typograe . grack design . vizuln komunikace typography . graphic design .

visual communication

TYPO.03

KVTEN 2003

Partnei asopisu / Partners of magazine

generln partner/ general partner

Vydavatel odbornch publikaci, poadatel semin, konferenc a odbornch zjezd, konzultant a poradce pro oblast pedtiskov ppravy, tisku, dokonujcho zpracovn

Vydavatelstv Svt tisku, spol. s r. o.

Hollarovo nmst 11, 130 00 Praha 3, esk republika tel.: 271 737 788, 271 733 554, fax: 272 736 252 e-mail: redakce@svettisku.cz; inzerce@svettisku.cz http://www.svettisku.cz

hlavn partnei / main partners

Distributor a produkn partner spolenosti Linotype Library, dodavatel a systmov integrtor grackch, pedtiskovch a publikanch systm a zazen pro produkn digitln tisk.

Vhradn distributor Adobe Systems pro R a SR. Dodavatel aplikac pro klasick, internetov a multimediln publikovn a pro elektronickou distribuci a archivaci dokument. Specializovan kolc stedisko aplikac Adobe. AMOS Software, spol. s r. o.
Patokova 61, 169 00 Praha 6, esk republika tel.: +420 284 011 211, fax: +420 284 011 212 e-mail: obchod@amsoft.cz http://www.amsoft.cz

DataLine Technology spol. s r. o.

Drahobejlova 6, 190 00 Praha 9, esk republika tel.: +420 284 811 400, fax: +420 284 811 409 e-mail: obchod@dataline.cz http://www.dataline.cz

tiskrny / printers

Kompletn pedtiskov, tiskov a knihask sluby: ofsetov tisk B1 a B2 (Heidelberg), vazby V1 a V2, automatick vsek B1, falcovn, slepotisk, trojez, DTP, scan, osvit CtP

DTP, redigitalizace lm, osvit CtP, archov i rotan ofsetov tisk na strojch Heidelberg, vazby V1 a V2

tiskrny / printers
Tiskrna Praha Podbradsk 540, 190 00 Praha 9 Vysoany tel.: 225 277 111, fax: 225 277 249, e-mail: obchod@praha.reproprint.cz Tiskrna Zdveice 763 12 Zdveice 48, Zlnsk kraj tel.: 577 687 111, fax: 577 687 112, www.reproprint.cz

K. P. R. s. r. o. Pod ancemi 4/196, 190 00 Praha 9 tel.: 266 311 822, fax: 266 311 820, e-mail: info@kprtisk.cz www.kprtisk.cz, www.mojetiskarna.cz

partnei / partners

distributor komponent pro DTP a prepress a provozovatel specializovanho internetovho obchodu

ADOBE AUTHORIZED SERVICE PROVIDER

grack nvrhy, DTP, scan, osvit velkoformtov a digitln tisk prodej font URW++ a Adobe Quentin, spol. s r. o. Blohorsk 45, 169 00 Praha 6 Bevnov tel.: 233 355 585, fax: 233 352 595 e-mail: quentin@quentin.cz http://www.quentin.cz, http://www.dtpobchod.cz Studio Marvil, s. r. o. Jen 29, 120 00 Praha 2 tel.: 224 941 955, fax: 224 941 145 marvil@marvil.cz www.marvil.cz

Oc umouje svm zkaznkm inn a efektivn zpracovn dokument nabdkou prbn inovovanch produkt pro sprvu a tisk dokument pro profesionln prosted. Oc-esk republika, s. r. o. Hanusova 18, 140 21 Praha 4 tel.: +420 244 010 111, fax: +420 244 010 190 e-mail: info@oce.cz, http://www.oce.cz http://shop.oce.cz

UMAX Czech a. s. ociln zastoupen znaky UMAX pro eskou a Slovenskou republiku. Tradin dodavatel profesionlnch skener a softwaru pro DTP, prezentan techniky a notebook vkonnch penosnch pracovnch stanic. UMAX Czech a. s. Hloubtnsk 11, 198 00 Praha 9 tel.: 284 000 111, fax: 284 000 101 e-mail: info@umax.cz, http://www.umax.cz

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TYPO typography typograe . grack design . vizuln komunikace . graphic design . visual communication
www.magtypo.cz vydavatel publisher Vydavatelstv Svt tisku, spol. s r. o. Spolenost je zapsan u mstskho soudu Praha, oddl C, vloka 80559 adresa address Hollarovo nmst 11, 130 00 Praha 3 tel./phone: +420 271 737 788 fax: +420 272 736 252 pedplatn subscription predplatne@magtypo.cz sub@magtypo.cz manaerka redakce editorial ofce manager 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 Tiskrna Reproprint, s. r. o. (www.reproprint.cz), titno na papr BLACK LABEL mat printed on BLACK LABEL mat paper 150 g/m2 & 250 g/m2 programy software Adobe InDesign, Adobe Photoshop, Adobe Acrobat, ScenicSoft ColorCentral, ScenicSoft Preps
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Filip Blaek bitmapov psma

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Tom Fassati vizuln gramotnost

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TYPO.TEXT Nimbus Sans Novus (Regular, Medium, Semibold, Black) Fette Engschrift (Regular) URW++

Pavel Koika ikonograe aneb umn minimalismu

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Pavel Zelenka Susan Kare krlovna ikonek

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Alan Zruba zapomenut svt modern vizuln komunikace

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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.

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pipravil Pavel Koika

TYPO.BAZAR

Linotype pezbrojuje na OpenType

Dinosaui u zanaj chpat, e jin cesta ne pes OpenType neexistuje. Linotype je tet velkou psmolijnou, kter na OpenType pechz (po Adobe a URW++). V souasn dob je k dispozici tm 1 200 ez, mezi ktermi jsou i pln nov psma (jako napklad Calcite Pro od Akira Kobayashi, designra rmy Linotype). Psma budou podle pravidel Adobe dostupn ve standardn (Std) a profesionln (Pro) verzi. Standardn verze je v podstat na OT peveden Type 1 psmo, profesionln verze obsahuje znaky zpadn a stedoevropsk sady, cyrilici, etinu a krom toho jet vechny dostupn kapitlky a variantn znaky. Standardn verze psem stoj 29 eur, profesionln 35 eur; zkaznci, kte zakoupili psma v poslednm roce, maj 30% slevu. http://www.fontexplorer.com

IFTA supluje ATypI Na leton konferenci

TypoTechnica podan rmou Linotype byla zaloena mezinrodn asociace psmov technologie neboli The International Font Technology Association (IFTA). Byla zaloena z podntu rmy Adobe a jejm kolem bude tvorba a publikovn standard, vytven platformy pro komunikaci mezi tvrci a vvoji psem, tvorba editanch nstroj a program pro prci s psmy, ustaven kontaktnho msta pro komunikaci s organizacemi jako Unicode a W3C. Podle Adobe to nebylo mon provdt v rmci ATypI. Zakldajcmi leny jsou Clive Bruton (FontZone), Ted Harrison (FontLab), Laurence Penney, Thomas Phinney (Adobe), pedsedou asociace je John Hudson. Bli informace zatm nejsou znmy, webov strnka by mla bt hotov v nejbli dob. PS: Nehledejte IFTA na obvyklch adresch (ifta.com, ifta.org), protoe tam sdl jin rmy a organizace se stejnou zkratkou (f jako food, fuel, lm atd. :) http://typographi.ca/000520.php

Slovenka ocenna za Prahu Dne

31. bezna 2003 vyhlsila japonsk Toray Art Gallery leton ceny Digital Creation Awards 2002. Porota pod vedenm pedsedy Yoichiro Kawaguchi, kter je pednm odbornkem na digitln vtvarn umn, udlila hlavn cenu Grand Prize japonskmu umlci Tomohiro Kimurovi za dlo Revival. Hlavnm motivem tohoto dla je neustl kolobh msto na pozad podlh zkze a zrove se znovu rod. Sympatick je, e mezi ocennmi je alespo jedna zstupkyn Evropy Slovenka Petra tefnkov. Ta byla kurizn ocenna za dlo Praha msto esk republiky, kter odr komplexnost Prahy a pedstavuje ji jako mix tradinch i netradinch mstskch atribut. http://www.toray.co.jp/artspace/e/ dca_02/index.html

Jak vypad prmrn psmo?

Projekt balancujc na pomez vtipu a vdeckho pokusu spustil Kevan Davis na serveru Typophile. Do mky 20 20 bod umstil nhodn ern a bl body. Na astncch experimentu je, aby rozhodli, kter body maj bt ern a kter bl. Experimenttoi maj vytvoit celou abecedu (verzlky a minusky) vetn slic rozhodnut, zda jde o patkov i nepatkov, pozitivn nebo negativn psmo, je ist na nich. Kad si me vybrat, kter znak bude zrovna tvoit, neme si vak vybrat prv ovlivovan bod mky ten se vol automaticky. V souasnosti maj za sebou znaky kolem 10 000 rozhodnut a postupn smuj k nlnmu tvaru. Pokud by vs zajmaly statistick daje, podvejte se na druhou uvedenou adresu, kde najdete prmrn znak od kad litery vetn provky a obrysu. Jak podotkl jeden z astnk v diskuzi na Typophile, prmrn psmo vypad jako extrapolace mezi Hobo a Copperplate. http://www.typophile.com/smallerpicture http://www.imarlin.com/sandbox/smaller

Stop E$$O or not?

Nenvist Greenpeace vi rm Standard Oil, zejmna vi znace ESSO, je veobecn znm. Po vytvoen bastardnho loga Stop E$$O, kter mlo upozornit na neist praktiky rmy, se ESSO rozhodla alovat Greenpeace u francouzskho soudu za poruen ochrann znmky. Firma ESSO poadovala okamit odstrann loga z webovch strnek a zaplacen 80 000 eur za kad den jeho pouit jako odkodnn (od kvtna 2001 to dlalo 45 mil. eur). Lombardsk soud natst alobu zamtl v plnm rozsahu jako neopodstatnnou a neserizn, navc poukzal na svobodu projevu. Jen aby tak soudy jednaly i v jinch ppadech http://www.stopesso.com

Linotype Optima nova Oblben psmo

kosmetickch a farmaceutickch rem se dokalo redesignu. Podleli se na nm pvodn autor Hermann Zapf a Akira Kobayashi, fdesignr Linotype. Jak u se stalo zvykem, psmo bylo pedlno podle pvodnch Zapfovch pedloh. Navc se padest let po originlu psmo dokalo prav kurzivy a kondenzovanho ezu. Zatmco kurziva vypad velice elegantn, kondenzovanou verzi si tvrci snad mohli odpustit. Krom bnch znak obsahuj psma tak minuskov slice a prav kapitlky, titulkov verze navc zajmav slitky. Pokud u po psmu toute, zejm vs zchlad cena: prodv se pouze jako cel kolekce, a to za 1 040 eur. http://www.fontexplorer.com

Roku 2005 v Aichi s novm logem

Na zklad veejn soute byla zatkem roku vybrna znaka esk expozice na vstav Expo2005 Aichi v Japonsku. Hlavnm tmatem vstavy je tentokrt nvrat k prod a ekologie bez souasnch pejorativnch ndech. Zejm proto je motivem eskho loga lipov list. Jak mi sdlila pracovnice eskho ppravnho vboru, ze zaslanch nvrh bylo vybran logo nejlep. Pokud se nm poda sehnat ostatn soutn nvrhy a souhlas k otitn, rdi je petiskneme. http://www.expo2005.com

Psmo bylo v historii vdy zvisl na materilu, kterm bylo psno a na kter bylo psno. Podobn tomu bylo u prvnch potaovch psem: ta se skldala z jednotlivch pedem denovanch bod v mce o jednotn velikosti pro celou abecedu. Tyto pixelov i jinak bitmapov fonty byly ureny nap. pro obrazovku nebo jehlikovou tiskrnu a naprosto odpovdaly tmto technologim. Idea pixelovho psma je vak star ne potae: vzpomeme teba npisy na mozaikch nebo na vivkch. I v souasn dob je bitmapov psmo stle uvno k zobrazovn textu miniaturn pixelov fonty se zabydlely v nramkovch hodinkch, na displejch kalkulaek a kapesnch pota, ale teba i na svtelnch poutach. Zvislost psma na materilu byla do znan mry odstranna teprve v poslednch desetiletch. Souasn potaov font neexistuje v materiln podob, je to jen matematick zpis tvar jednotlivch znak. Prvn vektorov psma z pelomu 80. a 90. let 20. stolet se snaila o dokonal tvar, lo o jakousi ideln rekonstrukci psem do t doby pouvanch v knihtisku i pi fotosazb. Pomoc jedin technologie tak v potai oila psma renesann nebo klasicistn. Teprve asem si typografov zaali uvdomovat, e i pes nesporn vhody m potaov psmo i urit neduhy, a zaali hledat nov, nepoznan cesty. Na jedn stran spektra se objevily fonty, kter se snaily napodobit jin technologie, nap. imitovaly tisk jehlikov tiskrny nebo porouchanho faxu. Na stran druh pak pokusy o nejrznj experimentln psma daleko za hranic itelnosti. Mezi tmito experimenttory se kdosi pokusil psmo redukovat na minimum jednotlivch pixel a opt tak svm zpsobem napodobit pomoc vysplej technologie technologii star. Zrodil se tak prvn vektorov font, kter se v konkrtnch velikostech chov jako bitmapov.

TYPO.TEXT Nimbus Sans Novus (Regular, Bold, Black) URW++ city lights regular

TYPO.FENOMN

psma pro obrazovku a displeje Speciln psma pro obrazovku se objevila ve chvli, kdy byla k potai jako vstupn zazen pipojena obrazovka. Kvli minimalizaci nrok na pam potae byly vechny znaky navreny do velmi mal mky. Takov psmo pak nemohlo mt velk typograck ambice. Doln petanice byly zrueny, akcenty nsiln vecpny nad zdeformovan znaky. Potae v 70. a 80. letech 20. stolet nebyly pouvny jako typograck nstroje; jednm ze zsadnch cl psma byla itelnost a rozliitelnost jednotlivch znak. Typick pro tyto potky potaovho psma je nap. pekrtnut nula, kter tm mla bt lehce odliiteln od psmene O. Jednm ze zdailejch pokus o psmo vtsnan do mky 8 8 bod je nap. obrazovkov psmo osmibitovch pota Commodore 64. Uivatelsk rozhran systmu Windows v 80. letech zstvalo vdy pozadu za eleganc Appl, pestoe vzhled obou systm Apple i Windows 3.0 pipravovala stejn designrka Susan Kare. Bitmapov psma tohoto operanho systmu nebyla ani nim vjimen, ani zvl dobe iteln. Microsoft si tento handicap zejm uvdomil, a pizval ke spoluprci slavnho americkho typografa Matthew Cartera, aby navrhl psma, kter by krom kivkovch verz mla i pevn denovan bitmapov verze pro mal velikosti na obrazovce. Carter pro systm Windows 95 v roce 1994 navrhl bezpatkov fonty Verdana m ideln proporce pro ten na obrazovce: m vy stedn vku a pomrn irok znaky. Tun verze se od normln li Tahoma a Vervrazn a ani v tch nejmench velikostech se tun znaky neslvaj v nesrozumiteln text. >>>Verdana regular italic bold bolditalic dana a antikvu Georgia. Verdana m ideln proporce pro ten na obrazovce: m vy stedn vku a pomrn irok znaky. Tun verze se od normln li vrazn a ani v tch nejmench velikostech se tun znaky neslvaj v nesrozumiteln text. (Tahoma je pedchdcem Verdany, jedn se vlastn o stejn psmo, ale u, spornj kresby.) Na obou psmech je zajmav, e vypadaj skvle na obrazovce, ale nijak dobe po vytitn. Carterovi se podailo jejich vzhled natolik pizpsobit technologii monitor a displej, e pi velkm zvten nebo tisku psob jeho psma tkopdn, neohraban a dokonce nepli dobe iteln. Sm k tomu k: Znan st uivatel pota strv nejvce asu ped obrazovkou a tiskne sp vjimen nebo vbec ne. Tak zaalo bt jasn, e je teba obrtit priority nemli bychom se snait dlat tiskov psma adaptovan pro obrazovku, ale mli bychom je od potku navrhnout jako obrazovkov psma s tm, e tiskov verze budou v tomto ppad druhotn. Carterova Georgia je psmo, kter se ji v tisku uplatnit me. koda, e pestoe m zdaile navren bitmapov verze, a je tud dobe iteln na obrazovce, mlokdy se s n lze na webu setkat. V patkovch psmech bohuel stle Bitmap Fonts vede Times New Roman (nebo Times, v zvislosti na platform), Writing has always depended in history on material with which and on which it was written. The same was true of the rst computer fonts: these were composed of separate predened points in a grid of uniform size for the entire kter se na obrazovce zrovna pjemn nete aby ne, je to alphabet. These pixel or bitmap fonts were designed for the monitor or dot matrix printer and fully corresponded to typick novinov psmo! these technologies. The idea of a pixel font is older than the computer: let us recall the inscriptions on mosaics or Prvn komplexn rodiny bitmapovch psem navrhla ji roku embroideries. Even now the bitmap font is still used to depict textminiature pixel fonts are a common feature on 1985 americk designrka Zuzana Licko pro psmolijnu Emigre. watches, calculator and pocket computer displays as well as on light billboards. Kolekce 14 originlnch font pro potae Apple byla rozdlena The dependence of writing on material was considerably removed only in the last few decades. The present computer font does not exist in material form. It is merely a mathematical entry of the shape of individual characters. The na rodiny Emperor, Universal, Oakland a Emigre, k dispozici rst vector fonts at the end of the 1980s and beginning of the 1990s attempted to create the perfect form, some byly pouze velikosti od 6 do 19 bod. V roce 2001 byla pvodn sort of ideal reconstruction of writing used until then in typography or lm-setting. Hence it only needed one type bitmapov psma oprena, pevedena do vektorovho formtu, of technology to revive the Renaissance or Classicist script on computer. However as time passed typographers obohacena o nov ezy a psmolijna Emigre je prodv pod began to realise that in spite of the unquestionable benets, the computer font has certain weaknesses and began to search for new unknown ways. On the one side of the spectrum there appeared fonts, which attempted to copy nzvem Lo-Res. Tento krok je vysvtlen na webu Emigre: pro other technologies such as imitating dot-matrix printing or that of a faulty fax. On the other there were attempts at mlad designry a jejich pznivce, kte vyrostli na videohrch creating various experimental fonts far beyond the limit of legibility. One of these experimenters attempted to reduce a nyn surfuj na internetu, ji nen psmo s nzkm rozlienm a font to a minimum of the individual pixels and thereby again imitate the older technology. This saw the birth of the nic nezvyklho, obtn itelnho i surov potaovho. Je to rst vector font, which behaves like a bitmap font in its specic sizes. soust jejich kadodenn tensk zkuenosti doma Fonts for the Monitor and Display Special fonts appeared for the monitor at the moment when the monitor was coni ve kole.
pipravil Filip Blaek translation Elizabeth Kindlov

psma pro web Designi, kte vytvej webov prezentace, maj v zsad ti monosti, jak s psmy pracovat. Bu pro text denuj takov psma, o nich lze pedpokldat, e alespo jedno z nich bude mt ten na svm potai; nebo si vyberou font zcela podle svho vkusu a zmru (napklad remn psmo njak spolenosti) a ten umst na web jako obrzky, co ale

nected to a computer as the output device. In order to reduce the demands on computer memory all the characters were designed to t very small grids. Such a font could therefore not have any great typographic aspirations. The ascenders were eliminated, accents thrust above deformed characters. Computers in the 1970s and 1980s were not used as typographic tools; one of the fundamental objectives of the font was that its individual characters should be legible and discernible. What is typical for the beginnings of the computer font is the slashed zero, which could be easily distinguished from the letter O. One of the more successful attempts of a font forced into a grid of 8 8 points for example is the monitor font of Commodore 64 eight-bit computers. The user interface of the Windows system in the 1980s always lagged behind the Apple computers in elegance although the same designer Susan Kare worked on the look of the Apple and Windows 3.0 systems. The bitmap font of this operat-

znamen, e se pln ztrat textov podstata prezentace obrzkov text nelze pekoprovat do textovho editoru (nehled na problmy, jak piprav takov web nevidomm!). Proto se tato druh monost vyuv primrn u nadpis, tlatek v menu a vude tam, kde je zven draz na vizuln podobu. Del textov bloky jsou zatm stle zobrazovny v systmovch psmech dostupnch na dan platform a kvalita zobrazen tak zvis na zkuenostech webdesignr a zejmna na konkrtn softwarov konguraci potae konkrtnho uivatele. Tet monost je zalenit psmo pmo do prezentace, nap. s vyuitm technologie Macromedia Flash nebo SVG. Zatm ponkud okrajovou zleitost je slibn se rozvjejc technologie OpenType, kter umouje pmo do HTML kdu zalenit libovoln psma. V souasnosti je vak podporovna pouze v prohlei MSIE (viz Typo . 2, Fonty olovo dneka). Pokud pracuj webdesigni s psmem jako obrzkem, maj nkolik monost, jak font na obrzek pevst. Mus se rozhodnout, zda ponechaj obraz psma ostr, sloen jen z pixel jedn barvy, nebo zda znaky vyhlad pomoc antialiasingu. Vtina potaovch psem je vak v malch velikostech bez vyhlazen naprosto neiteln. Je-li teba vytvoit titulek nap. z njakho postscriptovho psma urenho primrn pro tisk, je obvykle nevyhlazen podoba vrazn oklivj a he iteln ne varianta vyhlazen. a k plnmu minimu Ve velmi malch velikostech nicmn me bt vyhlazovn ji kontraproduktivn. To si uvdomili nkte typografov zamen na tvorbu webovch strnek a ashovch prezentac a zaali postupn zaplavovat web nejrznjmi psmy navrenmi pesn pro konkrtn velikost. Tyto fonty se nepouvaj na sazbu delch text, nebo nememe pedpokldat jejich ptomnost na potach uivatel. asto tyto fonty nemaj ani kompletn znakovou sadu, chyb teba minusky nebo interpunkce. Graci s nimi pracuj jinak poadovan npisy se vytvo v bitmapovm grackm editoru (nap. v Adobe ImageReady) a pak se na zvr pevedou na obrzky. U tchto psem je dleit zvolit prv tu velikost, pro kterou byla navrena, a vypnout vyhlazovn (antialiasing). bitmapov fonty na webu V poslednch letech se na webu pmo roztrhl pytel s bitmapovmi fonty. Jak ji ale bylo zmnno, ada z tchto psem m nekompletn znakovou sadu, mlokdy lze najt zdarma dostupn dal ezy (nap. tun) apod. Vtina font je k dispozici ve formtu TrueType, co dnes uspokoj vtinu uivatel pota. Souasn bitmapov psma by se dala orientan rozdlit na tyi typy. Pedn jsou to pokusy o univerzln a co nejlpe iteln psmo v co nejmen velikosti. Pak jsou to kopie psem z nejrznjch zdroj souasnch i minulch: bitmapov psma osmibitovch pota, displej mobilnch telefon apod. Tet kategorii pak tvo psma experimentln, kde primrn nen itelnost ani spora msta, ale vzhled jednotlivch liter. Poslednm typem jsou pak fonty neobsahujc znaky, ale obrzky, ikony. Zvrem zmnm alespo nkolik komernch server s nabdkou bitmapovch psem, o jejich kvalitch jsem pesvden. Pedn je to jedno z prvnch psem tohoto typu, Mini 7. Autor Joe Gillespie navrhl dalch nejmn dvanct rodin bitmapovch psem. Gillespieho psma jsou skvle iteln i v tch nejmench velikostech a obvykle tvo rodiny o nkolika ezech. Spolu s psmy Paula Woottona jsou ke koupi v psmolijn Minifonts.com. Na serveru Atomic Media jsou v prodeji psma ji zmnn Susan Kare a Matthew Bardrama. V tomto ppad se opt jedn o rozshl rodiny bitmapovch font. K dispozici jsou i balky bitmapovch ikon. Ze server, kde jsou bitmapov psma k dispozici zdarma, stoj za pozornost francouzsk server DaFont. Ten toti sousteuje bitmapov psma od nejrznjch designr z celho svta a jejich poet u peshl druhou stovku. Rozshlou nabdku bitmapovch psem by bylo mon chpat jako nvrat psma k zvislosti na materilu. To by se vak nesmli objevit designi, kte fonty uren pro obrazovku zaali pouvat pi tvorb plakt a k sazb asopis

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ing system was not exceptional and its legibility was not particularly good. Microsoft must have realised this handicap and asked famous American typographer Matthew Carter to design fonts, which, apart from the vector versions, also possessed rmly dened bitmap versions for small size fonts on the monitor. In 1994 Carter designed the Tahoma and Verdana sans-serif fonts as well as the Georgia Antiqua font for the Windows 95 system. Verdana has ideal proportions for reading on the monitor: it has a higher x-height and relatively wide characters. The bold version distinctly differs from the normal and the bold characters do not even merge into an illegible text in its smallest sizes. (Tahoma is the predecessor of Verdana as it is in fact the same font but is narrower and neater.) What is interesting about both fonts is that they look great on the monitor, but are not that good when printed out. Carter managed to adjust their appearance so much to monitors and displays that when greatly enlarged or when printed out the fonts appear to look clumsy, ungainly and are not particularly well legible. He himself says: A considerable number of computer users spends most of their time in front of a monitor and only print in exceptional cases or not at all. So it has become clear that priorities need to be reversedwe should try to produce print fonts adapted for the monitor by initially designing them as monitor fonts and the printed version would be secondary in this case. Carters Georgia is a font, which can be used even in printing. It is a pity that its bitmap version has been designed well and is well legible on the monitor, but it is rare to nd it on the web. Unfortunately the most popular of the serif fonts is still Times New Roman (or Times depending on the platform), which is not particularly pleasant to read on the monitorand rightly so as it is a typical newspaper typeface! The rst complex bitmap font families were designed already in 1985 by American typographer Zuzana Licko for Emigre type foundry. The collection of 14 original fonts for Apple computers was divided into 4 families: Emperor, Universal, Oakland and Emigre. Only font sizes ranging from 6 to 19 points available. In 2001, original bitmap typefaces were modied, vectorized and enhanced by new styles; Emigre sells these font under the name Lo-Res. This step is explained on the Emigre web site: For young designers, and their audiences, who grew up playing video games and now surf the Internet, low resolution type is no longer an alien, difcult-to-read, crude computer phenomenon. Its been a part of their daily reading experience at home and at school. Fonts for the Web Designers who create web presentations have basically three possibilities of how to work with fonts. They either dene such fonts for a text, assuming that the reader will have at least one of them in his computer; or choose a font of their liking and purpose (for example the corporate font of some company) and place this on the web as images, which means that the substance of the presentations text will completely disappearthe monitor text may not be copied to a text editor (regardless of the problems such a web can cause for the blind!). Therefore this second possibility is primarily used for headings, keys in the menu and in every place where there is greater emphasis on the visual form. Longer blocks of texts are still depicted in system fonts accessible on said platform and their quality depends on the experience of the web designers and particularly on the specic software conguration of the computer of a specic user. Another disadvantage of this solution is that the size of the font is rmly xed and the presentation takes up far more room. The third possibility is to incorporate the font directly into the presentation such as the use of Macromedia Flash or SVG technology. As so far somewhat marginal affair is the promising development of the OpenType technology, which allows fonts to be directly included at random in the HTML code. However at present it is only supported by the MSIE browser. If web designers work with a font as with an image, they have several possibilities of how to transfer the font to an image. They have to decide whether to retain the sharp image of the font composed only of pixels of one colour or whether to smooth out the characters with the aid of anti-aliasing. Most computer fonts come in small sizes and are totally illegible if not anti-aliased. If a title needs to be created as for example from some postscript font designed primarily for printing, the normally non-anti-aliase form is clearly more unattractive and worse to read than the anti-aliasing variant. Down to the Bare Minimum Nevertheless anti-aliasing may be counter-productive in very small size fonts. Some typographers realised this when creating websites and ash presentations and began gradually to ood the web with all sorts of fonts precisely designed for a specic size. These fonts are not used for the setting of longer texts because we cannot expect their presence on users computers. These fonts often do not even possess a complete set of characters; e. g. they lack the lower case (minuscule) or punctuation. Graphic designers work with them in a different way. The required signs are created in a bitmap graphic editor (such as in Adobe ImageReady) and then are nally transferred to images. It is important to select the size for these fonts for which they were designed and switch off the anti-aliasing. Bitmap Fonts for the Web In recent years there have been hundreds of bitmap fonts on the web. As has already been mentioned, a number of these fonts possess an incomplete set of characters and it is rare to nd freely accessible further styles (such as bold) and so on. Most fonts are available in TrueType format, which satisfy most computer users today. Current bitmap fonts can be further divided into four types. Firstly these are attempts at a universal the most legible font possible in the smallest size. Then there are copies of fonts from various present and past sources: the bitmap fonts of eight-bit computers, mobile phone displays etc. The third category consists of experimental fonts whereby the most important thing is not legibility or economising on space, but the appearance of the individual letters. The last are fonts that do not contain characters, but images and icons. In conclusion let us name at least several commercial servers offering bitmap fonts of whose quality I am convinced. To begin with there is one of the rst fonts of this type, the Mini 7. Its author, Joe Gillespie, designed a further at least twelve families of bitmap fonts. Gillespies fonts are wonderfully legible even in the smallest sizes and usually consist of a family of several styles. They can be purchased, together with the fonts of Paul Wootton in the type-foundry Minifonts.com. The Atomic Media server also offers the sale of the fonts of already mentioned Susan Kare and Matthew Bardram. In this case this concerns an extensive family of bitmap fonts. Bitmap icon packages are also available. The French server DaFont is worth attention offering free bitmap fonts. This collects bitmap fonts from various designers worldwide and their number has already exceeded two hundred. The wide range of bitmap letters seems almost like a return to times, when letters were dependent on specic materials. However, artists have come along who have started to use computer screen fonts on posters or in magazines. References Commercial servers http://atomicmedia.net/fontcart-mac.phpcommercial offer of bitmap fonts http://www.minifonts.com/the fonts of Joe Gillespie and Paul Wootton are for sale in the small bitmap typefoundry http://www.emigre.comLo-Res font family by Zuzana Licko Servers with free fonts http://www.dafont.com/en/bitmap.phpan archive of dozens of bitmap fonts for the PCs and Mac http://www.miniml.com/a further collection of wonderful bitmap fonts for Mac and PCs again http://www.dsg4.com/04/index.shtmlthe Japanese website of designer Yuki Yoshimoto http://www.core.nuthe website of a Norwegian typographer offering several original bitmap fonts References, information, interviews http://www.wpdfd.com/wpdtypo3a.htminformation about the creation of webs with bitmap fonts and an overview of the bitmap fonts http://www.kare.comthe website of designer Susan Kare http://www.typo.cz/_pismo/pis-dig-bitmapy.htmlan overview of references to bitmap fonts on the Typo.cz server http://www.will-harris.com/verdana-georgia.htmDaniel Will-Harris interview with Matthew Carter about system fonts for MS Windows

hrt s materilem istou hru

Podali jsme dva typografy, kte ze zabvaj tvorbou pixelovch psem, o odpov na nkolik otzek. Joe Gillespie, autor mnoha dobe itelnch a hojn uvanch bitmapovch font, je britsk typograf a web designr. Psma mete zakoupit na www.minifonts.com, jeho prce najdete na www.pixelp.co.uk. Naproti tomu vdsk designr a typograck experimenttor Martin Frederikson Core nabz sv pixelov fonty zdarma. Jeho web www.core.nu byl v dob uzvrky v rekonstrukci.
FB Kdy promlte koncept novho bitmapovho psma, redukujete ideln tvary na pixely, nebo u pemlte v jednotlivch bodech? JG Nejprve bych ekl, e bitmapov fonty jsou pmo spojeny s materilem. Stejn jako devoryt vyuv strukturu deva, tapisrie osnovu a tek, tak tvary psma vyuvaj pirozenou s pixel na monitoru. Nem smysl navrhovat cokoli izolovan a pak se pokouet mylenku nsiln vnucovat materilu. Pro nvrhy a tvorbu pixelovch font jsem vyvinul vlastn software. Je dost odlin od ostatnch dostupnch program, protoe vyaduje, aby designr chpal pixely z hlediska jejich etzen, a ne jako jednotliv body. Toto etzen vlastn nahrazuje tahy psma v tradin typograi, ty vak mohou smovat pouze uritm smrem a jejich tlouka je vdy v celch jednotkch. Tlouku ady pixel v 45 stupnch vnmme jinak ne vertikln i horizontln adu; to mus brt designr v vahu. Take j navrhuji pixelov fonty jako ady pixel. MFC Pi sv designrsk prci nkdy potebuji urit druh pixelovho fontu. Tak jej zanu nartvat ve Photoshopu, chvli s psmem pracuji na bzi cut and paste a pidvm nov znaky, kdy na n dojde ada. Pak nastane okamik, kdy psmo penesu do Fontographeru. FB Zkouel jste nkdy vytvoit na zklad bitmapovho psma jeho vektorovou podobu nebo naopak? JG Ne. Kad typ fontu je uren pro jin el a vyaduje jin een. MFC Pouze v jedinm ppad mlo moje vektorov psmo zvltn bitmapovou verzi, a to u fontu Borgstrand. Prvn byla vektorov varianta, ale pak ode mne psmo koupily jedny vdsk noviny, kter potebovaly tak malou bitmapovou verzi. Ten proces m velice potil. (Internetov strnka psma Borgstrand nebyla dosud veejnosti zpstupnna.) FB Je tvorba bitmapovch font jet typogra, nebo je to jen technick redukce zpsoben nzkm rozlienm dnench monitor i displej? JG Tvorba font nen typogra o nic vc ne vroba cihel architekturou. V typograi jde o to, jak jsou znaky pozdji spojovny v jeden celek. Existuje mnoho aspekt typograe, kter se netkaj tisku psmena vysekan do kamene, vyryt do kovu, psan perem nebo ttcem to vechno jsou stejn hodnotn mdia, a tvary psma odpovdaj zpsobu, jakm jsou vytvoeny. Pixely na monitoru se nijak neli od zrnitho povrchu pskovce na desce s vyrytmi npisy nebo od kostiek msk mozaiky. Jde jen o to, hrt s materilem istou hru. MFC Domnvm se, e bitmapov psma vzela z faktu, e rozlien na monitorech je tak nzk. Ale souasn m pixelov design svou vlastn estetickou hodnotu. Bitmapov psma sama o sob vak nejsou nijak novtorskou mylenkou sta se podvat na mozaikov design nebo na vivky.
peklad rozhovoru do estiny: Linda Kudrnovsk

Being true to the medium

We asked two typographers creating pixel fonts to answer our questions. British typographer and web designer Joe Gillespie is an author of several legible and widely used bitmap fonts. You can buy his fonts at www.minifonts.com, his work is online at www.pixelp.co.uk. On the other side, Swedish designer and typographic experimenter Martin Frederikson Core offers his fonts for free. His website www.core.nu was under construction at the time when this magazine went to print. > When thinking of new bitmap typeface, do you create an ideal form in your mind and reduce it to pixels or do you directly draw the pixels in the grid? JG First, let me say that bitmap fonts are a function of the medium. Just as a wood carving works with the grain of the wood or a tapestry works with warp and weft, the typeforms have to work with the natural grid of pixels on the screen. There is no point in designing anything in isolation and then forcing it upon the medium. I have developed my own software for designing and producing pixel fonts. It is quite unlike anything currently available because it requires the designer to thing in terms of runs of pixels, not just individual dots. The runs of pixels are the strokes of traditional typography except they can only go in certain directions and their thicknesses are whole units. A row of pixels at 45 degrees has a different perceived thickness that ones that are horizontal or vertical. This has to be taken into account in the design. So, I design pixel fonts as rows of pixels. MFC When I produce my design work, maybe I do need a certain kind of pixel font. So I start drawing it in Photoshop and I cut and paste for a period of time, and use the font in that wayand I just add new characters if I need them. But then it comes to a point where I bring it to the fontographer. > Have you ever tried to create a bitmap version of your vector font or vice versa? JG No. They are for different purposes and require different solutions. MFC The only time a vector font of mine had a special bitmap version was Borgstrand. It started out as a vector font, and then a newspaper in Sweden bought it from me. They needed a small size bitmap as well. I was very pleased with this process. (Borgstrand Web has not been released to the public yet.) > Is the creation of bitmap fonts still typography? Or is it just a technical reduction caused by low resolution of todays monitors and LCDs? JG Font creation is not typography any more that brick manufacturing is architecture. Typography is about how the characters are put together afterwards. There are many aspects of typography, it is not conned to print. Letters carved in stone, engraved in metal, hand drawn with a pen, hand drawn with a brush. They are all valid media and the letterforms reect the method by which they are produced. The pixels on a monitor are no different from the grains of sandstone on a slab of carved stone or the grid of a Roman terrazzo mural. Its all about being true to the medium. MFC I think bitmap fonts came out of the fact that the screen resolutions are so low. But at the same time, pixel design has a value, and aesthetics of its own. Bitmap fonts per se are not a new idea look at mosaic design and embroidery

odkazy komern servery http://atomicmedia.net/fontcart-mac.php komern nabdka bitmapovch psem http://www.minifonts.com/ psma Joea Gillespieho a Paula Woottona jsou k prodeji v mal bitmapov psmolijn http://www.emigre.com rodina psem Lo-Res od Zuzany Licko servery s volnmi psmy http://www.dafont.com/en/bitmap.php archiv destek bitmapovch psem pro PC i Mac http://www.miniml.com/ dal kolekce skvlch bitmapovch font, opt Mac i PC http://www.dsg4.com/04/index.shtml japonsk strnka designra Yuki Yoshimoto http://www.core.nu strnky norskho typografa s nabdkou nkolika originlnch bitmapovch psem odkazy, informace, rozhovory http://www.wpdfd.com/wpdtypo3a.htm informace o tvorb web s bitmapovmi psmy a pehled vlastnch bitmapovch psem http://www.kare.com strnky designrky Susan Kare http://www.typo.cz/_pismo/pis-dig-bitmapy.html pehled odkaz na bitmapov fonty na serveru Typo.cz http://www.will-harris.com/verdana-georgia.htm rozhovor Daniela Will-Harrise s Matthew Carterem o systmovch psmech pro MS Windows

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vizuln gramotnost

jeden ze zklad profesionality designra

Bnou gramotnost nazvme schopnost komunikovat prostednictvm psanho textu, tedy hlskovch znak. Vvoj vizuln komunikace ve 20. stolet vedl ke krystalizaci dalho druhu gramatiky, kterou zatm ovldaj jen ti nejkvalikovanj tvrci grackho designu. Je vce ne pirozen, e e, kter pouv ke sdlovn mylenek grack symboly a nehlskov znaky, m tak sv logick systmov pravidla gramatiku. Bez znalosti takov gramatiky by se mon mohl obejt designr z oblasti tvarovn stroj nebo obuvi, u grackho designra je vak nezbytnost. Kdy se ped asem magazn FONT v jednom ze svch lnk s smvem zmioval o typickch chybch potaovch grakamatr, soustedil se pevn na otzky itelnosti, plon skladby sdlen a vtvarnho stylu. S vjimkou itelnosti jde vak pedevm o estetick proheky, kter nemaj tak zsadn vliv na funknost sdlen. Neznalost vizuln gramatiky zato pevn vede ke zten srozumitelnosti sdlen samotnho. Vtina grackch designr toti dodnes o gramatice oboru v jen velmi mlo nebo o n ani vbec neslyela. Na kolika oborovch stednch i vysokch kolch jsou zaazeny pednky o psychologii, sociologii, historii a obecn teorii vizuln komunikace? Kolik student slyelo o uitench vzkumech Neuratha, Blisse, Dreyfusse nebo Aichra? Pevaujc vnmn grackho designu jako voln tvr disciplny bez jakchkoli omezen vede k tomu, e e grackch symbol je tvrci chpna jako dtsk hra se stylizovanmi obrzky, kter si kad me vymlet, tvarov mnit a barevn upravovat. To potvrzuj i soute grackho designu, kde se pevn hodnot jen stylov vlastnosti prac, a sdlnost zstv stranou pozornosti. Ve skutenosti je teba postupovat stejn obezetn a citliv jako pi prci s psanm textem a symboly pouvat podle jejich standardizovanho vznamu pro standardizaci vizulnch prvk komunikace ostatn mluv zejmna oekvan globln srozumitelnost systmu. na zklad dlouhodobho testovn a mezinrodnch konvenci (ISO International Standard Organisation). Nkter vznamy jsou pomrn sdln bez pedchozho uen, s dalmi je vak nezbytn se pedem seznmit podobnm zpsobem, jako kdy se lovk u ciz jazyk. Gramatika stanovuje pravidla, jak lze jednotliv prvky navzjem vznamov kombinovat a jak se v grack komunikaci pouvaj barvy a tabulky. Symboly i gury jsou vzhledem k poteb rychl itelnosti uvny v jednoduch stylizovan form. Z toho mj. vyplv, e je lze sice vzjemn spojovat do sestav, avak toto kombinovn je omezeno jeho vsledkem nesm bt pli sloit, nepochopiteln a mlo iteln struktura. obsahov vymezen barev Zkladn uit vech grackch symbol a nehlskovch znak spov v nebarevn, ernobl verzi. Barva pak slou v grack komunikaci k vznamovm variacm (ne k napodoben reality). Kad informace se tak me podat nejen v neutrln form, ale tak v podob smrov informace, informace o bezpe/nebezpe, pkazu, omezen, zkazu, psnho zkazu nebo vstrahy.
zelen bezpe / greensafety modr zven pozornost, pkaz / blueincreased attention, order lut riziko nebezpe, vstraha / yellowrisk of danger, warning erven nebezpe, zkaz / reddanger, ban

vizuln gramatika Zjednoduen lze systm vizuln gramatiky popsat takto: jednotliv vznamy se sdluj prostednictvm grackch symbol (jejich obsah je zprostedkovn na zklad spoleenskho konsensu) nebo nehlskovch znak gur (jejich obsah je zprostedkovn na zklad podobnosti s realitou). Tyto prvky (existuje jich nkolik tisc) jsou dnes pesn vymezeny

text Tom Fassati translation Elizabeth Kindlov

bl obecno / whitegeneral ed neurito, zruen informace / greyundened, deleting information ern konkrtno / blackspecic

obecn in barvy tabulky / general effect of the colour tvaru tabulky / shape of the chart

obecn praxe general use

silnin doprava trafc

obecn optimum general optimum ernoble black & white nvs signal jeho vznam slovy meaning in words zruen informace end of information

oznmen announcemenet vstraha caution pkaz order omezen restriction zkaz prohibition

bezpe / safety vymezen / limitation

cesta pro chodce pedestrian road pozor, chodci! beware of pedestrians jdte! vstupte! walk! vstup omezen entry restricted zkaz vstupu! do not enter!

riziko nebezpe / risk of danger seven / constriction

zven pozornost / increased awareness soustedn / concentration

nebezpe / danger omezen / restiction

zven pozornost / increased awareness omezen + negace / restriction + negation

Visual literacyone of the foundations of a designers professionalism We call normal literacy the ability to communicate by written text, i. e. by phonetic characters. The development of visual communication in the 20th century resulted in the crystallisation of a further type of grammar, which only the most qualied creators of graphic design know how to use as yet. It is more than natural that speech, which uses graphic symbols and non-phonetic characters to convey thoughts, also has its own logical system of rules (grammar). A machine or shoe designer could perhaps do without the knowledge of such grammar, but it is essential for a graphic designer. When some time ago the Czech magazine FONT in one of its articles mocked the typical mistakes made by amateur computer graphic designers, it primarily focused on the question of legibility, the layout of the message and artistic style. With the exception of legibility, this particularly concerns aesthetic misdemeanours, which have no signicant effect on the functionality of the message. The lack of knowledge of visual grammar usually makes the comprehensibility of the message itself worse. To this day most graphic designers still know very little about the grammar of their eld or have never heard about it. How many vocational secondary schools or schools of higher education include lectures about the psychology, sociology, history and general theory of visual communication? How many students have heard about the useful research of Neurath, Bliss, Dreyfuss or Aichr? The prevailing perception of graphic design as a free creative discipline without any limitations results in the fact that the speech of graphic symbols is understood by the creator as child play with stylised images that everybody can invent, change the shape and adjust the colour. This is true when applied to graphic design competitions where only the style of work is assessed but no attention is paid to the message conveyed by the design. In reality the procedure must be as careful and sensitive as when proceeding with work on a written text and the symbols used according to their standardised meaningit is the expected global comprehensibility of the system that speaks in favour of the standardisation of the visual elements of communication. Visual Grammar In simple terms, the system of visual grammar may be described as follows: individual meanings are conveyed through graphic symbols (their content is arranged through a social consensus) or non-phonetic characters gures (their content is arranged through resemblance with reality). These elements (several hundred of them exist) are accurately dened today by long-term testing and international standards (ISOInternational Standard Organisation). Some meanings are relatively demonstrative without the need for previous study, but one has to become acquainted with others just like when learning a foreign language. Grammar determines the rules of how to combine the meaning of individual elements and how colours and charts are used in graphic communication. In view of the need for quick legibility, symbols and gures are used in a simple stylised form. This means that they may be mutually combined into compositions, however such combinations are limitedthe result may never be a structure that is too complicated, incomprehensible and almost illegible. Dening Colour Content The fundamental use of all graphic symbols and non-phonetic characters is based on a colourless, black and white version. Colour is used in graphic communication for variations of meaning (not to imitate reality). Each piece of information may be conveyed not only in neutral form, but also in the form of guided information, information about safety/danger, an order, restriction, ban, strict ban or warning. (see the table of the colours menanig on the opposite page) Shape and Colour Combination The shape and colour combination of symbols allows the development of individual elements of communicationwhether specic or general. So this, in specic terms, means for example that a bigger shaped symbol with a specic meaning can be inserted into various smaller shaped different specic symbols (such as the symbols indicating the quality of the environment and food). (see the rst picture in the left column) General development is achieved if the various symbols of specic content are inserted in the spaces of simple geometric shapes, conventionally and physiologically linked to a group of general meanings. The simple geometric shapes of the spaces into which the specic symbols are inserted are called charts. This concerns a universal procedure used throughout the entire eld of visual non-phonetic communication. (see the second picture in the left column) The charts also allow the use of time succession of information transmitted from the label to its deletion. Non-phonetic communication, if required, can be well combined with phonetic to create an optimally effective whole. After becoming briey acquainted with it, the uninformed reader could state that the described system is too complicated, it would be difcult to work and few would be willing to learn it. However practice shows that graphic communication works highly effectively in all the elds it is used and clearly exceeds the possibilities offered by written text, whose grammar is more complicated after all. Most of the mentioned grammatical rules accept the physiology of perception and centuries old cultural conventions. The present state of development of visual grammar is certainly not the nal and by far not the optimal: some of its parts appeared spontaneously in practice, therefore they contain various inconsistencies, which will still have to be harmonised in the future. It is a matter of professional honour for every graphic designer not to remain illiterate for too long in the age of visual communication. Even today the performance of some graphic designers lacking the knowledge of grammar in their own eld are an object of considerable ridicule among their learned colleagues. Czech Institute for Information Design Museum of Art and Design, Mal nmst 1, 256 01 Beneov u Prahy, T: 317 724 601, E: muzeum.institut@ol.cz the Czech branch ofce of the International Institute for Information Design in Beneov u Prahy has existed since 1989 as an association of scientists, teachers and designers; it is nanced with sponsors donations it published the rst Czech dictionary of visual non-phonetic communication with more than two and a half thousand symbols and a small textbook as well as various theoretical handbooks, several issues of a regular information bulletin for ministries and other organisations has compiled an extensive archive of norms and other non-phonetic communication les from throughout the world, which it provides as a presentation study to the entire professional public apart from its own educational activities, it organises study visits for scientists and graphic designers at the summer universities of the International Institute for Information Design it processes graphic layout tests of Czech newspapers and magazines, television signature tunes, compares Czech, Slovak and European currency, Czech trafc direction systems, food packaging and so on a basic outline of international graphic communication standards and the results of some tests can be found on www.institut-informacniho-designu.cz

kombinace tvar a barev Kombinace barev a tvar symbol umouj obsahov rozvjen jednotlivch prvk komunikace konkrtn i obecn. Konkrtn napklad tehdy, jsou-li do vtho tvaru symbolu s konkrtnm vznamem vkldny rzn men tvary jinch konkrtnch symbol (nap. symboly oznaujc kvalitu ivotnho prosted a potravin).

potravina / food + voda / water

tekut potravina / liquid food

Obecnho rozvjen doshneme, pokud vkldme rzn symboly konkrtnch obsah do ploch jednoduchch geometrickch tvar, konvenn i fyziologicky vzanch ke skupin obecnch vznam. Jednoduch geometrick tvary ploch, do kterch konkrtn symboly vkldme, nazvme tabulky. Jde o univerzln postup uvan v cel oblasti zrakov nehlskov komunikace.

pozor / beware + letadlo / airplane = pozor letadlo / beware of airplans

Tabulky tak umouj vyuit asov nslednosti pedvan informace od nvt a po jej zruen. Nehlskov komunikace se podle poteby vhodn kombinuje s hlskovou, aby s n vytvoila optimln inn celek. Nezasvcen ten by mohl po tomto letmm seznmen ct, e popsan systm je pli sloit, tko me opravdu fungovat a mlokdo bude ochoten se jej uit. Praxe vak potvrzuje, e ve vech oblastech, kde se grack komunikace pouv, funguje velmi inn a vrazn pevyuje monosti psanho textu, jeho gramatika je pece mnohem komplikovanj. Vtina zmnnch gramatickch pravidel akceptuje fyziologii vnmn i stalet kulturn konvence. Souasn vvojov stav vizuln gramatiky jist nen denitivn a zdaleka tak ne optimln: nkter jeho sti vznikaly spontnn v praxi, obsahuje proto rzn rozpory, kter bude muset budoucnost jet vyladit. Je vc profesionln cti kadho grackho designra, aby nezstal v epoe vizuln komunikace pli dlouho negramotn. Ji dnes bud vkony nkterch grak neznalch gramatiky vlastnho oboru mezi pouenmi kolegy znan smky.

esk institut informanho designu Muzeum umn a designu, Mal nmst 1, 256 01 Beneov u Prahy, T: 317 724 601, E: muzeum.institut@ol.cz esk poboka International Institute for Information Design v Beneov u Prahy existuje od roku 1989 jako sdruen vdc, pedagog a designr; je nancovno ze sponzorskch pspvk vydalo prvn esk slovnk zrakovho nehlskovho sdlovn s vce ne dva a pl tisci symbol a malou uebnic, dle rzn teoretick pruky, nkolik sel pravidelnho informanho bulletinu pro ministerstva a dal organizace shromdilo obshl archiv norem a dalch soubor nehlskov komunikace z celho svta, kter poskytuje cel odborn veejnost k prezennmu studiu vedle vlastnch vzdlvacch aktivit zprostedkovv vdcm i grackm designrm studium na letnch univerzitch Mezinrodnho institutu informanho designu zpracovv testy grack pravy eskch novin a asopis, televiznch znlek, srovnn eskch, slovenskch a evropskch obiv, orientanch systm esk dopravy, potravinskch obal atd. zkladn pehled mezinrodnch konvenc grack komunikace a vsledky nkterch test naleznete na www.institut-informacniho-designu.cz

TYPO. JINAK

TYPO.TEXT Nimbus Sans Novus (Regular, Bold, Black) + ISONOM URW++

aneb umn minimalismu

Vytvoit program nen dnes nic obtnho: sta zaplatit tm programtor, dt jim zadn a dostatek asu. Mnohem hor je vytvoit kvalitn uivatelsk rozhran, zejmna ikony. Ty mus jednak odret zvyky operanho systmu, jednak mus bt srozumiteln, jednotn, pehledn a poutav. Sloitou otzku Jak toho doshnout? asto e tmy odbornk jako napklad kdysi vvojov oddlen PARC rmy Xerox, kter vyvinulo prvn grack uivatelsk rozhran. Dvj technick proveden ikon neposkytovalo prostor pro plinou kreativitu. K dispozici bylo 8 8 nebo 16 16 bod ve dvou, tyech nebo estncti barvch. O byly ikony mn kreativn, o to byly abstraktnj a pehlednj. Dnes se bn vytvej fotorealistick ikony dosahujc rozmr malch obrzk 128 128 bod. Mac OS Firma Apple vdy dbala na dobr uivatelsk rozhran, proto soust tzv. vvojskho kitu byla tak specikace vzhledu aplikac, vetn doporuen pro vytven ikon. V souasn dob existuj dv verze tto specikace jedna pro operan systmy 8 a 9, druh pro systmy ady X. Apple nicmn starou adu systm prvem odepsala, proto pro ni nem smysl vytvet ani nov aplikace, ani ikony. ikony pro Windows XP (viz odkazy). Vechny ikony by mly bt plastick, kreslen v perspektiv. Vjimkou jsou pouze ikony dokument, obecnch symbol (informan ikony) nebo jednoduchch objekt (lupa). Krom perspektivy by mly bt ikony tak stnovan, nesta tedy jednoduch pln plochy, je teba je vybarvit mrnm pechodem. Ikony se maj vytvet ve tech velikostech (48 48, 32 32 a 16 16 bod) a ve tech barevnch reimech, co znamen, e kad jednotliv ikona m celkem devt podob. V praxi je dobr ve vektorovm programu nakreslit jen dv varianty (ikonu s nejvtm a nejmenm rozlienm), zbytek se udl a v dalm kroku. Krom dokumentovch a aplikanch ikon existuj jet ikony uivatelskho rozhran, kter krom svho zkladnho stavu maj jet stav vysvcen, kdy nad ikonu najedete my. Tady je potom nutn shnout k dalm pravm po Photoshopu. jak na nov ikony? Oba vrobci operanch systm shodn doporuuj ikony vytvet nejprve rukou tvrce se oprost od schematickho mylen. Pipravenou kresbu je dobr pekreslit v bn vektorov (Illustrator, FreeHand) nebo bitmapov (Photoshop) aplikaci, a teprve vsledek exportovat do specializovan ikonotvorn aplikace. V nkterch ppadech (u nejmench ikon) bude bohuel nutn vslednou ikonu upravovat bod po bodu, aby vsledek odpovdal tvrcovm pedstavm. Pro zatek je nejlep pout vektorov program s pravtkem nastavenm na obrazov body (pixely) a ikonu kreslit ve skuten velikosti, tedy 128 128 bod v ppad Mac OS X a 48 48 bod v ppad Windows XP. Kdykoliv se tak mete pepnout do nhledu obrazovch bod a prohldnout si vsledek. Hotovou kresbu je dobr penst do Photoshopu pmo do nastaven velikosti dokumentu (tedy 128 128 resp. 48 48 bod). Zde se provedou dal drobn pravy (nap. stn) a vsledek se ulo pro poteby ikonotvorn aplikace. aplikace pro Mac OS X Mac OS vdy vynikal uivatelskou ptulnost, proto zmna ikony dokumentu nebo sloky byla otzkou chvilky. Stailo do schrnky nakoprovat obrzek a vloit ho na msto ikony. Naprosto jednoduch postup s jednou malou vadou nelo takto vytvoit prhlednou ikonu. Pro zkladn prci vyvinula rma Apple program Icon Composer, kter se nachz na vvojskm CD. Program posta pro zkladn prci s ikonami, ovem u ne pro nronj tvorbu. Zejm nejlepm programem je IconBuilder Pro. Vlastn to ani nen program, ale zsuvn modul pro Adobe Photoshop. Hlavn vhodou tohoto een je, e nemuste opoutt prosted svho oblbenho bitmapovho editoru, pouze v posledn fzi vyvolte modul, kter provede dodaten pravy. Program pro samostatnou editaci ikon je pomrn velk mnostv, ale vechny vychzej ze stejnho zkladu. Nejprve se oteve okno, ve kterm je msto pro jednu ikonu ve vech monch provedench. Upravte nejprve zkladn variantu, tu potom zkoprujete na men verze a run je upravte. Vsledek ulote jako soubor ikony nebo pmo vlote do uren sloky. Na tomto poli kraluje Icon Machine, kter navc pat k programm levnjm. Krom nj existuj jet dal (nap. Iconographer X nebo Iconeer slovensk rmy Ancodia), kter vak jeho kvalit nedosahuj. doplkov aplikace pro Mac OS X Krom bnch ikonotvoi existuj tak programy na rzn kombinovn. Nen problm vzt ikonu sloky a napsat na ni text nebo zkombinovat dv ikony do jedn. Zvlt inn je to pi pouvn velkch ikon, na kterch tyto efekty vyniknou. Jednm z nejvypracovanjch program je Can Combine Icons, kter um tolik operac, co jeho konkurenti dohromady. Doke spojit standardn ikonu a obrzek, pidat text nebo ikonu pout jako prhlednou masku na nov obrzek, navc um objekty rzn natet a stnovat. Konkurenn (okoprovan) produkty Folder Icon X a Folder Icon Maker X um vdy pouze zlomek toho, co Can Combine Icons. Samostatnou kategori jsou nstroje pro vytven ikon ve form nhled obsahu. U nich zpravidla sta vzt nkolik soubor s obrzky a hodit je na ikonu aplikace, zbytek probh automaticky. Tyto programy mete sehnat bu zdarma (Pic2Icon) nebo za mrn poplatek ve form shareware (DropIcon). Sharewarov nstroje poskytuj vtinou vy komfort a zvldaj vce formt, ale vraznji se od freewarovch protjk neli. Windows XP Zkladn nstroje pro tvorbu ikon vdy poskytovali tvrci programtorskch prosted. Proto ikony asto vytveli programtoi jako vedlejk a rozhodn to bylo na vsledku vidt. Vhodou tchto program byla monost vythnout libovolnou ikonu z libovolnho souboru a nsledn ji upravit a uloit, nevhodou nzk komfort nstroj pro tvorbu vtinou pouze tuka, kyblk barvy,

doporuen pro Mac OS X S pchodem OS X to maj tvrci ikon zase o nco sloitj. Existuje nkolik typ ikon, kter se li ztvrnnm. Ikony aplikac by mly bt srozumiteln a pokud mono prostorov, kreslen v perspektiv, aby na prvn pohled upoutaly. Naproti tomu ikony servisnch program maj bt pokud mon ed, neutrln ladn, maj navozovat dojem dleitosti. Dalm typem ikon jsou dokumenty, pedvolby nebo zsuvn moduly, piem vechny tyto typy jsou patin popsny v doporuen na webovch strnkch (viz odkazy). Existuj ti typy kreslen ikon: perspektivn se stnem, plon s podkladovm stnem a plon s vrhanm stnem odpovdaj pohledm na pracovn stl z mrnho nadhledu, rovn na ze a rovn na poliku. Pi tvorb ikon je dleit vytvoit minimln velikost 128 128 pixel s 8bitovou prhlednost, pesto se doporuuj jet velikosti 64 64, 32 32 a 16 16, kter se pouvaj pro zobrazen v systmu. Doporuen m racionln dvod zmenen 128 bod na 16, ale i na 32 bod naprosto zni pvodn kresbu obrzku. Potom je dobr mt na pamti, e takov ikona obsahujc vechny doporuen varianty dosahuje velikosti 100 KB, co znamen, e na disketu se vejde pouze 13 przdnch soubor s ikonami. Windows XP Pi srovnn se systmem Mac OS X to vypad, jako by tvrci obou systm od sebe naprosto nepokryt opisovali. Podobn prostorov stnovan ikony pro aplikace, podobn ikony pro dokumenty. Li se pouze nkter drobn detaily. Mac OS X se sna bt maximln realistick, ikony vypadaj spe jako zmenen obrzky. Naproti tomu ikony Windows XP stle vypadaj jako vymodelovan. doporuen pro Windows XP Pmo na vvojskch strnkch Microsoftu mete po kratm hledn najt neobvykle obshl nvod, jak vytvet

text Pavel Koika

Pehled aplikac OS X
nzev Can Combine Icons IconBuilder Pro Icon Machine Iconeer DropIcon Pic2Icon popis kombinace ikon zsuvn modul do Photoshopu pro generovn ikon program na editaci ikon, rozhran podobn Photoshopu editace ikon vytven nhledovch ikon vytven nhledovch ikon cena USD 10 69 25 30 15 zdarma editace ikon kombinace nhledy extrakce a vkldn odkaz http://www.ittpoi.com/ http://www.iconfactory.com/ http://www.uncommonplace.com/ shareware/iconmachine.html http://ancodia.com/iconeer/index.php http://www.abbotsoftware.com/ http://www.sugarcubesoftware.com/

Pehled aplikac Windows XP

nzev Microangelo Icon Workshop IconBuilder XP Change Folder Icons Gconvert popis klasick program na tvorbu ikon komplexn prosted pro tvorbu ikon vetn zsuvnho modulu do Photoshopu zsuvn modul do Photoshopu pro generovn ikon zmna ikony sloky ve Windows 2000/XP Extrakce a peukldn ikon do obrazovch formt cena USD 40 60 69 17 19 editace ikon kombinace nhledy extrakce a vkldn odkaz http://www.impactsoftware.com/ http://www.axialis.com/iconworkshop/ http://www.iconfactory.com/ http://www.nesoft.org/index.shtml http://www.gdgsoft.com/gconvert/index.asp

tverec a kruh. Proto nen divu, e zaaly vznikat samostatn nstroje. Nekorunovanm krlem vech ikonotvrc je program Microangelo. Ne e by neexistovaly programy podobn nebo levnj, ale tento produkt pat k nejznmjm a nejpropracovanjm. I jemu vak konkurence lape na paty, co je vidt na programu Axialis Icon Workshop, kter um nejen importovat ikony z Mac OS X, ale tak obsahuje exportn zsuvn modul pro Adobe Photoshop. Pokud bych ml jeden program doporuit, tak by to byl zejm tento. Vedle samostatnch nstroj existuje tak IconBuilder XP, co je varianta zsuvnho modulu IconBuilder Pro pod Mac OS X. Dky tomuto modulu mete ikony editovat pohodln v prosted Photoshopu a a v zvren fzi je exportovat do ikonovho formtu. Dal programy, by je jich cel ada od jednoduchch a levnch (IconEdit, Easy ICON Maker) a po dra (IconEdit Pro od jinho autora) , bohuel postrdaj eleganci dve zmnnch een. Zatmco na Mac OS je koprovn ikon a jejich

zmna pomrn triviln zleitost, ve Windows je to prce bezmla vdeck. Proto je poteba pout jet aplikace pro vytaen ikon ze soubor a jejich aplikaci na sloky. V prvnm ppad poslou napklad slun Gconvert nebo i vtina lepch ikonovch editor, v druhm Change Folder Icons, kter za vs provede potebn nastaven. umn ikon Uivatel pota nechtj stroh prosted a asto nechtj ani uniformn prosted, proto si vytvej vlastn ikony nebo pouvaj ciz sady. Pznivci Jamese Bonda urit zatou pro speciln sad ikon s bondovskou tematikou, zatmco pznivci prody vm budou vysvtlovat, pro zrovna nek je symbolem disku. Ikony i cel grack rozhran se tak stvaj marketingovm nstrojem podobn jako plakty nebo pomalovan taxky. e mohou bt ikony tak umnm, dokazuje kadoron sout o nejlep sady ikon jmenuje se Pixelopalooza; vtzov letonho ronku byli vyhleni a ocenni koncem dubna. Vtzn ikony minulch ronk jsou ke staen na webovch strnkch.

uiten odkazy Mac OS X http://developer.apple.com/ue/aqua/icons.html Windows XP http://msdn.microsoft.com/library/en-us/dnwxp/html/winxpicons.asp ?frame=true Pixelpalooza sout o nejlep ikony http://www.iconfactory.com/pixelpal1.asp ikony, ikony, ikony http://www.bywestcoast.com/index.htm http://www.digitalgarage.net/ http://www.themedoctor.com/

TYPO.NSTROJE

TYPO.TEXT Nimbus Sans Novus (Regular, Bold, Black) + FUTURA light URW++

12

TYPO.LIDI

Susan Kare vystudovala Mount Holyoke College a na New York University zskala doktort z vtvarnho umn. Po disertaci na tma Humor v sochastv 19. stolet nic nebrnilo, aby zahjila spnou akademickou kariru. Jene v roce 1981 dostala od ptele Andyho Hertzfelda nabdku pracovat pro jakousi slibn se rozvjejc potaovou rmiku jmnem Apple. Hertzfeld byl klovm programtorem tmu, kter pracoval na vvoji pevratnho potaovho grackho uivatelskho rozhran. Zl povst tvrd, e toto nov uivatelsk rozhran okoproval spolumajitel Apple Steve Jobs od rmy Xerox; pravda je, e za licenci poctiv zaplatil. A tak v letech 19821983 Kare nakreslila destky ikonek a nkolik proporcionlnch (!) bitmapovch psem pro obrazovku. Nov pota Apple Lisa, prvn komern produkt s my a intuitivnm grackm rozhranm, zaznamenal obrovsk spch. Zsti jist i kvli Susaninm jednoduchm a ptelskm piktogramm. Jejich kvalitu nejlpe provil as: nstrojov lita programu MacPaint je de facto svho druhu standard (laso, kyblk s barvou atd.), stejn tak i psmo Chicago je poznvacm znamenm Mac OS, nemluv o nramkovch hodinkch, ve kter se kurzor mn ve chvli, kdy je pota zaneprzdnn. Ikonky pro Mac OS kreslila Susan v matrici 30 30 pixel. Vnuji pozornost kadmu z 900 pixel, dodv sama autorka. Kare pracovala pro Jobse i po jeho odchodu z Apple (1985), a to ve rm NeXT, kde mla na starosti corporate identity. Ke spoluprci si pizvala svho designrskho guru, Paula Randa, autora logotyp IBM, UPS i WestingHouse. Rand pro NeXT vytvoil skvl logo, ale bohuel ani to projekt ped krachem nezachrnilo. V roce 1987 zaal pipravovat vldce pkazov dky Bill Gates novou verzi vlastnho grackho uivatelskho rozhran. Microsoft se rozhodl svit vtinu grack prce osvden a zkuen Susan Kare. Pro pevratn Windows 3.0 krom ikon k programm vytvoila i 3D vzhled tlatek a tak pekreslila vech 52 bridovch karet pro Pasians, potaovou hru dodvanou se systmem. Opravdu jsem si prci na kartch uila. Vytvoit maximln barevn vrn obraz pedlohy na VGA monitoru se 16 barvami byla obrovsk vzva. Celou prci jsem odvedla pmo v PaintBrushi, nemli jsme tehdy k dispozici dn skenery, vzpomn Kare pozdji. Prv na tomto kolu si osvojila dovednost vytvoit nov barevn odstn pomoc smsi zkladnch barev tzv. dithtering. Po spchu Windows 3.0 spolupracovala Kare s rmou IBM na tehdy slibnm projektu OS/2 Warp, pro General Magic vytvoila vesel logo krlka z klobouku a v souasnosti se sousteuje na uivatelsk rozhran malch mobilnch zazen palm a mobil. Stle pracuje sama a radji odmt zakzky, kter nestihne realizovat osobn, ne aby zaloila a dila rmu s mnoha zamstnanci. Akoliv jsem za uplynulch 20 let vytvoila tisce ikon pro stovky klient, stle hledm nejlep mon een pro vn rbusy, jakmi jsou pkazy Spustit program, Zpt (Undo) nebo Uloit. Jsem pesvdena, e ikonky by mly fungovat stejn jednodue jako semafor: pinet uivateli informaci, ani by vyadovaly jeho zvenou pozornost; a pokud nen mon do ikony vloit pmo obraz jej funkce, pak alespo mus bt ikona snadno zapamatovateln. V roce 2001 obdrela Susan Kare prestin Chrysler Design Award, cenu udlovanou architektm a designrm za vznamn pnos americk kultue.
text Pavel Zelenka

TYPO.TEXT Nimbus Sans Novus (Regular, Bold, Black) URW++ / blue matrix

Vznikaly pvodn ikony pro Mac OS na zklad njakho systematickho pstupu? Nebo ve vznikalo na zklad tv intuice? Jakou roli hrl marketing? Ikony pro aplikace byly aktivn, zastoupen obrzkem natoenho dokumentu a rukou vykonvajc konkrtn aktivitu (psan, kreslen atd.). Ikony dokument zobrazovaly list papru s ohnutm rohem. V t dob jsme vbec nepedjmali, kolik rznch aplikac a font vznikne, poet 256 nm pipadal pln dostaten. Pi vbru ikon jsem si udlala pr przkum a vdy jsem hledala ptelskou radu. V tomto ohledu mi tm vvoj softwaru poskytl bjenou podporu. Studovala jsi obrazov systm Isotype nebo njak podobn pokus? Ne. Kdy porovnvm vsledky tv prce pro Mac OS a pro Windows 3.0, vzpomnm na chvli, kdy jsem poprv spatil plastick tlatka a byl doslova ohromen. Ale zptn se domnvm, e jsi lpe uspla prv na Mac OS, jeho ikonky se staly nadasovmi ikonami s velkm I, zatmco Windows 3.0 dnes psob ponkud zastarale. Jak vlastn byl rozdl v pstupu Apple a Microsoftu k tvorb ikon? S tmto hodnocenm tak pln nesouhlasm. Bylo bjen, kdy jsme mli monost barevnho rozlien a mohli vyvinout trozmrn vzhled tlatek nebo nakreslit karty pro Pasians. Bavila m spoluprce s obma klienty, Macintosh byl zamen vce na vlastn technologie, kdeto u Microsoftu jsem spolupracovala s oddlenm marketingu. Domnv se, e zvyovn potu barev v ikonkch a jejich rozlien je zsadnm krokem kupedu? V zsad ne. Mm toti dojem, e dnen tvrci ikon se sousteuj jen na vzhled ikon, nikoliv na jejich funkci msto vtipn vizuln zkratky nm nabzej tm fotograck obraz nap. harddisku. Zd se, jakoby obtovali itelnost na kor formln dokonalosti. Jak je tvj nzor? Vm, e ikonky funguj nejlpe jako symboly teba dopravn znaky ne jako obrzky. Vytven ikon vybavench detaily, vlastn fotograckch ilustrac, jim dodv velmi konkrtn vzhled namsto obecnjho vznamu. Pidn detailu navc ani nezvyuje rychlost okamitho rozpoznn, kter m dobr symbol umonit pedevm. Obrzek pera vyveden jen obrysovm tahem symbolizuje mylenku psan pro mnohem ir publikum ne fotorealistick trozmrn obrzek nap. kovovho pera, nebo to ke psan pouv jen mal st uivatel. ek ns v budoucnosti grack rozhran tak hroziv, jako jej prezentovala vize ve lmu Minority Report tedy sam prsvitn okna vyadujc pi zachzen s nimi spousty run prce? No, myslm, e jen samotn pleitost pout miliony barev nutn neznamen, e je musme vyuvat vechny a vude. Jist zdrenlivost je na mst a speciln efekty jsou mnohem uitenj a vraznj, kdy jsou pouvny s rozvahou a stdm. Ale jsem zejm s tmto nzorem v menin! Jak vnm skutenost, e Apple po letech odstranil font Chicago ze systmu Mac OS X? Mnoho uivatel to povauje za zradu. Dostala jsem mnoho mail od lid, kterm se po nm stsk; je vak ptomno v iPodu!

krlovna ikonek the Queen of the Icons

Were your original icons for MacOS created on a systematic approach? Or was it just your intuition? And what was the role of marketing specialist? Applications were active, represented by the document on an angle and a hand doing an activity (writing, painting, etc.) Documents were represented by paper with a folded corner. At the time, the group did not anticipate how many applications and fonts would eventually be createdthe 256 numbers for new fonts were thought to be sufcient. I did a few surveys about choices for icons, and always sought informal feedback. The documentation and software teams provided a great deal of input. Did you study the Isotype picture language or any similar efforts? No When comparing your work for Mac OS and Windows 3.0 I remember the moment when I saw the Windows 3.0 3D look for the rst time and I was just astonished. But looking back, I reckon you succeeded much better on Mac OS and its icons became the Icons while the Windows ones look so old-fashioned nowadays. What was the major difference in the Apple and the Microsofts approach to a graphic form of icons? I dont necessarily agree with the above comment. It was great to be able to have color for differentiation, and develop a 3D look for pressable buttons, the cards for solitaire, etc. I enjoyed working for both groups. Macintosh development was more software-driven, at Microsoft I worked for product marketing. Do you think that adding color depth to icons and increasing their resolution is a major step forward? Not necessarily. It seems to me that current icon designers are trying to draw just beautiful icons but not functional icons. We can see huge, perfectly scalable near-photo quality pictures of hard discs, for instance, instead of short intelligent short-cuts. It looks like the designers sacriced legibility of icons to their formal perfection. What is your opinion on this topic? I believe that icons work best when they are symbols, like trafc signs, rather than illustrations. In fact, making an icon that is a detailed, photographic illustration makes it very specic, rather that representative of a general type. Also do not think detail enhances the speed of immediate recognition that a good symbol provides. An outline of a pen or pencil conveys the idea of writing to a wider audience than, say, a photo-realistic chrome pen, because that illustrates what only a specic minority of people use to write. Is the future of the GUI about to be as horrible as the Minority Report vision with the semitransparent dialogue boxes and a lot of manual work when working with them? Well, my feeling is that just because you have a million colors, it doesnt mean you need to use them all, all the time. I believe that restraint is great, and that special effects are much more useful and effective when used thoughtfully and sparingly. But I seem to have a minority opinion! How do you feel about the Chicago font remotion in MacOS X? A lot of Mac users consider it to be a betrayal by Apple. I get a lot of mail from people that miss it in the OS, but there it is in the iPod!

To readers in English we recommend the auto-biography and the below-mentioned articles of Susane Kare on www.kare.com.
literatura / further reading William L. Hamiliton / The New York Times, October 25, 2001 / With the World Redesigned, What Role for Designers? Steve Caplin / Icon Design / Case Studies / Susan Kare (Chapter 5) / Cassell & Co, 2001 Anna Muoio and Lucy A. McCauley editors / Fast Company, October, 1999 / Design Rules Owen Edwards / Forbes ASAP, February 23, 1998 / Legends: Susan Kare Ellen Dunkel / The Detroit Free Press, May 25, 1997 / Visit a Designers Virtual Gallery Craig Bromberg / I.D. Magazine, Jan/Feb 1997 / I.D. Forty/Susan Kare Laurence Zuckerman / The New York Times, August 26, 1996 / The Designer who Made the Mac Smile Michelle Quinn / The San Francisco Chronicle, January 25, 1995 / Art that Clicks: Icon designer Strives for Simplicity MacUser / March, 1993 / MacUser Editors Choice Awards Ron Wolf / San Jose Mercury News, Business Monday, May 28, 1990 / The Mother of the Mac Trashcan

Tm kad, kdo v uplynulch 1520 letech usedl ped monitor potae, se setkal s jej prac Susan Kare je tak bezpochyby jednou z nejvlivnjch designrek potaovho vku. Nearly everybody who used a computer in the past twenty years had to run into her work Susan Kare is undoubtedly one of the most inuental graphic designers of the computer age.

Z APOMENU T S V T MODERN VIZULN KOMUNIK ACE

Snaha o vytvoen univerzlnho jazyka je touhou vech grackch designr modernho vku. Kdy jsem ml ped esti lety na univerzit v anglickm Readingu monost seznmit se poprv s prac Otto Neuratha, ani na chvli jsem nezapochyboval o tom, e jeho mylenky a prce u na potku minulho stolet vytyily smr, kterm se otevela brna do svta nov, modern komunikace. Od t doby je pro m kad den objevovnm tto cesty do zapomenutho svta budoucnosti

FORGOTTEN WORLD OF MODERN VISUAL COMMUNICATION

The dream of every graphic designer of the modern era is the creation of a universal language. When I saw some charts of Otto Neuraths Isotype at The University of Reading almost six years ago, there was no doubt that he was a man of vision. His work dened a direction in which agate was opened into the world of new and modern communication. Since that time, every day is for me an observation along the path to a forgotten world of the future...

TYPO.TEXT Nimbus Sans Novus (Regular, Medum, Semibold, Bold, Black) + ISONOM URW++

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prkopnick prce Isotype popisuje teorii obrazovho jazyka Neurath vil, e jazyk je mdiem naich znalost a e empirick fakta jsou naemu vdom k dispozici hlavn prostednictvm symbol. Verbln jazyk vnmal spe jako zmrzaen

Plakt pro novou expozici vdeskho Ge-Wi-Mu z roku 1928 (Gemeentemuseum, Den Haag). Poster for a new exposition of Ge-Wi-Mu in Vienna, 1928 (Gemeentemuseum, Den Haag).

Jak se pipravuj symboly Isotype? Maria Reidemeister pipravuje statistick daje. Gerd Arntz kresl symbol nezamstnanho. Edita Matzalik vytv linorytov toek tohoto symbolu. Richard Heurteur tiskne symbol na arch papru. Asistent Skuhrav vystihuje symboly a texty. Skuhrav, Buchmann a Scheer lep symboly a texty na tematick panel vstavn expozice. (1931, Archiv rakouskho Gesellschafts- und Wirtschaftsmuseum, Vde17.) How are the symbols of Isotype made? Maria Reidemeister is preparing statistical data. Gerd Arntz creates the symbol for unemployed. Edita Matzalik creates a lino printing block of the symbol . Richard Heurteur prints the symbols on paper. Assistant Skuhrav is cutting out symbols and texts. Skuhrav, Buchmann and Scheer are sticking the symbols and texts on an exhibition panel. (1931, Archive of Austrian Gesellschafts- und Wirtschaftsmuseum, Vienna 17.) Pohled do expozice Ge-Wi-Mu, 1928 (Archiv rakouskho Gesellschafts- und Wirtschaftsmuseum, Vde).16 View of the exposition of Ge-Wi-Mu, 1931 (Archive of Austrian Gesellschafts- und Wirtschaftsmuseum, Vienna).16

Linorytov toek a ukzka tisku symbolu nezamstnanho z roku 1931 (Gemeentemuseum, Den Haag). Lino printing block and sample of a linocut print with a symbol for unemployed person, 1931 (Gemeentemuseum, Den Haag).

vize nov formy univerzln komunikace Otto Neurath, rakousk sociolog, politick ekonom a lozof, se narodil roku 1882 v rodin socilnho reformtora Wilhelma Neuratha. Po absolvovn univerzitnch studi v oborech matematika, fyzika, historie a ekonomick vdy ve Vdni a v Berln byl bhem I. svtov vlky jmenovn editelem stavu pro vlen hospodstv a ekonomii v Lipsku. Rok po skonen vlky byl angaovn rakouskou vldou jako hospodsk prognostik na ministersk rovni ve Vdni: aktivn se podlel na programech rozvoje socilnho bydlen a mstskho plnovn. Roku 1924 se stal editelem vdeskho Socilnho a hospodskho muzea (Gesellschafts- und Wirtschaftsmuseum, jinak tak Ge-Wi-Mu),1 jeho clem bylo pehledn a srozumiteln prezentovat statistick data rakouskho hospodstv vem vrstvm spolenosti. Neurathovy vize vak mily mnohem v. Doufal, e se mu na pozad prce muzea postupn poda denovat univerzln standard pro vuku obyvatelstva a zrove promtnout humanistick svtov nzor do novho, srozumitelnho vizulnho jazyka. Vsledn soubor princip takov vizuln vchovy, pozdji nazvan Isotype (International System of Typographic Picture Education), se stal odrazovm mstkem dalho vvoje modern komunikace a zdrojem vuky a praxe grackch designr.
text Alan Zruba translation Sophie Neilan

mdium, protoe nevil, e by tak jeho struktura mohla slouit jako konzistentn a logick model pro vztah vc k relnmu svtu. Tvrdil, e jeho vize je dkazem pevnho spojen mezi jazykem a prodou; e symboly tvo univerzln most mezi obecnm jazykem tvar a pmou zkuenost vnman reality. 2 Sociln a hospodsk muzeum ve Vdni vykonalo za lta Neurathova veden (19241934) prkopnickou prci ve zprostedkovn vdomost a prezentovn dat oprajcch se o statistiku. Program uplatnn v prci muzea a Neurathovy vdeck a umleck snahy daly vzniknout novmu, snadno pochopitelnmu obrazovmu psmu, jeho prostednictvm se komunikovala tmata obrazem mnostv, a ne do t doby veobecn pouvanmi jednotvrnmi diagramy abstraktnch kivek, sloupc a plonch srovnn. (Je s podivem, e tato suchoprn forma sdlen statistick informace pozdji, na konci edestch let, opt pevlcovala systm, kterm Neurathv tm a jeho pm nsledovnci stanovili nejdleitj principy tvorby modernho designu.) Statistick obrazce vak nebyly jedinmi prostedky, se ktermi muzeum pracovalo. Mlo tak dlnu na plastick plny a modely dom a mst. Nstnn obrazce a zejmna mapy, jejich npisy a znaky bylo nutno asto vymovat nebo pemisovat, byly zhotoveny z kovu a opateny magnety. Soust muzea tvoil i archiv pro obrazovou pedagogiku a sbrka sociologick graky.

Otto Neurath (18821945)

Barevn svt, oblka obrazov vlativdy pro mlad tene, Ge-Wi-Mu, Vde, 1929 (Gemeentemuseum, Den Haag). A colourful world, Cover of a geography picture-book for young people, Ge-Wi-Mu, Vienna, 1929 (Gemeentemuseum, The Hague). Portfolio prezentujc ptiletou prci vdeskho Ge-Wi-Mu na sto samostatnch barevnch listech s obrazovmi diagramy (Bibliograck institut v Lipsku, 1930).17 Portfolio of the work done in the Gessellschaftsand Wirtchaftsmuseum in Vienna, consisting of 100 multicolored single leaves with pictorial statistics (Bibliographic institute Leipzig, 1930).17

Sociln graka G. Arntze, 1931 (Gemeentemuseum, Den Haag).18 G. Arntzs social graphic, 1931 (Gemeentemuseum, The Hague).18

designr nov vizuln abecedy Jednm z nejdleitjch spolupracovnk Otto Neuratha od prvnch let innosti muzea a do jeho smrti v roce 1945 se stal nmeck vtvarnk, grak a levicov intelektul Gerd Arntz. Narodil se roku 1900 v Remscheidu jako syn tovrnka, avak nensledoval rodinnou tradici a msto toho zaal v roce 1919 studovat na Kunstschule von L. Kunowski v Dsseldorfu. Jako umlec nleel ji od studi ke skupin vtvarnk, kte zachycovali radji sociln vvoj ve spolenosti ne subjektivn a emocionln exprese beznadje dobovho existencialismu. Toto zamen Arntze pivedlo k tvorb devoez a linoryt se stylizovanmi gurlnmi symboly, je reprezentovaly jednotliv spoleensk tdy a pozdji i historick a spoleensk procesy. Jeho prce byly publikovny v pokrokovch asopisech a na nkolika tematickch vstavch. Arntzova prce Neuratha velmi zaujala a roku 1928 jej pizval ke spoluprci. Neurathova Vdesk metoda 3 Arntze okamit upoutala. Styl a vsledky jeho prce naprosto pirozen doplnily dosavadn snahy pracovnk muzea. Byl schopen Neurathovo teoretick mylen pevst bezchybn do nov statistick znakov ei vysok vtvarn i vznamov kvality.

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Gerd Arntz (19001988)

Vision of a new form of universal communication Otto Neurath, Austrian sociologist, political economist and philosopher, was born in Vienna in 1882, into the family of social reformer, Wilhelm Neurath. After graduating in math, physics, economics and sociology in Vienna and Berlin, Neurath was asked to direct the Museum on War Economy at Leipzig. After the war, he returned to Vienna in 1919 and worked as an economical prognostic at ministerial level, with active participation in the housing in Vienna. Later, in the middle of the 1920s, he became Director of the Social and Economic Museum in Vienna (Gesellschafts- und Wirtschaftsmuseum)1, which planned to develop a theoretical background to visually explain national statistics to a largely uneducated Austrian public. Neurath had even greater visions. He hoped to form a universal standard of education, transmitting his sociological world view into the creation of a visual language that would be understood by everyone. The principles of the Vienna Method (later renamed as IsotypeInternational System Of Typographic Picture Education), created a base for the further development of modern communication in the 20th century. Pioneer work Isotype expresses a theory of language that continues to inform much graphic design education and practice. Neurath believed that language is the medium of all knowledge: empirical facts are only available to the human mind through symbols. He saw verbal language, however, as a disguring medium for knowledge, because he believed its structure and vocabulary failed to be a consistent, logical model of objects and relations in the physical world. Neurath held that vision is the saving link between language and nature. Hence, pictorial signs would provide a universal bridge between symbolic, generic language and direct, empirical experience. 2 During the years of Neuraths leadership, The Social and Economic Museum in Vienna (GeWiMu) (19241934) made pioneering work on representing economic and social values in statistics. In case of presenting statistical data, the museum created understandable picture language by the view of amount. I dont really understand this last expressionperhaps due to ignorance! By that time, statistical diagrams were only abstract curves, columns and charts. It is surprising that Neuraths system was replaced later on in the 1970s by such a form or communication. The new methodology of the museum was based on the principle that a larger amount is not presented by a larger sign, but by a larger amount of signs. The museum also had a workshop for 3D models of houses and cities, magnetic wall pictures and a special department archiving educational posters and critical social art. Designer of the new visual alphabet Gerd Arntz (19001988), was one of Otto Neuraths most important collaborators from the early years until his death in 1945. An artist, graphic designer and left-thinking activist, he was born in Remscheid, Germany, the son of a factory owner. In 1919, he commenced studies at Kunstschule von L. Kunowski in Dsseldorf. As an artist, he joined a group that sought to illustrate developments in society, instead of expressing individual emotions. For Arntz, this view lead to woodcuts and linocuts with stylized gures, representing social groups and classes. Arntzs pictures were published in progressive magazines, sometimes also in thematic collections. In 1928, Arntz was invited to work for the Gesellschafts- und Wirtschaftsmuseum in Vienna. Neuraths theoretical approach and methodology in the museum inuenced Arntzs work immediately.3 His style lent itself to these objectives perfectly. He was able to translate the theoretical framework into the new sign language with a high artistic standard and meaningful value. Emigration to Holland Growth of nationalist radicalism and political pressure in the German and Austrian society forced many left intellectuals to leave the countries in the beginning of 1930s. Neurath and members of his team were not an exception. They spent one year (19311932) consulting The Russian Institute for Visual Representation of Statistics in Moscow,4 on the best way of presenting the economical development of Soviet industry. The year after, in 1933, they moved to the Dutch harbour of the Hague, which was relatively more safe than Vienna. There they founded the International Foundation for Visual Education,5 which formed a basis for the main manifestos and documents of Isotype. Isotype as a helping language and encyclopedia of common knowledge We have created one international picture language (as a helping language) into which statements may be put from all the normal languages of the earth. We have given it the name Isotype. A picture language of this sort is frequently very important and of great use. A man coming into a strange country without knowledge of the language is uncertain where to buy his ticket at

the station or the harbour, where to put his boxes, how to make use of the telephone in the telephone box, where to go in the post ofce. But if he sees pictures by the side of the strange words, they will put him on the right track. Education by pictures in harmony with the Isotype system will do much to give the different nations a common outlook. If the schools give teaching through the eye in harmony with this international picture language, they will be servants of a common global education, while giving new impulse to all other questions of international education. The full use of the rules of the Isotype system will completely change our way of teaching. New elds of knowledge will open up for teaching in schools. The history of nations and groups the organization of goods I dont get what youre saying here, suddenly become clear when represented by good teaching-pictures. This emotional preview of the main Isotype manifesto named International Picture Language6 was rstly published in 1936. It dened principles of the new programme of visual communication: 1 A picture which makes good use of the system gives all the important facts in the statement it is picturing. At the rst look you see the most important points, at the second, the less important points, at the third, the details, at the fourth, nothing more-if you see more, the teaching-picture is bad. 2 The value of teaching by pictures is that facts are put before the mind in a simple, straightforward way and are committed to memory. The signs have to be clear in themselves, without the help of words as far as possible. That is to say, living signs. They have to be different from one another, so that there will be no doubt of their rightful meaning, when they are seen again. They have to be so simple that they may be put in lines like letters. 3 The rules for colours are not so xed as the rules for forms. There are only seven colours for use in Isotype pictures: white, blue, green, yellow, red, brown, and black. The colours have to be so different that there will be no doubt in the mind of the on-looker which colour he has before him when he sees it separately. If, for example, he has to give a picture of cold and warm water, he will make the warm water red and the cold water blue. 4 The Isotype picture language would be of use as a helping language in an international encyclopedia of common knowledge. The rst books, rst exhibitions and emigration to England In the second half of 1930s, the Isotype foundation organized exhibitions and seminars, linking the historical context with the society of the new home country. Exhibitions Around Rembrandt (1938) and The Rolling Wheel (1939) compared social statistics and historical facts to highlight in an original way these inuences on the intellectual elite. It was the rst time that classical themes were presented in a new educational manner. The activity of this period culminated in the publication, The Modern Man Making (De Moderne Mensch Ontstaat, Amsterdam, 1940).7 This sociological preview of the history and statistical research of the modern era was an attempt to create something like a new Orbis Pictus.8 The book is divided into six parts and covers important historical events, social and economical priorities in different countries and continents of the world. In 1940, Neurath and his colleagues had to leave again across the Channel to England due, as before, to the spreading inuence of fascism. England was the last stop of the traveller among nations. He married his most devoted student and collaborator, Marii Reidemeister. She was sixteen years his junior. Until 1970, Marie Neurath continued her husbands work with great success, in a new foundation (Isotype Institute Ltd.), working for the British and Dutch governments.9 Alphabet of modern travellers Isotype system was one huge sprawling experiment since it contained thousands of symbols. Otto Neurath wanted to apply his system as a coherent set of tools for the whole of society. This principle became a major design theme in the area of communication by symbols and pictograms after the World War II10in systems of co-ordinated visual identity (corporate identity). A corporate identity program is, however, the visual language of a corporation; a consistent grammar and vocabulary of a static mechanism. Stylistic consistency helps a set of pictures read as signs, as information markers rather than local ornaments. It is, however, far away from an open system, which would communicate events and movements in society in an understandable way. An integrated visual identity program was applied for the rst time in Tokyo in 1964. Masaru Katzumie11 (the design director) created a system, which was strongly formalized, but not reduced to geometrical order. Part of this program was the sport sign system. Stylized drawings showed good balance between precision of meaning and distinctiveness. A different approach was applied by Manuel Villazn and Matthias Goeritz in Mexico four years later. The sign system used typical equipment to represent the sports. The human form had to be used where there was no equipment (i.e. swimming sign). Otl Aicher12, the head of the design team for Munich Olympics took into consideration the increased visual exposure of the last ve years. (There had been a huge repertoire of information signs and trademarks). His solution, therefore, was a system based on a grid modulor I dont recognize the word modulor?13 which gave more standout to the single sign and improved the syntactic order of the system. In 1974, the committee of the AIGA14 collaborated with the U. S. Department of Transportations Ofce of Faciliation. Within six months, they had created a program of instant pictograms to guide the general public through bus stations, airports, railways and ship terminals throughout the U. S. A. It was the rst time a coherent system of symbol signs had been designed for such purpose within a single country. The D. O. T. s Ofce of Facilitation invited the designer Thomas H. Geismar to chair an advisory committee on Transportation-Related Signs and Symbols. He agreed, and set up a ve-man committee approved by the AIGA. The selected designers were all internationally recognized. They respected each other and brought together a broad knowledge of signage across the world. This ideal superofce was attended by Massimo Vignelli, Seymour Chwast, Rudolph deHarak, John Lees and Tom Geismar. The D. O. T. s Ofce of Faciliation suggested a list of 34 messages, which were felt to be the most in need of graphic representation. The AIGA gathered an extensive survey of similar symbol signs used, at various times and places, throughout the world, as the next step and introduced a small design studio from New YorkCook & Shanosky, to actually render the symbols in a unied graphic style. From this evaluation the committee established detailed guidelines for the design of a symbol conveying each of the 34 messages, which were followed by sketches, often including original variations. The AIGA committee decided to work out guidelines for the use of the system. The guidelines included sign sizes, the distances from which they were legible, the relationships of lettering to sign sizes and a discussion on lettering size and spacing. continue on p. 23

bota shoe

tovrna factory

odchod do Holandska Radikalizace politick a spoleensk situace na potku tictch let vedla k odchodu mnoha levicovch intelektul z Nmecka a Rakouska do exilu. Neurath a jeho spolupracovnci nebyli vjimkou. Po jednoronm pobytu v Institutu pro vizuln reprezentaci statistickch dat v Moskv (19311932), kde pracovali na zhodnocen vvoje a prezentaci rstu novho sovtskho hospodstv,4 se nadobro uchyluj do relativnho bezpe holandskho pstavnho msta Haagu. Zde v roce 1933 zakld nejvrnj okruh spolupracovnk Mezinrodn nadaci pro vizuln vuku (International Foundation for Visual Education),5 kter se stala zkladnou pro manifesty a hlavn dokumenty systmu Isotype. Isotype jako pomocn jazyk a encyklopedie obecnch forem Spolu se svmi spolupracovnky jsme vytvoili mezinrodn obrazov jazyk, kter umouje petlumoit vrazy z jakhokoliv jazyka na svt. Znakov e symbol takovho charakteru je m dl tm vce dleitj univerzln pomckou pro kadho, kdo se asto pohybuje v cizch zemch, kde mu jeho rodn jazyk u nesta k tomu, aby si byl jist, kde si me koupit jzdenku, sprvn pout telefonn pstroj anebo vyzvednout zavazadla. Jestlie je vak veden jazykem symbol, kter mu me zprostedkovat poadovanou informaci, je jeho pobyt v cizm prosted snaz a jednodu. Vzdlvn pomoc obrazovch symbol, propojen se systmem Isotype, by pineslo stejn spojovac komunikan kanl pro rzn nrody po celm svt a dalo by nov impuls k een ostatnch problm mezinrodnho vzdlvn nejirch vrstev obyvatelstva. Nov oblasti vzdln se otevou pro vechny koly. Historie nrod a spoleenskch skupin, mezinrodn obchodn vmna a dal sloit tmata bude snadn pochopit dky jednoduch metod vuky obrazem. Tento emotivn vod k manifestu International Picture Language6 (1936) konen shrnul vsledky dvanctilet prce a stanovil principy novho programu vizuln komunikace: 1 Symbol i obraz je dobrm uebnm prvkem, jestlie vyjaduje vechny dleit informace o tmatu, kter pedstavuje. Na prvn pohled mus jt rozeznat nejdleitj charakteristick prvky, na druh ty mn podstatn, na tet dleit detaily a konen na tvrt pohled nic navc; a pokud ano, pak je takov obrazov symbol patn. 2 Kvalita vizuln vuky spov v tom, e fakta jsou prezentovna jednodue a pmo a jako takov jsou i vstebvna pjemcem. Znaky mus bt jasn iteln, bez dalch pomocnch vklad jsou ivmi symboly. Mus bt tak jasn odliiteln jeden od druhho, aby nebylo pochyb o jejich sprvnm vznamu. Mus bt tak jednoduch, aby je bylo mono seadit za sebe jako psmena abecedy. 3 Pravidla pro uit barev v systmu Isotype nejsou tak pesn denovan jako pravidla pro podobu symbol. Pouv se pouze sedm zkladnch barev: bl, modr, zelen, lut, erven, hnd a ern. Tyto zkladn barvy mus bt jedna od druh natolik rozdln, aby nebylo pochyb o tom, jak jsou pesn vnmny a u jednotliv, nebo ve skupin. Jestlie je napklad nutno barevn oznait symboly pro studenou a teplou vodu, bude pro teplou pouita erven barva a pro studenou modr. 4 Obrazov jazyk Isotype jako mezinrodn univerzln pomocn jazyk formuje encyklopedii obecnch forem a sdlen bez ohledu na prostor a as. Vznik takovho komunikanho standardu je nutnost, kterou si vyaduje modern ivotn styl.

obuvnick vroba shoe-factory

prmyslov vroba obuvi shoes produced by machine

run vroba obuvi shoes produced by handwork

Sdruovn vznamu symbol (International Picture Language, str. 51).6 Putting sings together creates new meaning (International Picture Language, p. 51).6 Oblka reprintovanho vydn publikace International Picture Language (University of Reading, 1980).6 Cover of a facsimile reprint of the [1936] English edition of International Picture Language (University of Reading, 1980).6 Kam umstit sv zavazadla! (International Picture Language, str. 16).6 Where to put your luggage! (International Picture Language, p. 16).6

Prmyslov revoluce v Anglii 18201880 ve vrob textilu. Modr symboly zna rostouc produkci (1 symbol = 50 mil. angl. liber celkov produkce). ern symboly zna domc vrobu, erven prmyslovou, tedy tovrn vrobu (1 symbol = 10 tisc pracovnk). Ukzka z publikace The Modern Man Making, str. 53.7 The industrial revolution in England 18201880 in the textile industry. Each blue symbol shows 50 mln. pounds sterling of total production. Each black gure represents 10 thousand home workers. Each red gure represents 10 thousand factory workers. The Modern Man Making, p. 53.7

prvn knihy, prvn vstavy a odchod do Anglie innost nadace nabrala v druh polovin tictch let nov smr. Vstavy O Rembrandtovi (Around Rembrandt) z roku 1938 a Valc se kolo (The Rolling Wheel) z roku 1939 uplatnily metodu Isotype na novou formu vzdlvn obyvatelstva. V rembrandtovsk epoe (16261669) provalo Holandsko obdob velkho hospodskho rozkvtu. Prvn vstava ukzala souvislosti mezi tmto vzestupem, demograckm vvojem msta Leidenu (Rembrandtovo rodit), Amsterdamu (kde il a pracoval po zbytek ivota) a ivotnmi etapami a osudy umlce. Druh vstava ilustrovala na podobnm dobovm kontextu historick vvoj holandskch eleznic. Byl tak objeven a prezentovn originln a nzorn pklad vlivu, jak m spojen historickch fakt s neviditelnou energi idej, socilnch a hospodskch dat na formovn mylenek spoleensk elity. Bylo to poprv, kdy se v Holandsku klasick umn prezentovalo v novm edukativnm duchu. Sociln-ekonomick pozad zlat doby bylo uvedeno do kontextu s prac lovka, kter je prvem povaovn za jednu z nejdleitjch osobnost holandsk historie. Vrcholem snah nadace a celho neurathovskho uen se stala roku 1940 publikace Otto Neuratha lovk a jeho vvoj v modern dob (De Moderne Mensch Ontstaat).7 Tato historicko-sociologick sonda a zrove encyklopedie vvoje modernho vku je velice spnou snahou o vytvoen jakhosi novodobho pandnu Orbisu pictus.8 Kniha je rozdlena do esti kapitol. Popisuje vznamn svtov historick udlosti, zkladn tendence a prvky rozvjejc se modern spolenosti, stav ekonomiky a socilnch pomr v jednotlivch zemch i svtadlech.

Pohled do vstav Valc se kolo a O Rembrandtovi (Gemeentemuseum, Den Haag18). Photographs of the exhibitions The Rolling Wheel and Around Rembrandt (Gemeentemuseum, The Hague18). Oblka a ukzky z katalogu k vstav O Rembrandtovi. Diagramy vyuvaj ty barev reprezentujcch tyi etapy ivota slavnho male. K nim jsou pak vztaena srovnn tmat jeho obraz, potu jeho student a obdivovatel, mnostv mistrovskch dl v holandskch sbrkch apod.19 Cover and inside pages of the catalogue Around Rembrandt. The diagrams use four main colours, which symbolize the four periods of the artists life and the number of his masterpieces, its themes, number of pupils and infuenced artists, pieces in the Dutch collections etc.19 Ladislav Sutnar, Bedich Mendl a August Tschinkel: Mal vlastivda (Sttn nakladatelstv v Praze, 1935). August Tschinkel, Neurathv spolupracovnk z vdeskho muzea a propagtor jeho prce v eskoslovensku, inicioval spolu s Ladislavem Sutnarem a genetikem Bedichem Mendlem vznik prvn eskoslovensk statistick publikace, kter nesla vrazn znaky pmho vlivu systmu Isotype. Prezentovala sociln a ekonomick daje ve strohm obrazovm stylu a psn edukativnm duchu. Ladislav Sutnar, Bedich Mendl and August Tschinkel: A Small Geography (Sttn nakladatelstv v Praze, 1935). Together with Ladislav Sutnar, pioneer of the modern Czechoslovak design and scientist Bedich Mendl, August Tschinkel, August Tschinkel, Neuraths collaborator from Ge-Wi-Mu and propagator of the museum methodology in Czecholovakia, initiated the birth of the rst statistical publication in the country. Isotype shows social and economical data in a strict pictorial and educative manner.

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19

Dal etapa v Neurathov ivot, pravdpodobn ta nejdleitj, se uzavr. V roce 1940 unik ped postupujcm faismem do Anglie. Ta se stv cestovateli mezi nrody posledn zastvkou. V Oxfordu si roku 1941 bere za enu svoji nejvrnj studentku, oddanou spolupracovnici a celoivotn partnerku, o estnct let mlad Marii Reidemeister. Spolu ve stejnm roce zakldaj novou nadaci Isotype Institute Ltd., kde Marie Neurath po manelov smrti pokrauje a do roku 1970 v jeho odkazu jak prac pro soukrom subjekty, tak hlavn pro britskou a holandskou vldu.9 abeceda modernch cestovatel Jako systm obsahujc tisce symbol byl Isotype iroce otevenm polem pro experimenty v oblasti vizuln komunikace. Otto Neurath chtl uplatnit jednotn systm symbol ve spoleenskm prosted jako celek, a najednou. Tato mylenka se stala po II. svtov vlce stednm motivem nov oblasti komunikace prostednictvm symbol a piktogram10 systmu jednotn vizuln identity ili corporate designu. Obrazov jazyk, chpan jako konzistentn celek kter uruje zvazn pravidla a prostedky pro oblast intern i extern komunikace, od dopisnho papru po znaku spolenosti na jej budov , je kompletnm logickm celkem s vlastnmi zkonitostmi. Tvo ho vak statick (ili pevn dan) mechanismus, kter vyuv obrazovch symbol pro pedem stanoven cle, a je tud ponkud vzdlen Neurathov vizi dynamickho vizulnho jazyka. Stylistick konzistence novodobch symbol pomh lovku porozumt jejich vizuln zkratce vce jako obsahovmu znaku i informanmu znaen neli dobovmu ornamentu. M vak daleko k tomu, aby fungovala jako oteven systm, kter srozumitelnou formou komunikuje zrcadlc se procesy ve spolenosti. Nov pklady integrlnho vizulnho komunikanho systmu byly poprv aplikovny na olympijskch hrch v japonskm Tokiu v roce 1964. Soust projektu byl i program symbol reprezentujc jednotliv sporty. Hlavn designr Masaru Katzumie11 navrhl formln systm, kter vak nesledoval njak hlavn geometrick uspodn: stylizovan kresby pohybovch studi, typickch pro tu i onu sportovn disciplnu, uplatovaly rovnovhu mezi distingovanou vtvarnou formou a vznamovou funkc. O tyi roky pozdji uplatnili Manuel Villazn a Matthias Goeritz v Mexiku jin princip: jejich systm pouval symboly typick pro sportovn nin jednotlivch sport. Kde se nin neuvalo, byl aplikovn fragment lidskho tla v praktick sportovn innosti. Nejvtho pokroku bylo dosaeno za dalch est let, na olympijskch hrch v Mnichov. Tm veden Otlem Aicherem12 byl postaven ped kol vytvoit doposud nejvt vizuln systm pro jednotlivou akci. I kdy se potkal s konkurenc rozmanitch systm a symbol, kter se na potku 70. let hojn objevovaly, vsledek pedil vechna oekvn. Program s vraznou vizuln funkc kadho jednotlivho symbolu a souasn kompaktn jako jeden celek vytvoil praktick a velmi oteven systm. Ten byl zaloen na aplikaci pedem stanoven st pro tvorbu jakhosi novodobho moduloru;13 z nj vychzel systm funknch znak pro jednotliv sporty i destky dalch symbol, kter pak byly i po olympijskch hrch rozvjeny rmou Erco pro dal vyuit nejen v Evrop, ale i v USA. V roce 1974 se komise AIGA14 ve spoluprci s americkm ministerstvem dopravy rozhodla vytvoit bhem pouhch esti msc soubor piktogram, kter by usnadnily orientaci veejnosti na autobusovch a elezninch ndrach, na letitnch a lodnch terminlech po celch Spojench sttech. Bylo to poprv, kdy se ml jednotn systm symbol bezvhradn uplatnit nejen v rmci njak velk spoleensk udlosti a v kontextu jednoho regionu, nbr permanentn a pro cel stt. Ministerstvo dopravy povilo designra Thomase H. Geismara, aby pedsedal vbrov a poradn komisi pro nov veejn orientan znaky a symboly. Na jeho dost spolu s nm v komisi zasedlo dalch pt veobecn a vzjemn respektovanch osobnost s mezinrodnm vhlasem Massimo Vignelli, Seymour Chwast, Rudolph deHarak, John Lees a Tom Geismar. Ministerstvo pedloilo seznam 34 tmat, kter byla vybrna jako nejdleitj pro dal grack zpracovn. Komise pak

Oblka a ukzky z publikace lovk a jeho vvoj v modern dob.7 Zleva: Srovnvac diagram mnostv populace ve svtovch imprich (1 symbol pedstavuje 10 milin lid). Denn reim ivota ve mst a na venkov. ivotn rove jednotlivch skupin obyvatelstva v Jin Karoln, U. S. A., podle pjm. Dole: Rozdly v minulosti a sjednocen v ptomnosti: lovk je stejn za kadch okolnost. Cover and examples from the publication The Modern Man Making.7 From left: Comparative diagram of the population in the world empires (1 symbol equals 10 millions people). Daily routine of life in the city and in the countryside. Living standard of different classes of the population in South Carolina, U. S. A. according to their income. Below: Differences in the past and unication at the present: a man stays the same under any circumstances.

20

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Olympida v Mnichov (1972): Otl Aicher a jeho spolupracovnci: Gerhard Joksch, Rolf Mller a Elena Winschermann. Munich Olympics (1972): Otl Aicher and his co-designers: Gerhard Joksch, Rolf Mller and Elena Winschermann.

Vech 50 symbol systmu D. O. T. a ukzka procesu prce na vybranm symbolu eleznin dopravy. Skici komise AIGA jsou doplnny vce rozpracovanmi verzemi a nlnm eenm od Cook & Shanosky. (Design komise AIGA pro Ministerstvo dopravy U.S.A., 1974.) All 50 symbols of the D. O. T. system, as well as an illustration of the work on the railroad symbol. Sketches of the AIGA Committee are shown with the more nished attempts by Cook & Shanosky and the nal result also by Cook & Shanosky. (Designed by AIGA committee for the Department of Transportation, 1974.)

Srovnn olympijskho symbolu pro atletiku (zleva): OH v Tokyu (1964), OH v Mexiku (1968), OH v Mnichov (1972). Mnichovsk symbol v sti moduloru, smrovnk, zkladn s a stavebnice prvk pro jednotliv symbol. Comparison of Olympic symbols for athletic events (from left): Tokyo Olympics (1964), Mexico Olympics (1968), Munich Olympics (1972). Munich sign in a grid modular. The directions, grid and parts for all symbols.

provedla rozshl przkum ji existujcch znaek a symbol z celho svta a pizvala ke spoluprci mal studio z New Yorku (Cook & Shanosky), kter pak pipravovalo jednotliv skici symbol v jednotnm stylu. Pro kad tma byl zpracovn materil zahrnujc doporuen pro design jednotlivch symbol a skici reektujc jak ji existujc een, tak i nov, originln npady. Kdy byl systm 34 symbol schvlen a byly vypracovny instrukce pro jeho pouvn (z hlediska velikosti, itelnosti a vztahu doplkov typograe a symbol), vstoupil spn do praxe. Na zvenou poptvku veejnosti byl komis AIGA pozdji (1978) doplnn o dalch 16 piktogram. Kompletn set 50 znaek se stal vznamnm a inspirativnm pkladem nejen pro americk, ale pozdji pro hlavn v Evrop asto vyuvan informan systm ve veejnm prostoru (nap. mezinrodn letit Schiphol v Amsterdamu15). grack designr 21. stolet Otto Neurath nechpal Isotype jako autonomn univerzln prostedek ke komunikaci mezi lidmi. Vil naopak sv vizi, e vizuln komunikace se me stt spoleenskm mdiem, kter sjednot snahy o unikaci socilnho a hospodskho prosted v mezinrodnm mtku. Chtl vytvoit univerzln obrazovou abecedu, kter by spoleensk procesy jasn a srozumiteln zformulovala kadmu bez rozdlu dosaen kvalikace i vzdln. Byl tak nejen novodobm uitelem nrod, ale rovn i mylenkovm pedchdcem dnench architekt sjednocen Evropy. Promtnutm sv lozoe do kontextu veejnho prostoru poloil zklady vvoje novch prostedk komunikace. V neposledn ad pedznamenal originln typ grackho designra 21. stolet ne umlce i kreativnho sluhy progresivnch technologi, ale aktivnho inicitora mylenek a jazykovho pracovnka (komuniktora), kter prostednictvm designu vytv a propaguje vlastn spoleensk vize.22

Oblka holandsk statistick roenky z roku 1961. (Centraal Bureau voor de Statistiek.) Vlevo: Diagram podlu jednotlivch pepravc na transatlantick leteck doprav. Cover of the Dutch statistical annual of 1961. (Centraal Bureau voor de Statistiek.) Left: Diagram showing share of the airlines in the air transportation over the North Atlantic Ocean (1959). Oblka holandsk statistick roenky z roku 194748. (Centraal Bureau voor de Statistiek.) Vlevo: Vstavba novch dom v roce 1947: dostavn (vlevo), zapoat stavby (vpravo). Mnostv divk (ern) v kinech, na koncertech, divadle, stadionech a ostatn. Penze investovan do vstupnho (erven), 1947. Dopravn nehody v roce 1940 (propojen rznch druh dopravy.) Kad linie odpovd 1 % z celkovho mnostv dopravnch nehod. Cover of the Dutch statistical annual of 194748. (Centraal Bureau voor de Statistiek.) Left: Completed and new houses in 1947: completed (left), bulding phaze (right). The number of visitors (in black) and spent money (in red): cinema, concert hall, theatre, stadium, others (1947). Further: Trafc accidents in 1940 (accidents by different means of transportation). Each line equals 1% of the total number of trafc accidents. Oblka prvn holandsk statistick roenky z roku 1941. (Centraal Bureau voor de Statistiek.) Cover of the rst Dutch statistical annual of 1941. (Centraal Bureau voor de Statistiek.)

Ukzka osvtov informan graky Isotype institutu, kter se pevn v padestch a edestch letech uplatnila na mnostv studijnch materil pro mlde (Velk Britnie) a nevzdlan vrstvy obyvatelstva (nap. Nigrie). Zabv se prevenc tuberkulzy, osvtlenm jejho vzniku, pznak a penen na zdrav jedince.21 Example of health education by information graphics produced by Isotype institute, which was successful with a number of educational publications in the U. K. or i. e. in Nigeria in the 1950s and 1960s. It covers a subject of infection and prevention of tuberculosis.21

continued from p. 17 A new sign system that would be widely used and understood, regardless of the users language or literacy, was ready to be put in use in the U. S. A. After a few years of successful application in the public realm, there was pressure for more symbols from ofcials in the public facilities, who complained that if they werent provided additional symbol signs matching the original ones. This meant that they would have to design their own. In the interest of purity and consistency of the existing system, the D.O.T.s Ofce of Facilitation set out to expand its 34symbol system with additional16 symbols as the second AIGA-DOT program (1978). The complete system of 50 symbols was an outstanding contribution, not only for American, but forinternational symbology as a whole. The system set an international standard, which has been followed (together with the Erco system) by many countries throughout the worldparticularly in Europe. (e. g. international airport Schiphol in Amsterdam).15 Otto Neurath didnt understand the Isotype system as an autonomous and universal tool for communication among people. Conversely, he believed that visual communication could become a medium of society, unifying the social and economic environments on an international level. His ambition was to create a universal sign alphabet, which could communicate the processes of society to anyone, regardless of their qualications or education. In a way, he was a modern teacher of nations and precursor to the present architects of the EU. He created the base for modern communication by transmitting his philosophy into the context of public space. His work could also serve as a model for the graphic designer of the 21st centurysomeone who is not a creative slave of modern technologies, but an initiator of ideas. An active language worker-communicator, who promotes by design his or her own vision of society.22

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Poznmky Notes 1 Rudolf Haller, Robin Kinross: Otto Neurath, Gesammelte bildpdagogische Schriften, Verlag Hlder-Pichler-Tempsky, Wien 1991 (ISBN 3-209-00863-9, www.wirtschaftsmuseum.at). 2 Ellen Lupton: Reading Isotype, str. / p. 148. Vstava / Exhibition: Global Signage: Semiotics and the Language of the International Pictures, The Cooper Union, N.Y., 1987. [Victor Margolin: Design Discourse, The University of Chicago Press, Ltd., London, 1989 (ISBN 0-226-50514-6). 3 August Tschinkel: Zobrazen mnostv a kolektivn tvary. Vtvarn snahy, Vol. XI, 19291930, str. / pp. 136137. 4 Sovtsk obdob a jeho vsledky tvo doposud nepln zmapovanou periodou Neurathova ivota. Jeho spolupracovnky a pteli se stala ada vznamnch

osobnost rusk avantgardy prvn poloviny 20. stolet, nap. Tatlin nebo Lissitzky. The Soviet period is not a very well known part of Neuraths life. His friends were some of the important gures of the Russian avantgardai. e. Tatlin or Lissitzky. 5 V Haagu se od roku 1934 nadace zabvala organizac svch vronch konferenc a ppravou materil pro vydn obshl encyklopedie symbol Isotype: International Encyclopedia of Unied Science. The foundation worked on large encyclopaedia of signsIsotype: International Encyclopedia of Unied Science. 6 Otto Neurath: International Picture Language / Internationale Bildsprache, a facsmilie reprint of the [1936] English edition, University of Reading, 1980 (ISBN 0-7049-0489-6). 7 Otto Neurath: De Moderne Mensch Ontstaat.

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N. V. Noord-Hollandsche Uitgevers Maatschappij, Amsterdam, 1940. U jako dt byl Otto Neurath fascinovn touto prac J. A. Komenskho a i jako dospl stle sbral rzn lidov obrzky, motivy a pohlednice. Otto Neurath collected pictures and motives. He was fascinated by the work of Comenius. Ndhernou vzpomnku vnoval Marii Neurath Robin Kinross. A beautifull text about Marie Neurath could be nd in a book. Robin Kinross: Unjustied texts (Perspectives on Typography). Hyphen Press, London, 2002, str. / pp. 5155 (ISBN 0-907259-17-0). Ibid. 2) + Rudolf Modley: Handbook of Pictorial Symbols. Dover Publications, Inc., New York, 1976 (ISBN 0-486-23357-X). Heiner Jacob, Masaru Katzumie: Sign Systems for International Events: Munich,

Sapporo, Osaka & Co., americk asopis Print Nov. /Dec. 1969, Vol. XXIIIIVI, str. / pp. 4047. 12 Otl Aicher, Martin Krampen: Zeichensysteme der visuellen kommunikation, A. Koch Gmbh, Stuttgart, 1997. 13 Mylenka proporn st, kter by byla mrou pro nejrznj kombinace bez omezen, byla ideou, kterou se zabvali nejvznamnj umlci a architekti od Leonarda da Vinciho a po Le Corbusiera. Ten v roce 1945 navrhl mrn systm odvozen z lidskch proporc, nazvan t Modulor, jen se stal stupnic mr, umoujc sestrojit pomoc matematick logiky a geometrickch zkon pedmty lovku pimen a obklopit ho harmonickm prostedm. The rst modular is believed to have been drawn by Leonardo da Vinci. Le Corbusier suggested a metric system inspired by

14

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16

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18 19

20 21 22

human proportions in 1945. His modulor was a scale of measurements, which helped to create a harmonious environment of objects and buildings. Edward K. Carpenter: Travelers Aid, Courtesy DOT and AIGA, Print magazine Mar./Apr. 1975, Vol. XXIX:II, str. / pp. 2631. Schiphol airport signage (Benno Wissing, Total Design, Amsterdam, 1967). Frank Hartmann, Erwin K. Bauer: Bildersprache Otto Neurath Visualisierung, WUV Universittsverlag, 2002, Austria (ISBN 3-85114-704-9). Gerd ArntzKritische graek. Gemeentemuseum, Den Haag, 1976. Ibid. 17). Around Rembrandt. Magazijn De Bijenkorf, Amsterdam, Den Haag, Rotterdam, 1938. Foto: Karsten de Riese + ibid. 14. Ibid. 1, str. / pp. 440446. Ibid. 2., str. / p. 156.

TYPO.TEXT Nimbus Sans Novus (Regular, Medum, Semibold) Fette Engschrift (Regular) URW++

KNIN OBLKA JE UMN Naprosto uniktn udlost nejen v eskm kontextu se stala vstava Umn je abstrakce. Expozice se zamuje na tendence v eskm abstraktnm umn od konce padestch let 20. stolet (strukturalismus, nov gurace, informel, nov citlivost, letrismus, lyrick abstrakce, materilov antimalba apod.) a do nstupu normalizace a dokld zkou vazbu mezi tehdej volnou tvorbou a knin kulturou. V jzdrn Praskho hradu mete obdivovat pes dv st dl (malbu, plastiku, fotograi) a kolem pti set kninch grackch prav pednch vtvarnk (Balcar, Botk, Boudnk, Demartini, Fuka, Grygar, Hlavsa, Koblasa, Kratina, Kubek, Malich, Medkov, Ovek, Piesen, Skora, Sekal, Valenta, Vesel ad.). Historik umn Zdenek Primus pipravil tuto skvlou vstavu z vlastn sbrky shromaovan v prbhu 90. let. A aby tch superlativ nebylo mlo: msto obyejnho katalogu jet napsal mimodnou knihu, kterou ve tech jazykovch verzch (esky, nmecky a anglicky) vydalo nakladatelstv Kant. Grackou pravu ml na starosti Robert V. Novk a o kvalitch vsledku svd i skutenost, e esk vydn je ji rozebrno (nezoufejte dotisk je v plnu). Ti, kdo nestihli vstavu na Praskm hrad do 25. kvtna 2003, maj monost navtvit expozici od ervna do z v Moravsk galerii v Brn anebo od ledna 2004 v Muzeu umn v Olomouci. [pz]

VKUSN HOLD Experimenttorskou

a novtorskou psmolijnu Emigre rozhodn neproslavily forteln revivaly renesannch, baroknch nebo klasicistnch psem, sta si jen vzpomenout na neastnou citaci bodonky, kterou autorka Zuzana Licko pojmenovala vzneen Filosoa (1995), nebo na americky rozlpnut baskerville, jakkoliv vtipn pojmenovan po jeho en Sarah Mrs. Eaves. Nyn si vak reputaci na tomto poli Emigre napravuje: nmeck typograf Frank Heine, autor let Remedy a Motion, uvd dvouezovou rodinu serizn renesann antikvy nazvanou Tribute. A e jde o vskutku poctiv emeslo, dokazuje ji sporn, ale pitom informacemi nabit a vkusn upraven vzornk (ten sice tvrd, e jde o osm ez, ale sady expertnch znak a kapitlek za samostatn ez v dob OpenType opravdu povaovat nelze). Rodina Tribute vychz z psma navrenho v roce 1565 francouzskm rytcem Franoisem Guyotem jeho prce je souasnm typografm prakticky neznm a stoj ve stnu slavnjch a starch tvrc, jako byli Garamond i Griffot, ale ve sv dob platil v mst psoben (Antverpy) za velmi vlivnho a spnho. Tribute charakterizuj nkter mil a mon zmrn konstrukn zvltnosti u verzlek N, M, stroze ukonen doln petanice u ypsilon, ale zejmna pomrn robustn duktus a snen kontrast mezi silnmi a slabmi tahy. Dky tmto charakteristikm vypad psmo vborn zejmna v nich stupnch, od diamantu po borgis. Sazba m ponkud tmav valr a psob velmi vyrovnan a uspodan. Znakov sada je luxusn vybavena, krom bnch zpadoevropskch znak obsahuje na dv destky ligatur, inicily, zakonovac znaky, stylov ornamenty, proporcionln i tabulrn slice, a to jak verzlkov, tak minuskov vetn jejich indexovch verz. Velkou vtku si vak zaslou akcenty, kter Heine s pslovenou nmeckou pelivost prost pepsal z originlu a kter lze pout pouze pro vytven napodobenin historickch text, nikoliv pro souasnou sazbu. Naince to zase tolik mrzet nemus, znakov sada stejn tzv. vchodoevropsk znaky neobsahuje To je ovem u Emigre u nepknou tradic. Potencilnmu zjemci krom vahy, zda za rodinu Tribute utratit 95 dolar, zbv jet najt dvod, pro vlastn vbec po tomto psmu shnout. Autor sm, vdom si jeho mon nadbytenosti, k: Nkter existujc revivaly na m psob tak sterilnm a chladnm dojmem, e jsem se rozhodl vytvoit psmo uchovvajc si jasn vizuln vztah k dob svho vzniku. Take a budete nkdy upravovat Index dl zakzanch Svatm ociem, vezmte Tribute v vahu [pz] http://www.emigre.com/EF.php?d=196

NOV PREZENTACE ESK REPUBLIKY

esk centrla cestovnho ruchu si vybrala potkem bezna nov logo. Podle tiskov tajemnice Zuzany Domalpov bylo nov logo vybrno ze dvou dvod. Prvnm, zcela praktickm, byla nedostaten monost disponovat s pedchzejcm logem. Jeho pouvn nebylo dokonale prvn oeteno. Druhm dvodem byla snaha o spolen postup pi propagaci esk republiky. CCR byla jedinm subjektem, kter pouval novotvaru Czechia. Tento pojem se neujal, nebyl v zahrani rozen, dokonce vyvolval zmatky (Czechia byla asto zamovna s enou!), nepouvali ho ani dal zstupci R (CzechTrade, CzechInvest, esk centra, hl. m. Praha ad.). Protoe se sname nae aktivity vce zkoordinovat, aby prezentace R ve svt byla jednotnj, rozhodli jsme se znovu uvat pojem Czech Republic. Zmna loga byla tedy nutn a musela probhnout rychle, pe Domalpov.

24
strnku pipravili Pavel Koika a Pavel Zelenka

TYPO.RECENZE

ESKY A LPE SERAPION II Nrodn

charakter psma se pomalu str, pesto pokud bychom hledali souasn esk nrodn charakter, nejspe bychom narazili na psma Frantika torma. Jeho zdobn detaily na pvodn chladnch literch dok graky bu pobouit, nebo nadchnout. Serapion II je remake zdail barokn-renesann antikvy, kter vyla u v roce 1996. Msto cizelovn znak do uniformn podoby se spe maximln sna vystihnout charakter a kresbu pvodnch liter. Vsledkem tohoto procesu jsou zdobn detaily, kter dokresluj sazbu v malch stupnch a rozehrvaj titulky. Nov podoba psma odstrauje nkter nadbyten detaily, jako napklad pehnan serify liter b i q, prohnut horizontly znak A a H nebo smyku u litery W. Krom vyitn kresby pibyly v psmu nkter uiten znaky kapitlky, minuskov slice, ligatury. Dky vem pravm je psmo mnohem pouitelnj pro knin sazbu, kde dve nkter detaily brnily plynulosti ten, protoe zbyten poutaly tenv zrak. Stle sice plat, e psmo je pjemnj v mench stupnch, pesto lze jeho vyitnou verzi pout i ve vtch velikostech. Pro titulkovou sazbu lze s spchem pout nov vytvoen kapitlky, kter se mn krout a vce funguj. [pk]
http://www.pismolijna.cz

Nov logo bylo vybrno ze 40 nvrh od 10 grak (vetn zahraninch). Ze zaslanch nvrh byla vedoucmi jednotlivch oddlen vybrna ti loga, kter byla testovna na 150 cizincch (oekvan clov skupina) a podstoupila hlasovn na zahraninm webu. Z obou test vylo vtzn stejn logo, jeho autorkou je Linda Kleisnerov. Na vyjden jsme se zeptali tak Ondeje merdy, kter vytvel pvodn logo v grackm ateliru Leonardo v roce 1999. O dnm novm logu nic nevm, nikdo m nekontaktoval. Pvodn logo jsem asi ped tymi roky nakreslil pro sout vyhlenou tehdejm prezidentem Asociace reklamnch agentur (ARA, dnes AKA) panem Mikeem. Sout probhala dvoukolov a porota s mezinrodnm zastoupenm tehdy vybrala mj nvrh. Protoe to cel byla obansk iniciativa ARA a pana Mikee, pila esk centrla cestovnho ruchu k tomuto logu a kurizn levn (100 000 K). Logo centrle prodal grack atelir Leonardo, ve kterm jsem byl tehdy zamstnn jako artdirector. Bohuel, logo bylo na publikacch centrly pouvno asto v rozporu s pvodnm zmrem autora i s existujcm manulem, tj. asto na barevnch a ruivch podkladech a ve zbyten pehnan velikosti, co ve logu dost ubliovalo. Autor ani atelir Leonardo nemli dn vliv na zpsob pouvn loga. Zbv dodat, e star logo se pouv napklad na zahranich vstavch sponzorovanch eskou vldou (poslednm pkladem byl CeBIT). Tam dosud pomrn dobe slouilo, a jak se k, nen teba kon pepahat, kdy jet thne. esk republika vbec navenek psob jednotn. Sta se podvat na strnku Czech.cz, co by ml bt webov portl o esku uren zahraninm nvtvnkm a investorm, a lovk netu, kolik eskch republik vlastn existuje. Navc nen vbec jasn, pro je strnka na domn Czech, kdy nahldnutm do slovnku lehce zjistme, e slovo Czech m dva vznamy: 1. esk, 2. ech/eka nebo etina. Ani jeden z nich neznamen esko nebo eskou republiku[pk] http://www.cccr-info.cz http://www.czech.cz

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