Typo 2003 01 PDF

typograe . grack design .
vizuln komunikace
typography . graphic design . visual communication
TYPO.01 LEDEN 2003
TYPO.REKLAMA
vydavatel publisher
Vydavatelstv Svt tisku, spol. s r. o.
Spolenost je zapsan u mstskho
soudu Praha, oddl C, vloka 80559
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Hollarovo nmst 11, 130 00 Praha 3
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Linda Kudrnovsk (linda@magtypo.cz)
inzerce advertising
Tom Frk (tomas@magtypo.cz)
Martin Jamrich (martin@magtypo.cz)
redakce editors
redakce@magtypo.cz, pr@magtypo.cz
Filip Blaek (lip@magtypo.cz)
Jakub Kr (jakub@magtypo.cz)
Pavel Zelenka (pavel@magtypo.cz)
graka design
Jana Vahalkov (jana@marvil.cz)
pre-press
Studio Marvil (www.marvil.cz)
tisk print
K. P. R. spol. s r. o. (www.kprtisk.cz),
titno na papr BLACK LABEL mat

printed
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programy software
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Vydvn povoleno Ministerstvem kultury R

pod slem MK R E 13984, ISSN 1214-0716.
Nzvy produkt a jmen rem zmiovanch
v magaznu mohou bt chrnny ochrannmi znmkami.
Pebrn jakchkoliv daj z magaznu je povoleno
pouze s psemnm souhlasem vydavatele. Materials from
this magazine must not be copied or further published
without the consent of the editors.
Ven teni, dostalo se vm do ruky prvn slo asopisu TYPO. Chceme vydvat asopis zabvajc
se typogra, grackm designem a vizuln komunikac. asopis ne pli technicistn ani pli elitn, sp
kriticko-informativn, s titm v delch lncch uspodanch do pravidelnch rubrik a doplnnch drobnjmi
recenzemi a glosami. Chceme se zabvat typogra z nejrznjch hl pohledu, nebo ji povaujeme za nedlnou
soust na kultury. Do zornho hlu asopisu se tedy dostanou obory zdnliv s typogra nesouvisejc:
architektura, urbanismus, fotograe, sociologie, psychologie, fyziologie, estetika, politika, nboenstv
V kadm sle pedstavme v rubrice TYPO.TMA z pohledu historickho i souasnho vybran psmo v prvnm
sle to je pohled na psmo s osvcenskmi koeny: Walbaum. Na strnkch Typo chceme pedstavovat i jin
svt ne vesms gracky nudn a ed strnky zdejch magazn, novin i billboard. Nemuste cestovat ln
svta, abyste se pokochali arabsky napsanm logem rmy Coca-Cola nebo lmovm plaktem z nskho
TYPO.EDITORIAL
TYPO.TMA
Walbaum
TYPO.NSTROJE
Pavel Zelenka sprva psem
TYPO.LIDI
Ondej Koupil typograe v kltee
TYPO.FENOMN
Filip Blaek novinov psmo souasnosti
TYPO.JINAK
Peter Biak stereotypy v ulicch
TYPO.FOTO
Frantiek torm pro se ena neme stt Buddhou
TYPO.BAZAR
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TYPO.OBSAH
1 TYPO.EDITORIAL
provinnho msta a zanme s Frantikem tormem na
indickch ulicch (TYPO.FOTO). Rubrika TYPO.JINAK pin
lnky autor ijcch v zahrani, kte se dvaj na typograi
v naem regionu tentokrt znm slovensk grak Peter
Biak o dopravnch znakch a jejich vztahu k typograckm
i mentlnm konvencm obyvatel jednotlivch evropskch zem.
Labyrint s pointou. Vztah typograe a technologie je nutn
tsn pesvd vs o tom pohled na problematiku sprvc
psem (TYPO.NSTROJE). Rubrika TYPO.LIDI bude vnovan
rozhovorm s lidmi. Klem nen nutn jejich vhlas, sp jejich
pesahy do jinch, s typogra spznnch obor. Internet
zajiuje dostaten rychl informan servis, a tak nepokldme
za prioritn pinet pln hork novinky z oboru typograe:
v rubrice TYPO.BAZAR najdete nejdleitj aktuality a tipy,
recenze a tensk pspvky.
asopis Typo je oteven vaim nmtm, tmatm k diskusi i
pmo nabdkm ke spoluprci: doufme, e se stane otevenm
komunikanm kanlem pro vechny zjemce.
Vae redakce
Dear readers, you have received the rst issue of the TYPO magazine. We want to publish a magazine about
typography, graphics design and visual communication. The magazine is neither too technical nor too elitarist, it is rather
critically informative, emphasizing longer articles ordered in regular sections, with added smaller reviews and glosses.
We want to write about typography from various viewpoints, as we consider it to be an integral part of our culture. So
the magazines view will include areas seemingly unrelated to typography such as architecture, urbanism, photography,
sociology, psychology, physiology, aesthetics, politics, religion
In each issue, we will present a selected font from a historical as well as current point of view in the TYPO.TMA (Typo
Theme) sectionfor the rst issue, we have selected a look at a font with its roots in the Enlightenment: Walbaum. On the
Typo pages, we want to show a different world than the mostly graphically boring and gray pages of the local magazines,
newspapers or billboards. You do not have to travel long distance to enjoy the Arabic logo of the Coca-Cola company
or a movie poster from a Chinese provincial townand we start with Frantiek torm in the Indian streets (TYPO.FOTO).
The section TYPO.JINAK (Typo Different) brings articles from authors living abroad taking a look at typography in our
regionthis time, it is the famous Slovak graphic artist Peter Biak talking about trafc signs and their relationship to the
typographic and mental conventions of the population of various European countries. A labyrinth with a point. There is
necessarily a close relationship between typography and technologyyou will be persuaded of this by a look at the theme
of font managers (TYPO.NSTROJETypo Tools). The TYPO.LIDI (Typo People) section will be devoted to interviews with
personalities. The key is not necessarily their fame but rather their cross-relations to other elds related to typography. The
Internet ensures a quick-enough information service, so that we do not consider it a priority to come with the hottest news
from the typography eld. In the TYPO.BAZAR (Typo Marketplace) section, you will nd the most important news, tips and
reader contributions.
The Typo magazine is open to your suggestions, themes, discussion or direct cooperation offers. We hope that the
magazine will become an open communications channel for everyone interested. Editors
TYPO typograe . grack design . vizuln komunikace
typography . graphic design . visual communication
psmolijna jmno fontu ezy expertn sady web
Berthold BE (BQ) Walbaum Book regular, regular italic, medium, medium italic bold, bold italic ne www.ber tholdtypes.com
BQ Walbaum Standard regular, regular italic, medium ne
Elsner+Flake Walbaum regular, regular italic, medium, medium italic bold, bold italic ne www.elsner+ake.com
Linotype Walbaum Roman regular, regular italic, bold, bold italic ano: kapitlky a OsF www.fontexplorer.com
Monotype Walbaum MT regular, regular italic, medium, medium italic ano: kapitlky a OsF www.monotype.com
Storm Type Foundry Walbaum Text 24 ano www.stormtype.com
URW++ Walbaum Buch regular, regular italic, medium, medium italic bold, bold italic ano: kapitlky a OsF www.urw.de
2 TYPO.TMA
a b c defghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ
Walbaum Regular
WalbaumRegular Italic
Walbaum Medium
WalbaumMediumItalic
Walbaum Bold
WalbaumBold Italic
WalbaumFraktur
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!"#$%&()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_abcdefghijklmnopqrstuv wxyz{|}~ '
(Walbaum Buch Regular URW++)
Monotype Berthold Storm Type Foundry Linotype URW++ Linotype (Walbaum Fraktur)
JUSTUS ERICH WALBAUM se narodil roku 1768 ve Steinbachu pobl Braunschweigu
jako ue zan vytvenm cukrskch forem, litm matric i pamtnch minc
17981803 zaloil vlastn psmolijnu v Goslaru; 18031828 ve Vmaru
1810 ryje svou antikvu a kurzivu
18281830 psmolijnu vede krtce syn Theodor
18301838 po synov smrti vede psmolijnu opt J. E. W.; je povstn svou pl: pes rozshl obchody neml ani etnho ani pruho, ve si obstarval sm
1838 prodv svj podnik J. F. Brockhausovi v Lipsku
1839 J. E. Walbaum umr
1919 Walbaumovy pvodn matrice kupuje od Brockhause Bertholdova psmolijna
1933 anglick Monotype a americk Intertype vydvaj repliky pro strojovou sazbu antikvu, kurzivu a mal kapitlky pod nzvem Walbaum-Antiqua
1934 soubory doplnny tunj verz pod nzvem Walbaum-Medium
vedle ady dalch replik rzn rovn pozdji pichzej t pepisy pro fotosazbu a od konce 80. let 20. stolet i pro potaovou sazbu
JUSTUS ERICH WALBAUM is born in Steinbach near Braunschweig in 1768
as an apprentice he starts with confectioners moulds and casting matrices and memorial coins
17981803 he founds his own type foundry in Goslar; in Weimar in 18031828
1810: he creates his own antique and italics
18281830 the type foundry is headed by his son Theodor for a short time
18301838 J. E. W. takes over the type foundry back after his sons death;
he is known for diligence; despite large business he has no bookkeeper
or assistant and does all the work by himself
1838 he sells the enterprise to J. F. Brockhaus of Leipzig
1839 J. E. Walbaum dies
1919 Walbaums original matrices are bought by Bertholds type foundry from Brockhaus
1933 the English company Monotype and American Intertype issue replicas for machine
printingantique, italics and small capitals, under the name of Walbaum-Antiqua
1934 the sets are completed with a bolder version under the name of Walbaum-Medium
in addition to a number of other replicas (on various levels of quality), conversion for
photo-typing andin the late 1980sfor computer typing appearcf. the table
`
Od svch potk mlo psmo dv monosti vvoje: dyna-
mitj, kter se nepli vzdaluje od rukopisn pedlohy;
a vce statickou, kter znamen pro rukopis pouze podnt.
D se s jistou nadszkou dokonce tvrdit, e Gutenberg vlast-
n nevytvoil knihu, nbr napodobeninu kodexu, rukopisu.
A dokud se psmena novj doby pidrovala rukopisu jako
pirozen pedlohy, dokud odvozovala z rukopisnch tah
svou podobu, kdy nevychzela vlastn pes jistou zvislost
z nedobovho obrazu strnky kodexu, mnila se pozd-
ji kdy u del dobu msto jedinenho rukopisnho stylu
byla k dispozici jen jeho vybrouen koln podoba takka
bez vjimky do epigonskch podob. ivot, kter ml plynout
prv z jeho dynamickho zamen jako z rukopisu, zaal
na rozdl od rukopisu, kter ji vce neexistoval stle ze-
telnji unikat. Jen tam, kde se psmena objevila staticky, kde
se skuten zduchovnila do podoby typu, kde se stala sama
o sob pravzorem a pedlohou, a tm doshla nadpersonl-
nho a mimoprodnho vrazu blzkho stavebnmu smru,
stala se vyuitelnm prostedkem k vlastn knize, kter
dostv svj smysl jako dlo titn, nikoliv jako dlo psan,
tm spe ne jako dlo iluminovan. Za zakladatele tto nov
podoby knihy je povaovn v romnskm umn Bodoni,
v germnskm umn Unger. Oba psobili kolem roku 1800,
a s nimi s obdobnmi snahami a nadnm Didot a Walbaum.
Teprve oni podstatn promnili kodex, a to do podoby knihy,
kter chpe svou estetickou hodnotu spe jako naprostou
elnost, zsadn se zk ozdob, maleb a vekerho nepat-
inho zdoben. () Mezi nkolika dochovanmi exempli
tto promny nememe dosti ocenit Walbaumovu antikvu
a kurzivu, nmeck napodoben a petvoen italskho ps-
ma Bodoni, vzniklho krtce ped n. Snahu tto klasick do-
by o vytvoen jasnho uspodn thlch a silnch pek
a oblouk zdraznnm protikladem vlasovch a stnovch
tah, podit antikvu ze stavebnch soust a promnit ji na
titn psmo, pevedl Walbaum tak na frakturu a dospl
a k jedn ze starch fraktur pimen nov podoby, kterou
Unger a jeho kola pekonali, protoe se od star fraktury
zcela oprostili. Walbaumv vznam stejn jako Ungerv
upadl po jeho smrti do zapomnn.
Berthold AG
(Ukzka doprovodnho komente z originlnho vzornku
Zkouka a pklady uit Walbaumovch psem, ulitch
z pvodnch originlnch matric od rmy Berthold z roku
1923. Krom toho, e z komente vane dech zalch as
a me pobavit jako staromilsk hka, ukazuje, do jakho
kontextu bylo ped osmdesti lety Walbaumovo psmo vsazo-
vno.)
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From their beginning, fonts took two directions
in development: the dynamic one, which is
kept close to handwriting; and the static one,
for which handwriting was just the rst impulse.
With certain exaggeration, we can even say
that what Gutenberg created was not a book
but an imitation of a codex, manuscript style.
As long as the most recent times letters kept
to manuscript as their natural example and
derived their shapes from the handwritten ones,
they did not overcome a certain dependence
on the codex forms; laterwhen the unique
handwritten styles were replaced with the
school-polished uniformityit took on epigone
forms. Life, which should have been preserved
in the manuscripts dynamic character, began
to disappearunlike in the handwritten style,
which had already been dead for some time
then. Only those letters which were statically
spiritualised so that they became archetypal
themselves achieved the super-personal and
super-natural expression close to architecture,
only those letters became usable for books,
which found their sense as printed matter rather
than handwrittenor even illuminatedvolumes.
Bodoni is taken for a founder of this new type
of books in Roman style; and Unger in the Ger-
man art. Bothas well as Didot and Walbaum
were active in the early 1800s. They were
the ones who remoulded codices into books
which are based on aesthetic values professing
practical purpose and gives up all decorations,
paintings and improper ornaments. () Among
the few specimens that have been preserved
to this day as witnesses of the change, we can
hardly fully appreciate Walbaums antique and
italics or German imitation and transformation
of Italian Bodoni font, which had been created
shortly before it. Walbaum took the effort of
those times to clearly arrange the slim and
straight transversals and arches, in contrast
with hairlines and water lines, to make antique-
form structural elements and make a printed
font out of it; but he converted it to a fraktur,
thus creating a new form of an old German
type, which was overcome by Unger and his
school since they got completely rid of the old
fracture. Walbaumsas well as Ungersimpor-
tance was forgotten after his death.
Berthold AG
(A sample of commentary from the original sam-
pler Test and Examples for Use of Walbaums
Fonts, Cast from the Original Matrices, pub-
lished by the Berthold Company in 1923. The
comments bring about the spirit of old times (we
can enjoy its old-fashioned style) and also shows
the context in which Walbaums fonts were
understood eighty years ago.)
Akoliv je geometricky konstruovno a oste ryto, je Walbaumovo psmo mn strnul ne vtina moder-
nch latinek. Ostr kresba je zmrnna uritou mkkost v pechodech, kter pipomn Fournierovu prci.
Je veobecn povaovno za modern antikvu s nejmk kresbou. Je to tak ovlivnno neobyejnou citlivosti
pi runm ryt matric jednotlivch stup. Charakteristick je trochu hranat kresba D a spojen ramen
s dkem u K. Minuska ,,b nem doln patku, pka t nem obvykl lev nbh. Velmi dobr klidn
kurziva je charakterizovna logickou kresbou w na rozdl od Bodoniho, dle y a z a chybjcmi doln-
mi patkami u p a q.
Oldich Menhart
(Typograck psma latinkov, Praha 1960)
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Walhaums fonts are geometrically built and sharply engraved, but less rigid than most modern roman alphabets. The sharp drawing is modied by certain
softness in transitions, resembling Fourniers works. These fonts are generally seen as the softest among modern antiques. It is also a result of extraordinary
sensitivity with which the individual sizes were engraved. Their characteristic features include: a slightly angular D and the arms connection to the stem in K.
Lower-case b does not have the lower foot, transversal of t does not have the usual left taper. Unlike Bodoni, the drawing of w is logical; y and z, as well
as missing lower feet in p and q, are also characteristic.
Oldich Menhart
(Typographical Roman Alphabets, Prague 1960)
TYPO.TMA 5
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Na rozdl od psn racionlnho Didota nebo elegantnho
Bodoniho nem Walbaum na prvn pohled takov rysy,
kter by mu daly njak strun pvlastek. Rozhodn
vak jde o vynikajc dlo, bez nejmen stopy po piin-
grech i kremrolch*. Vraz psma je robustn, jakoby
koenn vn hnoje saskch krav nkde u Vmaru, kde
ml autor v letech 180339 psmolijeckou dlnu. Typick
jsou: pevn kostra kresby podpoen tvercovm schema-
tem nkterch liter, odvn trojhelnkov serify S, s, C,
G, bruounsky nakroen K, R a ponkud konservativn
kursiva. Zvl neastn na tu dobu byly eeny kursivn
slice, kter slep pejm v roce 1919 rma Berthold
spolu s ostatnmi nedostatky. N Walbaum Textov m
stedn vku minusek klasicistn pimenou v reakci na
barokn experimenty s proporcemi. Spodn dotanice je
relativn dlouh, horn lcuje s verslkami. U kursiv jsou
minusky naklonny o nepatrn stupe vce ne verslky:
to je typick jev vtiny historickch psem a za ty stovky
let jsme tomu ji pivykli. Mrn nepravidelnosti a mkk
detaily byly ponechny pro pjemn ten.
Frantiek torm
(JBW+, Praha 2002)
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Walbaumova krsn antikva vysplho klasicistickho typu m svrzn charakter v sazb, tebae je tk na
prvn pohled postehnout individualitu v kresb jednotlivch liter. Pi blim studiu lze vak pesto shledat
jistou, nikoli nepjemnou hranatost oblouku verslky D, osobit navzn ramnek k dku verslky K, pzni-
vou proporci verslky M atd. V mal abeced nejvce pznan jsou pomrn velk rozmry psmovho obrazu,
avak s dobe vyvenm rozdlenm barvy v rznch stupnch velikosti, z nich kad je koncipovn samostatn
a nen jako obvykle pouhou mechanickou redukc jednotn psmov kresby. Nemn hodnotn je i didotovsk
kresba prvodn italiky s plochmi serify. Pro sv znamenit kvality v sazb i menmi stupni zskalo si Wal-
baumovo psmo rychle oblibu i v modern typograi, kdy bylo roku 1919 znovu vydno berlnskou psmolijnou
Berthold, kter zskala pvodn razidla.
Frantiek Muzika
(Krsn psmo, Praha 1958). M
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Walbaums beautiful antique of a developed classicist type has its own peculiar character in typesetting, even though the individuality of font drawings is not obvi-
ous. At a closer look, however, we can observe a certainbut not unpleasantangularity of capital D, the unique character of the arms connection to the stem in
capital K, favourable proportions of capital M, etc. In the lower-case letters we can mainly observe their large dimensions, with well-balanced colour distribution
among various degrees of sizeeach has its own concept and is not a mechanical copy of a unied drawing, as it is so unusual. The Didot-like drawing of the
original italics with at serifs is also valuable. Walbaums fontsafter being re-discovered in 1919 by the Berliner type foundry Berthold, which got the original
stampsbecame popular in modern typography due to its outstanding quality even in a smaller-size type-setting.
Frantiek Muzika
(Krsn psmo /Beautiful Typefaces/, Prague 1958).
Unlike the strictly rational Didot or elegant Bodoni,
Walbaum does not, at rst sight, have features that
would give the fonts a brief adjective. However, it is
denitely an outstanding achievement, without any
shadow of Walbaums candymaking. The expres-
sion is robust, as if seasoned with cow manure
somewhere near Weimar, where Walbaums type
foundry was situated in the years 18031839. The
typical features include: solid skeleton of drawings,
supported by a square-like basis of certain letters;
daring triangular serifs of S, s, C and G, grouchy
forward-stepping K and R, and somewhat conserva-
tive italics. Cursive numerals were especially badly
done, and in 1919 blindly taken over by Berthold
together with all the other shortcomings. Our
Walbaum Textual has the mean height of lower-
case letters in a classicist moderate proportion, as
a response to Baroque experimenting with propor-
tions. The lower type line is rather long; the upper
one is aligned with capital letters. Lower-case italics
slant is a little higher than that of capital lettersit
is a typical characteristic of most historic fonts and
we have grown used to it during all those centuries.
Minor irregularities and soft details were left un-
touched to make reading more pleasant.
Frantiek torm
(JBW+, Prague 2002) *
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Sprva psem na rovni operanho
systmu V souasn dob nejpouva-
nj operan systmy ve svch nejno-
vjch provedench tedy Mac OS X
a Windows 2000/XP umj pracovat se
vemi temi zkladnmi formty psem:
Type 1, TrueType a OpenType. Psma
sta nakoprovat do pslun systmov
sloky a meme je pouvat.
Kdy v systmu Windows 2000/XP
vybereme v Control panel ikonku Fonts,
oteve se nm systmov sprvce. Nabz
seznam jmen font azench podle abe-
cedy, velikosti nebo data posledn editace
souboru. Chabm pokusem o pvti-
vost je snaha nabdnout monost seazen podle
podobnosti (fyzickho vzhledu) psem; operan
systm k tomu pouv informace z Panose klasi-
kace. Ale vzhledem k tomu, e jsou jimi vybavena
psma pouze od nkolika hlavnch vrobc (jako
Adobe a Microsoft) a vzhledem k urit nevro-
hodnosti klasikanho systmu (dozvme se nap-
klad, e Times je dost podobn psmu Warnock),
je to funkce pro graka naprosto neuiten.
Na Mac OS X je situace o dost zbavnj: existuj
tyi rzn systmov adrese, ve kterch lze
psma spravovat (a jet jeden pro Classic). Lze je
tak sice oddlit podle toho, zda maj bt dostupn
vem uivatelm, nebo jen nkterm, ale na druh
stran je tu i vysok pravdpodobnost, e nkter
psma budou aktivovna duplicitn. Ale co se
stane, kdy si aktivujeme dv rzn verze tho
fontu s tm jmnem? Kter verze bude vlastn
fungovat? Pravdpodobn si systm vybere font
s vtm mnostvm znak, ale spolehnte se na to!
Krom sprvy psem v systmovch slokch exis-
tuje tak monost aktivovat psma na rovni apli-
kace. Psma ve slokch Program Files\Common
Files\Adobe\Fonts (Windows) a Library:Appli-
cation Support:Adobe:Fonts (Mac OS X) jsou
pak dostupn pouze v Adobe Illustratoru 910,
Photoshopu 67, InDesignu nebo Acrobatu 5,
kter vyuvaj remn technologii CoolType. Velkou
vhodou je, e tato technologie funguje na obou
operanch systmech a e tud mohou bt na
Mac OS pouvna jakkoliv psma z Windows
soubory sta prost jen zkoprovat. Obrcen to
vak bohuel neplat.
Pedstavme-li si, e v dnen dob nen neobvyk-
l mt aktivovno dov nkolik stovek psem,
je orientace v tak dlouhm seznamu ponkud
nepohodln. Navc pesouvn drahocennch
font z jedn sloky do druh (nebo pesn tak
aktivace/deaktivace vlastn funguje) zvyuje riziko,
e si font as od asu nechtn smaeme. Take,
jak situaci zlepit?
Zavolejte manaery! Jist, jako vechny nedo-
statky v operanch systmech, i sprva psem
me bt komfortnj, kdy utratme trochu penz
za dal program.
Nebudeme se zabvat plnm pehledem vech
dostupnch sprvc psem a popisem jejich
schopnost. Zvdav ten si jist poslou nabd-
kou na www.tucows.cz nebo jinch serverech.
Zamme se na nejpouvanj programy v tto
oblasti, kter jsou k dispozici ve verzch pro ob
platformy.
ATM Zcela vsadn postaven mezi sprvci psem
m program Adobe Type Manager. Ve starch ver-
zch operanch systm (Windows 9x, Mac OS 9)
nen toti pouhm sprvcem psem, ale pedevm
rasterizrem Type 1 font, tedy nezbytnm dopl-
kem operanho systmu pro prci s postscripto-
vmi fonty. ATM nen nutn ve Windows 2000/XP
a Mac OS X, nebo tyto systmy maj vlastn
vestavn rasterizr Type 1 font. Star aplikace
na Mac OS X, kter b v Classic modu, vak ATM
stle vyaduj.
Adobe Type Manager existuje pro ob platformy
ve dvou verzch: zdarma dostupn ATM Light
a komern ATM De Luxe. Funkce ATM De Luxe
jakoto sprvce psem (nejen Type 1, ale i True-
Type a OpenType) jsou sice pouze zkladn, ale
dostaujc: uivatel me fonty sdruovat do
skupin, tisknout jednoduch vzornky a psma
aktivovat/deaktivovat vn systmov sloky Fonts.
ATM Light slou jen jako systmov doplnk pro
podporu Type 1 a jen psma aktivuje i deaktivuje
(na Mac OS 9 a nim nem dokonce ani vlastn
okno, psma se aktivuj pesunutm do systmu).
Sbalte si Kufr Pro samostatn pracujcho graka
by ATM De Luxe mohlo postaovat, ale tvrci
konkurennho programu Extensis Suitcase mysleli
i na rozshlej pracovn tmy a svj produkt dod-
vaj krom jednouivatelsk verze Desktop Edition
i jako sov nstroj (Network Edition), kter umo-
uje synchronizaci font mezi centrlnm pota-
em (serverem) a jednotlivmi stanicemi. Extensis
Suitcase je i ve verzi DE po vech strnkch kom-
fortnj a pehlednj ne ATM, a navc umouje
psma aktivovat pouze doasn do ptho restartu
potae (co sice um ATM DeLuxe pro Mac
OS, ale verze pro PC to nem implementovno).
I tvorbu vzornk m propracovnu lpe. V mekov-
sk verzi jsou soust instalace zsuvn moduly
pro Quark Xpress, Adobe InDesign a Illustrator,
kter automaticky aktivuj v otevranm dokumentu
chybjc fonty, jsou-li k dispozici.
A co myslet na Rezervy? Velmi podobnmi
funkcemi disponuje i Font Reserve, ve srovnn
s Extensis Suitcase mlad program od rmy
DiamondSoft. Nen to vak dn handicap:
odmyslme-li si ponkud gracky nepoveden
uivatelsk rozhran, je FontReserve asi nejpokro-
kovjm sprvcem psem. V sovm proveden se
jedn o program s opravdovm client-server uspo-
dnm, psma na serveru jsou uloena v SQL
databzi s vekerm zabezpeenm a administrac
pstupovch prv. Ve studiu tak me existovat
jedna skupina uivatel, kte aktivuj libovoln
psma, jin skupina, kter sm instalovat jen psma
pro danou zakzku, a nakonec tm, kter nesm
psma ze serveru aktivovat vbec. FontReserve
je navc vybaven remn technologi FontSense,
kter se star o to, aby uivatel pouvali sprvn
verze font a aby tak nedolo k pelomen textu pi
oteven dokumentu na jinm potai jen proto,
e na nm nebyla nainstalovna identick kopie
pouitho fontu. Snahou DiamondSoft je zavst
FontSense technologii jako svho druhu standard
pro ovovn verz font, a proto je tato technolo-
gie nabzena vvojm z jinch rem jako oteven
a na platform nezvisl systm.
jmno popis vlastnost platforma odkaz na web podporovan fonty
FontExpert 2002 azen font do skupin | tisk vzornk | pehled
znak ve fontu | pehled jazykovch skript Windows www.proximasoftware.ru Type 1TrueTypeOpenType
Typograf azen font do skupin | tisk vzornk Windows www.typograf.de Type 1TrueTypeOpenType
FontAgent azen font do skupin | opravovn pokozench font |
vyazen nekompletnch font | hledn duplicit WindowsMacOS 9, OS X www.insidersoftware.com Type 1TrueType
Fonts Manager azen font do skupin | tisk vzornk | pehled znak ve fontu Mac OS www.aedvantage.com TrueTypeType 1
FontLook aktivace font | tisk vzornk | pehled znak ve fontu Windows www.galcott.com TrueTypeType 1
Pehled nkterch (v lnku neuvedench) shareware produkt
TYPO.NSTROJE 7
dn operan systm bn pouvan v DTP neoplv vstcnost k uivateli, pokud pijde na organizovn, aktivaci a deaktivaci
psem. Vdy je k dispozici pouze njak ten adres, kam grak psmo bu nakopruje, nebo z nj naopak odstran. Jene pro
graka, ktermu jsou psma (fonty) jednm z hlavnch pracovnch nstroj, je to zoufale nepohodln a mlo pehledn.
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sprvci psem
ouvertura Kdo nkdy v 80. letech
sbral cka a prohrval je v e,
mus mi dt za pravdu, e to byla
vlan takov typograck hra.
Vechna psmena abecedy, nkter
eciln znaky, jen ligatury chybly.
koda: tak pkn by se do sebe za-
smykvaly
materil U od mala trpm za-
menm na materily: rd se dvm
u knih zblzka na papr, vazbu a dal
soui, osahvm si je Dokonce si
myslm, e knihy jiou ohmatano
a opotebeno pmo potebuj;
nov kniha je svm zpsobem nehez-
k, nedodlan. Je to pedmt uren
ke ten, a tak je teba, aby jeho funk-
ce byla na nm tak vidt. Je to mo-
n podobn dolku vylapanmu
v prahu dve, kter lovku evokuje
minulo tisce nohou, co pes nj krely. Je
trochu proti smyslu knihy, kdy lovk db
zkoliv na to, aby nemla ohnut rek,
byla isounk. Kniha nem bt obraz na
vavu, ale obraz v koele, u kterho
se lid modl, jeho rmu se sice s ou, ale
dotkaj, s nm ij, a ne ho obloukem ob-
chzej.
Ped asem se vyprodvaly knihy z naklada-
telv Odeon: byly to smutn knihy; nov
svazky, kterch se nikdo nikdy nedotkl, jen
leely dvacet let ve skladu. Ale byly i!
Ne vechny materily vak asem ovaj
a krsn: zkrsn papr, devo, kmen; uma-
kartov l vak ne. Umlo je krsn jen
nov, jinak je eriln; pirozeno vak pracu-
je a pouvnm neztrc, zskv.
Obas mi pijde na mysl takov zvrhlo:
zaloit exkluzivn edici a najmout pt e
lid, kte by ped prodejem knihy opou-
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vvali: rozcviovali by vazby, ohmatvali
rnky, zkrtka vytveli podobnou patinu
a zalo, jakou znme teba z dns. A co
teprve eciln kategorie v souti o nejhez
knihu roku!
roho Mm rd knihy, kter maj v tir-
i vepsno podle grack osnovy Antonna
Lskovce. Jeho knihy vypadaj na prvn
pohled npadn tm, e jsou naproo roh.
dek i vce dk ervench titulk, text
z jednoho psma. Je to takov imperativ ro-
hoi: lovk bude nejodvnj tm, e se ni-
kdy neodv njak nepedloen inovace
Trochu se dnes v oslnn paletou vemonch
efekt, kter nabzej potaov programy,
zapomn na arou pravdu, e hodnota navc
se nezskv jen pidnm, ale t ubrnm.
ehole V druh polovin 90. let jsme
v Bevnov vydvali eholi svatho Benedikta.
Prce na n m uvedla a svm zpsobem
i svedla do sloitho svta prce na knize.
Tehdy jsme vlan napodobovali pvodn vy-
dn nmeckch benediktin. Chtl jsem tam
mt ejn papr a ejn psmo: nevdl jsem,
jak se jmenuje, znal jsem ho z eskho vydn
brevie, co vyel v m, a vdl jsem, e to
mus bt psmo, kter m velk P s nedota-
enm obloukem. Byl to garamond, ale
to tpn a pomal pronikn do jednotlivch
fz vroby knihy od npadu po realiza-
ci bylo velmi vzruujc.
Tak jsem chtl, aby kniha vypadala klasicky
a umen: zdnliv pro poadavek je pi-
tom velmi obtn lniteln, o tom se v d-
n pruce nic nedotete. Dodnes m zajm,
jak objevit a vyihnout podatu klasinoi
a umenoi, uduju to na arch tiscch
a na ar produkci nmeck a anglick.
pebal ehole mla pltnou itou vazbu
a potebovala jet pebal. Vtina knih m
pebal bu ze siln kdy s njakou povrcho-
vou pravou, nebo ho tvo pkn grack
papr, donedvna dokonce i s rznmi vezy
a oknky; ta mda u nat pechz.
Pod jsem pemlel, jak na to, chtl jsem
vyut vhodu obojho: nakonec jsme vzali
pln obyejn papr lutho odnu a ten
jsme jenom zvenku oblili matnm la-
minem. Vsledn efekt nakonec pipomn
klasick voskovan papry i pergamen.
Pozoroval jsem pi prezentaci knihy tene,
jak ji berou do rukou, zneji, zanou pej-
dt pry po ruktue papru, naklnt si ho
ke svtlu
papr Kvalitou, ohebno i ohmatatel-
no m nakonec pro svazky edice Pietas
benediina nejvc zaujal papr Biotop 3 (Eu-
ropapier). Na prvn pohled bn bl papr,
ale jeho blo je pitom tak njak dojn
zal (jako kdy si lovk nech deset let
uleet kancelsk papr a pak ho vythne
na svtlo; jako bloba kravskho mlka v po-
rovnn s jeho derivtem z krabice). Nen
ani pli hrub jako recyklovan papry, ani
nabubele luxusn. Gram jsem volil vy,
devadest, aby lovk, kdy ot liy, nco
ctil v ruce, ml znateln hmatov zitek.
To ke knize pat.
dva tormov Prvn seit edice Pietas
benediina jsem zaslal Frantiku tormovi,
nevda tehdy jet, e tm navazuji na dv-
nou tradici: jeho ddeek, torm Betislav,
v 30. letech pro klter pipravoval grack
osnovy knih v edici Opus Dei (byla to vyhl-
en, luxusn edice, jednotliv svazky tehdy
sbraly rzn knin ceny).
Pan torm mi tehdy odepsal v tom smyslu,
e pouit psmo Trumpet je nenapraviteln
nmeck, tedy nevhodn pro knihu eskou.
Chtl jsem po nm trochu naivn njak jed-
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ivotopis Ondeje Koupila (1972) se bn biograi typografa zrovna nepodob: vystudoval etinu a latinu na FF UK, na te
8 TYPO.LIDI
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no univerzln pouiteln psmo. Shodli jsme
se nakonec, e to vlan nejde, e v idelnm
ppad kad kniha d nov, pvodn
psmo. Rj pro psmotvrce!
Na pkladu edinch ad se ejnou grac-
kou pravou se d vidt, e na tom nzoru
nco je: pouh nalvn novch text do
pedem pipravench formiek a yl je
vdy trochu monotnn; edice vypadaj sice
dokonale, kdy svazky oj vedle sebe na
knin vav, ale texty se tam vzjemn ni-
velizuj. Proto se u kadho svazku na edice
snam aleo nco mlo zmnit, ukzat, e
kad kniha je odliiteln, ne jen pouh slo
v dlouh ad.
Nejabilnjm prvkem je pochopiteln
psmo. Dlouho jsem ze tormovy nabdky
vybral. Lkal m Jannon, ale v textu se
patn etl, psmena vypadala, jako by mla
jen okraje, a uvnit przdno. V nov, textov
verzi je sice lep a tmav, ale pod je to ps-
mo pro slavnonj ely i titulky. John
Baskerville tehdy jet nebyl hotov; obecn je
baskervil ideln knin psmo neukod mu
patn papr ani nekvalitn tisk. Je to pkn
vidt nap. na odeonsk edici iv dla mi-
nuloi, kter vychzela celou druhou plku
20. olet: mnil se papr, hork sazba pela
ve fotosazbu, modernizovaly se i technologie
tisku, a baskervil se etl pod dobe.
Nakonec to vyhrl Regent OSF, a nov Re-
gent II. M vt tmavo, masivno, pvabn
je jeho mal a s typickm baroknm ped-
klonem, jako by padalo dopedu (bohuel
zrovna tohle Regent II oslabil), pkn je taky
kurziva, kter nen jen mrnou obmnou z-
kladnho ezu (jako teba u timesu), ale tvo
samoatn psmo se sympatickmi arosvt-
skmi prvky (w). Regent m i pr nedoatk,
nelb se mi teba naaven kerningu u T
edice Pietas benediina
Curriculum Vitae of Ondej Koupil (1972) does not sound
like a usual typographers biography. He studied Czech
and Latin at the Philosophical Faculty of Charles University,
where he is now doing his doctoral studies in the Depart-
ment of Czech Language. He works on old Czech linguistics
(he translates a Czech grammar book written in Latin
echoenost by Vclav Jan Rosa of the 17th century) and
translations from Latin (adaptations of older translations of
Benedicts Order, St. Bernard, St. Augustine, etc.). He spent
his civil service (substitute for military) in the Prague Bevnov
Monastery. Today he lives with his family in the Monastery,
working as a librarian, Latin teacher, editor, typographer and
type-setter.
His is not a well-known name of Prague graphic studios,
groups or magazines; since the 1990s he has made the
covers of most publications of the Monastery (whether
books or periodicals) and has created Monasterys specic
corporate design.
He created a specic body of reviews for the revue Sou-
vislostihe casts a scientic look at the contents, but also
publishes a craftsmans view of the books physical form.
He sees himself as the only materialist in the Monasterys
spiritual environment.
material I like a closer look at a books paper and binding,
I touch them I also think that books do need to be thumbed
and soiled. A new book is not completely ready; it is an article
that should be read, and this function must be seen on it. It
feels like a depression in a threshold, made by thousands of
feet that stepped on it in the past. It is a little strange if you
meticulously try to keep a book snowy and perfect. A book is
not a painting to display at an exhibition, but a painting hung
in a church, to which people pray andwith respecttouch its
frame. They live with it, rather than avoiding contact with it.
Odeon books were sold out some time agowhat sad books!
Brand new, never touched and never read, just lying in
a warehouse for twenty years or so. But they were clean!
Not all materials mature and gather beauty with passing
timepaper, wood or stone do, but a plastic table does not.
Articial things are only nice while they are new, otherwise it
feels sterile. However, natural things work and, by being used,
become more valuable.
Sometimes I play with a strange idea: I could make a special
series for which ve or six people would be hired to use the
books before sale: turning pages, loosening binding, touch-
ing the paper, to create the dinginess similar to luxurious
jeans. And just imagine a special category in the competition
for the most beautiful book of the year!
austerity that have written in the imprint graphic design
by Antonn Lskovec. His books are conspicuous at rst
sightthey are very austere. One or more lines of red titles,
only one font used in the text it is a certain imperative of aus-
terity: you are most daring when you abstain from a foolhardy
innovation
Nowadays, dazzled by all kinds of software effects, we tend
to forget the old truth that value can also be added by leaving
something out.
An example of publishers series shows there may be some-
thing in this view: mere casting of new texts into the ready-
made moulds and styles is always a bit monotonousthe
series look perfect when the volumes are aligned on shelves
at exhibitions, but the texts themselves level out each other.
That is why I try to change something each time, so that each
book is unique, not just a number in a long line.
imprint = epilogue I have always read imprints, from my
childhood till now. Often I have a feeling that I am deprived
of something, not being told everything I would like to know.
Activities of so many people remain hidden: not because
of modesty, rather due to disrespect. Whenever somebody
helps me with a book, I always publish their name in the
imprintnot as a technical datum, rather as a memorial
Nothing should be lost. You never know what a reader will
be intrigued by and what he or she will nd as enlivening the
book.
a y: psmena se do sebe pli zakusuj.
od svat Kateiny k posedloi I do po-
taov sazby by ml vupovat emeslnk
s perem v ruce, aby ji zbavil ji rojovoi
a uniformity.
Nakladatelv Kryal OP vydvalo Dialog
sv. Kateiny Siensk. Redakce zjiila, jak bylo
pvodn lenn textu, a chtla ho naznait
inicilami. Nelbilo se jim vak, jak vypadaly
inicily udlan elektronicky, a napadlo je
udlat je kreslen, jako ilurace. Zadali mi
to. Chtl jsem zachovat klasick tvar psme-
ne, ale nechtl jsem s potaem soupeit
v rovnoi tah; proto jsem psmena jakoby
skldal z ar (mon v tom hrly roli sochy,
kter mj otec tvo z drt). Nakonec ty m
onky do sevaky, jak to oznaila ena,
pijali.
Podobn jsou v rznch svazcch edice Pietas
benediina odlin run psan znaky PB.
Pi opakovanm kreslen tho dochz k za-
jmavmu jevu: i kdy lovk sleduje jednu
mylenku a kresl jedno psmeno, nikdy
nenakresl tot; vytvej se ady rznch
charakteriickch, poupn se rozvjejcch
odchylek. Me to v a k urit posedloi:
jako zkladn materil k tomuto tmatu vele
doporuuju zapomenutou knihu Jiho Frieda
Hobby z konce 60. let. Pro leckterho typogra-
fa bude velkm pekvapenm.
tir = epilog tu si je od mala dodnes
a mm ao pocit, e jsem ochuzen, e mi
neekli ve, co m zajm, e inno mnoha
lid je skryt, nepiznan: ne ze skromnoi,
ale z neuivoi. Proto kdy mi nkdo
s knihou pomh, tak ho v tiri zvnm,
zazdm, ne jako technick daj, jako
pamtn npis
Nic se nem ztratit. Kdo v, co tene zaujme
a co konkrtnho mu knihu oiv.
fakult je doktorandem na katede eskho jazyka. Zabv se star eskou jazykovdou (pracuje na pekladu latinsky
psan gramatiky etiny echoenosti Vclava Jana Rosy ze 17. st.) a peklady z latiny (adaptace
starho pekladu ehole Benediktovy, sv. Bernard, sv. Augustin aj.) Civiln slubu strvil na fortn
praskho bevnovskho kltera. Dnes tam s rodinou ije a pracuje jako knihovnk, uitel latiny,
redaktor, typograf a saze.
Nepat mezi znm jmna praskch grackch studi, skupin a asopis, pesto od 90. let upravil tv
vtin klternch kninch i akcidennch publikac a vytvoil pro klter specick corporate design.
V publicistice pro revue Souvislosti pstuje zvltn tvar recenz a kritik, kter na literatue hodnot nejen
vdeckm pohledem obsah, ale i emeslnm pohledem formu knihy.
A jak se dozvte z trk rozhovoru, je jedinm materilistou v duchovnm prosted kltera
novinov psma
spn psmo
tou miliny lid
(); v ppad, e
je v psmu pli
mnoho tvarovch
novot nebo kdy m
psmo nedostaten
kresebn kvality,
te se pomaleji
a nar u tene
na urit odpor. Je
tedy v moci psmae
a vrobce, aby
rozpoznal a steil
toto vznamn
a vzcn bohatstv
podvdomho
tenskho zkona.
A je zapoteb, aby
pedevm psma pi
navrhovn novch
psem pihlel
k tmto zkladnm
pravidlm jejich
tvarovho utven.
Adrian Frutiger (1974)
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10 TYPO.FENOMN
Zvltnosti novinovho psma Vbr psma pro
noviny nen jen otzkou dobrho vkusu, novinov
psmo mus splovat adu nejrznjch poadavk.
Za prv mus bt dobe iteln i v malch velikostech
a za zhorench svtelnch podmnek. Za druh
mus bt sporn v sazb, tzn. spe u a s velkou
stedn vkou minusek. Za tet by mlo mt vhodn
vyznaovac ezy, tj. dostaten vraznou tunou
verzi, jasn odlinou od zkladnho ezu, a dobe
itelnou, mlo zdobnou kurzivu, jej znaky by mly
bt irok stejn jako u zkladn verze. Za tvrt
mus bt navreno s ohledem na tisk na nekvalitn
novinov papr s velkm nrstem tiskovho bodu.
Za pt se oekv, e bude vytvoeno kvalitn
i z technologickho hlediska, tj. e bude mt dobe
udlan kerning, bude mt kvalitn navren akcenty
a bude obohaceno o speciln znaky pro sazbu nej-
rznjch cizch jazyk. A konen za est by mlo
bt hezk, originln a jednoznan identikujc
dan list.
esk noviny trp problm psma odjakiva. Nedostatek
psmovho materilu vedl po 2. svtov vlce psmolijnu
Grafotechna k vyhlaovn sout na zskvn novch psem.
Vtznm nvrhem tet soute zamen prv na novino-
v a asopisov psmo z roku 1955 se stala abeceda pozdji
pojmenovan Public od Stanislava Maro (dalm Marovm
realizovanm psmem, jakmsi pandnem Publiku, je zdail
grotesk Vega, kter dodnes psob svm dojmem). Toto ps-
mo se v nsledujcch letech rozilo po eskch tiskrnch
a zstalo dominantnm novinovch typem a do potku
90. let minulho stolet. Z hlediska estetickho vak pat
bohuel mezi nejmn vydaen abecedy vzel z tehdejch
typograckch sout Public je chladn, nudn a nep-
vabn. Nen proto divu, e teni po desetilet navykl na
kadodenn setkn s podprmrnm typem postupn ztratili
cit pro psmo dobr a kvalitn.
Pi pechodu na potaovou sazbu na zatku 90. let minul-
ho stolet otzka psma vydavatele novin pli nezajmala; na-
vc vbr potaovch psem byl velmi omezen a dochzelo
tak k potm s eskou diakritikou. A tak vydavatel shli po
psmu Times. Toto psmo bylo peliv navreno pro sazbu
londnskho denku Times pod vedenm Stanleye Morrisona
ve 30. letech 20. stolet. Pestoe Times povauji v principu za
vhodn novinov psmo splujc podmnky uveden v vodu
lnku, musm zrove pipomenout, e existuje mnoho
rznch verz tohoto psma, z nich typogracky zdail jsou
jen nkter. Za zcela nevhodnou variantu povauji nap. Ti-
mes New Roman od rmy Monotype, obsaen v operanm
systmu Microsoft Windows. Toto psmo m velmi nedbale
tvarovan diakritick znamnka a absentujc kerning pro es-
k znaky. Za zdail naopak povauji Times od rmy Linotype
(distribuovan t spolenost Adobe), kter m diakritiku na-
vrenu citliv. Toto psmo se t dodv jako soust Mac OS.
Hlavn nevhodou Timesu, by vydaenho, je jeho nad-
uvn. Prv tm, e bylo toto psmo vybrno jako jedno ze
zkladnch do obou nejrozenjch operanch systm
(Windows, Mac OS), setkvme se s nm vude: v knihch,
asopisech, v obchodn i soukrom korespondenci, v rekla-
m. Psmo tm naprosto ztratilo charakter, stalo se veejnm
majetkem, neutrlnm, bezbarvm.
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Specics of Newspaper Fonts The selection of a newspaper typefaces
is not just a matter of good taste; such a font must comply with a number
of varied requirements. First, it must be legible even is small sizes and
under unfavourable lighting conditions. Second, it must be economical for
printing, i.e., rather narrow with a large mean size of lower-case letters. Third,
the enhancement styles should be suitable, i.e., the bold version should be
clearly distinguishable and italics should be legible and not over-decorated;
the italics letters should be as wide as the basic ones. Fourth, it has to be
designed for print on low-quality newsprint paper, with a large swelling of
printing points. Fifth, it is expected to be of a good technological quality, i.e.,
with good kerning and accents, and completed with a number of special
characters for foreign languages. And nally sixth, it should be nice, original
and uniquely identifying the newspaper it is sued in.
Czech newspapers have always fought with fonts. After WWII, due to the lack
of typesetting materials, the Grafotechna type foundry arranged competi-
tions for new fonts. The third such competition, held in 1955, was focused on
newspaper and magazine fonts; the winning alphabet by Stanislav Maro was
later named Public (another font by Maro was the Vega sans serif, somewhat
an opposite of PublicVega feels fresh even today). This font later prevailed in
Czech printing houses and remained dominant in newspapers until the early
1990s. Unfortunately, from an aesthetic point of view it is one of the worst
alphabets that won the typographic competitions of those timesPublic is
cold, boring and lacks grace. It is no wonder that readers who had seen such
a font for decades gradually lost feeling for good quality of fonts.
After introduction of computer typesetting in the early 1990s, newspaper
publishers did not pay too much attention to fontsthe selection was very lim-
ited, and it was problematic to use them for Czech diacritics. So they decided
for Timesthis font was carefully designed for setting type for the London
Times in the 1930s, under supervision of Stanley Morrison. I do in principle
accept Times as a suitable newspaper font compliant with all the require-
ments cited above. I have to mention that there are many different versions
of the font, among which only a few are really typographically suitable. For
example, I think that Times New Roman of the Monotype Company, included
in Microsoft Windows, is completely wrong. Diacritics of the font are very
negligibly formed and there are no kerning pairs for Czech letters. I do see as
a good one Times of the Linotype Company (distributed, among others, by
Adobe)its diacritics are designed with good sense. This font is also included
in Mac OS.
The main disadvantage of Times, even the good variants, is its extensive
use. Since the font was selected as one of the basic fonts in both of the
most widespread operating systems (Windows, Mac OS), it is encountered
everywherein books, magazines, private and business correspondence, and
in advertisements. The font has completely lost all special character, became
public domain, neutral and colourless.
A successful font is
read by millions of
readers (); if there
are too many new
shapes in the font or
if its drawing quality
is insufcient, it is
slower to read and
is perceived with
a certain antagonism
by readers. Hence it is
the lettering master and
publisher who must
recognise and guard
this important and
precious wealth of the
Readers Subconscious
Law. First of all,
lettering artists must
keep in mind the basic
rules of shaping when
designing new fonts.
Adrian Frutiger, 1974
souasnosti
Zmna psma v novinch Mnoh zahranin noviny proly
po pechodu na potaovou sazbu vvojem od Timesu k ji-
nmu psmu. I u ns v nkterch dencch probhlo nkolik
pokus o zmnu psma. Mnoz vydavatel eskch novin
problm volby vhodnho psma podcenili, o em svd to,
e se nkter denky po pokusu zavst nov psmo vrtily
zpt k Timesu: Lidov noviny vychzely jeden as vysze-
n psmem Old Century, MF Dnes psmem Century. e lze
v novinch spn pout jin psmo ne Times, dokld
kup. denk Metro, kter je szen fontem ITC Charter, nebo
Veernk Praha szen psmem ITC Slimbach.
Co mohou noviny pro zmnu psma udlat? V idelnm ppa-
d si mohou takov psmo u psmolijny i psmae objednat
na mru. Toto een je vak velmi drah a nron na as str-
ven ppravou a testovnm v praxi. Pesto se k tomuto kroku
nkte vydavatel novin (nap. francouzskho Le Monde)
piklonili. Zsadn vhodou takovho zpsobu zskn novho
psma je jeho jedinenost dn jin noviny nemohou mt
stejn font, pokud se tak psmolijna s vydavatelem dohodnou.
Tmto zpsobem se pokusily zskat svho asu nov psmo
i Lidov noviny: vrazn modikovan verze psma Times,
nazvan autorem Frantikem tormem Thames, vak nebyla
pijata. Dnes jsou tmto psmem (s novm nzvem Lido)
s spchem szeny noviny Listy hlavnho msta Prahy.
Druhou monost je vybrat si nov psmo ze stvajc nabdky.
Pi podrobn analze nabzench font souasnmi psmolij-
nami jsem nael i nkolik malch, ale vysoce profesionlnch
rem, kter prv novinov fonty nabzej. Ve strunosti jejich
nabdku pedstavm, podrobnosti a dal ukzky lze nalzt na
internetovch strnkch jednotlivch spolenost.
New Fonts in Newspaper Many
foreign newspapers switched over to
another font when they began using
computers for typesetting. Several
attempts at some change have taken
place in the Czech Republic as well.
Many publishers of Czech newspa-
pers, however, underestimated the
importance of suitable font selec-
tionseveral daily papers returned
to Times after experimenting with
another font: Lidov noviny appeared
in Old Century for some time and MF
Dnes in Century. Several, for example,
Metro in ITC Charter or Veernk
Praha in ITC Slimbach, show that
a successful newspaper can use a font
different from Times.
What can newspapers do for a change
of font? In an ideal case they can
order a new custom-made font from
a type foundry or a lettering master.
However, this solution is costly and
time-demandingpreparations and
testing in practice take a lot of time.
Nonetheless, some publishers have
taken this road (for example Le Monde
in France). The main advantage
is uniquenessif the type foundry
makes an exclusive contract with the
customer, no other newspaper may
use the font. Lidov noviny tried
this procedure in the past, but the
signicantly modied version of Times,
named Thames by its author, Frantiek
torm, was rejected by the newspaper.
Today this font (renamed to Lido) is
successfully used for setting of Listy
hlavnho msta Prahy.
Another option is to select a font from
among the existing ones. Having
analysed the present offer of fonts in
detail, I found several small but highly
professional companies, which offer
newspaper fonts. Below I will briey
introduce their offersdetails and
examples of fonts can be found on
their websites.
Hod se pro vechnaperiodika, kter
chtj nenpadn opustit ohyzdn systmov psma
s jejich jet ohyzdnjmi akcenty, a pejt na
souasnou rove grackho designu. Dokonalevyhov
i kadodenn prci vtextovch editorech a kancelskch ap-
likacch. M dosti vysokou stedn vku minusek, zkrcen
serify a zjednoduen zakonen oblch tah.To jetypick
pro psma navren pro malvelikosti. Naepsmovak snesezvten
i naplakt, informan tabuli i billboard, nebo jeneokoukanazrove mrnve
vraze.Dvadoplkovzenezyodpovdaj asi 80%kompresi ajsousamozejm kreslenypln
zvl. Odzenchkursivbylouputno; upatkovchpsempsob vdyponkudnsiln.
Newspaper Fonts of Today
Souasn nabdka novinovch psem
Present Offer of Newspaper Fonts
Pkladem psma navrenho na objednvku je Le Monde,
jen vznikl jako nhrada psma Times pro stejnojmenn fran-
couzsk denk. Jeho autor, Jean-Franois Porchez (*1964),
se kolu chopil s nesmrnou, a vdeckou pelivost. Navrhl
hezk a vborn iteln psmo, svm neutrlnm a piroze-
nm charakterem vhodn pro noviny. Psmo je doplnno
i bezserifovou a knin verz, kter maj podobn charakter
a maj stejn irok znaky. Autor pat mezi uznvan typo-
grafy, tvrce mnoha psem; ije a pracuje ve Francii.
An example of a custom-made font is Le Monde, cre-
ated by Jean-Franois Porchez (*1964) as a replace-
ment of Times for the French daily of the same name.
The authors approach to the task was characterised
by a high degree of care, nearly a scientic attitude.
A nice and very easy-to-read font resulted, whose neu-
tral and natural character is most suitable for a news-
paper. There are also a sans-serif and book versions of
the font, they look similar and have letters of the same
width. The author is a renowned typographerhe has
created many fonts; he lives and works in France.
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Novinov psma dlouhou dobu nebyla v nabdce distribun
spolenosti FontFont zastoupena. FontFont se zamoval ze-
jmna na prodej souasnch originlnch psem, asto tvaro-
vanch a za hranici itelnosti. Proto nejnovj katalog 2002
pjemn pekvapil, nebo je obohacen o rozshlou rodinu
font Zine, vhodnou prv pro sazbu novin. Psmo existuje
ve tech zkladnch verzch antikv, grotesku a egyptience,
piem kadou variantu tvo 10 rznch ez. Zine navrhl
v roce 2001 nmeck typograf Ole Schfer (*1970).
No newspaper fonts were offered by the distribution
company FontFont for a long time; the company was
focused on sale of modern original fonts, often shaped
to the very brink of legibility. Their most recent 2002
catalogue came as a pleasant surprise: it includes
a wide family of Zine fonts, which are suitable for
newspaper typesetting. The font exists in three basic
versionsantique, sans serif and slabeach variant
includes 10 different styles. Zine was designed by Ger-
man typographer Ole Schfer (*1970) in 2001.
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abcdefghijklmnopqrstuvwyxz0123456789
ABCDEFGHIJKLMNOPQRSTUVWYXZ(!$?%&*@#=}<)
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| regular roman | regular roman italic | Ole Schfer
12 TYPO.FENOMN
Typographer Luc(as) de Groot (*1963) specialises
in newspaper and magazine fonts; he lives and
works in Berlin. He has authored many popular
fonts; for example, German weekly Der Spiegel
uses his fonts. Another of his fonts is The Anti-
qua, a modern antique characterised by a good
degree of legibility in all sizes. The character lines
are short, which is a feature ideal for a newspaper
font. The B version has more interesting and more
attractive letter shapes, while the E version is more
similar to Times. Die Tageszeitung (a German
daily) is set in this font. Folha is another typical
newspaper fontits letters are narrower than those
of Times, but Folha is easy to read all the same.
This font was designed for Brazilian daily Folha de
S. Paulo. De Groot sells his fonts under the head-
ing of his own company, Lucas Fonts.
Na novinov a asopisov psma se orientuje typograf
Luc(as) de Groot (*1963). Je autorem mnoha oblbench
psem, ze znmch periodik pouv jeho psma nap. n-
meck Der Spiegel; ije a pracuje v Berln. Mezi jeho psma
pat The Antiqua, modern antikva vyznaujc se dobrou
itelnost ve vech stupnch. M krtk petanice, kter z n
in ideln novinov psmo. Verze B se vyznauje zajmavj-
mi a atraktivnjmi tvary psmen, verze E je vce podobn
Timesu. V souasnosti je tmto psmem szen nmeck denk
Die Tageszeitung. Tak Folha je typick novinov psmo.
Pestoe jsou jeho znaky u ne u Timesu, je Folha dobe
iteln. Toto psmo bylo navreno pro brazilsk denk Folha
de S. Paulo. De Groot sv psma prodv pod hlavikou vlastn
spolenosti Lucas Fonts.
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| roman | roman italic | semibold | semibold italic | bold | bold italic | black | black italic Brian Sooy
Altered Ego je nzev psmolijny jednoho mue autorem
vech font je americk typograf Brian Sooy (*1961). Sooy
v roce 1995 navrhl abecedu Veritas, kter vychz z psma
Times, ale m vy stedn vku psma. To in tento font
jet lpe iteln zejmna v malch stupnch. Rodinu psem
Veritas tvo tyi verze Roman, Semibold, Bold, Black
a odpovdajc kurzvy. Zajmav je nabdka formt: font lze
koupit jako TrueType a Type 1, a to vetn stedoevropskch
znak a s odpovdajcm kerningem (OpenType s podporou
CE znak bude uveden a v prbhu roku 2003).
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Altered Ego is the name of a font foundry of one
man. The author of all fonts is the American typog-
rapher Brian Sooy (*1961). In the year 1995, Sooy
designed the Veritas alphabet, which is based
upon Times, but has a larger medium font height.
This makes it even better readable, especially in
small sizes. The Veritas font family consists of four
versionsRoman, Semibold, Bold, Black and cor-
responding italics. Interesting is the offer of formats:
a font can be purchased as TrueType, Type 1 and in
the year 2003 as OpenType including Central Euro-
pean characters and with appropriate kerning.
The Dutch company The Ensched Font
Foundry is one of companies that produce the
best-quality and most beautiful fonts nowadays
used in computers. Most fonts created by this
company are designed for books; but their offer
also includes Lexicon, which meets criteria for
a good newspaper font. It is easy to read, has
beautiful details and short character lines. It is
currently used by Dutch daily NRC Handelsblad.
The author of the font is an experienced Dutch
typographer Bram de Does (*1934).
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Mezi spolenosti, kter produkuj ta nejkvalitnj a nejkrs-
nj tiskov psma, jak lze dnes na potach uvat, pat
holandsk spolenost The Ensched Font Foundry. Pestoe
je vtina font tto rmy primrn urena pro knin sazbu,
nabz psmo Lexicon, kter kritria pro dobr novinov ps-
mo spluje: je velmi dobe iteln, m krsn detaily a krat
petanice. V souasnosti je s spchem pouvno v holand-
skm denku NRC Handelsblad. Autorem je zkuen holand-
sk typograf Bram de Does (*1934).
Jednm z nejmladch novinovch psem je Leyden News od
vda Larse Bergquista (*1936) z roku 2002. Rodina psem
je distribuovna americkou spolenost Psy/Ops. Pestoe
Leyden News spluje vtinu kritri pro dobr novinov ps-
mo, je tato abeceda mon a pli zdobn, co se projevuje
zejmna v kurzv. Psmo je m tak knin verzi (Leyden)
a odpovdajc grotesk (Leyden Black Sans).
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One of the youngest newspaper fonts is Leyden
News from the Swede Lars Bergquist (*1936) from
the year 2002. This font family is distributed by the
American company Psy/Ops. Although Leyden News
meets most criteria for a good newspaper font, it may
be almost too decorative. This shows especially in
italics. The font also has a book version (Leyden) and
corresponding grotesque (Leyden Black Sans).
1 23 ? ! @Aa BbCc DdEe Ff Gg
HhJ j Kk L l MmNnOoP pQq
Rr Ss Tt UuVvWwXxYyZz & regular
L e y d e n N e w s
A
Quando prendo il taxi bevo whisky, ascolto jazz e mangio chi.
MyFqbHgiv
1 2 3 ? ! @Aa Bb Cc Dd E e F f Gg
H h J j K k L l MmN n O o P p Q q
Rr Ss Tt UuVvWwXxYy Zz & i talic
1 23? ! @AaBbCcDdEeFf Gg
HhJ j KkL l MmNnOoPpQq
Rr Ss Tt UuVvWwXxYyZz & bold
1 2 3? ! @AaBb Cc Dd Ee F f Gg
H h J j K k L l MmNn O o P p Q q
Rr Ss Tt UuVvWwXxYyZz& bold i talic
psy/ops 2001 all rights reserved
Doporuen ten
Recommended Reading
Problematikou psma ve
vztahu ke teni se
zabv nap. Antonn
Rambousek v lnku
itelnost a roziitelnost
tiskovch psem
(Typograa . 871, 12/
1974) a Adrian Frutiger
v pednce nazvan
Odpovdnost psmae
vi podvdom ten
(Typograa . 873,
2/1975). Tma itelnosti
a neitelnosti rozebr
slovensk typograf Peter
Biak, text v anglitin
je umstn na http:
//www.typ.nl/TYP04/
woud/illegibility/
illegibility00.html.
TYPO.FENOMN 15
Co ns ek?
V nejbli budoucnosti se bude pravdpodobn poet psem
vhodnch pro sazbu asopis a novin rozrstat. Vm, e se
nkter psmolijny, ve snaze odliit se od konkurence, zam
na vysoce kvalitn psma odpovdn navren prv s ohle-
dem na specika novinovho tisku. Pokud k prci pistoup
se stejnou pokorou jako Adrian Frutiger, mme se na co tit:
Kdy j sm, pi prci na nvrhu novho psma, pleitostn
pomyslm na zodpovdnost, kterou mm k procesu ten,
ctm, jak se mi tuka v ruce ponkud chvje
What is waiting for us?
In the near future the number of newspaper and
magazine fonts is likely to grow. In my opinion,
some type foundries will, in order to distinguish
themselves form competitors, focus on high-qual-
ity fonts, responsibly designed with respect to
specic features of newspaper print. We can look
forward to the fruit of their work, especially if their
attitude will be the same as that of Adrian Fruti-
ger: When I am designing a new font and think
of the responsibility I have for the future readers,
I feel that the pencil is trembling in my hand
Mezi dal vznamn svtov psmae, kte maj s novinovm
psmem zkuenosti, pat Holanan Gerard Unger (*1942).
Ten navrhl nap. psmo Swift. Drobnou vadou na krse tohoto
psma je absence tun kurzivy, bez kter by se asi nae den-
ky neobely. Zdailmi novinovmi psmy jsou tak Charter
a Olympian od britskho typografa Mathew Cartera (*1937),
autora velmi znmch obrazovkovch psem Verdana i
Tahoma. Psma obou autor distribuuje spolenost Linotype.
Another important lettering master who has experience
with newspaper fonts is Dutch typographer Gerard Unger
(*1942). He, for example, designed Swift. A shortcoming
of this font is that it does not have bold italics, without
which our daily newspapers could hardly do. Good news-
paper fonts are also Charter and Olympian by Britixh
typographer Mathew Carter (*1937), who also created
the well-known screen fonts Verdana and Tahoma. Both
authors fonts are distributed by the Linotype company.
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light | light italic | regular | regular italic | bold Gerard Unger
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ABCDEFGHIJKLMNOPQRSTUVWYXZ(!$?%&*@#})
regular | regular italic | bold | bold italic | black | black italic Mathew Carter
Matthew Carter nabz sv psma tak prostednictvm spole-
nosti Carter & Cone Type, kterou zaloil v roce 1992 s Cherie
Conovou. Firma Carter & Cone Type je na novinov psma
pmo zamena mezi vznamn klienty pat nap. Time,
Newsweek, Wired, The Washington Post, The New York
Times. V nabdce psmolijny je nap. Fenway Roman z roku
1998, uren pvodn jako nhrada psma Times pro Sports
Illustrated. Uplatnn v periodickm tisku me mt i psmo
Miller Text (1997); toto psmo je ale pomrn irok, proto je
vhodn spe jako doplkov psmo nap. pro tdenn plohy
nebo asopisy.
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Matthew Carter is also offering his fonts through the
company Carter & Cone Type, which he has founded
in the year 1992 with Cherie Cone. The company
Carter & Cone Type focuses directly on newspaper
fontsits important clients include Time, Newsweek,
Wired, The Washington Post, The New York Times,
etc. The font foundry offers for example Fenway
Roman from the year 1998, originally designed as
a replacement for the Times font for Sports Illustrated.
The Miller Text font (1997) can also have its uses in
printed periodicals, however this font is relatively wide
and for this reason suitable rather as a complementa-
ry font e.g. for weekly sections or magazines.
1 na 2 Nmecko 3 Portugalsko 4 Slovensko 5 Itlie 6 panlsko 7 Portugalsko 8 Holandsko
V souasn dob se bn hledaj koeny
modernho dopravnho znaen u na
jeskynnch malbch v Lascaux, v m-
skch unikovanch silninch mrch i
u stavitel silnic nsk dynastie ou. M
vak nejvc zajm dvact stolet a jeho
dopravn znaen jako vrazov proste-
dek msta.
Dvma zkladnmi pravidly dopravnho
znaen je redukce a konzistentnost.
Konzistentnost dv skupin na sob
nezvislch symbol podobu jasn
srozumitelnho systmu. V tomto smyslu
se systm dopravnho znaen podob
typograi komunikaci na zklad
prefabrikovanch prvk. Obecn eeno:
gurln znzornn je tu zredukovno do
dvourozmrn podoby a zbaveno vech
nadbytench informac.
Souasn dopravn znaen nahrazuje
linern perspektivu spe izometri, a zkladnm
pravidlem izometrie je fakt, e paraleln linie se
nesbhaj
1
, aby se pedelo deformacm a byla
zachovna skuten charakteristika objektu.
Marshall McLuhan ve sv knize Guttenbergova ga-
laxie (1962) porovnv rozdly mezi dvojdimenzio-
nln a tdimenzionln kresbou. k, e kresby
prodnch nrod se vyznauj dvojdimenzionali-
tou, zatmco dla kultivovanho lovka maj spe
sklon k perspektivnmu ztvrnn.
ijeme v podivn dob. Ilustran doprovod lnku
dokld, e existuje jen mlo pravidel, kter je
nutno pi navrhovn dopravnch znaek dodro-
vat. Ty souasn variuj od paralelnch projekc
k perspektivnm, vtina vak ustrnula nkde na
pli cesty. Paraleln linie se prost sbhaj, jen kdy
se jim to hod.
26
vizuln konzistence a uniformita Znaky,
kter maj podvat tut informaci, se vtinou
v rznch zemch svou vizuln podobou zcela
zsadn li. Rzn variace vak nenachzme
jen v zahrani, ale obvykle i v rmci jednotlivch
zem tato velk rozmanitost vychz z jejich
kulturnch specik.
Vdy existovaly snahy o zaveden jednotnho
systmu dopravnho znaen. Jednm z prvnch
pokus byla Pruka o jednotnm zpsobu zen
stereotypy Domnvm se, e dopravn znaky
vypovdaj o jednotlivch kulturch mnoh. Jsou
vrnm portrtem toho, jak si lid pedstavuj sami
sebe. Zjistil jsem, e srovnnm rznch zjednodu-
ench lidskch podob meme dospt k zajma-
vm zvrm teoreticky vzato toti mohou tyto
piktogramy odpovdat nrodnmu stereotypu. Tako-
v stereotypy funguj na zklad spojovn kulturn
podmnnch oekvn s pedem vytvoenm
zjednoduujcm dojmem z charakteristiky osoby,
podoby, kresby.
Mm rd stereotypy, protoe se vtinou zakldaj
na pravd. Holanan mon nebudou souhla-
sit akoli iji v Holandsku, nepotkal jsem mnoho
lid, kte by opravdu chodili v devcch i ili ve v-
trnch mlnech , a pesto prv Holanan jako
prvn eknou, e Nmci jsou arogantn, Belgian
hloup a Francouzi e pij pli mnoho vna.
Stereotypy se daj srovnat se souasnm syst-
mem dopravnho znaen. ivot v jin Evrop je
asto popisovn jako mnohem pomalej ne na
severu. Porovnejme piktogram ze znaky upozor-
ujc na dti ve vozovce z Portugalska
7
s jejm
holandskm ekvivalentem
8
. Vzhled obou znaek
je identick, jen holandsk dti maj ponkud od-
lin ivotn tempo. V Evrop je zvykem zobrazovat
malou holiku, kterou dr za ruku star kamard
za n. Z njakho dvodu tak vechny evropsk
dti pechzej zprava doleva; jedinou vjimkou
jsou dti prask, kter jdou zleva doprava
9
.
Co je vak k tomu vede? Nabzej se dv mon
vysvtlen: bu se sna jt proti proudu, nebo
jsou prost zmaten. Druh monost se mi zd
bt pravdpodobnj, protoe dti jsou mnohem
mlad ne jejich vrstevnci ze Zpadu. I slovensk
dti poruuj pravidla, ne vak tak nepokryt jako
ty esk. Zatmco chlapec b zprava doleva,
holika stoj a peml, kam se vydat.
10
Setkal
jsem se tak s obdobou stejn znaky, kde byl
chlapeek lehce nadmut
11
nejsp slovenskou
pchou.
rozbor prvn: p zna V cel Evrop je na
znace pro p znu zobrazovn dospl mu
s malou holikou, nejsp dcerou. Opt jsem
nalezl dv tm identick siluety jedna z nich
pochz z Nizozem, druh z Rakouska. Holanan
jsou znm svou toleranc a otevenost a tomu
dopravnho provozu, kterou v roce 1929 vydal
a pozdji revidoval Americk nrodn kongres
silnin a dlnin bezpenosti. Od jejho prvn-
ho uveden do praxe jsou pepracovan verze
publikovny minimln jednou za pt let. Kad
nov vlda se sna iniciovat zmny v ji existujcm
systmu dopravnho znaen ve snaze nalzt nov,
lep a univerzlnj een.
Zpsob interpretace je pokad podmnn histo-
ricky a kulturn. Dopravn znaen vychz z urit-
ho kontextu a meme jej pochopit jen ve vztahu
k jeho okol. Z tohoto dvodu nen nutn stavt
stejn dopravn znaky kolem silnic ve panlsku
i vdsku. Piktogramy, kter pro dokumentaci uv-
dm, jsou jasnm dkazem selhn univerzlnosti.
Mnoh z tchto nvrh by se mohly stt univer-
zlnm modelem, ale nen to poteba vechny
uveden znaky se skvle zhostily sv funkce
ve vlastnm specickm prosted. Kdy jsem se
ptal lid z rznch zem po vznamu jednotlivch
znaek, nemli s jejich interpretac pote.
Zajmav je srovnn dopravnch piktogram
s ikonogra olympijskch her. Olympijsk systm
mus bt srozumiteln nvtvnkm ze vech
kout svta a souasn m vyjadovat specika
podajc zem. V sedmdestch letech, kter
propagovala v designu konzistenci, byl znakov
systm mnichovsk olympidy Otla Aichera pouit
tak pro frankfurtsk letit. Tento systm pozdji
nalezl uplatnn v ir veejn sfe (poty, sm-
rovky, koly, obchody atd.). Dnes se u od tchto
univerzalizanch pokus upustilo, olympijsk
piktogramy maj jepi ivot a vyjaduj pouze du-
cha doby. Znaen z Barcelony i Lilehammeru je
pkladem adaptace vizulnho jazyka i lokalizace
univerzlnch symbol.
Nechci rozebrat dopravn znaen ze smiotickho
hlediska, je vak dleit chpat znaky jako ikony.
V smiotickm smyslu je ikona znakem, jeho
forma je analogick k objektu, kter symbolizuje.
Dopravn piktogramy jsou svzny s empirickou
realitou a jejich forma je zakoenn fyzickm
vzhledem stejn jako kulturnmi zvyklostmi. Chodci
z Macaa a Maastrichtu mohou vypadat velmi
podobn, ale jejich idea symbolu pro chodce
se me dramaticky liit. Tm se vysvtluje, pro
existuje tolik rozdlnch verz jedn a te dopravn
znaky.
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17 Rakousko 18 Nmecko 19 Slovensko
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16 TYPO. JINAK
Kdo je za to zodpovdn? Dopravn znaka
m bt srozumitelnm nosiem informace, lid
na ni maj reagovat v souladu se zmrem tvrce.
Vzhledem k tomu, jak obrovsk je rozdl ve vizuln
gramotnosti obyvatel Pae a mal vchodoslo-
vensk vesniky, vyaduje efektivn navrhovn
znaek obrovskou znalost kulturn tradice, historie,
smiotiky a interpretan teorie. Dopravn znaen
se tedy jev jako neuviteln sloit tma, a tak m
zajmalo, kdo je na Slovensku navrhuje a jakou m
kvalikaci.
Zavolal jsem na Ministerstvo dopravy s dotazem,
kdo e znaky navrhuje. Tam mi ekli, e se mm
zeptat na Ministerstvu vnitra. Zavolal jsem tedy na
Ministerstvo vnitra, kde mi doporuili obrtit se
na policii. Zavolal jsem na policii, a tam mi ekli,
e tuto informaci mi pod Ministerstvo dopravy.
Ponkud kafkovsk, e?
Zkusil jsem tedy jin postup korespondenci.
Jeden dopis jsem adresoval Ministerstvu dopravy,
druh slovensk policii. O nkolik tdn pozdji mi
pila odpov z odboru dopravn policie Minister-
stva vnitra. Doetl jsem se:
Ve zmnn problm je ve Slovensk republice
een na dvou rovnch. Zkladem je prvn pra-
va (MV SR . 90/1997 Sb.), jej dodatek zahrnuje
zpsob proveden (tvary a symboly) a vznam
dopravnho znaen, prostedk a zvltnch
prostedk. Tento dodatek tak uruje zkladn
prvky jejich vyuit. Nvrh tvar, barev a symbol
dopravnho znaen je podzen doporuenm EU.
Tato instituce byla psemnou formou vyrozumna
o nov prvn prav stejn jako o aplikaci nkte-
rch novch dopravnch symbol.
V podstat se mi tmto ministerstvo snailo sdlit,
e navrhovn dopravnho znaen je centrln
kontrolovno Evropskou uni a e znaky pro
rzn regiony vytvej nejlep evropt designi,
emu se po zhldnut vsledk d uvit jen
st.
Objevit rmu, kter dopravn znaky vyrb, nebyl
problm. Zavolal jsem jim a zeptal se, kdo je
autorem designu. Mu u telefonu mi sdlil, e zna-
ky navrhuje on sm. Jmenuje se pan Liga a pro
tuto spolenost znaky navrhuje u patnct let,
ani kdy vidl njak model nebo studoval njak
smrnice. Kdy jsem se pana Ligae ptal, jak pi-
stupuje k nvrhu nov znaky, odpovdl, e m
9 esk republika 10 Slovensko 11 Slovensko 12 Holandsko 13 Rakousko 14 Francie 15 Nmecko 16 Holandsko
odpovd i tato znaka, na n je holandsk dvojice

otoena elem k nm
12
. Naopak dvojice rakous-
k je na znace otoena zdy a kr pry
13
. T
znaka ve francouzskm podn je vce stylizova-
n, a tak nen jasn, kterm smrem se dvojice ub-
r
14
. Mu na n tak piel o klobouk a dvenku
osthali dohola. Mon vs zajm, kam se podl
zbytek rodiny potkal jsem je v Nmecku
15
:
maminka se synem se prochzeli kolem Kasselu.
Bylo mi t rozdlen rodiny lto. Holanan se
tento problm pokusili vyeit po svm: nejnovj
znaky zobrazuj bezpohlavn postavy
16
jsou to
jedny z mla znaek bez specickch pohlavnch
znak, s nimi jsem se kdy setkal.
rozbor druh: prce na silnici U znaek,
kter upozoruj na prci na silnici, si vmm t
aspekt: mnostv vykonan prce, zpsobu prce
a obecnho pstupu. Prvnm npadnm rysem je,
e evropt dlnci jsou otoeni opanm smrem
ne chodci pi pechzen, akoli k tomu nemaj
dn zjevn dvod. Dvojdimenzionln redukce
je v Rakousku
17
a Nmecku
18
kompenzovna
propracovanjm obrysem. Rakousk dlnk m
zvl zvraznny atributy tvrd pracujcho lov-
ka vyhrnut rukvy a pracovn boty. Rakuan je
tak jeden z mla, kter si jak se zd kopn
pmo uv. Skoro se zd, jako by si pi prci
zpval. Vichni vme, e Nmci a Rakuan jsou
tvrd pracujc nrody, co dokazuje i mnostv
hlny, kter stail vykopat Nmec
18
v porovn-
n se Slovkem
19
. Ani nizozemsk kop se
pli nesnail, musme vak uznat, e je o po-
znn men ne jeho kolegov
20
. To modern
stylizovan dlnci jet neudlali vbec nic Ho-
lanan ani nezaal
21
a tak Francouz v tempu
polevuje
22
. Mon, e to m co dlat i s velikost
jejich mozk hlavy na nejnovjch znakch
jsou mnohem vt snad dnes dlnci trv ped
manuln prac vce asu pemlenm. I v tomto
ppad je nutno zastavit se u slovenskho syst-
mu dopravnho znaen. Vechny znaky jsou toti
striktn malovan run, jsou to drahocenn origi-
nly, jejich nmty variuj od mue s mopem
23

pes nosie
24
a po chodce pestrojenho za
dlnka
25
. Posledn z ady, libanonsk dlnk, je
nejsp vlen vetern, ktermu k prci posta
pouze jedna pae
26
.
doma knihu Olympijsk hry 1972, v n nachz
mnostv inspirativnch kreseb.
Jen se je snam trochu polidtit, dodal. Najt
knihu, o n pan Liga mluvil, nebyl problm.
Kdy srovnme piktogramy, s nimi se setkvme
v ulicch, s piktogramy z mnichovsk olympidy, je
nm jasn, e pan Liga odvd co se polidov-
n te kus dobr prce.
zvr Potkem roku 2002 pijala Evropa jed-
notnou mnu Euro. Bankovky platn v jedencti
zemch zobrazuj neidentikovateln evropsk mo-
numenty, kter jsou jakousi smsic historickch
prvk na stoeurov bankovce je typick (avak
neexistujc) evropsk most, na dvacetieurovce
najdeme bn gotick okno, na desetieurovce
bn romnsk portl.
Mj vzkum je reakc prv na takov standardi-
zan tendence. Stejn trend meme sledovat
v designu dopravnho znaen identick design
dnes najdeme v Nmecku i v Portugalsku. Nebu-
de vak jednoduch vybrat jeden, kter by nejlpe
reprezentoval onen prav evropsk charakter.
Abych alespo trochu pomohl v tomto ptrn,
zkombinoval jsem vechny piktogramy chodce do
jednoho,
kter by mohl bt dobrm eenm. Chodec, ani
ena ani mu, jde beze spchu, ale zbyten se
nevlee, nejde dnm konkrtnm smrem, sp
tak trochu bezcln.
20 Holandsko 21 Holandsko 22 Francie 23 Slovensko 24 Slovensko 25 Slovensko 26 Libanon
aneb ptrn po panu Ligaovi
Hledat v jin Indii njakou typograckou inspiraci
je jist nesmysl, pokud nemluvme tamilsky, hindu
i telugu. Jejich znaky jsou pro ns, negramoty,
pouhm exotickm dekorem. Vedle toho v kadm
okresnm mst vychzej aspo troje anglicky psa-
n noviny s pekvapiv nadprmrnou grackou
pravou. rove indickch urnalist je ostatn
veobecn vysok, nebo pmo kopruje importovan britsk styl.
Pvodn pirozenost obyvatel jinch chudch stt je ovem neutu-
chajc zliba ve sladkostech, kiklavch barvch, plastech, kazecch
a pedevm pitomch aknch lmech. Aby se stal Ind politikem, mus
nejdv hrt hlavn lohy v neskutench kvrech,
ale jet pedtm si nechat narst aspo dv brady,
aby se vbec k lmu dostal. Na run malovanch
obch plechovch tabulch napklad v ulicch
Maduraje meme proto spatit tv njakho lo-
vka, jak cosi slibuje svm volim, a hned vedle
pln ten sam krasavec v ernch brlch s pistol
v divok grimase lk do kina. Njak vzdlan,
huben lovk se v ivot neme stt idolem
adovch Ind. Je to podobn jako kdy na otzku, pro se
ena neme stt Buddhou, dostanete odpov, e naopak
me, ale potebuje k tomu nkolik tisc pevtlen.
Kdy u evropsk turista pln rezignuje na svoje zvyklos-
ti, zane fotografovat kdejakou hloupost, ve snaze zachytit
aspo fragmenty souasnho indickho malstv. Z v-
tvarnho pohledu lze rozeznat prvky expresionismu, pop-
-artu a hyperrealismu s nejrznjmi variacemi a v rzn
kvalit proveden: od stroh malby ttcem pmo na omt-
ku pes barvotisky a po dokonal prce americkou retu.
Vrazy pozltkovch hrdin jsou zpitvoen pedstrnm
citovho proitku, vrazy politik neskrvaj zloineckou
minulost, ptomnost ani budoucnost svch nositel.
K pln realistickmu dojmu k tmto fotogram si muste
pimyslet zpach spleniny, zvuk motoru bez vfuku, ev
rozbitho kazeku, neustl trouben a pokikovn, co je
asi spolen vem tropickm oblastem svta. Po nvratu do
eska mte dojem hrobovho ticha a znudnosti.
pro se ena neme stt
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18 TYPO.FOTO
Why a woman cannot become Buddha
It is certainly nonsense to look for typographical inspiration in India unless you
speak Tamil, Hindu or Telugu. Their symbols are just exotic ornaments for us
illiterates. In each district town, at least three English-language newspapers
are published, with a surprisingly high level of graphic design. The level of an
Indian journalist is generally high anyway, since it directly copies the imported
British style.
The original and natural loves of poor southern states population include
sweets, vivid colours, plastics, cassette recorders and, above all, stupid action
movies. If you live in India and want to become a politician, you have to have
played main characters in unbelievable trash; and to be accepted for that, you
have to nurture a double chin. On hand-painted giant billboards in the streets
of Maduraja you can see a face of a man who is promising something to his
electorate and on the next one the same man with sunglasses and a pistol is,
with a devilish grin, trying to persuade you to come and see his movie. If you
are just educated and slim, you can never become an idol of ordinary Indians.
It reminds me of the answer I got to my question: Why cannot a woman
become Buddha?She can, but she needs a few thousand reincarnations
to get there.
When European tourists give up all their normal ways, they begin to take
photos of everything, just to record some fragments of current Indian visual
arts. We can see here elements of expressionism, pop-art and hyperrealism, in
different variations and on different levels of quality: from austere brush paint-
ings directly on mortar to chromolithography to perfect works using American
retouching techniques. Facial expressions of the glossy heroes are distorted
by pretension of emotions; politicians expressions do not even try to hide the
criminal past, present and/or future of their holders. If you want a realistic im-
pression of such photos, you have to imagine the smell of something burning,
sound of an engine without exhaust, roar of a cheap cassette player, and the
never-ending horn-blowing and shouting, which must be common to all tropi-
cal regions. When you come back home, you feel as if silence and boredom
have prevailed everywhere.
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Buddhou
TYPO.FOTO 21
22 TYPO.FOTO
novinov design Svtov noviny
povauj tiskov psmo za soust
image a vnuj mu patinou pozornost.
V posledn dob lo napklad o noviny
LA Times. Jejich re-design provedl
Roger Black, piem pouil remn
psma LA Headline, LA Deck, LA Gothic
a LA Text, kter pro noviny navrhli
designi David Berlow, Cyrus Highsmith
a Tobias Frere-Jones z psmolijny Font
Bureau. Zatmco ve svt se vydavatel
neboj vybrat vrazn psma, vstin
noviny charakterizujc, u ns je patrn
uniformita a konzervativnost. Doufejme,
e tomu tak nebude dlouho.
http://www.latimes.com
http://www.fontbureau.com
souasn esk mda Dne 10. jna 2002 vyhlsila porota vsledky 1. ronku soute s obskurnm nzvem: Potiskni a pouij
speciln grack papry. Ze 78 pihlench prac vybrala porota vtze t kategori, ve studentsk kategorii se navc rozhodla udlit
zvltn cenu za kolektivn prci Stedn umleck kole textilnch emesel.
Kategorie A tiskrny nejlep polygrack zpracovn / 1. msto tiskrna Area / Roman Pechek za publikaci Dejvick divadlo
vytitn na papru Asguerello Avorio Kategorie B reklamn agentury, grack studia, vtvarnci nejlep design / 1. msto zskalo
nakladatelstv Alcore za publikaci Souasn esk mda / papr Saville Row Kategorie C student nejlep nvrh / 1. cenu zskala
Martina Hamouzov VOG Hellichova za Kalend / papr Sirio Stardust Sabia
Dal ronk soute m bt vyhlen v prosinci 2002. http://www.smoza.cz
prvn prava Firma Adobe podala alobu na psmolijnu Agfa-Monotype (ve skutenosti ITC v USA a Monotype ve Velk Britnii).
Pedmtem je, zda me Adobe (a tm i jej zkaznci) vkldat psma ITC do elektronickch dokument. Pvodn licenn smlouvy
(z osmdestch let) mezi Adobe a ITC takov vci vbec neeily.
Souasn rma ITC tvrd, e produkty Adobe poruuj DMCA, tedy zkon povaovan za jaksi kladivo na pirty. (Pipomeme, e
v lt to byla naopak rma Adobe, kter na zklad DMCA alovala ruskho programtora Skljarova.)
Z celho ppadu zatm nen jasn, k emu m slouit. Pro Agfa-Monotype nepodala naopak alobu na rmu Adobe za poruen
DMCA vkldnm psem do elektronickch dokument? Pro to rm Agfa dosud nevadilo? Kdy Adobe nepodala alobu na Linotype,
znamen to snad, e se s n dohodla? http://www.adobe.com/aboutadobe/pressroom/pressreleases/200209/200209itc.html
nezvisl bok po boku P psmolijny
P22 vyel katalog 2 000 psmovch ez
od 18 nezvislch psmolijen. Pod nzvem
Indie Fonts se skrv kniha o 400
stranch obsahujc vzornky psmolijen
LettError, P22, Garage Fonts, Typotheque
a dalch. Soust knihy je CD-ROM
s 30 ukzkovmi psmy od vech
zastoupench psmolijen. Knihu si mete
objednat elektronicky na ne uveden
adrese za 40 USD nebo 41 Euro.
http://www.alteredegofonts.com/
altered-ego-fonts/indie-fonts/
indie-fonts-special.htm
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24 TYPO.BAZAR
modernizovan Sabon Linotype pokrauje v modernizaci psem. Po psmech
Frutiger Ariana Frutigera a Helvetice Maxe Meidingera piel na adu Sabon od Jana
Tschicholda. Pepracovn se ujal Jean-Franois Porchez, kter si za zklad zvolil druhou
verzi Sabonu vydanou pro rmu Stempel, kter se zd bt bli pvodn garamondovsk
pedloze. Rodina Sabon Next obsahuje 6 ez tunosti, vtinu z nich vybavenou
skkavmi slicemi, provedenmi i v kurzv a jeden speciln font se stylovmi
ornamenty. http://www.linotype.com
nov loga S modernizovanmi logotypy
se posledn dobou roztrhl pytel. Po
kontroverznm logu Nrodnho divadla
od Milana Jaroe pichz nemn
kontroverzn Ale Najbrt s nemn
kontroverznm logem hlavnho msta
Prahy. Cel pbh m vce ne jedno
vysvtlen, proto se k nmu vrtme
v nkterm z ptch sel asopisu Typo.
zaem bukvy? Julien Janiszewski byl
zptn diskvalikovn ze soute Bukva:
raz, kdy bylo dodaten shledno
poruen podmnek. Janiszewskho
psmo Frothy bylo toti odvozeno od
znmho psma Stone Sans designra
Sumnera Stona. Frothy bylo po tomto
kroku vyazeno tak z katalogu distribun
spolenosti T26, kter jej do t doby
prodvala.
Otzkou ovem zstv, zda je vbec
jet mon nakreslit nov a neotel
psmo. Podobn skandly provzej snad
vechny psmov soute, napklad
japonsk psmask kln Morisawa,
kde vtzn psmo bylo odvozeno od
Lexiconu.
vrate nm ATM! Adobe Type Manager
(ATM) slouil zejmna pro vykreslovn
postscriptovch psem na obrazovku
monitoru. Kdy tuto funkci pevzal
operan systm (Windows 2000/XP
a Mac OS X), zastavila rma Adobe jeho
vvoj. Spousta uivatel je ale zvykl
pouvat ATM v De Luxe proveden tak
jako sprvce psem, co pod Mac OS X
nejde.
Spoust uivatel Mac OS X to ovem
nevyhovuje, proto se rozhodli uspodat
petici za obnoven vvoje programu.
Dosud petici podepsalo pes 1 200 lid,
napklad Jonathan Hoeer, Erik van
Blokland, Just van Rossum, Jean-Franois
Porchez nebo Thomas Caldwell
z Linotype.
A pro nepouvat jin sprvce psem
(vtinou uveden v tomto sle)? Autoi
petice tvrd, e tyto programy jsou pomal,
maj asto zbyten funkce a nevyhovuj
uivatelsky.
http://www.atmforosx.org/
Gilde der Letterontwerpers
V Holand sku vznikla nov profesn
organizace typograf pod nzvem Gilde
der Letterontwerpers (Cech psmolijc).
Zakldajcmi leny a hnacm motorem
organizace jsou znm designi Erik van
Blokland, Paul van der Laan a Just van
Rossum. Prvnm lenem spoleenstva
mimo Holandsko (dokonce estnm
lenem) m bt Neville Brody, avak zatm
nebylo potvrzeno datum jeho jmenovn.
http://gilde-der-letterontwerpers.org/
nadchzejc a probhajc akce 25. z
2002 a 10. ledna 2003 / Meister der
Schrift Herman Zapf, Stadtbibliothek
Nrnberg
21.23. nora 2003 Typotechnica
(dve Druh Linotype Font Technology
Forum), Print Media Academy Heidelberg,
Nmecko. Cena 250 Euro (nvrhi
Linotype pouze 125 Euro :)
http://typotechnica.linotype.com
27.29. bezna 2003 / Graphics Europe,
webov konference
http://www.graphiceurope.com/
(Stefan Sagmeister, Peter Saville, Wim
Crouwel a Kyle Cooper)
18.19. ervence 2003 / TypeCon2003
digitln nvrh psma a typograe na
obrazovce, kovov sazba (tisk z vky),
wood type, kresba psma.
Pednejc: Matthew Carter, John
Downer, Dave Farey a Jim Parkinson
http://www.typocon2003.com/
cena dosud nestanovena
24.28. z 2003 AtypI 2003: between
text & reader. Dal informace dosud
nezveejnny, msto konn Vancouver,
Kanada.
fatwa na Comic Sans Svrzn zpsob protestu se rozhodli uspodat lid
kolem webov strnky www.bancomicsans.com. Nevad jim ani tak samotn psmo,
ale spe jeho pouvn ve patnm kontextu. Pestoe bylo psmo pvodn navreno
pro komixov stripy a jin lehk aplikace, v souasn dob
ho meme vidt i na vvsnch ttech budov.
Aktivita Ban Comic Sans nabd uivatele, aby vytiskli
samolepky s logem a vylepili je na mstech, kde je Comic
Sans nevhodn pouit. Sv vtvory mete pozdji zveejnit na
webovch strnkch akce.
K akci se vyjdil i Vincent Connare, autor psma. Vzhledem
k tomu, e soust loga akce je i jeho fotka a npis psmem
Comic Sans, prohlsil toto pouit za nevhodn.
U ns zatm nen pouvn psma Comic Sans pli rozen,
o to vce by se chtlo zakzat pouvn psem Hobo, Arabia
nebo Matura.
Strnky akce http://www.bancomicsans.20megsfree.com
Prohlen Vincenta Connera http://www.microsoft.com/
typography/links/news.asp?nid=2648
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formt po oezu / dimensions 250 310 mm TYPO.ADVERTISING
UVNIT SLA pro se ena neme stt Buddhou stereotypy v ulicch novinov psmo souasnosti typograe v kltee sprva psem Walbaum
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typograe . grack design .

Vydvn povoleno Ministerstvem kultury R

odpovd i tato znaka, na n je holandsk dvojice

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