar to notes, with security features inserted and a profes-
sionally cut engraving of the portrait, we could have had a banknote
of perfect design as early as in 1991.
The composition of the back is not so rational. The very idea when
the banknote bears just a landscape accompanied by small denomina-
tion numerals and vague texts is hardly reconcilable with a conven-
tional banknote. The designer did not go deep into the diversity of
 Banknoto projekto
eskizas.
Dail. R. Bartkus

Sketch for the banknote’s

design by R. Bartkus

Design Peculiarities of Lithuanian Banknotes 159

Pirmos laidos banknotas.
Dail. R. Bartkus

Banknote
of the first issue.
Design by R. Bartkus

160 Lietuvos banknotø kûrimo bruoþai

 Antros laidos banknotas.
Dail. R. Bartkus

Banknote
of the second issue.
Design by R. Bartkus

Design Peculiarities of Lithuanian Banknotes 161

 Vilniaus Katedros aikðtë.
Fotogr. A. Sutkus

Vilnius Cathedral Square.

Photo by A. Sutkus

162 Lietuvos banknotø kûrimo bruoþai

 Vilniaus Katedros aikðtës
graviûros negatyvas

Negative
of the engraving of
Vilnius Cathedral Square

Design Peculiarities of Lithuanian Banknotes 163

Banknoto reverso projekto
eskizas. Dail. G. Jonaitis

Banknoto reverso
projektas. Dail. G. Jonaitis

Sketch for the banknote’s

design by G. Jonaitis

Design of the banknote’s

back by G. Jonaitis

164 Lietuvos banknotø kûrimo bruoþai

 Vilniaus Katedra ir
Gedimino kalnas.
Fotogr. G. Jonaitis

Vilnius Cathedral and

Gediminas Hill.
Photo by G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 165

matome nykiø ir nuobodþiø stogø plokðtumas, neiðlaikytas Katedros
proporcijas, taèiau visa tai paskendæ auksiniame romantiðkame rûke,
atitraukianèiame dëmesá nuo detaliø. Visos peizaþo klaidos ypaè ið-
ryðkëjo, kai vëlesnës to paties banknoto laidos graveris, niekad nema-
tæs Vilniaus, mechaniðkai tiksliai, ðaltomis techninio brëþinio linijo-
mis nukopijavo ðá pieðiná. Jame neliko në krislelio Vilniaus dvasios –
nuobodþioje pusdykumiø stepëje matësi tik besikurianti beveidë gy-
venvietë su Katedra ir varpine pirmame plane.
Abi banknoto pusës, tarsi norint pabrëþti jø paveiksliðkà charakte-
rá, árëmintos nestoru dvigubu linijø rëmeliu. Pirmos dvi ðio nominalo
banknotø laidos buvo atspausdintos USBC. Apyvartoje 1991 m. lai-
dos banknotai iðsilaikë vos kelis mënesius, neuþilgo buvo iðimti ið apy-
vartos ir iðleista tos paèios kompozicijos nauja 1993 m. banknotø lai-
da. R. Bartkui iðvykus ið Lietuvos, banknotà tobulinti pavesta G. Jo-
naièiui. Jis prisimena: „Jokiø ápareigojimø kà nors nupieðti neturëjau
(manau, kad kompanija banknotus suprojektavo ið pirminiø origina-
lø). Kartu su R. Miknevièiumi keletà kartø koregavome pateikiamus
pavyzdþius, bet ðneka buvo tik apie spalvas, kadangi jokiø kalbø apie
grafines struktûras, jø keitimà ar tobulinimà nebuvo“.
Naujame banknote daug giljoðo struktûros elementø. Kompozici-
ja sumargëjo, taèiau ágavo banknotui bûdingà vaizdà. Neblogai iðgra-
viruotas J. Basanavièiaus portretas. Veidui, plaukams, barzdai, ðvar-
kui surasta savita linijø struktûra, puikiai perduodanti jø skirtingà
plastikà ir kartu sudaranti vientisà meistriðkai iðraiþytà portretà. Gra-
viûros toninis intensyvumas kartu su horizontaliomis juostomis
banknotui suteikia gyvybës ir kontrastingumo, iðkelia portretà virð
kitø komponentø. Sumaþintas saulutës siluetas, be to, ji tapo plokð-
èiu ornamentu ir nebeturi anksèiau buvusiø ryðkiø sàsajø su lietuvið-
kø verpsèiø ornamentika. Didelis nominalo skaièius, komponuoja-
mas tiksliai virð saulutës centro, atrodo lyg per neapsiþiûrëjimà paki-
læs. Spalvø gama taip pat gerokai pasikeitë. Buvæs saulëtos geltonos ir
ðiltos þalios spalvos sàskambis dabar virto ðviesios ochros, prigesintos
oranþinës ir tamsiai rudos spalvos deriniu.
Banknotas nuo ankstesnio skiriasi ne tik iðvardytais pakeitimais,
svarbiausia, kad jame jau yra banknotui bûdingø elementø ir tam tik-
rø apsaugos priemoniø. Ðalia ankstesnëje laidoje buvusio vandenþenklio
Vyèio jame jau áterptas apsauginis siûlelis su mikrotekstu, atspausdin-
tas plika akimi nematomas, taèiau ultravioletinëje ðviesoje liumines-
cuojantis skaièius, sutapimo þenklas ir kt. Banknotas iðbuvo apyvar-
toje iki 1998 m., kol Vokietijos spaustuvëje Giesecke & Devrient GmbH
buvo pagamintas treèias ðio nominalo variantas.
Rengiant naujà laidà, Lietuvos banko specialistai pasiûlë perkom-
ponuoti dël Katedros proporcijø, beveidþio senamiesèio ir techninio
pieðinio primityvaus charakterio kritikos sulaukusá banknotà. Kom-
pozicijos autoriaus Lietuvoje nebuvo, todël banknotà perprojektuoti
pakviestas G. Jonaitis. Jo pagrindinë uþduotis buvo, ið esmës nekei-
èiant averso, sutvarkyti kritikuotà reversà. Po ilgø ieðkojimø G. Jonai-
tis nusprendë pakeisti þiûrëjimo á Katedrà taðkà. Be jokios abejonës,
166 Lietuvos banknotø kûrimo bruoþai
architectural forms of the houses on the corner of Pilies Street and did
not feel the rhythm of the roofs and towers of the Old Town. In the
drawing, we see the planes of dreary and dull roofs, distorted propor-
tions of the Cathedral, yet all this is clouded in a romantic golden
mist, which distracts one’s attention from the details. All mistakes in
the landscape became particularly obvious when the engraver of the
subsequent issue of the same banknote, who had never seen Vilnius,
made a mechanically precise copy of the drawing after the cold lines
of its technical drawing. The drawing reflected nothing of the spirit
of Vilnius: in a dull semi-desert steppe, only a faceless settlement in
the process of formation could be seen with the Cathedral and the
belfry in the foreground.
Both sides of the banknote, as if to emphasise their picture-like
nature, have a thin double line frame. The first two issues of the
banknote of this denomination were printed by the USBC. The
banknotes of 1991 were in circulation just for a few months. In a
short while they were withdrawn from circulation and re-issued in
1993 in the same design. When Bartkus left Lithuania, Jonaitis was
contracted to improve the banknote. He recalls: “I did not have any
obligations to draw anything (I think, the company designed the
banknotes in accordance with their primary originals). Together with
Miknevièius we adjusted the presented specimens several times, but it
was just colours that we considered as there was no talk about graphic
structures, their modification or improvement”.
The new banknote has many elements of guilloche structure. Its
composition became somewhat motley, yet typical of a banknote in
appearance. The portrait of Basanavièius represents a rather good en-
graving. A peculiar structure of lines was found for the face, hair, beard
and jacket, conveying perfectly their different plastics and at the same
time making an integral masterly engraved portrait. The tonal intensity
of the engraving along with the horizontal bands add life and contrast
to the banknote, bringing the portrait over other components. The
shape of the daisy is contracted; moreover, it became a flat ornament
possessing no previously distinctive associations with the ornamenta-
tion of Lithuanian spindles. The large denomination numeral, arranged
exactly above the centre of the daisy, seems as if lifted by mistake. The
range of colours also changed substantially.
The banknote differs from its predecessor not only in the modifi-
cations listed above. Most importantly, it already contains elements
peculiar to a banknote and certain security features. Apart from the
watermark Vytis present in the previous issue, it has an embedded
security thread with a microtext, a denomination numeral printed in
invisible inks fluorescent under ultraviolet light, a see-through fea-
ture, etc. The banknote circulated until 1998, when the third version
of this denomination was printed by the German company Giesecke
& Devrient GmbH.
In preparing the new issue, Bank of Lithuania experts suggested
rearranging the banknote, which had attracted criticism for the pro-
 J. Basanavièius.
Dail. G. Jonaièio pieðinys

J. Basanavièius.
Drawing by G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 167

 Banknoto averso
projektas. Dail. G. Jonaitis

J. Basanavièiaus portreto
graviûra

Design of the banknote’s
back by G. Jonaitis
Engraving of the portrait
of J. Basanavièius
sprendimas buvo teisingas: á matymo laukà pakliuvo ir kiti ne maþiau
svarbûs Lietuvos þmonëms objektai – Gedimino pilies bokðtas, Trijø
kryþiø monumentas ir naujai pastatytas paminklas kunigaikðèiui Ge-
diminui. Kietas pastatø linijas suminkðtino Ðventaragio slëná supan-
èiø kalvø þaluma, peizaþas tapo ideologiðkai talpesnis, o þiûrëjimo tað-
kas áprastas þmonëms. Atsirado plati dirva grafiniø iðraiðkos priemo-
niø ávairovei.
Abejoniø kelia dailininko baimë atitrûkti nuo natûros, pastangos
iðlaikyti matematiðkai tikslias Katedros, Gedimino bokðto, Trijø kry-
þiø ir Gedimino paminklo tarpusavio proporcijas. Banknotas – ne
fotografija, o simbolis, ir èia reikëtø ignoruoti nepalankias natûros
diktuojamas sàlygas. Autorius ðiek tiek padidino Tris kryþius, bet tai
nelabai padëjo: Gedimino paminklas ir Trys kryþiai sunkiai áþiûrimi.
Nekrentanti á akis stilizacija, neþymus architektûriniø formø apibendri-
nimas, vizualiniø ir dvasiniø savybiø paryðkinimas pastatà tik pakylë-
tø mûsø akyse, suteiktø jam didingumo. Perdëtos autoriaus pastan-
gos parodyti smulkias, nereikðmingas pastato detales, siekimas doku-
mentiðkai tiksliai jas atvaizduoti apkrovë Katedros pieðiná nereikalin-
ga grafika, kuri uþtamsino jos vaizdà ir suliejo su praktiðkai labai arti-
mos tonacijos, nors ir kito charakterio kalnø augmenijos faktûra. Tam-
sus varpinës bokðtas ir siauromis kolonomis bei piliastrø ruoþeliais
vertikaliai suliniuota Katedra nesudaro áprasto ðviesaus, monumenta-
laus ansamblio áspûdþio. Nevertëjo taip kruopðèiai iðbraiþyti aikðtës
reljefà formuojanèiø laipteliø, parapetø ir jø perspektyvos kampø, aðt-
riai ásirëþianèiø net á ornamento juostà.
Kurdamas ðiuos banknotus, G. Jonaitis jau buvo patyræs banknotø
dizaineris, neblogai susipaþinæs su jø gamybos technologiniais subtilu-
mais, lankæsis ne vienoje uþsienio banknotø spaustuvëje. Jis puikiai su-
prato, ko reikia, kad dailininko pieðinys taptø banknotu, daug dëmesio
skyrë giljoðo struktûroms. Buvau liudininkas, kiek autorius vargo su
struktûra, dengianèia dangø Katedros peizaþe. Pagal jo sumanymà tai
portions of the Cathedral, a faceless-looking Old Town and the primi-
tive character of the technical drawing. As the designer of the banknote
was away from Lithuania, Jonaitis was invited to redesign the banknote.
His main task was to bring to order the criticised back without virtu-
ally changing the front. After a long search for a solution Jonaitis
decided to change the point of view of the Cathedral. Doubtlessly, he
took the right decision: first of all, the field of vision covered other
objects also no less significant for the Lithuanian people, such as
Gediminas Tower, the Hill of Three Crosses and the newly-erected
monument to Grand Duke Gediminas. The hard lines of the build-
ings were softened by the green of the hills surrounding the Ðventaragis
Valley, the landscape became more capacious ideologically and the
point of view became more usual. As a result, much room was created
for a diversity of means of graphic expression.
The designer’s fear of moving away from nature, efforts to keep
the mathematically precise relative proportions between the Cathe-
dral, Gediminas Tower, the Hill of Three Crosses and the monu-
ment to Grand Duke Gediminas remain open to doubt. A banknote
is not a photograph, it is a symbol, and unfavourable conditions dic-
tated by nature should be neglected. The author slightly enlarged the
Three Crosses but it was little use as the monument to Grand Duke
Gediminas and the Three Crosses are hardly visible. A stylisation that
does not strike the eye, a slight summary of the architectural forms,
and a stress on visual and spiritual qualities would make the building
seem elated in our eyes and add grandeur to it. The author’s exagger-
ated efforts to feature small, insignificant architectural details, his ef-
fort to depict them too precisely filled the drawing of the Cathedral
with unnecessary graphics, which darkened its image and fused it with
the pattern of mountain flora of practically very similar toning yet of
different character. The dark Belfry and the Cathedral, lined verti-
cally with narrow columns and stripes of pillars, does not create the

168 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 169
 Banknoto fragmentas –
nominalo skaièius ir
giljoðas

Detail from the banknote:

denomination numeral
and guilloche

170 Lietuvos banknotø kûrimo bruoþai

 Banknoto fragmentas
ultravioletinëje ðviesoje

Detail of the banknote

under ultraviolet light

Design Peculiarities of Lithuanian Banknotes 171

turëjo bûti ritmiðkai banguojanèios, aiðkiai matomos juostos, bet at-
spausdintame banknote dangus iðëjo neaiðki monotoniðka plokðtuma.
Banknoto averso kompozicija iðliko ta pati, taèiau labai pakito
bendras banknoto vaizdas. Neliko ryðkiø geometriniø ornamentø. Ho-
rizontalios liaudiðko charakterio audinio juostos sudaro ramø fonà
nominalo skaièiams ir tekstams.
J. Basanavièiaus portretas iðgraviruotas ið naujo ir, palyginti su anks-
tesniu, yra gerokai smulkesnio, taèiau kai kuriose vietose labiau su-
marginanèio negu iðryðkinanèio seno þmogaus veido plastikà, mode-
liavimo. Monotoniðkas, neádomus, portrete uþimantis gana daug vie-
tos yra barzdos ir ûsø pieðinys. Neþiûrint to, portretas iðraiþytas ne-
blogai – kilnus tautos patriarcho vaizdas atpaþástamas ir artimas, nors
jam, beje, kaip ir visai kupiûrai, trûksta reljefiðkumo ir kontrastingu-
mo. Visas banknoto toninis sprendimas monotoniðkas, be intensyvu-
mo. Atspausdinus portretà tamsesne ruda spalva, paryðkinus nomina-
lo skaièius, ypaè didájá – oranþiná, banknotas bûtø lengviau atpaþásta-
mas. Juk taip svarbu, kad pagrindiniai banknoto atpaþinimo elemen-
tai bûtø kontrastingi ir matomi ið pirmo þvilgsnio.
Banknote gausu apsaugos priemoniø. Pirmiausia paminëtinas van-
denþenklis – J. Basanavièiaus portretas. Abiejose pusëse ávairiose vietose
iðdëstyti mikrotekstai, sutapimo þenklas, atpaþinimo þenklas akliesiems,
nematomais daþais atspausdinti nominalo skaièiai, florescuojantys ul-
travioletinëje ðviesoje, ir kiti komponentai. Á banknoto popieriø áterp-
tas apsauginis siûlelis su mikrotekstu punktyru ritmiðkai iðkyla á pavir-
ðiø ir fluorescuoja vaivorykðtës spalvomis. Smulkiausiø mikroskopiniø
linijëliø daugiaspalvës giljoðo struktûros vos áþiûrimos plika akimi.
172 Lietuvos banknotø kûrimo bruoþai
usual impression of a light, monumental ensemble. It was a bad idea
to draw so assiduously the stairs forming the relief of the square, para-
pets and their angles of perspective cutting sharply through the orna-
mental band.
The banknote’s front composition remained unchanged but its
general look changed substantially. The distinct geometric ornaments
disappeared. The horizontal folk-style strips of cloth provided a quiet
background for the denomination numerals and lettering.
The portrait of Basanavièius was re-engraved and, compared to
the previous one, became of much finer modelling, which, however,
made the plastics of the old man’s face heterogeneous in some places
rather than exposing it. Despite that, the portrait is engraved pretty
well: the noble image of the Patriarch of the Nation is easily
recognisable and close, but, like the entire note, it lacks relief and
contrast. Printing the portrait in a darker brown colour, making the
denomination numerals more distinct, especially the big, orange one,
would have made the banknote easier to recognise.
The banknote has plenty of security features. First of all the water-
mark, portrait of Basanavièius, should be noted. Both sides have in-
corporated microtexts, a see-through feature, a recognition sign for
the blind, denomination numerals printed in invisible inks fluores-
cent under ultraviolet light, as well as other components in different
places. The security thread with a windowed microtext, embedded in
the paper of the banknote, surfaces rhythmically and fluoresces in
rainbow colours. The multicolour guilloche structures in finest mi-
croscopic lines are scarcely visible with the naked eye.
Design Peculiarities of Lithuanian Banknotes 173
 Ðimto litø banknotas
One Hundred Litas Banknote

174 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 175
 Dailininkas Rytis Valantinas prisimena, kad jis nedalyvavo susirin-
kime, kuriame buvo paskirstyti banknotø nominalai bûsimiems pro-
jektuotojams, ir jam liko vienas ið didþiausiø tada planuotø iðleisti
banknotø – 500 litø. Nuspræsta jame áamþinti S. Daukantà. Dailinin-
kas sakosi ið pradþiø neapsidþiaugæs dël didelës atsakomybës ir dël ne-
gausios ikonografijos. Ásitraukæs á darbà, apsistojo prie Vilniaus univer-
siteto architektûros ansamblio.
Simonas Daukantas (1793–1864 m.) – pirmosios Lietuvos istorijos
lietuviø kalba autorius. Jo knygose „Darbai senøjø lietuviø ir þemai-
èiø“, „Lietuvos istorija“, „Bûdai senøjø lietuviø, kalnënø ir þemaièiø“
apraðoma Lietuva iki Liublino unijos, jos gamta, paproèiai ir politinë
santvarka, keliamas Lietuvos politinis savarankiðkumas, kaip svarbiau-
sia tautos gyvavimo sàlyga. Rinko liaudies dainas bei pasakas, paraðë ir
iðleido praktiniø knygeliø – patarimø valstieèiams apie bitininkystæ, so-
dininkystæ ir kitomis jiems aktualiomis temomis. Jo knygos turëjo di-
delá poveiká XIX a. lietuviø tautiniam judëjimui.
S. Daukantas ir dabar labai populiarus, jo portretas puikiai tiko
banknotui. Jokiø abejoniø nekëlë ir reverso motyvas – Vilniaus univer-
sitete istorikas mokësi, jo kûriniuose Vilniui, kaip LDK sostinei, skiria-
ma nemaþai dëmesio. Su S. Daukanto portretu ir Universiteto ansamblio
panorama suprojektuotas 500 litø banknoto eskizas buvo pritaikytas
100 litø banknotui. Pakeistas tik spalvinis sprendimas, vietoje roþinës –
þalia spalva.
Susipaþinæs su ne itin gausia S. Daukanto ikonografija, R. Valanti-
nas ið karto pasirinko dailininko Jono Zenkevièiaus tapytà portretà. Ðis
istorikui dar gyvam esant ið natûros tapytas portretas yra labai populia-
rus, kiti kurti jau vëliau ávairiø dailininkø ir daþniausiai vadovaujantis
minëto dailininko tapytu portretu. XIX a. viduryje realistine tradicija
nutapytas portretas gerai perduoda S. Daukanto asmenybæ ir to laiko-
tarpio rimtá. Pagal numatytà banknotø komponavimo schemà, portre-
tas ákomponuotas deðiniame kraðte, istorikas taip pat truputá pasisukæs
á deðinæ, taigi – nusisukæs nuo visø svarbiausiø banknoto komponentø.
Pagal kompozicijos kanonus tai negerai, portretà reikëjo perpieðti. Ta-
èiau skubëta, nebuvo kada uþsiimti tokiomis smulkmenomis. Tai buvo
padaryta vëliau, rengiant kitos laidos projektà. Portretas didelis, virðu-
galviu jis dengia virðutinës ornamento juostos tekstà. Graviûra iðraiþyta
labai profesionaliai. Graveris puikiai perteikë istoriko panaðumà, bendrà
nuotaikà, kiekvienai detalei surado átikinamà ir savità linijø tëkmæ. Sto-
rosios linijos, plastiðkai vingiuojanèios pagal drabuþio raukðles, gerai
perteikia sunkø surduto audiná, plonosios, vos prisilieèianèios prie bal-
to popieriaus, – marðkinius, o punktyrinës ir storesnës susikryþiuojan-
èos – iðkilø veido reljefà. Tamsiai þalios spalvos graviûra, atspausdinta
giliaspaude, yra aktyviausias, labiausiai kontrastuojantis banknoto ak-
centas. Kaip ir kituose banknotuose, visus komponentus á nedalomà
visumà jungia dvi ornamento juostos. 100 litø banknote tai – gilaus
tono su vos áþiûrimomis lapø siluetø linijomis sunki àþuolo lapø pynë.
Ji sudaro palankø fonà ðviesiems tekstams bei nominalo skaièiams ir
papildo ideologiniø komponentø arsenalà. Iðskirtiná dëmesá dailinin-
176 Lietuvos banknotø kûrimo bruoþai
The designer Rytis Valantinas recalls being absent from the meeting
at which banknote denominations were distributed among their future
designers, and the banknote of one of the highest denominations at the
time, 500 litas, was left for him. The decision was to commemorate
Simonas Daukantas on it. The author says at first he felt far from happy
because of the great responsibility and scarce iconography. When he
got engaged in the work, he settled on the architectural ensemble of
Vilnius University.
Simonas Daukantas (1793–1864) was the author of the first history
of Lithuania in the Lithuanian language. His books The Deeds of An-
cient Lithuanians and Samogitians, History of Lithuania and The Char-
acter of Ancient Lithuanians and Samogitians describe Lithuania before
the Lublin Union, its nature, customs and the political system, and put
forward the idea of Lithuania’s political independence as the essential
condition for the existence of the nation.
Daukantas has remained popular until nowadays and his portrait
suited perfectly for the banknote. The motif of the back raised no doubt
either: the historian studied at Vilnius University and in his works fo-
cussed much of attention on Vilnius as the capital of the Grand Duchy
of Lithuania. For the one hundred litas banknote, the sketch of the 500
litas banknote designed with a portrait of Simonas Daukantas and a
panorama of Vilnius University was used. Only the colouring solution
was changed from pink to green.
Having familiarised himself with the not too abundant iconography
of Daukantas, Valantinas at once chose a portrait painted by Jonas
Zenkevièius. The portrait, painted in the mid-19th century in the realis-
tic tradition, well reflects the personality of Daukantas and the dignity
of the period. In observance of the established scheme for banknote
layout, the portrait is placed on the right side; the historian also appears
slightly turned to the right, away from all the key components of the
banknote. According to the canons of composition, this is unaccept-
able and the portrait had to be redesigned, which was done later, pre-
paring the design for the next issue. The portrait is large, with the crown
of the head covering the lettering on the upper ornamental band. The
engraving is cut very professionally. The engraver perfectly conveyed
the resemblance to the historian and the general spirit, and found a
persuasive and peculiar flow of lines for every detail. The coarse lines,
winding plastically along the creases of the clothing, well convey the
hardness of the cloth of the frock coat; the thin ones, scarcely touching
white paper are used for the shirt, and those dotted and thicker inter-
secting lines represent the prominent relief of the face. The deep green
engraving printed in intaglio is the most active, most contrasting accent
of the banknote. Similar to other banknotes, two ornamental bands
join all components into an integral whole. Each band in the 100 litas
banknote is a heavy deep-toned garland of oak leaves with scarcely dis-
cernible lines of leaf silhouettes. It provides a favourable background
for the light texts and denomination numerals, and adds to the range of
ideological components. The designer places exceptional emphasis on
 S. Daukanto portretas.
1850 m.
Dail. J. Zenkevièius

Portrait of S. Daukantas,
1850. Painting by
J. Zenkevièius

Design Peculiarities of Lithuanian Banknotes 177

500 litø banknoto eskizai.
Dail. R. Valantinas

Sketches for the

500 litas banknote.
Design by R. Valantinas

178 Lietuvos banknotø kûrimo bruoþai

 100 litø banknoto eskizai.
Dail. R. Valantinas

Sketches for the banknote.

Design by R. Valantinas

Design Peculiarities of Lithuanian Banknotes 179

 Vilniaus universiteto
ansamblis. Fotogr. J. Polis

Vilnius University
Ensemble.
Photo by J. Polis

180 Lietuvos banknotø kûrimo bruoþai

 Vilniaus universiteto
ansamblio graviûra
pirmos laidos banknote

Engraving of Vilnius
University Ensemble on
the first-issue banknote

Design Peculiarities of Lithuanian Banknotes 181

kas rodo ir paprastai pinigø kompozicijoje neiðdidinamam valstybës her-
bui. Èia jis ryðkiu akcentu komponuojamas á patá banknoto ir ið giljoðo
struktûrø sudarytos ratilais didëjanèios elipsës centrà. Kai R. Valantinas
kûrë projektà, dar nebuvo patvirtintas Vyèio etalonas ir valstybæ repre-
zentavo tarpukario Lietuvos monetas puoðæs J. Zikaro sukurtas Vytis,
todël ðiame banknote matome nupieðtà jo skulptûriná reljefà. Tai buvo
daroma ir kitose 100, 200 ir 500 litø banknotø laidose – nors jau buvo
patvirtintas dabartinis valstybës herbas, buvo pieðiamas J. Zikaro su-
kurtas Vytis. Tiesa, monetose jis horizontalus, o banknote autorius já
pasuko ástriþai aukðtyn, turbût siekdamas suteikti verþlumo. Yra dar
viena detalë, aiðkiai pasiskolinta ið prieðkario Lietuvos pinigø, tai – ova-
lo formos laukas vandenþenkliui.
Reverse dominuoja Vilniaus universiteto architektûros ansamblis su
iðkiliais, deja, kompozicijoje vos matomais Ðv. Jonø baþnyèios bokðtu ir
fasadu. Þiûrint ið idëjinës pusës, autoriaus pasirinkimas nekelia abejo-
niø, techniniu poþiûriu – taip pat. Ðimtmeèiais ið ávairiø architektûros
stiliø pastatø susiformavæs ansamblis labai tiko banknoto pieðiniui. De-
ja, rezultatas nevisiðkai sëkmingas, ir daugiausiai dël to kaltas pats daili-
ninkas, kompozicijos pagrindu pasirinkæs didþiulæ, kelis Vilniaus kvar-
talus apimanèià panoramà. Jam paèiam pritrûko jëgø ir kantrybës, kad
parodytø kiekvieno namo charakteringus bruoþus, iðryðkintø jo detales,
atskirtø pastatus vienà nuo kito, o kà jau bekalbëti apie Vilniaus nepa-
þástanèiø graveriø darbà. Atsitiko tas pats, kaip ir su senamiesèio pasta-
tais Katedros fone pirmos laidos 50 litø banknote. Baþnyèia, M. K. Sar-
bievijaus ir M. Poèobuto kiemus supantys pastatai dar turi individualiø
detaliø, o toliau – vienodi, migloje skæstantys stogai ir sienos su nuobo-
dþiomis langø kiaurymëmis. Dailininkui vertëjo apsiriboti trimis di-
dþiaisiais kiemais, sudaranèiais ansamblio branduolá, – Centriniu,
M. K. Sarbievijaus ir M. Poèobuto. Maþesnis fragmentas bûtø leidæs
labiau iðdidinti statinius, parodyti daugiau charakteringø detaliø. Page-
rëtø ir banknoto kompozicija.
Beje, apie ornamento juostas: kodël jos secesijos stiliaus? S. Dau-
kantas gyveno gerokai anksèiau iki XIX a. ir XX a. sandûros, kai visame
pasaulyje suklestëjo ðis stilius. Turime ir Vilniuje vienà kità pastatà su
secesijos poþymiais, taèiau Universiteto ansamblyje nëra në vieno. Or-
namentas galëjo bûti renesanso, baroko, klasicizmo, lietuviø liaudies,
netgi be aiðkios stilistikos, bet secesijos stilius niekaip nepateisinamas.
1991 m. laidos banknotas atspausdintas USBC spaustuvëje.
Toje paèioje spaustuvëje buvo atspausdinti ir 1994 m. laidos to pa-
ties dizaino 100 litø banknotai, tik ádiegta papildoma apsaugos priemo-
në – apsauginis siûlelis. Dël nepakankamos apsaugos ðis banknotas á
apyvartà nebuvo iðleistas.
2000 m. laidos 100 litø banknote, atspausdintame Orell Füssli Secu-
rity Printing Ltd spaustuvëje, R. Valantinas iðtaisë nemaþai klaidø, nors
ir ne visas. Dailininkas vykusiai perpieðë S. Daukanto portretà ir Lietu-
vos banko specialistø praðymu apsuko já á kairæ. Dabar portretas geriau
ásikomponuoja á banknoto staèiakampá. Nemaþiau meistriðkai ið naujo
perraiþyta portreto graviûra, surdutas, kuriame ákomponuota apsaugos
182 Lietuvos banknotø kûrimo bruoþai
the state emblem, which usually is not enlarged in banknote composi-
tions. Here, as a distinct accent, it is placed in the very centre of the
banknote and in a guilloche-structured ellipsis swelling in circles. At
the time when Valantinas worked on the design, the standard for Vytis
had not been approved yet and Vytis by Juozas Zikaras, which deco-
rated the Lithuanian coins of the inter-war period, represented the state;
therefore we see his sculptural relief on the banknote under review.
There is one more detail clearly borrowed from the pre-war Lithuanian
money: an oval-shaped space for the watermark.
The back features the architectural ensemble of Vilnius University
with the prominent but, unfortunately, scarcely visible tower and fašade
of the Church of St John the Baptist and St John the Evangelist. From
the ideological point of view, the author’s choice raises no doubts, nor
from the technical one. The ensemble, which evolved to its present
form in the course of centuries from buildings of different architectural
styles, was a suitable subject for a drawing on the banknote. Unfortu-
nately, the result was not quite successful, mostly through the fault of
the designer himself, who chose a vast panorama, taking up several blocks
of Vilnius, for the basis of his composition. The author himself lacked
energy and patience to show the characteristic features of every house,
expose their details, and separate the buildings from each other, not to
mention the work of engravers, unfamiliar with Vilnius. The same thing
happened as with the Old Town buildings in the background of the
Cathedral designed on the 50 litas banknote of the first issue. The Church
and the buildings surrounding the Sarbievijus and Poèobutas Court-
yards still have individual details, whereas beyond them are uniform
roofs shrouded in a mist and walls with dull hollows of windows. The
designer would have done better to limit himself with the three largest
courtyards forming the kernel of the ensemble: the Great, Sarbievijus,
and Poèobutas courtyards. A smaller fragment would have allowed en-
larging the buildings and revealing more characteristic details. Also, the
banknote’s composition would have improved.
The banknote of 1991 was printed by the USBC.
In 1994, the USBC, again, printed the 100 litas banknotes of the
same design; only an additional security feature, a security thread, was
embedded. Due to its insufficient security, the banknote was not put
into circulation.
In the 100 litas note of 2000 issue, which was printed by the Swiss
company Orell Füssli Security Printing Ltd, Rytis Valantinas elimi-
nated a number of mistakes, though not all of them. The designer suc-
ceeded in redrawing the portrait of Daukantas and upon request from
the experts of the Bank of Lithuania turned it to the left. Now the
portrait appears better positioned in the rectangle of the banknote. The
newly cut engraving of the portrait and the frock coat in which a secu-
rity feature is incorporated are executed no less masterfully. On the
dark outline of the garment the lines change their direction; when we
look at them at a certain angle, we see the numeral 100.
The front of the banknote produces the impression of a credible
 Pirmos laidos banknotas.
Dail. R. Valantinas

Neiðleistas á apyvartà
1994 m. laidos banknotas.
Dail R. Valantinas

Banknote of the first issue.

Design by R. Valantinas

Banknote of 1994 issue

never put into circulation.
Design by R. Valantinas

Design Peculiarities of Lithuanian Banknotes 183

 Vilniaus universiteto
ansamblio graviûra antros
laidos banknote.
Dail. R. Valantinas

Engraving of Vilnius
University Ensemble on
the second-issue banknote.
Design by R. Valantinas

184 Lietuvos banknotø kûrimo bruoþai

 S. Daukanto portretas.
Dail. R. Valantino
pieðinys

Portrait of S. Daukantas.
Drawing by R. Valantinas

Design Peculiarities of Lithuanian Banknotes 185

 S. Daukanto portreto
graviûra pirmos laidos
banknote

The engraving of the

portrait of S. Daukantas
on the first-issue banknote

186 Lietuvos banknotø kûrimo bruoþai

 S. Daukanto portreto
graviûros negatyvas
pirmos laidos banknote

Negative of the engraving

of the portrait of
S. Daukantas on the
first-issue banknote

Design Peculiarities of Lithuanian Banknotes 187

priemonë. Tamsiame drabuþio siluete linijos keièia kryptá, þiûrëdami á
jas tam tikru kampu, matome skaièiø „100“.
Banknoto aversas daro patikimo pinigo áspûdá, o apie reversà to
pasakyti negalima. Jo kompozicija, negausûs pinigui bûdingi elemen-
tai daugiau asocijuojasi su atviruku. Spalvinë gama, kurioje vyrauja
prieðingø poliø þalia ir raudona spalvos, nesudaro akiai malonaus har-
moningo vaizdo. Po pirmos laidos autorius suprato nevisiðkai sëk-
mingai pasirinkæs panoramos ribas ir, rengdamas antros laidos pro-
jektà, stengësi klaidà iðtaisyti, taèiau tai darë neryþtingai. Jis gerokai
susiaurino panoramà, apsiribojo centrinës dalies pastatais, bet ir ðioje
kompozicijoje dailininkas priverstas labiau nutolusius pastatus skan-
dinti á þalià rûkà.
Pirmoje laidoje buvæs gana ryðkus giljoðas ðios laidos banknote
tapo ámantresnis, subtilesniø spalvø ir struktûros. Portreto kairëje ði
struktûra virsta lietuviðku audiniu, patamsëdamas jis sudaro fonà J. Zi-
karo sukurtam Vyèiui. Virðutinëje dalyje – S. Daukanto raðtø faksi-
milës fragmentas. Ypaè banknotà puoðia ádomus, pinigams bûdingas
dviejø spalvø persipinanèiø linijø ornamentas, ið dalies dengiantis van-
denþenkliui skirtà laukà. Jis suðvelnina grieþtà tamsaus ir ðviesaus plo-
tø susikirtimà ir yra svarbi apsaugos priemonë – plonø linijø susikir-
timas sunkiai nukopijuojamas. Ðalia iðdëstytos ir kitos apsaugos prie-
monës: du trikampiai atpaþinimo þenklai akliesiems, sutapimo þenklas,
apsauginis siûlelis su mikrotekstu, mikroperforacija, specialiais, plika
akimi nematomais daþais atspausdintas nominalo skaièius ir kt. Re-
verso pusëje esanti Ðv. Jonø baþnyèia ir varpinë ultravioletinëje ðvie-
soje ðvyti gelsva þalia spalva.
188 Lietuvos banknotø kûrimo bruoþai
note, which though cannot be said about its back. The range of colours,
dominated by green and red, two colours from the opposing ends of
the scale, does not create a harmonious picture pleasant to look at. After
the first issue the author realised that his choice of the edges of the
panorama had not been quite right and tried to correct the mistake
when working on the design for the second issue; however, he was do-
ing it without determination. He narrowed the panorama substantially,
restricted himself with the buildings of the central part, but in this com-
position, again, he was forced to wrap the more distant objects in green
mist.
The rather distinct guilloche of the banknote of the first issue be-
came more intricate in the banknote of the issue under review, acquired
subtler colours and structure. To the left of the portrait, this structure
turns into a Lithuanian woven fabric, which, as it darkens, serves as the
background for Vytis of Zikaras’ design and its upper part features a
facsimile fragment from the writings of Simonas Daukantas. The inter-
esting ornament of interlacing two-colour lines typical of currency, partly
covering the space of the watermark, is particularly decorative in this
banknote. It softens the rigid intersection of the dark and light areas
and serves as an important security feature: the pattern of thin lines is
hard to copy. Other features are laid out nearby: two triangular recog-
nition signs for the blind, a see-through feature, a security thread with a
microtext, microperforation, the denomination numeral printed in in-
visible inks, etc. The Church of St John the Baptist and St John the
Evangelist and the Belfry on the back of the banknote fluoresce under
ultraviolet light in yellowish-green.
 S. Daukanto portreto
graviûra antros laidos
banknote

Engraving of the portrait

of S. Daukantas on the
second-issue banknote

Design Peculiarities of Lithuanian Banknotes 189

 Dviejø ðimtø litø banknotas
Two Hundred Litas Banknote

190 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 191
 Metams bëgant ir ásitvirtinant saviems pinigams, gerëjant ekono-
minei situacijai, atsirado bûtinybë turëti didesniø nominalø bankno-
tø. Jø kompozicinë schema turëjo pratæsti didþiøjø nominalø banknotø
serijà. Autoriumi buvo pasirinktas R. Valantinas, jau kûræs 100 litø
banknotà ir sukaupæs tam tikrà patirtá. Projektuojamam 1997 m. lai-
dos 200 litø banknotui pasirinktas Maþosios Lietuvos visuomenës vei-
këjas Vydûnas.
Vydûnas (tikroji pavardë Vilhelmas Storosta, 1868–1953 m.) –
þinomas tarpukario Lietuvos raðytojas ir filosofas, nepailstantis kovo-
tojas uþ lietuviø teises ir kalbà Maþojoje Lietuvoje. 1895 m. jis ákûrë
Tilþës lietuviø giedotojø draugijà, leido ir redagavo þurnalus bei laik-
raðèius, juose këlë filosofines þmogaus bûties problemas, aiðkino þmo-
giðkumo esmæ, pagrástà savimone bei intuicija, jautrumu gëriui ir gro-
þiui. Savo filosofinëmis nuostatomis vadovavosi ir kultûrinëje veiklo-
je, pagal jas kûrë savità pasyvaus pasiprieðinimo germanizacijai takti-
kà. Vydûnas sukûrë dramos veikalø, kurie buvo statomi Lietuvos teat-
ruose. Karo pabaigoje raðytojas pasitraukë á Vokietijà, ten ir mirë. Ru-
sø okupacijos metais buvo ignoruojamas ir mûsø þmonëms maþiau
þinomas, taèiau atgimusioje Lietuvoje jo palikimas vël uþima deramà
vietà. Savotiðkas skolos gràþinamas yra ir idëja já áamþinti 200 litø
banknote.
Tik pradëjus kurti banknotø projektus, Vydûno portretas buvo
planuotas 10 litø banknotui. Taèiau jaunam dailininkui A. Mandei-
kai, kuris ëmësi já kurti, nepavyko pateikti kolegas átikinanèio projek-
to. Tada ypaè nesisekë komponuoti reversà, jo objektu buvo pasirink-
tas Klaipëdos uosto vaizdas. Sandëliai, molo perspektyva, priðvartuo-
tas laivas atrodë per daug natûralistiðkai, neádomiai. Autorius mëgino
komponuoti kitus Maþosios Lietuvos temai charakteringus motyvus –
þvejo sodybà, krikðtus, þymesnius uostamiesèio pastatus, ðvyturá, ta-
èiau eskizai vyresniø kolegø netenkino. Buvo nutarta 10 litø bankno-
to projektavimà perduoti G. Jonaièiui, o Vydûno portreto tuokart
atsisakyti.
Po keleriø metø ëmus projektuoti 200 litø banknotà su Vydûnu,
reverso motyvo problema vël iðkilo ir, kaip prisimena projekto auto-
rius R. Valantinas, jam teko pasukti galvà, kuriuo keliu eiti, „nuosek-
liai sekti Maþosios Lietuvos istoriografija ar orientuotis á laisvesná sim-
bolá, pabrëþti valstybës geopolitines ambicijas vaizduojant Baltijos jû-
rà“.
Neþiûrint A. Mandeikos nesëkmingø mëginimø sukomponuoti
banknotà su Klaipëdos vaizdais, R. Valantinas ið pradþiø màstë pana-
ðiai. Dailininkas prisimena: „Studijuodamas Klaipëdà, nesuradau ryð-
kesniø bruoþø. Iðkilo klausimas – vaizduoti miestà fragmentiðkame
vokiðkos architektûros pavelde ar gilintis á uostà, pramonæ? Vydûno
asmenybë, jo ðvietëjiðkumas, pasaulëjauta stumtelëjo filosofiðkumo
link. Intuicija kuþdëjo, jog reikëtø apibendrinanèio simbolio. Nuta-
riau pasirinkti charakteringà uosto simbolá – ðvyturá, nors tai ir nebu-
vo labai originalu. Archyviniai atvirukai ar nuotraukos ið laikraðèiø ir
þurnalø apie Klaipëdos ðvyturá jûros fone manæs netenkino. Plastikos
192 Lietuvos banknotø kûrimo bruoþai
As the years passed and our currency gained importance, and the
economic situation improved, a need for having banknotes of higher
denominations arose. Their layout scheme was to extend the series of
other high denomination banknotes. Rytis Valantinas, who had pre-
viously created the 100 litas banknote and accumulated certain expe-
rience, was selected as the designer. For the 200 litas banknote of
1997 issue, the public figure of Lithuania Minor – Vydûnas – was
chosen.
Vydûnas (real name Vilhelmas Storosta, 1868–1953) was an out-
standing Lithuanian writer and philosopher of the inter-war period,
an indefatigable fighter for the rights and language of the Lithuanians
in Lithuania Minor. He established the Lithuanian Society of Psalmody
of Tilsit in 1895, published and edited magazines and newspapers, in
which he put forward philosophical problems of human existence,
explained the essence of humanism based on self-consciousness and
intuition, sensitivity to the good and beautiful.
Just as the design of banknotes started, the portrait of Vydûnas
was intended for the 10 litas banknote. However, the young artist
Alvydas Mandeika, who undertook designing it, did not manage to
submit a design that would convince his colleagues. Especially the
arrangement of the back was poor, for which an image of Klaipëda
seaport was chosen. The warehouses, the perspective of the pier and
the moored ship looked too naturalistic and uninteresting. The au-
thor tried to arrange other motifs peculiar to the subject of Lithuania
Minor, such as a fisherman’s homestead, krikðtas (a wooden grave
marker made of one board), and more notable buildings of the sea-
port city, the lighthouse; yet the sketches did not satisfy the artist’s
older colleagues. The decision was to pass the design of the 10 litas
banknote over to Jonaitis and to replace the portrait of Vydûnas at
the time.
In a few years’ time, the design of the 200 litas banknote with a
portrait of Vydûnas was undertaken and the problem of the motif on
back emerged again. As the author of the design Valantinas recalls, he
was obliged to use his brains which way to go, “to be consistent in
using the historiography of Lithuania Minor or move towards a more
liberal symbol, to stress the geopolitical ambitions of the state by de-
picting the Baltic Sea”.
Despite the unsuccessful attempts of Mandeika at designing the
banknote with images of Klapëda, Valantinas’ pattern of thinking
was originally similar. The designer recalls: “In my studies of Klaipëda,
I did not find features of higher peculiarity. The question was: to
depict the city in the fragmentary German architectural heritage or to
explore the subject of the port and industry? The personality of
Vydûnas, his ideas of enlightenment and attitude to the world pushed
me towards a philosophical approach. Intuitively I knew that some
general symbol would serve my purpose. I decided to choose a char-
acteristic symbol of a port, the lighthouse, although the idea was not
very original. Archive cards or newspaper and magazine photographs
 10 litø banknoto su
Vydûno portretu eskizai.
Dail. A. Mandeika

Sketches for the 10 litas

banknote with
the portrait of Vydûnas.
Design by A. Mandeika

Design Peculiarities of Lithuanian Banknotes 193

Banknoto projekto eskizai.
Dail. R. Valantinas
atþvilgiu jie buvo nuobodoki, saldokai romantiðki. Norëjosi iðraiðkin-
gesnio pieðinio, dramatiðkesnio siuþeto, tad nusiþengiau enciklopedi-
niam tikslumui ir kûriau savo jûrà“.
Vos pasirodþius banknotui, reverso vaizdas sulaukë atgarsio, kad
ne ið tos pusës á molà plakasi bangos, ne ten ðvieèia ðvyturys. Ðiuo
atveju dailininkui daug svarbiau bendra banknoto kompozicijos logi-
ka, o natûra, enciklopedinis tikslumas jam rûpi maþiausiai. Ne visi iki
smulkmenø þino vaizduojamà peizaþà, o pinigus laikys rankose visi, ir
labai svarbu, kad banknotas bûtø sukomponuotas profesionaliai ne-
priekaiðtingai. Èia jûra ir ðvyturys – simboliai, reiðkiantys lietuviðkus
sentimentus jûrai, o ne peizaþas, tiksliai nupieðtas ið tam tikro taðko.
Deja, R. Valantinas ne iki galo ágyvendino savo iðsakytas nuosta-
tas. Jûros vaizdas banknote, neþiûrint autoriaus gerø norø, liko tik
paveikslëlis. Ko gero, èia kaltas pats autorius, ne iki galo iðlikæs nuo-
seklus. Ðtai kaip jis apibûdina savo poþiûrá á pinigø projektavimà: „Vi-
sada galvojau, jog banknotas pirmiausia yra paveikslas. Vaizduojama
asmenybë ar turinys turi bûti pagrindas, o funkcionalumas (turiu gal-
voje visus elementus) turëtø prisiderinti, paklusti“. Ði nuomonë yra
visiðkai prieðinga tai, kuria visame pasaulyje vadovaujasi pinigø pro-
jektuotojai: saugumas – bûtinybë, groþis – siekis.
Tokia radikali prieðingybë visiðkai suprantama – mûsø dailininkai
ëmësi projektuoti pinigus turëdami nemaþà profesionaliø grafikø, daþ-
niausiai estampininkø, patirtá. Norint ar nenorint, ði patirtis pasireið-
kia, jei ne þodþiais, tai darbais. Jie banknotà komponuoja kaip estam-
pà, o á baigtà paveikslà nenoriai ásileidþia pinigui bûdingus elemen-
tus. Taip atsitiko ir su 200 litø banknotu. Jo reverse liko tik nominalo
skaièiai ir tekstai, taèiau jie iðdëstyti taip, kad neuþdengtø iðpuoselëto
vaizdo, nenustumtø jo á antrà planà. Giljoðo struktûrai skiriamas tik á
akis nekrentanèio rëmo vaidmuo. Dideles erdves nuo kraðto iki krað-
Sketches for the
banknote’s design by to uþpildyti lygiai ðtrichuota faktûra labai pavojinga ir estampe, juo
R. Valantinas labiau jei kalbama apie pinigus. Pats motyvas sudarë galimybæ sukurti
194 Lietuvos banknotø kûrimo bruoþai
of Klaipëda Lighthouse against the background of the sea did not
satisfy me. With regard to plastics, they were rather boring and sweetly
romantic. I wanted a more expressive drawing, of a more dramatic
subject; so I disregarded the encyclopaedic accuracy and created a sea
of my own”.
Unfortunately, Valantinas did not realise his philosophy to the full.
What remained from the image of the sea on the banknote, despite the
author’s good will, was just a small picture. It probably happened so
through the fault of the author himself, who was not fully consistent.
This is how he described his approach to note designing: “I’ve always
considered a banknote to be primarily a picture. The personality por-
trayed or the contents must be the core, whereas the functionality (I
mean, all elements) should adapt itself, be subordinate”. This opinion
is totally opposite to the one that currency designers around the world
stick to: security is a necessity; beauty is an option.
This radical contrast is quite natural: our artists undertook cur-
rency design with accumulated substantial experience as graphic art-
ists – most often print designers. Willingly or not, this experience
manifests itself in works, if not in words. They arrange a note as a
print design and are reluctant to introduce elements peculiar to the
note into the finished picture. It happened so with the 200 litas
banknote as well. On its back, only denomination numerals and let-
tering have remained, yet these are laid out as not to cover the refined
image, not to push it to the background. The guilloche structure is
given the role of just an inconspicuous frame. To fill large spaces edge
to edge with a pattern of even strikes is very dangerous even for a
print design, not to speak of a currency unit. The motif itself pro-
vided a possibility for creating a more interesting arrangement: for
the foaming seawaters, the same tempestuous sky with menacing clouds
and a lighthouse ray casting light on them would have suited much
better than the dark, monotonous night sky.

ádomesnæ kompozicijà: prie putojanèiø jûros bangø daug labiau bûtø
tikæs toks pat audringas dangus su grësmingais debesimis ir juos ap-
ðvieèianèiu ðvyturio spinduliu negu tamsus, monotoniðkas nakties dan-
gus.
Atsitiktinumas ir didelë lietuviø meilë jûrai lëmë, kad net du mûsø
banknotus puoðia ðëlstanèios jûros vaizdas – Atlanto banga, grasinan-
ti pasiglemþti „Lituanicà“ 10 litø banknote, ir Baltija, skalaujanti Klai-
pëdos uosto molà 200 litø banknote. Joks kitas motyvas nenusipelnë
tokio dailininkø dëmesio.
Komisijoje svarstant Vydûno portreto ikonografijà, iðkilo klausi-
mas, koká raðytojo portretà pasirinkti – tarpukario Lietuvos visuome-
nei gerai paþástamà, dar jaunà, þvelgiantá ið laikraðèiø ir þurnalø foto-
kronikos puslapiø ir dar gerai atmenamà daþnam vyresnës kartos in-
teligentui, ar jau pasenusá ir praþilusá, nuvargintà karo sunkumø, fo-
tografuotà Vokietijoje keleri metai prieð mirtá. Nugalëjo nuomonë,
kad banknote Vydûnas turi bûti vaizduojamas toks, koks jis buvo
paskutiniais savo gyvenimo metais. Spaustuvës meistrø iðraiþytoje gra-
viûroje profesionaliai perteikta fotografinio portreto nuotaika, nors
banknoto projekto autorius nebuvo tuo patenkintas – graveris neper-
teikë portreto ðviesokaitos ir fono santykio, nors pati graviûra buvo
atlikta profesionaliai.
Neþinant autoriaus sumanymo ir þiûrint ið ðalies, portretas iðëjo
neblogas, o tamsesnæ veido modeliuotæ galima pateisinti graverio pa-
stangomis iðryðkinti charakteringà portreto elementà – visiðkai baltà
raðytojo barzdà ir plaukus, nors ir jie kai kuriose vietose per daug
tamsûs ir netenka savo spalvos. Antra vertus, suprantamas ir sveikin-
tinas autoriaus noras, kad veidas bûtø ðviesesnis. Kaip jau minëta,
K. Lynikas sakë, kad ðviesus portretas sudaro daugiau kliûèiø klasto-
tojams, be to, maþiau ðtrichuotas veidas ir plaukai bûtø ne tokie mar-
gi, aiðkiau iðsiskirtø nevienodo intensyvumo foninëje aplinkoje, á ku-
rià jie dabar lyg ir nugrimzta, supanaðëja su ja.
Banknoto projekto eskizai.
Dail. R. Valantinas
When the iconography of the portrait of Vydûnas was discussed in
the Commission, a question arose, what portrait of the writer should
be selected: well known to the inter-war Lithuanian public, still young,
looking down from the pages of newspaper and magazine photo
chronicles and still well-remembered by a many an educated person
of the older generation, or already in old age and grey-haired, weary
of the difficulties of the war, photographed several years before his
death. The prevailing opinion was that the banknote should carry an
image of Vydûnas in his last years of life. The engraving cut by the
company’s masters professionally conveys the mood of the photo-
graphic portrait, though the author of the banknote’s design was not
content with the result: the engraver had not conveyed the relation-
ship between the change of light and the background, although the
engraving itself was a professionally cut work.
If one is unaware of the author’s conception and looks at it as an
uninvolved observer, the portrait seems quite good and the darker
modelling of the face is justified by the engraver’s endeavours to bring
out a characteristic element of the portrait – the writer’s absolutely
white beard and hair, though in some places these become too dark
and lose their colour. On the other hand, the author’s wish to make
the face brighter is understandable and welcomed. As stated above,
Kæstutis Lynikas had said that a bright portrait poses more problems
for counterfeiters; additionally, a less lined face and hair would be less
heterogeneous and more distinct in the background environment of
varying intensity, while now they seem to sink into the background.
The task of relating the composition of the 200 litas banknote
with the 100 litas banknote of 1991 issue limited the designer’s pos-
sibilities of introducing more compositional innovations, but the time
which had elapsed and the criticism made him introduce some ad-
Sketches for the
justments. Valantinas gave up the heavy horizontal ornamental bands; banknote’s design by
therefore, the entire composition became lighter and there was room R. Valantinas
Design Peculiarities of Lithuanian Banknotes 195
Dail. R. Valantinas tikrina
bandomuosius banknotø
atspaudus
Uþduotis – 200 litø banknoto kompozicijà susieti su 1991 m. lai-
dos 100 litø banknotu – apribojo dailininko galimybes ádiegti dau-
giau kompozicijos naujoviø, taèiau praëjæs laikas ir girdëta kritika vertë
dailininkà kai kà pakoreguoti. R. Valantinas atsisakë sunkiø horizon-
taliø ornamento juostø, todël palengvëjo visa kompozicija, atsirado
vietos didesniam Vydûno portretui. Nors ir sumaþëjo nominalo skai-
èiai bei tekstai, taèiau ramiame giljoðo struktûrø fone jie gerai skaito-
mi, o smulkiai ornamentuoti raidþiø siluetai tapo dar viena apsaugos
priemone. 200 litø banknotà spausdino Giesecke & Devrient GmbH
spaustuvë. Dailininkas su parengtu projektu nuvyko á spaustuvæ ir
dalyvavo parengiamajame gamybos etape. Autoriui tai buvo puiki mo-
kykla, leidusi ið arèiau susipaþinti su tobula programine áranga, ku-
rianèia ámantrias giljoðo struktûras, su naujausiais mokslo atradimais
apsaugos priemoniø srityje – specialiais daþais, hologramomis, kinegra-
momis. Lietuvos banko specialistams nusprendus banknote ádiegti ho-
logramà, dailininkui teko ieðkoti jai vietos jau sukomponuotame
banknote. Susiformavæs poþiûris á banknotà kaip á paveikslà neleido
R. Valantinui naudotis kompanijos sudaryta galimybe kompozicijà
papildyti pinigo specifikà atitinkanèiais elementais. Jis atsargiai, ne-
pasitikëdamas rinkosi jam siûlomus variantus. Autorius prisimena:
„Daug laiko prireikë ir fono darbams – giljoðui. Turëjau galimybæ
perþiûrëti tûkstanèius kataloguose siûlomø pavyzdþiø, bet tinkamo
vis nerasdavau. Norëjosi savitesnio, lietuviðkesnio. Visai praradæs vil-
tá, pagaliau uþtikau simbolá – saulutæ. Bet jà reikëjo patobulinti. Daug
padëjo vienas spaustuvës dizaino specialistas“.
200 litø banknotas buvo pirmas lietuviðkas banknotas, kuriame
ádiegta metalizuota holograminë juostelë, savo paslaptingu daugiaspal-
viu spindesiu iðskyrusi ðá pinigà ið kitø. Ultravioletinëje ðviesoje rever-
se iðryðkëja dar vienas áspûdingas apsaugos poþymis – ðvyti ðvyturio
Designer R. Valantinas
while checking banknote spinduliø pluoðtas, jo atspindys matyti ir ant molo.
proofs, photograph
196 Lietuvos banknotø kûrimo bruoþai
for a bigger portrait of Vydûnas. The denomination numerals and
texts, though contracted in size, are easily readable against the serene
background of guilloche structures, and the finely ornamented oulines
of letters serve as another security feature. The 200 litas banknote was
printed by Giesecke & Devrient GmbH. The designer went to the
company with his ready design to participate in the preparatory stage
of production. It was an excellent school for the author; he could
familiarize himself on closer terms with the perfect software capable
of designing intricate guilloche structures, with the latest scientific
discoveries in the area of security features, such as special inks and
dies, holograms and kinegrams. On the decision of Bank of Lithuania
experts to introduce a hologram into the banknote, the designer was
obliged to find a place for it in the finished banknote. Owing to his
approach to banknote as a picture, Rytis Valantinas did not use the
opportunity provided by the company to supplement the arrange-
ment with elements relevant to the specifics of the currency unit. He
was choosing from the options offered to him cautiously, with dis-
trust. The author recalls: “The work with the background – guilloche
– took a long time too. I had a possibility of reviewing thousands of
examples offered in catalogues, but I would not find a suitable one.
My wish was to find something peculiar, more Lithuanian. When I
lost all hope, I finally came across the symbol of a daisy. Yet it had to
be improved. An expert of design from the company was very helpful
to me.”
The 200 litas banknote was the first Lithuanian banknote with a
metallic holographic strip incorporated, which distinguished this note
from the others by its mysterious multicolour radiance. Under ultra-
violet light, one more impressive security feature becomes visible on
the back of the note: the pencil of rays of the lighthouse fluoresces; its
reflection is also visible on the pier.
 Vydûno portreto
graviûra

Engraving of the portrait

of Vydûnas

Design Peculiarities of Lithuanian Banknotes 197

 Penkiø ðimtø litø banknotas
Five Hundred Litas Banknote

198 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 199
 Jau 1990 m. buvo numatyta spausdinti 500 litø banknotus. Ðio no-
minalo banknotà komponavo pinigø projektavimo grupës vadovas
R. Miknevièius. Banknotas atspausdintas USBC spaustuvëje, taèiau tuo
metu toks didelis nominalas nebuvo reikalingas. 1991 m. laidos banknote
ádiegtø apsaugos priemoniø nepakako, todël jis nebuvo iðleistas á apy-
vartà. 2000 m. ið naujo susirûpinta ðio banknoto projektavimu.
Ðiame banknote nutarta áamþinti Vincà Kudirkà (1858–1899 m.) –
vienà ið þymiausiø lietuviø tautinio atgimimo veikëjø, raðytojà, visuo-
menës veikëjà, „Varpo“ redaktoriø ir ideologà. Studijuodamas jis ási-
traukë á tautiná judëjimà, 1888 m. pradëjo leisti þurnalà „Varpas“, ku-
riame smerkë carizmà, jo vykdomà nacionalinës priespaudos politikà,
këlë socialines problemas, þadino tautinæ sàmonæ. Paraðë apsakymus,
kandþiai iðjuokianèius carinës administracijos valdininkus, – „Virðinin-
kai“, „Lietuvos tilto atsiminimai“. Publicistiniuose straipsniuose daug
dëmesio skyrë literatûrai lietuviø kalba, rûpinosi jos profesionalumu.
1898 m. paraðë þodþius ir sukûrë muzikà dainai „Tautinë giesmë“, vë-
liau nepriklausomoje Lietuvoje tapusiai valstybës himnu.
1991 m. laidos banknoto projektas parengtas laikantis nustatytos
didþiøjø nominalø serijos komponavimo schemos: averso deðinëje –
portretas, centre – J. Zikaro sukurtas Vytis, kairëje – elipsës formos
vieta vandenþenkliui Vyèiui ir Gediminaièiø stulpams. Visus kompo-
nentus jungia horizontalios juostos, o reverse – peizaþas. Þiûrëdami á
dailininko pieðiná ir á atspausdintà banknotà, galime palyginti, kaip
jie skiriasi vienas nuo kito. Visas averso staèiakampis ir reverso kraðtai
padengti ámantriu giljoðo audiniu, jo atspalvis keièiasi ið ðviesaus á
tamsø, ið ðaltesnio á ðiltesná. Lyginant pieðiná, matosi, kad spaustuvëje
kompozicija buvo ðiek tiek pakeista: vandenþenklio erdvë, kitaip ne-
gu projekte, ágavo aiðkø elipsës siluetà, V. Kudirkos deðiniojo peties
formà spaustuvës dizaineriai „pataisë“, deja, paþeidë proporcijas ir jis
iðëjo gerokai siauresnis uþ kairájá.
Labai nuotaikingas R. Miknevièiaus sukurtas peizaþas atspausdin-
tas ofsetu, taèiau abiejose banknoto pusëse buvo giliaspaude atspaus-
tø elementø: averse – portretas, ornamento juostos su tekstais ir no-
minalo skaièiais, o reverse – ornamento juostos su skaièiais ir varpas.
Praëjus vos ne deðimtmeèiui ir bankui apsisprendus iðleisti kol kas
didþiausio nominalo 500 litø nominalo banknotà, 1991 m. laidos
banknoto autorius R. Miknevièius nepanoro pratæsti darbo ir pareng-
ti pieðiná naujai laidai. Tai atlikti buvo pasiûlyta G. Jonaièiui. Jis pa-
veldëjo nerealizuotos laidos komponavimo schemà ir temà, taèiau jam
teko banknotà pritaikyti padidëjusiems apsaugos reikalavimams, pa-
keisti jo spalviná sprendimà. Visi lietuviðki maþøjø nominalø banknotai
buvo neryðkiø spalvø, o 200 litø ryðkiai mëlynà banknotà ið didþiøjø
nominalø serijos papildë raudonas 2000 m. laidos 500 litø bankno-
tas, atspausdintas Giesecke & Devrient GmbH Ltd spaustuvëje.
G. Jonaièio projekto aversas pasikeitë nedaug, jis papildytas tik
vertikalia hologramine juosta. Tiesa, Lietuvos banko specialistø pra-
ðymu dailininkas atsisakë horizontaliø ornamento juostø abiejose
banknoto pusëse, labai sumaþintà bendrà visø didþiøjø nominalø se-
200 Lietuvos banknotø kûrimo bruoþai
The idea of printing 500 litas banknotes dates back to 1990. The
layout of the banknote of this denomination was designed by the
leader of the currency design team Miknevièius. The banknote was
printed by the USBC, yet there was no need for such a high denomi-
nation at the time. As the security features incorporated in the banknote
of the 1991 issue were insufficient, the banknote was not put into
circulation. Designing this note became came up again in 2000.
The 500 litas banknote was to honour Vincas Kudirka (1858–
1899), one of the most prominent figures of the national rebirth
movement of the Lithuanians, writer, public figure, editor and ide-
ologist of the Varpas magazine. As a student, he became involved in
the national movement; from 1888 edited the Varpas magazine, in
which he condemned the czarist regime, its policy of national oppres-
sion, raised social problems, and wakened national self-consciousness.
In 1898, he wrote the words and composed the music for the “Na-
tional Song”, which in later years became the national song of inde-
pendent Lithuania.
The design of the banknote of 1991 issue was prepared in obser-
vance of a fixed scheme for the layout of the high denomination se-
ries: on the right side of the front is the portrait, in the centre Vytis of
Juozas Zikaras’ design, on the left an oval-shaped space for the water-
mark, Vytis and Gediminas Columns. Horizontal bands link all the
components, while the back features a landscape. As we look at the
designer’s drawing and the printed banknote, we can compare their
respective differences. The entire rectangle of the front and the edges
of the back are covered with an elaborate guilloche pattern, the tint of
which changes from light to dark, from colder to warmer.
The lively landscape designed by Miknevièius was printed in off-
set, but both sides of the banknote contained elements printed in
intaglio: on the front was the portrait, ornamental bands with texts
and denomination numerals, and on the back ornamental bands with
a bell.
When nearly a decade had elapsed and the Bank made a decision
on issuing a banknote of the so far highest 500 litas denomination,
the author of the banknote of the 1991 issue Miknevièius was not
willing to continue the work and prepare a drawing for the new issue.
Jonaitis was asked to do that. He inherited the layout scheme and the
subject of the unrealised banknote, yet he had to adjust the banknote
to the more stringent security requirements and to change its colouring
solution. All Lithuanian banknotes of low denominations were sub-
dued in colours, whereas the bright blue 200 litas banknote from the
high denomination series was supplemented with the red 500 litas
banknote of 2000 issue printed by Giesecke & Devrient GmbH.
The front of Jonaitis’ design changed only slightly through adding
only a vertical holographic strip. Now, upon the request of Bank of
Lithuania experts, the designer abandoned the horizontal ornamental
bands on both sides of the banknote, arranged a highly compressed
Vytis of Zikaras’ design, which is common to the series of all high
 Banknoto projekto eskizai.
Dail. R. Valantinas

Sketches for the

banknote’s design by
R. Valantinas

Design Peculiarities of Lithuanian Banknotes 201

Banknotø projektai.
Dail. R. Miknevièius

Banknote designs by
R. Miknevièius

202 Lietuvos banknotø kûrimo bruoþai

 V. Kudirkos portreto
graviûra

Engraving of the portrait

of V. Kudirka

Design Peculiarities of Lithuanian Banknotes 203

rijai J. Zikaro sukurtà Vytá ákomponavo horizontalioje elipsëje ir jos
pagrindu formavo centro kompozicijà. Virð herbo esanèioje giljoðo
struktûroje galima áþiûrëti stilizuotus smuiko ir knygos siluetus, jie
pagal autoriaus sumanymà turëjo charakterizuoti V. Kudirkos asme-
nybæ ir pareikalavo dideliø pastangø juos komponuojant. G. Jonaitis
prisimena: „Averse daug vargau su smuiku ir knygos motyvø paieðka.
Vëlgi perëjau visà spektrà mëginimø nuo visiðkai tikroviðko vaizdavi-
mo iki visiðko abstrahavimo ir sàlygiðkumo. Nesinorëjo toje vietoje
matyti vien tiktai plikà plotà, norëjosi turinio, kuris vaizdiðkai netu-
rëjo dominuoti ir konkuruoti su pagrindiniu akcentu – iðdidintu
portretu“. Atspausdintame banknote tai yra praktiðkai vieno tono,
taèiau sudëtingø ir visiðkai skirtingø ornamento struktûrø formuoja-
mos plokðtumëlës, sudaranèios dailininko taip kruopðèiai komponuo-
tus motyvus – ryðkiai stilizuotus smuikà ir knygà. Ðis ornamentuotas
laukas – labiau apsaugos priemonë negu ideologinis temà pabrëþian-
tis komponentas. Jo ámantraus pieðinio vizualus þaismas matomas ati-
dþiai apþiûrinëjant banknotà, o siuþetà visiðkai uþgoþia ryðkûs portre-
to ir Vyèio siluetai. Tai, aiðku, neblogai, tokioje nedidelëje erdvëje
ryðkiai iðsiskiriantys smuikas ir knyga bûtø gerokai trukdæ svarbes-
niems banknoto komponentams.
Apaèioje iðliko neryðki ornamento juostos dalis. Ið nominalo skaièiø
mikroteksto, persipynusio su kitomis mikrostruktûromis, ji sudaro dë-
kingà aplinkà dideliam nominalo skaièiui ir jo iðraiðkai þodþiais. Aver-
sas, kaip ir tinka tokio didelio nominalo pinigui, padengtas smulkiau-
siø giljoðo struktûrø audiniu. Banknote gausu ir kitø moderniausiø ap-
saugos priemoniø – tai plati metalizuota holograminë juostelë su verti-
kaliais ir horizontaliais tekstais, apsauginis siûlelis su mikrotekstu, suta-
pimo þenklas, atpaþinimo þenklas akliesiems – trys statûs trikampiai,
nematomais daþais atspausdinti nominalo skaièiai, kai kurie kompo-
nentai, liuminescuojantys ultravioletinëje ðviesoje, ir daugelis kitø.
V. Kudirkos portretas iðraiþytas profesionaliai. Dailininkas sakosi,
kad, gerai þinodamas graverio meistriðkumà, per daug á jo darbà nesiki-
ðæs. Nepaisant to, kai kuriø klaidø neiðvengta. XX a. pradþioje darytoje
fotografijoje fiksuojamas tik virðutinis poeto peèiø siluetas, þemiau jis
iðnyksta baltame fone. Tuo tarpu graveris grieþtai iðraiþë visà ðvarkà,
labai já susiaurino, ir galva, palyginti su liemeniu, iðëjo per daug didelë.
Kaip ir ankstesniame banknote, G. Jonaitis paliko tà patá peizaþo
motyvà – Merkio ir Nemuno santakà, tik pakeitë þiûrëjimo taðkà.
R. Miknevièius savajame projekte daugiau dëmesio skyrë Nemunui, tik
siaura blizganèia vandens juostele paþymëdamas Merká, tuo tarpu G. Jo-
naitis kompozicijos centru pasirinko vaizdingà Merkio slëná. Në kiek
nestebina abiejø dailininkø skoniø sutapimas – juk tai viena ið áspûdin-
giausiø Lietuvos gamtos panoramø, be to, kiekvienas ið jø visiðkai skir-
tingai traktavo ðio peizaþo teikiamas galimybes pinigo specifikai. Á ro-
mantiðkai ið po tamsiø debesø properðø prasiverþianèiø saulës spindu-
liø pluoðtais apðviestà platø upës slëná R. Miknevièius þiûri ið paukðèio
skrydþio – pirmame plane iðkyla net pats Merkinës piliakalnis. Virð
tamsiø kalvø ir miðkø, virð ðviesiø Nemuno vingiø bei iðnykstanèiø
204 Lietuvos banknotø kûrimo bruoþai
denominations, into a horizontal ellipse to arrange the composition
of the central part based on it. In the guilloche structure above the
state emblem, stylised oulines of a violin and a book can be seen,
which, in the author’s conception, were to characterise the personal-
ity of Kudirka and required a lot of effort in arranging them. Jonaitis
remembers: “I took pains with the violin and the search for the motifs
of the book on the front. Again, I went through a whole series of
attempts from depicting in absolutely realistic manner to total ab-
straction and conditionality. I was unwilling to leave just a blank space
in that place; I needed a contents that was not to dominate visually
and compete with the key accent, the enlarged portrait”. In the printed
banknote, these practically appear as planes of the same tone yet formed
by complicated and totally different ornamental structures, making
the motifs that the artist took so great pains to design – a distinctly
stylised violin and a book. This ornamented space is a security feature
rather than an ideological component emphasizing the theme. The
visual play of its intricate drawing is visible at studying the banknote
carefully and the subject is totally dominated by the distinct outlines
of the portrait and Vytis. This is right, of course: the violin and the
book made distinct in such a small space would have interfered with
more important components of the banknote.
The back, as it is due to a note of such a high denomination, has a
pattern of guilloche structures. The banknote is loaded with other
modern security features as well. These include: a wide metallic holo-
graphic strip with vertical and horizontal texts, a security thread with
a microtext, a see-through feature, a recognition sign for the blind –
three raised isosceles triangles, denomination numerals printed in in-
visible inks, some components fluorescent under ultraviolet light, and
many others.
The cutting of the portrait of Kudirka is professional; however,
certain mistakes have not been avoided. The photograph, made in
the early 20th century, registers only the upper part of the outline of
the poet’s shoulders, which disappears in the white background. But
the engraver cut the whole of the jacket in strict lines and narrowed it
substantially; as a result, the head appeared too big for the torso.
Like in the earlier banknote, Jonaitis preserved the same motif of
the landscape, the confluence of the rivers Merkys and Nemunas,
changing only the point of view. Miknevièius, in his design, focussed
mainly on the Nemunas marking the Merkys as a narrow glittering
strip of water, whereas Jonaitis chose the picturesque valley of the
river Merkys as the centre of his composition. The similarity of taste
of both designers is not surprising in the least as the valley represents
one of the most magnificent panoramas of the Lithuanian landscape;
however, each of them treated the possibilities provided by the land-
scape with regard to the specifics of the note totally differently.
Miknevièius arranged the wide valley of the river, lit romantically by
the rays of the sun breaking through the rifts in the dark clouds, as a
bird’s eye view, with the Mound of Merkinë rising in the foreground.
 Neiðleistas á apyvartà
1991 m. laidos banknotas.
Dail. R. Miknevièius

500 litas banknote of

1991, never put into
circulation. Design by
R. Miknevièius

Design Peculiarities of Lithuanian Banknotes 205

Banknoto projekto eskizai.
Dail. G. Jonaitis

Sketches for the

banknote’s design by
G. Jonaitis

206 Lietuvos banknotø kûrimo bruoþai

 V. Kudirkos portretas.
Dail. G. Jonaièio pieðinys

Banknoto projekto eskizas.

Dail. G. Jonaitis

Portrait of V. Kudirka.
Drawing by G. Jonaitis

Sketch for
the banknote’s design
by G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 207

 Merkio slënis.
Fotogr. J. Polis

Valley of the river Merkys.

Photo by J. Polis

208 Lietuvos banknotø kûrimo bruoþai

 Banknoto fragmentas –
Merkio slënis.
Dail. G. Jonaitis

Detail from the banknote:

valley of the river Merkys.
Design by G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 209

toliuose debesø kabo Laisvës varpas, kurio garsas sklinda po visà Lie-
tuvà. Peizaþas ryðkiai romantizuotas ir ideologizuotas, jo paskirtis –
puoðti banknotà, þadinti patriotinius pilieèiø jausmus. Toniná auto-
riaus pieðiná kompanijos meistrai pavertë rastriniu (ið smulkiø hori-
zontaliø linijëliø), bet tai në kiek nepakeitë idealistinës nuotaikos.
G. Jonaitis projektavo banknotà, kai jau buvo gerai perpratæs pinigø
komponavimo specifikà, ypaè banknoto apsaugos reikalavimus bei
spausdinimo technologijos galimybes. Jis á peizaþà pasiþiûrëjo visiðkai
kitaip – kaip á laukà, kuriame bus ádiegtas banknoto apsaugos prie-
moniø kompleksas. Pirminis slënio vaizdas, dailininko nupieðtas ið
natûros, ir atspaustasis banknote skiriasi kaip diena ir naktis. Auto-
rius sàmoningai projektavo peizaþo metamorfozes. Savo poþiûrá á pei-
zaþo vietà banknoto kompozicijoje jis iðsakë prisimindamas darbà
kompanijoje: „Kurdamas banknoto peizaþà, siekiau iðvengti „nuogo“
natûralizmo, stengiausi pasiekti tam tikrà sàlygiðkumà, nenorëjau to-
kio sprendimo, kaip mûsø ankstesniuose banknotuose, kur peizaþas
tarsi „paveikslëlis“ – su debesimis, þolytëmis ir t. t. Vengiau natûra-
listinio vaizdo, kryptingai galvojau apie jo grafinio realizavimo per-
spektyvas, modeliavau galimas ávairiø spaudos bûdø kombinacijas
(pvz., peizaþe dalis medþiø atspausta giliaspaude, dalis ofsetu, laukai
uþpildyti ornamentika)“.
Plaèiais pasëliø laukais ir rëþiais, pievomis ir krûmais papuoðtu
slëniu tingiai vinguriavusios upës nuotaikingas peizaþas atspausdin-
tame banknote virto vertikalia plokðtuma, grieþtai sudalyta á netai-
syklingos formos sklypelius, padengtus skirtingo charakterio orna-
mentiniu audiniu. Nukentëjo peizaþo, kaip paveikslëlio, visuma, ta-
èiau iðloðë didelës vertës banknoto apsauga. Kitas da-
lykas, kad kai kà buvo galima padaryti ir geriau:
medþiai ir krûmai, atspausti giliaspaude daug
tamsesniu tonu, dalija visà plokðtumà á dvi
nevienodos stilistikos puses, perskirtas tik á
perspektyvà nutolstanèiø upës vingiø. Jø
á vienà visumà neástengia sujungti net vi-
siðkai identiðkas pieðinys. Ryðkus krûmø
siluetas trukdo ramiai, net sausai varpo
modeliuotei. Pirmà kartà lietuviðkuose
piniguose spalvà keièianèiais daþais re-
verse atspausdinta apsauginë juostelë.
Ðiuo metu tai didþiausio nominalo
Lietuvos banknotas. Ne kiekvienam ir
nedaþnai þmonëms á rankas patenkan-
tis, jis kelia susidomëjimà savo ryðkiu
raudoniu ir paslaptingu hologramos
þvilgesiu.
210 Lietuvos banknotø kûrimo bruoþai
Above the dark hills and forests, the light curves of the Nemunas and
the clouds disappearing in the distance, the Bell of Freedom hangs, the
sound of which echoes across Lithuania. The masters of the company
made the author’s tonal drawing raster (consisting of fine horizontal
lines), but this did not in the least affect its idealistic spirit. Jonaitis
designed the banknote when he already was well versed in the specifics
of banknote composition, especially the requirements for banknote se-
curity and possibilities of printing technology. His approach to the land-
scape was totally different: for him, it was a space into which the
banknote’s set of security features would be introduced. The author
described his approach to the place of the landscape in the banknote’s
composition remembering his work at the company: “As I designed the
landscape for the banknote, I aimed at avoiding fidelity to ‘naked’ natu-
ralism, tried to achieve some conditionality; I was unhappy with a solu-
tion applied in our previous banknotes, where the landscape was like a
‘picture’ – with clouds, grasses, etc. I abstained from a naturalistic view,
considered the prospects of its graphic solution, modelled possible com-
binations of different printing techniques (e.g., part of the trees in the
landscape printed in intaglio, others in offset, the spaces filled with
ornamentation)”.
The cheerful landscape of the river twisting idly across the valley
decorated with wide harvest fields and patches, meadows and bushes,
appeared in the banknote as a vertical plane, divided strictly into ir-
regular-shaped areas covered by ornamental patterns of varying char-
acter. The landscape suffered as a whole but the high-value banknote
benefited in terms of security. It is another matter that some things
could have been done better: the trees and bushes
printed in intaglio in a much darker tone divide
the whole plane into two stylistically differ-
ent parts, which are separated only by the
river winding away into the perspective.
Even the totally identical drawing is un-
able of joining them into a whole. The
definite outline of the bushes interferes
with the calm, even dry modelling of
the bell. A security strip in optically vari-
able inks was printed for the first time
in Lithuanian notes.
Currently, this is a Lithuanian
banknote of the highest denomination.
As it does not get into everybody’s hands
too often, it arouses interest by its bright
red colouring and the mysterious gloss
of the hologram.
 Banknoto fragmentas –
giljoðas ir holograma

Detail from the banknote:

guilloche and hologram

Design Peculiarities of Lithuanian Banknotes 211

 Tûkstanèio litø banknotas
One Thousand Litas Banknote

212 Lietuvos banknotø kûrimo bruoþai

Design Peculiarities of Lithuanian Banknotes 213
 Rengiant projektus pirmai atgimusios Lietuvos litø laidai, buvo nu-
matyti visi centø ir litø monetø bei banknotø nominalai – nuo 1 cento
iki 1 000 litø.
Didþiausio nominalo banknotà projektavo R. Valantinas. Jame nu-
matyta áamþinti Mikalojø Konstantinà Èiurlioná (1875–1911 m.) – gar-
sø kompozitoriø ir dailininkà. M. K. Èiurlionis aktyviai dalyvavo lietu-
viø visuomeniniame gyvenime, vadovavo Vilniaus lietuviø chorams,
koncertavo kaip pianistas, raðë muzikos klausimais. Jo sukurtos simfo-
ninës poemos „Jûra“, „Miðke“, gausi fortepijoninë kûryba iki ðiol skamba
ne tik Lietuvos, bet ir uþsienio koncertø salëse. Ypaè plaèiai M. K. Èiur-
lionis þinomas kaip dailininkas. Jis – vienas ið aktyviausiø Pirmosios
lietuviø dailës parodos organizatoriø ir dalyviø, aukðtai vertinama jo
didelës fantazijos ir gilios minties tapyba. Kai kuriø Vakarø Europos
dailininkø M. K. Èiurlionis laikomas abstrakcionizmo pradininku, ir
dabar Lietuvoje bei pasaulyje neslûgsta domëjimasis jo muzika bei dai-
le. M. K. Èiurlionis – iðskirtinë figûra Lietuvos asmenybiø panteone.
1991 m. laidos USBC spaustuvëje atspausdintas 1 000 litø bankno-
tas á apyvartà nebuvo iðleistas.
Ðis banknotas turëjo iðskirtiniø komponavimo bruoþø – abi banknoto
pusës skirtos tai paèiai asmenybei, reversà puoðia vienas ið graþiausiø
dailininko paveikslø „Karaliø pasaka“ (1908). Paveikslas nuolat ekspo-
nuojamas Kauno M. K. Èiurlionio dailës muziejuje, veþiojamas po pa-
saulá, paplitæs po ðalá atvirukø, reprodukcijø rinkiniais, spausdinamas
albumuose, reprodukcijos puoðia ne vienà interjerà. Susiþavëjimo kupi-
nais þodþiais apie ðá paveikslà kalba þinomas rusø dailininkas Markas
Etkindas knygoje „Pasaulis kaip didelë simfonija“ (Leningradas, „Is-
kusstvo“, 1970): „Ant karalienës delno kaimelis – ásiþiûrëkite, tai ne
paprastas kaimas. Dailininkas atvaizdavo lietuviðkà kaimelá, apðviestà
gelsva mënulio ðviesa – trobos su ðiaudiniais stogais ir raudonomis ka-
minø dëmelëmis, topoliai, tvora… Jis ðvyti, gintarinës geltonos ðviesos
pusratis virð lietuviðko kaimelio – idëjinis ir kompozicinis paveikslo
centras. Ranka, tas kûrybiniø jëgø simbolis, ranka, neðanti pasauliui
saulëtà meilës apskritimà, èia yra istorinio likimo simbolis. Ðvelni ir
gera likimo ranka, suradusi Lietuvà istorijos bruzgynuose ir pakelianti
jà ið tamsios bedugnës á gyvenimà, ðviesà, prie palinkusiø virð jos amþiø
veidø, þvelgianèiø á jà su susidomëjimu ir viltimi“.
Viename ið paèiø populiariausiø dailininko portretø, kuris buvo pa-
sirinktas banknoto aversui, M. K. Èiurlionis pasisukæs á deðinæ, todël
visiðkai netiko – toká ákomponavus á banknoto deðinæ pusæ, jo þvilgsnis
bûtø nukreiptas á kraðtà, jis bûtø nusisukæs nuo kitø komponentø. To-
dël R. Valantinas perpieðë dailininko portretà nieko jame nekeisdamas,
tik veidrodiðkai apsukdamas á kità pusæ.
Banknoto projektas neiðliko, bet, sprendþiant ið eskizø ir autoriaus
þodþiø, toninë averso kompozicija po spaudos gerokai pasikeitë.
M. K. Èiurlionio veidas, turëjæs ðviesti tamsesniame lauke, atspaus-
dintame banknote visiðkai iðtirpsta to paties tono giljoðo fone, nors vie-
no ir kito grafinës struktûros labai skirtingos. Plonø miniatiûriniø lini-
jëliø formuojamas veido reljefas ryðkiai kontrastuoja su grubaus giljoðo
214 Lietuvos banknotø kûrimo bruoþai
In the process of preparation of designs for the first issue of litas
notes in the revived Lithuania, all denominations of centas and litas
coins and banknotes were envisaged, from 1 centas to 1000 Litas.
The designer of the 1000 litas banknote was Rytis Valantinas. The
banknote of this denomination was to commemorate Mikalojus
Konstantinas Èiurlionis, an acclaimed composer and artist. Èiurlionis
(1875–1911) was an active participant in the social life of the
Lithuanians, led Lithuanian choirs, gave concerts as a pianist, and wrote
on musical issues. His symphonic poems “Sea”, “In the Forest”, prolific
compositions for the grand piano have been performed to the present
day not only in the concert halls of Lithuania but abroad as well.
Èiurlionis is particularly celebrated as an artist and considered by some
West European painters the father of abstractionism. The interest in
his music and art has not abated in Lithuania and across the world to
date.
The 1000 litas banknote of 1991 issue, printed by the USBC, has
not been issued into circulation.
The 1000 litas banknote is characterised by an extraordinary arrange-
ment: its both sides are devoted to the same personality, the back is
decorated with one of the artist’s most remarkable pictures “The Tale
of the Kings” (1908). This is how the Russian painter Mark Etkind
describes this picture in the book The World as a Great Symphony
(Iskusstvo, Leningrad, 1970) in words full of delight: “On the Queen’s
palm is a miniature village – take a close look at it: it is not an ordinary
village. The artist depicted a Lithuanian village in yellow moonlight:
straw-roofed cabins with red patches of chimneys, poplar trees, a fence…
It radiates; the semi-circle of the amber yellow light above the Lithuanian
village is the ideological and compositional centre of the picture. The
hand, that symbol of creative power, the hand carrying to the world the
sunny circle of love, here is the symbol of historic destiny. The kind
and good hand of destiny, which has found Lithuania in a thicket of
history and is raising it from a dark abyss to life, to light, to the faces of
centuries bent over it and looking at it with interest and hope”.
In one of the most popular portraits of the artist, which was selected
for the front of the banknote, Èiurlionis is turned to the right; there-
fore, the portrait was no good: arranged on the right side of the banknote,
the artist would appear looking towards the edge, with his back to other
components. Therefore, Valantinas redesigned the portrait without
changing anything in it, just turning it mirror-like in the opposite di-
rection.
The relief of the face, formed from fine miniature lines, is in sharp
contrast with the pattern of a rough guilloche. Another infringement
on the author’s will, which had a negative impact on the composition
of both sides of the banknote, is a distinct white outline of the oval for
the watermark. According to the designer’s idea, the dark background
on the right side of the banknote was to lighten up gradually towards
the left side and to make a clear space for the watermark without any
graphic elements. The situation is still aggravated by similar sizes of the
 Banknoto eskizas.
Dail. R. Valantinas

Sketch for the banknote.

Design by R. Valantinas

Design Peculiarities of Lithuanian Banknotes 215

 Banknoto eskizai.
Dail. R. Valantinas

Sketches for the banknote.

Design by R. Valantinas

216 Lietuvos banknotø kûrimo bruoþai

 M. K. Èiurlionis.
Fotografija

M. K. Èiurlionis,
photograph

Design Peculiarities of Lithuanian Banknotes 217

M. K. Èiurlionio portreto
graviûra

Engraving of the portrait

of M. K. Èiurlionis

218 Lietuvos banknotø kûrimo bruoþai

 M. K. Èiurlionio portreto
graviûros negatyvas

Negative of the engraving

of M. K. Èiurlionis’
portrait

Design Peculiarities of Lithuanian Banknotes 219

„Karaliø pasaka“. 1908 m.
Dail. M. K. Èiurlionis

“The Tale of Kings” by

M. K. Èiurlionis, 1908

220 Lietuvos banknotø kûrimo bruoþai

 Banknoto fragmentas

Detail of the banknote

Design Peculiarities of Lithuanian Banknotes 221

mezginiu. Kitas autoriaus valios paþeidimas, pakenkæs banknoto abiejø
pusiø kompozicijai, – ryðkus baltas ovalo siluetas vandenþenkliui. Pagal
dailininko sumanymà tamsus fonas deðinëje turëjo pamaþu ðviesëti á
kairæ ir ten sudaryti ðvarià be grafiniø elementø vietà vandenþenkliui.
Padëtá dar pablogina ovalo bei portreto panaðûs dydþiai ir aiðkiai per
didelis centre ákomponuotas J. Zikaro sukurtas Vytis. Pjaustinëtø me-
diniø palangiø pavyzdþiu sukomponuotø horizontaliø ornamento juostø
fone blogai skaitosi tekstai. Smailiø formø ir persiðvieèianèiø kiaury-
miø neramus kontrastas maiðosi su ðviesiomis raidþiø formomis, truk-
do jas skaityti, kiekvienas averso komponentas per daug aktyvus ir sava-
rankiðkas, kad galëtø tapti viena bendra visuma.
Reverse ðalia jau aptartø abiejø pusiø ornamento juostø ir vanden-
þenklio ovalo yra dar viena nesëkmë – „Karaliø pasakos“ ákomponavi-
mas. R. Valantinas sakosi pats pasirinkæs ðá paveikslà pagrindiniu rever-
so motyvu. Idëjiðkai ðis sprendimas nekelia jokiø abejoniø. Populiarus
paveikslas vertas papuoðti didþiausio nominalo lietuviðkà banknotà, ta-
èiau kompoziciniu poþiûriu tai nevykæs sprendimas. Banknoto forma-
tas ilgas – aukðèio ir ilgio santykis vos ne 1:2. Já dar pailgina horizonta-
lus sudalijimas á juostas – giljoðo kraðtai bei ornamentai virðuje ir apa-
èioje pagrindiniams komponentams palieka tik visiðkai siaurà juostà,
kurios ilgio ir ploèio santykis vos ne 4:1. Á tokiø proporcijø erdvæ ásprau-
dþiant kompaktiðkà kvadratiná paveikslà, bûtina sugalvoti, kuo uþpil-
dyti tuðèias vietas – banknote jø negali bûti. Saulës apðviestas kaimelis ir
vos jos spinduliø paliesti karaliai yra aiðkiausiai matoma paveikslo dalis
ir reverso kompozicijos centras, visa kita nuskæsta þvaigþdëtoje naktyje
su vos matomais þmoniø bei medþiø siluetais. Spaustuvës graveris iðryð-
kino jautriai pulsuojanèius tapybinius atspalvius, detales, vos áþiûrimus
rûbø ornamentus, paslaptingà scenovaizdá paversdamas primityvoku pie-
ðiniu. Èia ir iðkyla klausimas, ar tiko toks tapybiðkas, paslaptingoje prie-
blandoje skæstantis paveikslas pinigo kompozicijai, reikalaujanèiai aið-
kumo, grafiniø kontrastø. Autoriaus neapgalvotas tuðèias erdves grave-
ris nevisiðkai vykusiai uþpildë vienodomis, vertikaliai suðtrichuotomis
plokðtumomis. Margame, tamsiame banknoto pavirðiuje ðvieèia tik ryð-
kus vandenþenklio ovalas. Reverso kompozicija neturi jokiø pinigui cha-
rakteringø sudëtingesniø struktûrø.
R. Valantinas sako, kad spalviná sprendimà taip pat pakeitë spaustu-
vininkai. Jo projektas buvæs ðvelnios violetinës spalvos su ðviesesniais
roþiniais atspalviais, o atspausdintas banknotas – ðaltos pilkos, reverse
pereinanèios á geltonà spalvà. Savo spalvine gama labai supanaðëjo
1991 m. laidos trys didþiausiø nominalø – 100, 500 ir 1 000 litø –
lietuviðki banknotai.
Didþiausio nominalo 1 000 litø banknotas nëra turtingas apsaugos
priemoniø. Abiejose pusëse dalis iðgraviruotø komponentø atspausdin-
ti giliaspaude, aversas ir reversas padengti ofsetu atspaustu giljoðu. Ova-
luose – neryðkûs, neaiðkaus silueto vandenþenkliai Vytis ir Gediminai-
èiø stulpai. Apðvietus ultravioletine ðviesa, averso centre iðryðkëja dide-
lis skaièius „1 000“ ir liuminescuoja vertikalusis serijos numeris bei re-
tai iðsimëtæ popieriaus plauðeliai.
222 Lietuvos banknotø kûrimo bruoþai
oval and the portrait, and an obviously too large Vytis of Zikaras’ de-
sign arranged in the centre. Against the background of the ornamental
bands arranged according to the example of carved wooden windowsills,
the texts are difficult to read. The anxious contrast of pointed forms
and translucent cavities mingles with the light forms of the letters mak-
ing them difficult to read; every component of the front is too active
and self-dependent to become one common whole.
Apart from the ornamental bands on both sides and the oval for the
watermark already discussed, the back contains another failure, the ar-
rangement of “The Tale of the Kings”. Rytis Valantinas says he selected
this picture as the main motif of the back himself. Ideologically, the
decision raises no doubt. The popular picture is worthy of decorating
the Lithuanian banknote of the highest denomination, yet it is a wrong
decision with regard to composition. The banknote’s format is long,
the ratio of height to length being nearly one to two. It is still length-
ened by its horizontal division into bands: the guilloche edges and or-
naments at the top and bottom leave just a narrow strip for the basic
components, the ratio of length to width of which is nearly four to one.
Before cramming the compact square picture into a space of such pro-
portions it is necessary to consider how to fill the empty spaces: in a
banknote, they cannot be. The sunlit village and the kings touched by
the rays of the sun represent the most clearly seen part of the picture
and the compositional centre of the back; everything else drowns in a
starry night with scarcely visible silhouettes of people and trees. The
engraver of the company exposed the sensitively pulsating hues of the
painting, details, and scarcely visible ornamentation of the clothes,
making quite a primitive drawing of the mysterious scene. At this point,
a question arises, whether this scenic picture shrouded in a mysterious
mist was a good choice for the composition of the note, which required
clarity and graphic contrasts. The empty spaces the author had not
given his thought to were filled by the engraver rather ineffectively with
uniform vertically lined planes. On the dark heterogeneous surface of
the banknote, only the pronounced oval of the watermark is luminous.
The arrangement of the back contains no structures of any higher com-
plexity characteristic of banknotes.
Valantinas said the printers also changed the colouring solution. The
colour of his design was soft violet with hues of lighter pink, whereas
the printed banknote was of cold grey colour changing to yellow on the
back. Three Lithuanian highest denomination banknotes of the 1991
issue, 100, 500 and 1000 litas became largely similar in their range of
colours.
The 1000 litas banknote of the highest denomination was not rich
in security features. On both sides, part of the engraved components
were printed in intaglio, the front and back were covered by guilloche
printed in offset. The ovals contained obscure indistinctly outlined
watermarks, Vytis and Gediminas Columns. Under ultraviolet light,
the sizeable figure 1000 and the vertical serial number as well as rare
paper fibres were visible in the centre of the banknote.
Design Peculiarities of Lithuanian Banknotes 223

Linksmieji pinigai
Funny Banknotes
Po daugiau kaip penkis deðimtmeèius trukusiø negandø atgimusi
Lietuva atkûrë vienà ið svarbiausiø valstybës savarankiðkumo simbo-
liø – savus pinigus. Lietuvos pilieèiai, su dideliu dþiaugsmu ir pasidi-
dþiavimu ëmæ á rankas pirmuosius litø banknotus ir monetas, ðian-
dien jau priprato prie jø – lietuviðki pinigai tapo kasdienybe. Þmonës
gauna atlyginimus, perka prekes, moka uþ paslaugas, daug negalvoda-
mi suþeria gràþà monetomis ar banknotais á piniginæ ar kiðenæ.
Pirmaisiais Atgimimo metais pradëta pokðtauti ir pinigø tema. Þi-
niasklaidoje skelbta medþiaga apie lito ávedimà daþnai buvo palydima
ðmaikðèiais dailininkø pieðiniais. 2000 m. Lietuvos banko iniciatyva
surengta Lietuvos karikatûristø darbø apie pinigus paroda, iðleistas
graþus katalogas. Jame Lietuvos banko muziejaus vadovas V. Lauri-
navièius raðë: „Pinigai, bûdami neatskiriama ðiø dienø civilizacijos dalis,
dailininkø kûryboje tapo iðraiðkinga priemone atskleisti ðiø dienø vi-
suomenës negeroves, parodyti su pinigais susijusius komiðkus þmo-
niø santykius ir gyvenimo situacijas. Neatsitiktinai paroda surengta
Lietuvos banke, ðioje daugeliui þmoniø paslaptingoje pinigø tvirtovë-
je. Þmonëms, kuriø darbas su pinigais yra tapæs kasdienybe, taip pat
norisi linksmai ið ðalies paþvelgti á pinigus ir save, kartu pasijuokti“.
Bankas galvoja ir apie bûsimàjà Lietuvos kartà – 2000 m. ávyko
vaikø pieðiniø konkursas ,,Ateities pinigai“. Á Lietuvos banko kvieti-
mà – nupieðti, kokie pinigai bus uþ keliø deðimtmeèiø – atsiliepë daug
vaikø. Jø nuoðirdþiose, spalvingose kompozicijose buvo daugelis da-
bartiniø banknotø atributø – nominalo skaièiai, ðalies pavadinimas,
sudëtingi ornamentai. Buvo ir netikëtø komponentø – ámantriø tran-
zistoriø schemø, nesuprantamø tekstø ir simboliø. Kai kurie jaunieji
dailininkai teigë, kad Lietuvoje nebebus litø, o bus visai galaktikai
bendri pinigai ir, aiðku, jie vadinsis ,,galaktikais“.
Komercinëje reklamoje taip pat populiarus pinigø ávaizdis. Tokios
reklamos autoriai, gamindami savus „pinigus“, neturi tikslo pateikti
juos kaip tikrus ir apgaudinëti þmones. Paprastai ðie banknotai aiðkiai
Dail. J. Juozapavièiaus
pieðinys
Reborn after all the calamities that lasted more than five decades,
Lithuania restored one of the most important symbols of the inde-
pendence of a country – its own currency. Lithuanian people, who
held the first litas banknotes and coins in their hands with joy and
pride, have by now got used to them and Lithuanian money became
a fact of everyday life.
People started making jokes about money from the very first years
of the rebirth. In 2000, on the initiative of the Bank of Lithuania, an
exhibition of creative works by Lithuanian caricaturists on the subject
of money was organised and a beautiful catalogue was published.
Vidmantas Laurinavièius, Head of the Museum of the Bank of Lithuania,
wrote in the catalogue: “Money, an inseparable part of modern
civilisation, became expressive means in the work of artists used to re-
veal the negative sides of modern society and show the comic side of
human relations and life situations related to money. It was no accident
that the exhibition was organised at the Bank of Lithuania, the fortress
of money that seems mysterious to many people. People to whom work-
ing with money has become everyday life also wish to take a merry look
at money and themselves and to laugh together.”
The Bank also thinks about the future generation of Lithuania – a
competition of children’s paintings entitled “Future Money” was
organised in 2000. A great many children responded to the invitation
by the Bank of Lithuania to paint the money the way it would look
after several decades. Their sincere and colourful compositions included
most of the attributes of modern banknotes – denomination numerals,
name of the country, complex ornaments. Some young artists stated
that the litas would not be used in Lithuania, but the whole galaxy
would have a single currency and it would certainly be called “galactics”.
The image of money is also popular in commercial advertising.
The authors of such advertisements producing their own “money” do Drawing by
not intend to present them as real and deceive people. Usually these J. Juozapavièius
Funny Banknotes 225
 Dail. R. Dovydëno
pieðinys

Dail. V. Skrebnevskio
pieðinys

Drawing by R. Dovydënas

Drawing by
V. Skrebnevskis

226 Linksmieji pinigai

 Dail. J. Varno pieðinys

Drawing by J. Varnas

Funny Banknotes 227

 J. Pakalkaitës pieðinys
(11 metø)

P. Padgurskio pieðinys
(10 metø)

A. Visockytës pieðinys
(11 metø)

Drawing by J. Pakalkaitë
(11 years)

Drawing by P. Padgurskis
(10 years)

Drawing by A. Visockytë
(11 years)

228 Linksmieji pinigai

skiriasi nuo tikrøjø. Jais tik siekiama patraukti klientø dëmesá, pra-
linksminti, pakelti renginio prestiþà.
Originaliai savo reklaminá klipà sukûrë radijo stotis M-1. Per tele-
vizijà rodyto klipo pagrindinis veikëjas yra 100 litø banknoto hero-
jus – þymus Lietuvos istorikas Simonas Daukantas. Kompiuteriu su-
kurtas S. Daukantas iðeina ið banknoto, kalba senoviniu telefonu, krei-
piasi á televizijos þiûrovus, kviesdamas dalyvauti radijo stoties rengia-
mame konkurse.
Pinigø ávaizdis naudojamas ir politinëje propagandoje. Ðtai 1921 m.
Tilþës miestas iðleido keistos kompozicijos keliø nominalø markes. Jø
aversas vokiðkos vëliavos spalvø juostele per vidurá padalytas á dvi da-
lis. Vienoje pusëje – Tilþës miestas Vokietijoje, o kitoje – Klaipëdos
kraðtas. Vienur uþraðas: „Èia Tilþë, nepaprastas miestas“, kitur: „Te-
nai miestas, kurio negalima pasiekti“. Reverse nupieðtas þemëlapis,
jame prie Nemuno paþymëta Tilþë ir paraðyta: „Tilþë – vartai á Balti-
jos valstybes“.
Jumoristinis lietuviø poþiûris á pinigus turi savas tradicijas. 1980 m.
tuometinis Ðiauliø miesto vyriausiasis dailininkas Vilius Puronas iðlei-
do savo naujametinius atvirukus. Jie buvo sukomponuoti kaip tikri
banknotai – su giljoðais, serijos numeriu, Ðiauliø architektûriniais sim-
boliais ir herbu. Spaustuvëje keliø spalvø ofsetu atspausdinti dvipusiai
atvirukai tikrai priminë pinigus. Tik uþraðai „Turtingø Naujøjø metø“,
„Su Naujaisiais metais“ rodë jø linksmà charakterá. Neþiûrint to, kad
atvirukai visiðkai nepretendavo á tikrus pinigus, nes ten nebuvo nei no-
minalo, nei banko pavadinimo, giljoðai neaiðkûs ir susiliejæ, jie niekuo
net nepriminë tuomet kursavusiø tarybiniø rubliø, vis dëlto jais susido-
mëjo KGB. Dailininkas buvo tardomas, bet bausmës pavyko iðvengti.
1989 m. þemaitis Kazys Alminas pasiûlë surengti didelæ þemaièiø
ðventæ – mugæ su savais pinigais. Dailininkas V. Puronas suprojekta-
vo þemaitiðkus banknotus, kurie jau turëjo visus pinigø atributus. Pen-
kiø nominalø banknotai – trijø nominalø litai ir dviejø nominalø
centai – buvo atspausdinti ant gelsvo su geometrinio ornamento van-
denþenkliais popieriaus. Litø aversuose – imaginaciniai Lietuvos ir
Þemaitijos valdovø portretai, o reversuose – senovës kariai. Centai
papuoðti populiaraus dailininko Kazio Ðimonio iliustracijø pasakoms
fragmentais. Banknotai sukurti koliaþo principu, juose gausu orna-
mentø, giljoðø, jumoristiniø þemaitiðkø uþraðø. Tarp mugës lankyto-
jø „pinigai“ buvo labai populiarûs. Kaip prisimena jø autorius, daili-
ninkas V. Puronas, Ðiauliø sporto manieþe kiekvienas pilietis, áeida-
mas á mugæ, privalëjo savo rublius iðsikeisti á þemaièiø litus, o iðeida-
mas ið þemaitiðkos teritorijos, galëjo vël atgauti tarybinæ valiutà. Va-
karop iðaiðkëjo, kad daugiau kaip 3 000 þemaitiðkø litø buvo iðsineðta
kaip suvenyrai. 1990 m. Ðiauliuose lankantis tuometiniam TSRS va-
dovui M. Gorbaèiovui, buvo numatyta jam áteikti tokiø banknotø
rinkiná susitikimo su miesto inteligentija metu. Deja, vadovo marðru-
tui pasikeitus, ðis sumanymas nepavyko.
1991 m. Lietuvos miestuose vyko IV Pasaulio lietuviø sporto þai-
dynës. Ðiaulieèio gydytojo Algimanto Briedþio siûlymu, renginiams
banknotes are clearly different from the real ones. Their usage is in-
tended to draw the attention of the customers, entertain and raise the
prestige of an event.
One original commercial was made by the radio station M-1. The
main character of the clip shown on TV was the hero of the 100 litas
banknote, the famous Lithuanian historian Simonas Daukantas. Made
with the help of computer graphics, Daukantas steps out of a banknote,
talks on an antique telephone and addresses TV spectators inviting
them to participate in a competition organised by the radio station.
The humorous attitude towards money of Lithuanians has its own
traditions. In 1980 Vilius Puronas, who was the senior artist of the
city of Ðiauliai at that time, published his own New Year postcards.
They were designed as real banknotes that had guilloche patterns,
serial numbers, architectural symbols and the emblem of Ðiauliai.
Double-sided postcards printed in a printing-house in multi-colour
offset reminded of real money. Only inscriptions like “Have a rich
New Year” or “Happy New Year” reflected their funny character.
Notwithstanding the fact that the postcards were in no way intended
as real money, since they had no denomination or bank name, guil-
loche structures were unclear and blurred and they did not in any way
remind of the Soviet roubles that were in circulation at that time, the
KGB became interested in them. The artist was interrogated, but he
managed to avoid punishment.
In 1989 the Samogitian Kazys Alminas proposed organising a large
festival of Samogitians – a fair where their own money was to be used.
The artist Vilius Puronas designed Samogitian banknotes that had all
attributes of money this time. Banknotes of five denominations –
litas of three denominations and centas of two denominations – were
printed on yellow paper with a watermark in the form of a geometri-
cal ornament. The front of the litas had imaginary portraits of the
rulers of Lithuania and Samogitia and the back depicted ancient war-
riors. Centas notes were decorated with fragments of illustrations from
the fairytales by the popular artist Kazys Ðimonis. Banknotes were
designed on the principle of collage and had many ornaments, guil-
loche patterns and humorous Samogitian inscriptions. The “money”
was very popular among the visitors of the fair. As their author and
artist Vilius Puronas recalled, people entering the fair at Ðiauliai sports
arena had to exchange their roubles into the Samogitian litas and they
could receive their Soviet currency back when leaving the Samogitian
territory. In 1990, during the visit of the leader of the USSR of the
time M. Gorbatchev in Ðiauliai, it was planned to award him with a
collection of such banknotes during his meeting with the intellectuals
of the city. However, since the route of the visit was changed, the idea
failed.
In 1991 the 4th Lithuanian World Sports Games were organised in
the cities of Lithuania. On the proposal of the doctor from Ðiauliai
Algimantas Briedis, the National Olympic Committee of Lithuania,
in co-operation with the management of Ðiauliai branch of the Bank
Funny Banknotes 229
 Radijo stoties M-1
reklamos klipo kadrai

Sequence from a
commercial clip of the
Radio Station M-1

230 Linksmieji pinigai

 Naujametiniai atvirukai.
Dail. V. Puronas

New Year cards.

Design by V. Puronas

Funny Banknotes 231

Þemaièiø mugës pinigai.
Dail. V. Puronas

Money of the
Samogitian fair.
Design by V. Puronas

232 Linksmieji pinigai

 IV Pasaulio lietuviø sporto
þaidyniø pinigai.
Dail. V. Puronas

Money of the IV Sports

Games of World
Lithuanians.
Design by V. Puronas

Funny Banknotes 233

pagyvinti Lietuvos tautinis olimpinis komitetas (LTOK) drauge su
Lietuvos banko Ðiauliø skyriaus vadovybe nutarë iðleisti specialius þai-
dyniø pinigus. Penkiø nominalø litaurai ir dviejø centaurai, supro-
jektuoti V. Purono ir pasiraðyti Lietuvos banko Ðiauliø skyriaus val-
dytojo bei LTOK Ðiauliø miesto tarybos pirmininko, renginiø metu
turëjo bûti keièiami uþ vienà tarybiná rublá duodant vienà litaurà. Kei-
timo punktai iðkeitë kelis tûkstanèius litaurø ir centaurø, kartu su
þaidyniø dalyviais bei sveèiais jie pasklido po visà pasaulá.
Daugelio lietuviðkø banknotø autorius, þinomas grafikas Giedrius
Jonaitis, ilsëdamasis kuria originalius asambliaþus. Tai – didelio for-
mato kompozicijos ið ávairiø autoriui po ranka pasitaikiusiø daiktø:
lentø, maðinø detaliø, mikroschemø, krumpliaraèiø, sraigteliø. Iðmo-
ningai sudëlioti paveikslai savo forma primena jo paties projektuotus
banknotus. Èia yra ir portretai, ir nominalø skaièiai, ir ámantrûs or-
namentai. Ðilta ávairiø atspalviø gama, paslaptingai blizganèios mik-
roschemos, rateliai, vielelës apstulbina þiûrovà netikëtu panaðumu á
pinigà, sumanymo originalumu. Net neaiðku, kaip pavadinti kolia-
þus – tapyba ar skulptûra. Reljefinës kompozicijos sukurtos ið daiktø,
nekeièiant jø formos ir spalvos. Taèiau dailininkas ypaè daug dëmesio
skiria spalvai. Ávairiø ðiltø atspalviø lentelës, natûraliai nusiðlifavæs ir
papilkëjæs plienas, parûdijusi geleþis, auksu blizgantys ar raudoni tran-
zistoriø elementai sudaro subtilø kolorità.
G. Jonaitis kuria ir grafiðkus jumoristinius banknotus. Dailininkas
aktyviai dalyvavo dar Atgimimo pradþioje Vilniuje susibûrusios me-
nininkø grupës su máslingu pavadinimu „Naujosios komunikacijos
mokykla“ veikloje. Ði grupë periodiðkai rengdavo parodas, skirtas vie-
nai ar kitai temai. Viena ið tokiø parodø buvo pavadinta garsaus alko-
holinio gërimo Teacher’s Wisky vardu. Dailininkas susidomëjo popu-
liaraus produkto gamybos istorija ir sukûrë banknotà ðia tema. Bankno-
te vaizduojamas gamyklos ákûrëjas su þmona ir du sûnûs, tæsæ tëvo
tradicijà ir plëtojæ gamybà.
Dailininkas sukûrë ne vienà „banknotà“, sveikindamas savo kole-
gas ávairiø ðvenèiø ir jubiliejø proga. Panaðios tematikos jumoristiniø
pinigø yra suprojektavæ ir kiti dailininkai.
Pinigas – rimtas valstybinës svarbos dalykas ir èia daug nepajuo-
kausi, taèiau linksmi þmonës suranda bûdø pasiðaipyti net ið tragiðkø
dalykø, o kà jau kalbëti apie rimtus.
234 Linksmieji pinigai
of Lithuania, decided to issue special currency of the games in order
to make the events more interesting. Litauras (“kettledrum”) of five
denominations and centaurs of two denominations designed by Vilius
Puronas and signed by the head of Ðiauliai branch of the Bank of
Lithuania and Chairman of Ðiauliai Council of the National Olym-
pic Committee of Lithuania were to be exchanged during the events
at the ratio of one litauras for one Soviet rouble. Exchange outlets
exchanged several thousand litauras and centaurs and they were spread
throughout the world by the participants and guests of the games.
The author of many Lithuanian banknotes and the famous graph-
ics artist Jonaitis has designed original assemblages. These are large
size compositions designed using various items that the author laid
his hands on – wooden boards, machine parts, microchips, tooth-
wheels and screws. The form of compositions arranged in an interest-
ing way remind of banknotes designed by the same author. Portraits,
denomination numerals and fanciful ornaments could be found there.
A warm colour palette, mysteriously sparkling microchips, rings and
wires surprise spectators by their unexpected similarity with money
and the originality of the idea. Relief compositions have been created
using various items without changing their form and colour.
Jonaitis has also made humorous graphic banknotes. The artist
actively participated in the activity of the group of artists with a mys-
terious name School of New Communication that was formed in
Vilnius back at the start of the rebirth. The group has regularly
organised exhibitions on one or another subject. One of such exhibi-
tions was entitled with the name of a famous drink Teacher’s Whisky.
The artist became interested in the history of production of the popu-
lar product and created a banknote on this subject. The banknote
portrays the founder of the distillery with his wife and two sons who
continued the tradition of their father and expanded the business.
The artist has created a number of “banknotes” in order to con-
gratulate his colleagues on the occasion of various holidays and anni-
versaries. Other artists have also designed humorous money on simi-
lar subjects.
Money is a serious matter of national importance and no jokes can
be made about it; however, cheerful people will find ways to make
jokes even on tragic matters, not to speak of serious ones.
 IV Pasaulio lietuviø sporto
þaidyniø pinigai.
Dail. V. Puronas

„100 Teacheriø“.
Dail. G. Jonaièio pieðinys

Money of the IV Sports

Games of World
Lithuanians.
Design by V. Puronas

“100 Teachers”.
Drawing by G. Jonaitis

Funny Banknotes 235

 „50“.
Dail. G. Jonaièio koliaþas

„50 Graþiø“
Dail. G. Jonaièio pieðinys

“50”.
Collage by G. Jonaitis

“50 Graþiø”.
Design by G. Jonaitis

236 Linksmieji pinigai

 „30 Vaupðø“.
Dail. G. Jonaièio pieðinys

“30 Vaupðø”.
Drawing by G. Jonaitis

Funny Banknotes 237

Dail. G. Jonaièio koliaþai
„50“ ir „500“

Collages by G. Jonaitis
„50“ and „500“

238 Linksmieji pinigai

 „Talonas 210“.
Dail. A. Puipos pieðinys

“Talonas 210”.
Drawing by A. Puipa

Funny Banknotes 239

 Banknotø dailininkai
Banknote Designers

GIEDRIUS JONAITIS

Gimiau 1963 m. Vilniaus rajone, Salininkø gyvenvietëje. Ten lankiau pradinæ mokyklà. Po to mokiausi M. K. Èiurlionio meno mokykloje.
Jà baigæs, 1981 m. ástojau á Lietuvos valstybinio dailës instituto Grafikos specialybæ.
Nuo treèio kurso pasirinkau estampo specializacijà, mano studijø vadovas buvo profesorius Rimtautas Gibavièius. 1987 m. baigiau studijas
ir likau dëstyti Grafikos katedroje, kur tebedirbu iki ðiol. 1990 m. ástojau á Lietuvos dailininkø sàjungà, Grafikos sekcijà.
Nuo 1995 m. – Vilniaus dailës akademijos docentas.
Mano kûrybos prioritetai – tradicinës grafikos technikos, giliaspaudë, litografija, realistinis pieðinys. Esu iliustravæs knygø, mëgstu pieðti
pastele. Pastaruoju metu dirbu ir kompiuteriu (juo naudojausi ir kurdamas litø banknotø projektus). Taèiau bene mëgstamiausia ir
mieliausia mano kûrybos dalis – miniatiûros, atliktos sausa adata. Tiesa, nesu ið produktyviøjø, nesu jø sukûræs daug. Tam reikia daug laiko,
tiraþas nëra didelis, be to, tai gana kaprizinga technika. Taèiau man tai teikia tikrà kûrybiná dþiaugsmà. Noriu paminëti M. K. Èiurlionio
meno mokyklos mokytojà, dailininkà Petrà Ilgûnà ir Dailës akademijos profesoriø Rimtautà Gibavièiø.
Esu laimingas, nes turëjau tikrai puikius mokytojus.

I was born in 1963 in Vilnius district, in the town of Salininkai. I attended primary school there. Afterwards, I studied at M. K. Èiurlionis
Art School. After finishing it, I entered the Lithuanian State Art Institute to study graphic arts.
From the third year I chose the specialisation of the print and studied under the supervision of Rimantas Gibavièius. In 1987 I completed
studies and was invited to work as a lecturer at the Faculty of Graphic Arts where I have worked until present. In 1990
I entered the Union of Lithuanian Artists, the Section of Graphic Arts.
Since 1995 I have been an associate professor of the Vilnius Academy of Fine Arts. The priorities of my creative work are the following:
traditional techniques of graphic arts, deep printing machine works, lithography, realistic drawing. I have illustrated several
books and I like to draw in pastels. Recently I have also worked with a computer (I used it when creating litas banknote designs as well).
However, probably the most favourite and most precious part of my creative work is miniatures, created in dry point technology. Truly, I
am not very productive in this area and I have not done many works of this kind. It takes much time, circulation is not big, and it is quite a
capricious technique. However, it provides me with a true joy of creation. I would like to mention the name of the lecturer of
M. K. Èiurlionis Art School, the artist Petras Ilgûnas and professor of the Academy of Fine Arts Rimtautas Gibavièius.
I am happy that I truly had wonderful teachers.

240 Lietuvos banknotø kûrimo bruoþai

 „Naktis“. 2000 m.
Dail. G. Jonaitis

“Night”. 2000.
G. Jonaitis

Design Peculiarities of Lithuanian Banknotes 241

 RYTIS VALANTINAS

Gimiau 1961 m. lapkrièio 17 d. Kaune. Mama studijavo Kauno politechnikos institute, tëvas tarnavo armijoje.
Mamai baigus institutà, ðeima persikëlë á Vilniø. Keletà metø gyvenome senamiestyje, prie Auðros vartø. 1968 m. pradëjau lankyti
A. Vienuolio vidurinæ mokyklà. Vëliau iðsikëlëme á Lazdynus. Mama gana anksti susirûpino mano uþimtumu ir ateitimi. Prie pieðimo traukë
jau vaikø darþelyje. Buvo nuspræsta pamëginti stoti á M. K. Èiurlionio meno mokyklà.
1972 m. stojamuosius egzaminus iðlaikiau gerai ir buvau priimtas. 1979 m. baigiau meno mokyklà. Tais paèiais metais ástojau á Lietuvos
valstybinio dailës instituto Grafikos specialybæ. Ketvirto kurso pradþioje iðëjau akademiniø atostogø, beveik metus dirbau „Spindulio“
spaustuvëje. Sugráþæs á Vilniaus dailës akademijà, baigiau ketvirtà ir penktà kursà. Diplominá darbà turëjau gintis eksternu.
Komisija portretø ciklà ávertino labai gerai. Dalyvavau jaunøjø menininkø Pabaltijo trienalëje. 1991 m. pieðiau laikinuosius lietuviðkus
talonus. Buvau pakviestas kurti lietuviðkus pinigus. Nuo 1994 m. dirbu lektoriumi Dailës akademijos Pieðimo katedroje.
Dalyvauju grupinëse estampo parodose. Esu vedæs. Þmona istorikë, turiu du sûnus.

I was born on 17 November 1961 in Kaunas. My mother studied at Kaunas Polytechnical Institute, while my
father served in the army. After my mother graduated from the Institute, the family moved to Vilnius.
For several years we lived in the Old Town, near the Auðros vartai. In 1968 I started attending Antanas Vienuolis secondary school.
Later we moved to Lazdynai. My mother started caring about my occupation and my future early in my life. Drawing attracted me already
when I attended the kindergarten. We decided to try entering M. K. Èiurlionis Art School. In 1972 I passed the exams well and was ac-
cepted. In 1979 I finished the art school. In the same year I entered the Lithuanian
State Art Institute to study graphic arts. At the end of the fourth year I went on an academic leave and for about a year worked at the
Spindulys printing house. After returning to the Vilnius Academy of Fine Arts I completed the fourth and the fifth year.
I had to take exams without attending lectures. The commission assessed my series of portraits very well. I participated
in the Baltic Triennial of young artists. In 1991 I drew the temporary Lithuanian talonas.
I was invited to design Lithuanian money. Since 1994 I have worked as a lecturer at the Department
of Drawing at the Academy of Fine Arts. I have participated in group print exhibitions.
I am married. My wife is a historian, I have two sons.

242 Lietuvos banknotø kûrimo bruoþai

 „Be pavadinimo“.
2002 m.
Dail. R. Valantinas

“Untitled”. 2002.
R. Valantinas

Design Peculiarities of Lithuanian Banknotes 243

 Lietuvos banknotai
Lithuanian Banknotes

Sudarytojas / Compiled by
Juozas Galkus
Dailininkas / Designed by
Bronius Leonavièius
Redaktorë / Edited by
Ramutë Macienë
Vertëjai / Translated by
Dalia Augulytë, Raimondas Lipinskas, Dalia Ðatienë
Vertimo redaktorius / Translation edited by
Arvydas Gaiþauskas

Tiraþas 1 000 egz. Uþsakymas 240

Iðleido ir spausdino Lietuvos banko Leidybos ir poligrafijos skyrius, Þirmûnø g. 151, LT-2012 Vilnius

244 Lietuvos banknotø kûrimo bruoþai