typograe. grack design.

vizuln komunikace
typography . graphic design . visual communication

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TYPO.16 JULY 2005
UVNIT / INSIDE HUNGARICUMS Type from Hungary The democratisation of characters Project diacritics FiFFteen: type for independent minds Typography with a heart
kodaOctavia Combi
ZA FORMOU SE SKRV FUNKCE,
ZA OCENNM VJIMEN DESIGN
Nrodn cenu za design, udlovanou kadoron Design
centrem R, letos zskala Octavia Combi. Vy zskvte
pleitost rozhodnout se pro vz, jeho jedinenou karoserii
a dlouh mkk kivky nikdo nepehldne.
www.skoda-auto.cz
LET
HISTORIE AUTOMOBIL
100
SIMPLY CLEVER
Octavia_Award_Typo250x310 4.5.2005 12:39 Strnka 1

ANTALIS s. r. o., velkoobchod paprem,

len nadnrodn spolenosti ANTALIS
International Holdings.
ANTALIS s. r. o.
Ofce Park Nov Butovice
Bucharova 1314/8, 158 00 Praha 5
tel.: +420 233 113 211, fax: +420 233 113 223
e-mail:antalis@antalis.cz
www.antalis.cz
Partnei asopisu / Partners of magazine
Distributor a produkn partner spolenosti Linotype Library,
dodavatel a systmov integrtor grackch, pedtiskovch a publikanch
systm a zazen pro produkn digitln tisk.
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
www.dataline.cz
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partner / partner
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
www.amsoft.cz
Oc umouje svm zkaznkm
inn a efektivn zpracovn dokument
nabdkou prbn inovovanch
produkt pro sprvu a tisk dokument
pro profesionln prosted.
grack nvrhy, DTP, scan, osvit
velkoformtov a digitln tisk
prodej font URW++ a Adobe
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
ADOBE AUTHORIZED SERVICE PROVIDER
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
(nejen) knin typograe
a sazba, jazykov redakce, korektury,
kolen grackch pracovnk
Studio LACERTA
VOP (m. 203),
Chvalova 11, 130 00 Praha 3
tel.: 603 746 009
sazba@sazba.cz
www.sazba.cz
Univerzln tiskrna a grack studio.
Tisk katalog a asopis V1, V2, V3,
automatick vsek.
OMIKRON Praha, spol. s r. o.
Doudova 22, 147 00 Praha 4
tel.: 261 218 30910, fax: 261 227 946
vroba: U Elektry 650, Praha 9 Hloubtn
e-mail: omikron@omikron.cz
www.omikron.cz
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
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
DTP, redigitalizace lm, osvit CtP, archov i rotan
ofsetov tisk na strojch Heidelberg, vazby V1 a V2
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
graka, DTP, CTP, tisk do formtu B1,
kompletn knihask zpracovn
REALTISK, s. r. o.
Opatovick 18, 110 00 Praha 1
tel.: +420 224 930 426, +420 224 933 8223
fax: +420 224 933 824
Steovick psmolijna je vrobcem kvalitnch
OpenType font s jedenctiletou tradic.
Krom slavnch klasickch textovch psem
z evropsk historie nabz tak dleit pvodn
dla eskch psma 20. a 21. stolet.
Frantiek torm
plova 23, 162 00 Praha 6 CZ
mail@stormtype.com
www.stormtype.com
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
partner / partner partner / partner
Pvodn psma, korportn psma,
psma na objednvku.
SUITCASE TYPE FOUNDRY
Sobslavsk 27
130 00 Praha 3
tel.: +420 775 066 498
e-mail: mail@suitcasetype.com
www.suitcasetype.com
1 TYPO.EDITORIAL
TYPO typograe . grack design . vizuln komunikace
typography . 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
Martin Jamrich (martin@magtypo.cz)
redakce editors
redakce@magtypo.cz, pr@magtypo.cz
Filip Blaek (lip@magtypo.cz)
Pavel Koika (catt@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
REALTISK s. r. o. Opatovick 18, 110 00 Praha 1 Nov Msto,
titno na papr BLACK LABEL mat / printed on BLACK LABEL mat paper 150 g/m
2
& 250 g/m
2
(dodv ANTALIS s. r. o.)
programy software
Adobe InDesign

, Adobe Photoshop

, Adobe Acrobat

, ScenicSoft ColorCentral

, ScenicSoft Preps

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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LEN ICOGRADA DESIGN MEDIA NETWORK . A MEMBER OF ICOGRADA DESIGN MEDIA NETWORK TYPO.EDITORIAL
TYPO.THEME
Krisztina Somogyi HUNGARICUMS Type from Hungary
Typografov z Maarska
TYPO.PHENOMENON
Johannes Bergerhausen The democratisation of characters
Demokratizace znak
TYPO.PROJECT
Filip Blaek Project Diacritics
Projekt Diacritics
TYPO.ANNIVERSARY
Jan Middendorp FiFFteen: type for independent minds
FiFFteen: psmo pro nezvisl
TYPO.PHOTO
Alejandro Cabrera vila Typography with a heart
Typograe se srdcem
TYPO.BAZAAR
1
2
12
19
20
30
32
tisk do form
tu B1, B2
grafika DTP CTP
knihask zpracovn
Opatovick 18, 110 00 Praha 1 Nov Msto fax: 224 933 824, tel.: 224 930 426, 224 933 822-3, 224 932 992, 224 933 182
Mil teni, rdi bychom vs pozvali na vron konferenci ATypI, kter se uskuten od 15. do
18. z v Helsinkch. Pednky, je spojuje motto Na hran, vybral organizan tm pod vedenm
t nskch designr Kaie Rentoly, Tomiho Haaparanty a Jarna Lukkarily. Hlavn konferenn
program zahrnuje vce ne tyicet prezentac, workshop a demonstrac zhruba sedmdesti
spkr. Mezi jinmi se konference aktivn zastn Ken Barber, Peter Biak, Alessio Leonardi,
Gerry Leonidas, Thomas Phinney, Jean Franois Porchez, Erik Spiekermann, Sumner Stone,
Adam Twardoch i Alan Zruba. Pokud vhte, zda
konferenci navtvit, pette si na webu www.atypi.org
10 dvod, pro pijet na ATypI Helsinky. Konference se
samozejm zastn i n magazn: report z konference
otiskneme v ptm sle spolen s dalmi lnky, mezi
nimi najdete tebas rozshl a uniktn materil o historii
psma DIN a rozhovor s autorem digitln verze FF DIN,
typografem Albertem-Janem Poolem. [vae redakce]
Dear readers, We would like to invite you to the Annual ATypI Conference, to be held in Helsinki
September 15 through 18, 2005. Based on the conference theme On the Edge, the lectures were
chosen by the organizers team, led by three Finnish designers Kai Rentola, Tomi Haaparanta and
Jarno Lukkarila. The main conference programme includes more than forty presentations, workshops
and demonstrations, delivered by approximately seventy speakers. Among others, you will have the
chance to hear and see Ken Barber, Peter Biak, Alessio Leonardi, Gerry Leonidas, Thomas Phinney,
Jean Franois Porchez, Erik Spiekermann, Sumner Stone, Adam Twardoch or Alan Zruba. If you
are still hesitating to participate in the event, we suggest that you read 10 reasons to come to ATypI
Helsinki 2005, posted at www.atypi.org. Of course, our magazine is also going to take part in the
conference: in the next issue of Typo we will publish a report from Helsinki, accompanied by other
texts, e. g. a long and unique feature on the history of DIN font and an interview with the typographer
Albert-Jan Pool, author of the FF DIN digital version. [the editors]
16 typo 2005.indd 1 16.8.2005 11:58:05
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TEXT. KRISZTINA SOMOGYI 2 TYPO.THEME
type designers from Hungary
typografov z Maarska
When I was asked to introduce the best Hungar-
ian contemporary type design to an international
public I immediately knew that I would have to say a few
words about the situation in which we live and work. It
is necessary to introduce our own cultural context so as
the works can bear significance. That of course implies
that I feel an important difference between our design
experience and possibilities compared to what one can
see in publications, books and exhibition coming from
the West. The specifications of our situation is not only
evident within this comparison but travelling around the
region and especially coming back to the Czech Republic
several times, I have realized that there are characteristics
to each different country.
As a general fact, I have to say that very different cul-
tures, aims, reasons, motivations and techniques form our
present day visual reality. They coexist without any visible
order, or priority; a rather chaotic overall image is typi-
cal when visiting our cities. International logos and ads,
old signs remaining on bare walls, DIY quality signs and
contemporary graphic design are equally present every-
where. The co-existence of different images is a true mir-
ror of our culture: it shows that there is a plurality of taste
and ideas, a possibility for many to freely express, but
this heterogeneity also tells us that there is no prevailing
order, that we are far from achieving a clear system of
values. We are still in a state of flux. To use the crossroad
metaphor suggested in the title of ATypI conference there
are no easy highways leading to professional success in
Hungary but rather there are personal ways that bring
together a path that can be seen as an authentic search
for organic solutions. The personal achievements and the
few commonly made efforts of the last 5 years look as if
something has been started. My hopes are that out of the
multitude of ideas of the present the identity of Hungar-
ian design will one day be born in a very natural way.
SOME HISTORY It would be impossible to enumerate all
the factors leading to the visual illiteracy of our civilisa-
tion, but the strong discontinuity of our 20th century
culture is certainly one of the reasons. The last historic
time we were truly in tune with the European art scene
was during the first thirty years of the last century. After
the Art Nouveau period (secession) that possessed a great
national folk and urban version came modernism that
was a very important period in our country. Lajos Kassk,
Lszl Moholy Nagy, Vilmos Huszr, Sndor Bortnyik,
Marcel Breuer are probably the names best known in the
world. This modern heritage was unfortunately disturbed.
The last stroke was a communist political doctrine in
1951 that stated the modernist movement to be a rather
dangerous western manipulation and favoured, that
means prescribed a so called social-realism especially
in architecture but this also applied to design. The fact
that graphic design was in the hand of the propaganda
departments of big state owned firms, did not help the
prestige of design either. However it would be a big mis-
take to treat the 40 years of socialism as a homogeneous
period, we had our ups and downs, so from time to time
there alternative attempts to think and act in opposition.
Some cultural institutions, publications and the semi-pub-
lic art events provided an opportunity for visual artists to
experiment and express in an authentic way. As the main
counter culture of the 60s, 70s was more verbal than
visual in our country; hidden messages were to be found
in between words and lines much more then in visual im-
agery, it is not surprising that the most interesting field of
design was theatre poster art. I must mention the names
of those Hungarian poster artists (among others Jzsef
rends, Ferenc Barth, Dra Keresztes, Istvn Orosz,
Pter Pcs, Sndor Pinczehelyi, Kroly Schmall, or the
Polish born Krzysztof Ducki) that became world famous
with their highly intellectual and personal imagery.
FROM 1989 The big change in the profession naturally
came in 1989: graphic design as a modern profession was
to be born in the chaotic shift from socialism to brutal
capitalism. Design was happily freed from political obliga-
tions but that hiatus was soon replaced by commercial
intentions. A completely new situation was established
almost within a year. International advertising agencies
had opened their office one after the other. The well
trained old school designers had difficulties in adapting
to this situation, many of them were out of work, as the
market favoured young computer technicians who could
first of all speak some English. Computer and linguistic
expertise won over visual knowledge. The time when
a central jury valued all works was finally over, but the
new freedom was not favouring quality at first. The
prestige of design was still very low; graphic design was
regarded as a cheap tool of advertisement that brought
big money for computer literate youngsters. For a time
design was an easy way to succeed only for those who
were willingly dropping professional standards to comply
in a servile manner with the favours of a completely il-
literate client. Understanding and therefore selling good
design is not easy in Hungary. The reception of design
is maybe the most problematic factor in the develop-
ment of the profession. It is not surprising that by the
end of the last millennium the taste of people became
extremely heterogeneous. The basic models as to what
is good and what is not good are shattered. Part of the
problem has its rules in our general visual education: it is
still focused more on teaching about big work of arts than
At the last years'
conference ATypI in Prague,
dedicated to the theme
Crossroads of Civilisations,
a Hungarian theorist of
visual communication
and typography Krisztina
Somogyi gave a talk on
the present-day Hungarian
typography and graphic
design. We are publishing
its modified version.
16 typo 2005.indd 2 16.8.2005 11:58:15
OSZKR BOSKOVITZ
Moab and Shrapnel are named after bombs and are used within Ofine XTR MAG magazine. Moab a Shrapnel jsou
psma pojmenovan podle typ bomb a jsou uvna v asopisu Ofine XTR MAG.
Monostar This monospace font was created in 2002 and was intended to be used for Boskovitzs own rm, Npfont.
Toto neproporn psmo bylo navreno v roce 2002 pro poteby Boskovitzova studia Npfont.
Wagon and Tilos These typefaces are typical to the rst period of the design of Boskovitz. These designs are very much
linked to street and grafti culture, that is attained by the making of stencil or roughened fonts. Tato psma jsou typickmi
ukzkami ran Boskovitzovy tvorby. Do znan mry souvisej se street kulturou a grafti, co se projevuje uitm ablon
a drsnch psem.
Cassius was designed for the logo of Ofine XTR MAG magazine targeted at young extreme sport practitioners but the
most recent issues are set with Wagon bold. Cassius byl navren pro logo asopisu Ofine XTR MAG, urenho pro
mlad vyznavae extrmnch sport. Posledn sla asopisu jsou nicmn vysazena psmem Wagon bold.
Troppauer This poster was created for a type exhibition organized in Rday street. This text font has both Serif and Sans
versions and exists in 5 different weights. The name is inspired by a comic gure of Rejt Jen, a fantastic Hungarian
writer. Plakt byl navren pro typograckou vstavu, kter se konala v ulici Rday. Toto knin psmo m patkovou
i bezpatkovou variantu a existuje v pti rznch ezech. Jeho nzev byl inspirovn komiksovou postavikou ktivnho
maarskho spisovatele Rejt Jen.
16 typo 2005.indd 3 16.8.2005 11:58:16
PTER CSATAI
Antagon This text typeface was designed as a marriage of geometrical and curved principles. It exists in 4 different weights. Toto knin psmo bylo
vytvoeno propojenm dvou princip kivek a geometrinosti. Existuje ve tyech ezech.
Acydum The diploma work of Csatai was inspired by the view of the acid corroded copperplate surfaces used in etching. Csataiova absolventsk prce se
inspirovala podobou mdnho plechu leptanho kyselinou, jak ji znme z techniky leptu.
Cube This display font was created with only geometrical principles, with the total emission of curves. Toto titulkov psmo je vybudovno na principu ist
geometrie a postrd jakkoliv obl kivky.
Hungarum Antikva It was inspired by old Hungarian archers. The main thing about the design is the fact that all elements are curved. Inspirovala se
staromaarskmi lukostelci. Zkladnm prvkem designu je zakiven vekerch prvk psmov stavby.
Fonster This retro typeface is organized around a linear connection, that can link the separate characters at the baseline, midline and cap lines depending
on the choice of the typographer. Fonster is the image font of Csatais own type foundry. Toto retro psmo je vystavno okolo zkladn propojovac linie, kter
jednotliv znaky spojuje skrze doln, minuskovou a horn dotanici, dle vbru typografa. Fonster je zkladnm psmem Csataiovy vlastn psmolijny.
Octan The initiative idea comes from chemistry, the chemical symbol of benzyl. Npad pochz z chemie, inspiruje se chemickm zobrazenm benzylu.
Posters The type posters were designed for an exhibition organized in Rday street in 2004 to demonstrate the qualities of different designs for a large
public. Typograck plakty byly navreny pro vstavu v ulici Rdai v roce 2004. Jejich clem bylo ukzat charakteristick rysy rznch design ve form
pstupn pro irokou veejnost.
16 typo 2005.indd 4 16.8.2005 11:58:20
TYPO.THEME 5
Kdy jsem dostala nabdku pedstavit souasnou
maarskou typograi mezinrodnmu publiku,
bylo mi jasn, e budu muset naped strun
nastnit okolnosti, ve kterch ijeme a pracujeme,
protoe pochopen kulturnho kontextu je pro
pochopen vznamu jednotlivch prac nezbyt-
n. Z toho vyplv, e vidm zsadn rozdl mezi
naimi monostmi a na zkuenost s designem
a tm, co vidme v publikacch, knihch a na vsta-
vch zpadnho grackho designu. Rozdlnost
vak nen patrn pouze v tomto srovnn. Pi
svch cestch po vchodn Evrop a zvlt pi
opakovanch nvtvch esk republiky jsem
si uvdomila charakteristick rysy grackho
designu v jednotlivch zemch. V obecn rovin
lze ci, e nai souasnou vizuln realitu formuj
odlin kultury, cle, dvody, motivace a techniky,
kter koexistuj bez jakhokoli viditelnho uspo-
dn nebo priorit. Celkov vizuln obraz, kter
pi nvtv vchodoevropskch mst zskme,
je spe chaotick. Vude najdeme mezinrodn
loga a reklamy, star npisy na zdech i souasn
grack design. A prv tato koexistence rznch
obraz je pravdivm zrcadlem na kultury odr-
pluralitu vkusu i nzor a dv kadmu mo-
nost svobodn se vyjdit. Tato rznorodost vak
souasn svd o tom, e postrdme jakkoli
d a e jsme jet nedoshli vytvoen jasnho
hodnotovho systmu. Jet stle hledme smr.
Abych pouila metaforu kiovatky, kter je v n-
zvu konference ATypI v maarskm grackm
designu neexistuje dn rovn dlnice vedouc
k profesnmu spchu. Existuj jen osobn stezky,
kter se spojuj v cestu, ji meme chpat jako
autentick hledn organickch een. Osobn
spchy a trocha obyejnho sil bhem uply-
nulch pti let dv tuit, e se konen zan
nco dt. J osobn vm, e se z nepebernho
mnostv souasnch idej a npad jednoho dne
pirozen vyvine jednotn identita maarskho
grackho designu.
trocha historie Bylo by nemon vypotat
vechny faktory, kter vedly k vizuln negramot-
nosti na civilizace, ale jednm z dvod je urit
vrazn diskontinuita kultury dvactho stolet. Po-
sledn obdob, kdy Maai s evropskou vtvarnou
scnou opravdu dreli krok, skonilo ve tictch
letech minulho stolet. Po obdob secese, kter
mlo velkou celonrodn oblibu nejen mezi
obyvateli mst, ale dalo vzniknout i verzi lidov,
piel modernismus, kter byl pro vvoj maar-
skho umn velmi podstatn. Mezi pravdpo-
dobn nejznmj umlce tto doby pat mimo
jin Lajos Kassk, Lszl Moholy Nagy, Vilmos
Huszr, Sndor Bortnyik nebo Marcel Breuer.
Tato modern tradice vak byla nsiln peruena.
Posledn rnu j v roce 1951 zasadil komunistick
reim, kter oznail modernismus za nebezpe-
nou manipulaci zpadnch tv a jako jedin
mon uril takzvan socialistick realismus; ten
od t doby pevldal nejen v architektue, ale
i v designu. Prestii designu neprospl ani fakt, e
byl v rukch propagandistickch oddlen velkch
zesttnnch podnik.
Bylo by vak velkou chybou oznaovat tyicet
let socialismu za homogenn obdob najdeme
zde obdob padku, ale i obdob zlepen, kdy
bylo as od asu mon myslet i jednat po svm.
Nkter kulturn instituce, publikace a poloveejn
Na losk konferenci ATypI v Praze, kter nesla nzev Kiovatky civilizac, pednesla
maarsk teoretika umn a typograe Krisztina Somogyi pednku o souasn
maarsk typograi a grackm designu. Jej upravenou verzi pinme.
encouraging children to understand creatively the visual
phenomena. That pushes visual communicators into
a difficult situation: when trying to sell their work they
face a dilemma as there is a huge gap in between what
the designer thinks to be professionally good and what
the clients would accept. But before I sound negative,
I have to say that the last ten years show a very posi-
tive tendency. Both the number and the quality of good
designers are growing. I remember in 1994 when with
Zsolt Czak we organized the first Experimental Typogra-
phy exhibition in Pcs, it was difficult to find Hungarian
designers that could fit into the picture. It was the time
of a big typographical boom worldwide in Hungary this
what the time when the first Macintosh computers were
purchased. Two years latter when Rick Poynor arrived to
open the second exhibition of Experimental Typography
in Pcs there were about a dozen very interesting na-
tional participants. Nowadays, there are about a hundred
typographers and graphic designers who come together
from time to time, they organize events, co-edit books
and publications such as Postscript, Dblin, or Trakta on
a self initiated, self-financed way. These shows provide
an interesting picture of how the profession thinks about
its own role, and it also helps understanding the main
characteristics of our design.
TYPOGRAPHIC EDUCATION The role of schools has also
changed during this time: especially the University of Arts
and Design, Budapest (MIE) has started becoming more
and more active. Under the guidance of this institution
a new non-profit gallery called Ponton was opened in the
castle district of Budapest, where not only diploma works,
but design exhibitions (including type design, typography,
book design, etc) coming from all over the world help
to form the good prestige of design. There is also a shift
in the curriculum of the university showing that there is
a bigger and bigger need for contemporary design profes-
sions. The change of interest from the traditional crafts
towards modern design is evident to the point that the
University is thinking of changing its name. What concerns
type design it must also be said that within MIE there is
a special course of typography a two and a half year
long study for practicing professionals that is a most im-
portant platform for the development of typography. And
graphic design and typography is also taught at the Uni-
versity of Fine Arts Budapest and in a few private schools.
In spite of that it is an unfortunate truth that all higher
education lacks deep and systematic type design training,
so the importance of self-teaching and the personal expe-
rience gathered abroad is definitive. However, we register
a growing interest in type; not only exhibitions become
more numerous but I am happy to report that 6 years
ago Oszkr Boskovitz was the first student to work on
a typeface as a diploma work. With that he made history;
since then every year there is someone who chooses type
design in his final professional presentation in MIE.
To give an image of Hungarian type design I have chosen
5 designers from three different generations and I have
arranged their works around those important topics that
characterize us in general. Some further information
about them can be found on www.font.hu under the
name bettervezk ( type designers in Hungarian) or on
the site www.plusminus.hu, where around 40 designers
present a selection of their works.
REVIVALSMaybe it is the lack of historical discontinuity
of our 20th century, maybe that is a general Hungarian
character, but for one thing it is true that national herit-
umleck udlosti poskytly vtvarnm umlcm
pleitost k experimentu a autentickmu vyjden.
Vzhledem k tomu, e hlavn proud neociln
kulturn scny edestch a sedmdestch let byl
v na zemi zamen vce na verbln ne na vizul-
n umn (mezi dky bylo vdy mon najt skryt
vznamy), nen dnm pekvapenm, e nejzaj-
mavj oblast grackho designu byla plaktov
tvorba. Musm zmnit nkolik tvrc plakt, kte
se ve svt proslavili svm vysoce intelektulnm
a osobnm pstupem k vtvarnmu zpracovn
dla. Pat mezi n napklad Jzsef rends,
Ferenc Barth, Dra Keresztesov, Istvn Orosz,
Pter Pcs, Sndor Pinczehelyi, Kroly Schmall
nebo Krzysztof Ducki, kter se narodil v Polsku.
po roce 1989 V roce 1989 pochopiteln nastala
velk zmna. Grack design jako modern profe-
se vznikal v chaotickch zmnch doprovzejcch
pechod od socialismu k brutlnmu kapitalismu.
Design byl astn oprotn od politickch zvaz-
k, ale mezera byla brzy zaplnna novmi komer-
nmi zmry. Zhruba bhem jednoho roku tehdy
dolo k nastolen zcela nov situace: mezinrodn
reklamn agentury v Maarsku jedna po druh
otevraly sv poboky a zkuen designi ze star
koly mli problmy s adaptac na nov pomry;
mnoz z nich pili o zakzky, protoe trh dval
pednost mladm potaovm grakm, kte na-
vc mluvili aspo trochu anglicky. Potae a jazy-
kov schopnosti zvtzily nad vizuln gramotnost.
asy, kdy vechna dla posuzovala centrln komi-
se, byly konen pry, ale nov svoboda nedvala
Zsolt Czak New Typo poster, designed the poster
of New Typography, the rst international exhibition
on experimental typography and graphic design in
Pcs in 1994, with the use of Jonathan Barnbrooks
Prototype typeface.
New Typo poster: Plakt pro New Typography,
prvn mezinrodn vstavu vnovanou experimentln
typograi a designu v Pcsi uspodanou v roce 1994,
navrhl Zsolt Czak. Pouil pro nj psmo Prototype od
Jonathana Barnbrooka.
16 typo 2005.indd 5 16.8.2005 11:58:22
6 TYPO.THEME
16 typo 2005.indd 6 16.8.2005 11:58:24
pednost kvalit. Presti designu byla stle velice
nzk, grack design byl povaovn za levn
nstroj reklamy, kter vyn velk penze mlad
generaci s potaovmi znalostmi. Na as se de-
sign stal jednoduchou cestou pro ty, kdo s istm
svdomm sniovali profesionln standard, aby
serviln vyhovli naprosto nevzdlanmu klientovi.
Pochopen, kter vede k prodeji dobrho designu,
nen v Maarsku samozejmost. Pijet designu je
naopak mon tm nejproblematitjm faktorem
v rozvoji na profese. Nebylo tak dnm pe-
kvapenm, e se na konci minulho tiscilet zaal
vkus lid zsadn liit zkladn modely chpn
toho, co je a co nen dobr, byly postaveny na hla-
vu. Potek celho problmu najdeme v obecn
vchov k vizuln gramotnosti, kter je stle spe
zamena na seznamovn dt s velkmi um-
leckmi dly, ne aby podncovala jejich kreativn
pstup k vizulnmu fenomnu jako celku. To tak
stav designry a ostatn tvrce komunikujc skrze
vizuln strnku svta do obtn situace kdy
se sna prodat svou prci, ocitnou se tv v tv
dilematu vyplvajcmu z rozdlu mezi tm, co de-
signr povauje za profesionln dobr, a tm, co
jeho klient akceptuje. Nerada bych, aby tyto dky
vyznly pli negativn, protoe se v prbhu po-
slednch deseti let maarsk grack design vyvj
velmi pozitivnm smrem. Zvyuje se jak rove,
tak i poet dobrch designr. Vzpomnm si, e
kdy jsme v roce 1994 se Zsoltem Czak orga-
nizovali prvn Vstavu experimentln typograe
v Pcsi, nebylo snadn najt maarsk designry,
kte by zapadali do na koncepce. Bylo to obdo-
b velkho celosvtovho typograckho boomu
a v Maarsku si graci teprve kupovali sv prvn
macintoshe. Kdy o dva roky pozdji zahajoval
Rick Poynor druhou Vstavu experimentln
typograe v Pcsi, mli jsme u zhruba destku
velmi zajmavch maarskch astnk. A dnes
u je dobrch grackch designr a typograf
kolem stovky as od asu se schzej, spolen
vydvaj rzn knihy a publikace, jako je nap-
klad Postscript, Dblin nebo Trakta, kter sami
zaloili a sami je i nancuj. Tyto aktivity poskytuj
zajmav obrzek o tom, jak pedstavitel tto
profese smlej o svm postaven ve spolenosti
a pomhaj pochopit charakteristick rysy naeho
grackho designu.
typograck vzdlvn V prbhu asu se tak
mnila role kol, zvlt pak Univerzity vtvarn-
ho umn a designu v Budapeti (MIE), kter je
stle aktivnj. Z iniciativy tto instituce vznikla
v Budapeti neziskov galerie Ponton, kde se
nevystavuj pouze koln klauzury, ale tak design
(vetn typograe, knin tvorby atd.) z celho
svta. Galerie tak pomh budovat dobr jmno
oboru. Dolo tak ke zmn v osnovch univerzity,
kter ukazuj, e existuje stle vt a vt hlad po
grackch profesionlech. Posun zjmu od tradi-
nch emesel smrem k souasnmu designu je
natolik markantn, e univerzita uvauje o zmn
jmna. Z grackho hlu pohledu je teba tak
zmnit, e v rmci MIE je vyuovn speciln kurz
typograe rok a pl dlouh studium pro profe-
sionly, kte se vnuj typograck praxi , co je
pro rozvoj typograe velmi dleit oprn bod.
Grack design a typograe jsou rovn vyuov-
ny na Vysok kole vtvarnch umn v Budapeti
a na nkolika soukromch kolch. Je vak bohu-
el smutnou pravdou, e v rmci dnho vyho
vzdln nenajdeme hlub a systematickou
vuku designu psma, take typografm nezbv
ne se sebevzdlvat a sbrat osobn zkuenosti
v zahrani. Navzdory tomu vak zaznamenvme
rostouc zjem o psmo. Nezvyuje se jen poet
typograckch vstav, ale u ped esti lety si Osz-
kr Boskovitz coby prvn student zvolil psmo jako
tma diplomn prce. Tm se zapsal do historie
a od t doby si kad rok vol psmo jako tma sv
zvren prce minimln jeden student MIE.
Abych poskytla vrnj obraz maarsk typo-
grae, vybrala jsem pt designr ze t generac
a pedstavm jejich prce z oblast, kter jsou pro
maarsk design charakteristick. Dal informa-
ce o nich najdete na strnkch www.font.hu pod
odkazem bettervezk maart typografo-
v , nebo na www.plusminus.hu, kde svou prci
pedstavuje pes tyicet typograf a grackch
designr.
revivaly Mon nebyla nakonec historick dis-
kontinuita dvactho stolet tak zsadn, mon je
to obecn maarsk znak, ale je jist, e nrodn
ddictv hraje v souasnm maarskm designu
vznamnou roli. Nicholas Kis (16501702) je jed-
nou z naich nejvznamnjch historickch osob-
nost. Tento vjimen uenec, kter se v tiskrn
v Blaue v Nizozemsku nauil ryteckmu umn
a ryt psmovch matric, se vrtil do Maarska,
kde svou spnou drhu zanal, aby zde vytiskl
Bibli (1685) a Nov Zkon (1687). Tento psma je
vzorem pro mnoho souasnch typograf, hlavn
pro Gbora Kthaye a Amonda Szegiho, kte
jsou zakladateli psmolijny Fontana Fonts, je
produkuje primrn historizujc fonty.
Gbor Kthay je znm dky nvrhm psem vech
historickch obdob, take jejich prostednictvm
meme sledovat vvoj styl v typograi. Psmo
LaDanse bylo inspirovno reprintem knihy se se-
znamem psem v tiskrn ve mst Nagyszombat
v Tyrnaviae. Tato publikace vyla poprv v roce
1773 a najdeme v n vechna tehdy v tiskrn do-
stupn psma na jedn stran strnky a na druh
stran s run psanmi poznmkami jezuitskho
mnicha. Psmo LaDanse vzniklo prv digitalizac
jeho rukopisu. Je to velmi elegantn, oduevnl
psmo, a jak jeho nzev napovd, z textu vysa-
zenho psmem LaDanse mte celkov dojem
lehkho pohybu jako z tanenice se stuhou. Dal
inspirac z tto broury je barokn antikva, kter
byla sten navrena Nicholasem Kisem, s-
ten jeho nsledovnky. Gbor nejdve digitalizo-
val Kisovo psmo pod nzvem Tyrnavia a pozdji
vytvoil jeho reinterpretaci v psmu Aquamarin.
Amond Szegi sdl naden svho kolegy pro
historii. Jeho psmo Xodus (pozdj Nexodus)
je pmo inspirovno abecedami Nicholase Kise.
Pvodn armnsk znaky vytvoil Kis v Amste-
rodamu v roce 1685 a o ti roky pozdji navrhl
znaky gruznsk, ale dn z tchto psem nebylo
pr nikdy pouito. Ob se ztratila a dochoval se
pouze jedin tiskov vzorek. Z tchto psem Szegi
vychzel a Kisovu azbuku pevedl do latinky. Nov
font nazvan Nexodus obsahuje tak sadu ligatur,
ornament a znak zvrokruhu. Dalm z Szegiho
dobe prodvanch psem je Telegdi, kter bylo
inspirovno reprintem roenky univerzitnho vyda-
vatelstv v Nagyszombatu, v n nalezl nekompletn
sadu psem navrenou Abbotem Nicolausem
Telegdim (polovina estnctho stolet). Osob-
n minulost a mystick kulturn fenomn hrly
vdy v ivot Amonda Szegiho dleitou roli.
Napklad font Zentes zavedl Amonda zptky do
jeho rodnho msta Szentes. Byl pekvapen, kdy
zjistil, e je na znaku tohoto malho msteka
lecho uprosted maarsk pusty vyobrazena
palma. A tato palma se stala hlavnm motivem ro-
diny psem Zentes. Je to pln nov psmo, kter
jet nen dokoneno.
Mnoh ze Szegiho a Kthayovch psem jsou
v nabdce psmolijen T-26, Psy/ops a P-22
a tak na jejich vlastn strnce www.jobart.hu.
a www.fontanatype.hu.
AMOND SZEGI
Mantra and Zentes poster were designed for an exhibition organized
in Rday street in 2004 to demonstrate the qualities of different designs
for a large public. Mantra a Zentes byly navreny pro vstavu v ulici
Rdai v roce 2004. Jejich clem bylo ukzat charakteristick rysy rznch
design ve form pstupn pro irokou veejnost.
Nexodus Skateboard poster. Szegi has designed the skateboards with
his Nexodus typeface for his son Bence. Plakt Nexodus Skateboard. Pro
svho syna Benceho navrhl Szegi design skateboard zaloen na jeho
vlastnm psmu Nexodus.
Nexodus This typefaces is inspired by the Cyrillic alphabets (Armenian
and Georgian) of Nicholas Kis. As a special set of symbols Szegi has
designed the signs of the zodiac. Toto psmo se inspiruje armnskou
a gruznskou azbukou Nicholase Kise. Jako zvltn sadu znak navrhl
Szegi jednotliv znamen zvrokruhu.
Zenthes A strange fact, a mysterious palm tree in the coat of arm of
Szentes (home town of Szegi) was the inspiration source of this richly
decorated typeface. Zhadn palma ve znaku msta Szentes, odkud Szegi
pochz, se stala zdrojem inspirace pro toto dekorativn psmo.
Telegdi This revival font was inspired by the work of Abbot Nicholas
Telegdi who purchased the Wienna Jesuit Press in 1577 to print his own
speeches. This font was presented in the book of INDIEFONTS in 2002.
Toto revivalov psmo bylo inspirovno dlem opata Nicholase Telegdiho,
kter koupil vdeskou jezuitskou tiskrnu v roce 1577, aby mohl tisknout
sv vlastn kzn. Psmo bylo prezentovno v publikaci INDIEFONTS
v roce 2002.
Bringa Bringa means bike in Hungarian and naturally this display type
reects Szegis love for bikes. The roughened version, Bringa-Rozsda
has an allusion to the rusted metal, the ornaments he has started creating
uses the visual language of metal tools for bike repairing. V maartin
toto slovo znamen jzdn kolo. Jak je z nzvu patrn, toto titulkov psmo
odr autorovu ve pro cyklistiku. Jeho hrub verze Bringa-Roszda
pipomn zrezl kov, ornamenty jsou ispirovny nstroji urenmi pro
opravu jzdnch kol.
Streetdub poster. The nal year students of the Typographic Course of
the University of Arts and Design, Budapest organized an exhibition in
Gdr, a high prestige exhibition place in may 2005. Streetdub poster was
designed for this occasion. Plakt Streetdub. Studenti poslednho ronku
oboru typograe z budapesk Akademie vtvarnch umn uspodali
vstavu v prestin vstavn sni Gdr v roce 2005, a plakt Streetdub byl
navren pi tto pleitosti.
16 typo 2005.indd 7 16.8.2005 11:58:29
GYRGY SZNYEI
Archian This display font has 6 different versions. Normal: uses the principles of constructivism,
Boogie-Woogie: is directly inspired by the last work of Piet Mondrian, Wilmos: is named after
the Hungarian origin DeStijl designer Vilmos Huszr. Initial Plastic and Night: are playful three
dimensional and negative versions of the original idea. Toto titulkov psmo m 6 rznch variant.
Normal je vybudovn na konstruktivistickch principech, Boogie-Woogie se pmo inspiruje
nejnovjm dlem Pieta Mondriana, Wilmos je pojmenovn po designrovi studia DeStijl
maarskho pvodu Vilmosovi Huszrovi. Initial Plastic a Night jsou hrav trozmrn negativn
varianty pvodnho nvrhu.
Transylvanian Script This revival font was designed as a homage to the work of Kroly Ks, an
architect and designer who successfully transposed the vernacular culture of Transylvania into the
urban landscape of the early 20th century. Toto revivalov psmo bylo navreno jako pocta dlu Kroly
Kse, architekta a designra, kter spn penesl prvky lidov kultury Transylvnie do mstskho
prosted potku 20. stolet.
16 typo 2005.indd 8 16.8.2005 11:58:31
Gyrgy Sznyei se v oblasti grackho designu
pohybuje u nkolik desetilet, Chartpack nap-
klad v roce 1989 zakoupil jeho rodinu psem Laby-
rinth, v roce 1996 zskal zvltn cenu za svj nvrh
znak Kanji. Pro Sznyeie je vznamnm zdrojem
inspirace dal historick obdob potek
dvactho stolet. Jeho font Archian vytvoen pro
displeje potae byl ovlivnn modern architek-
turou: verze Boogie-Woogie je pmo inspirovna
poslednm dlem Pieta Mondriana, ve kterm ob-
raz tvo peruovan vertikln a horizontln linie,
a dal hrav verze pojmenovan Wilmos odkazuje
ke jmnu designra maarskho pvodu Vilmose
Huszre, kter mimo jin navrhl logo pro DeStijl.
Dalm psmem ze Sznyeiovy dlny, kter bych
rda zmnila, je Transylvanian script. Na tomto
psmu zaal pracovat pot, co v knihovn sv
eny nalezl reprint Knihy balad sesbranch K-
rolyem Ksem. Tento slavn maarsk architekt,
spisovatel a designr, kter penesl lidovou tran-
sylvnskou architekturu do urbnnho prosted
Budapeti, sestavil zmiovanou kneku v roce
1906 jako zsnubn dar pro svou nastvajc.
V run psan knce pouil psmena, kter vdal
na devnch nhrobcch ve svm rodnm kraji.
Ks si toto psmo tak zamiloval, e jej pouval
po cel ivot, zvlt na svch architektonickch
vkresech. O sto let pozdji pak piel Gyrgy
Sznyei, kter se rozhodl psmo digitalizovat.
Dlouho pvodn knku studoval do nejmench
detail, a nakonec vybral nejlpe navren znaky
a z nich sloil abecedu. Psmo jet nen pln
dokoneno, Sznyei zatm pouil pouze znaky,
kter byly v originlnm textu.

design a vtvarn umn Krom zjmu o historii
je dalm dleitm znakem maarskho designu
jeho siln napojen na vtvarn umn. Tuto
tendenci meme pozorovat v ivot typograf,
ve zmnnch publikacch i v samotnch navrho-
vanch psmech. Vtvarn umn a design nejsou
striktn rozdleny, designi vdy maj i umlec-
k vzdln. Gyrgy Sznyei je hlavn vtvarn
umlec, Gbor Kthay studoval na Vysok kole
vtvarnch umn a psmo zaal pouvat jako
doplnk svch obraz, Amond Szegi byl po
mnoho let znm jako aktivn mal v politicky za-
interesovanm sdruen Inconnu Group. Sznyei
m tedy pro navrhovn psma stejn dvod jako
pro malovn obraz, motivace u nj nem funkn
charakter, ale vznik z poteby estetickho vyj-
den. Vtvarnho vchodiska si v tvorb Kthaye
a Szegiho vimneme dky stylovm hrtkm
s psmem a bohat dekoraci mnoha jejich font
(napklad Zanizibar a Mantra). Oba tak s oblibou
pouvaj inicily s kvtinovm ornamentem,
stnovan a negativn verze a ornamenty vbec
(napklad v psmu Aquamarin a Glosso).
mlad generace Kdy jsem pedstavila ti
mezinrodn uznvan osobnosti maarskho
grackho designu, rda bych zmnila tak dva
tvrce z nejmlad generace. Jejich tvorba m bl
k modernmu pojet designu zamili se vce na
jeho vnitn hodnoty. Oszkr Boskovitz a Pter
Csatai vystudovali MIE a do navrhovn psem se
pustili s velkm nadenm. Psma obou autor
nejastji pouvaj jejich kolegov designi
v publikacch, jako je napklad Pesti Est, co
je publikace orientovan na voln as.
Otzka kulturn identity a historickho kontextu je
pro jejich ivot mn dleit pokud se vracej
do minulosti, vytvej s velkou dvkou humoru
ironick retro fonty. Oszkr Boskovitz nazval svou
psmolijnu Npfont (www.nepfont.hu), co je slov-
n hka odkazujc na maarskou komunistickou
organizaci, a celkov image Npfontu tomuto
nzvu tak odpovd. V Boskovitzov profesio-
nlnm ivot hraj dleitou roli extrmn sport
a neociln sdruen kolem tvorby grafti. Pro
prvn z nich navrhuje a sz asopis, pro druhou
prv pipravuje nekomern publikaci, a pi tvor-
b obou projekt vyuv sv vlastn psmo. Pro
vytvoen loga asopisu XTR MAG navrhl psmo
Cassius a k sazb titulk na vnitnch stranch
pouv psmo Shrapnel, pojmenovan po gra-
ntech z prvn svtov vlky. Tento geometrick
font je pokusem o podobnost s clovou skupinou
alternativnch ten tohoto asopisu. Oka
fontu jsou vt, ne je obvykl, a vypadaj, jako
by v nich rapnel prv explodoval. Pro poteby
asopisu byly tak navreny fonty Tilos, Monostar,
Moab, Wagon a Tjfun. Krom komern prce
trv Boskowitz hodn asu studiem sv profese.
Jako poctu dvma vznamnm tvrcm psma
konce socialistick ry v Maarsku zesnulm
Zoltnu Nagyovi a Edit Zignyov pipravuje se
svolenm rodiny redesign jejich psem. V prbhu
sloit prce na tchto fontech poctil Boskowitz
potebu vytvoen novho, snadno itelnho
psma, a tak vznikla rodina psem Tropauer, kter
m jak patkovou, tak bezpatkovou verzi a podle
mho nzoru dokld jeho stle rostouc respekt
k typograckmu emeslu.
Pter Csatai zskal vysokokolsk diplom ped
pouhmi dvma lety, ale jeho psma u najdeme
v Maarsku na mnoha mstech. Napklad jedna
z nejprestinjch maarskch soukromch um-
leckch kol Budai Rajziskola nedvno zakoupila
z popudu vedoucho katedry grackho designu
Ference Ndaie kompletn sadu Csataiovch
psem. Csataiovou diplomn prac bylo Acydum,
psmo inspirovan povrchem mdn desky
rozleptan kyselinou v grack technice leptu.
Po tomto prvnm pokusu zamil svj zjem na
nalezen sprvnch elegantnch proporc, zvlt
pi navrhovn oblch tvar. Harmonie zlatho
ezu je dleitm principem jeho prce. Proporce
zaoblench a geometrickch tvar pro nj byly za-
jmav, kdy vytvel psmo Antagon, kter spojuje
geometrick a zaoblen konstrukn principy.
Dal z jeho psem, antikva Hungarum Fontainer,
byla inspirovna starmi maarskmi luitnky.
Hlavnm prvkem tohoto psma je zaoblen vech
znak. Pravm opakem psma Hungarum Fontai-
ner jsou pak psma Cube a Octan, kter byla nao-
pak konstruovna s naprostm vynechnm veke-
rch zakivench tvar. U nzev Octan naznauje
souvislost s chemi: prvotn ideou pro vznik tohoto
fontu byl tak chemick symbol pro benzyl. Krom
tohoto spojen nm me design psma Octan
pipadat jako z jinho svta ze svta americkch
western. Pter Csatai navrhl rovn retrospektiv-
n font Fonster, kter me bt spojen linkou na
dolnm, hornm nebo stednm a v zvislosti na
volb typografa, kter s nimi pracuje.
Typograe je v Maarsku novou profes. Akoli
mnoh profesn faktory maj daleko k idelnmu
stavu, spchy uplynulch deseti let nejsou
zanedbateln. Snahy designr docenme hlavn
v ppad, kdy si uvdomme, e se tito lid asto
rekrutuj z ad samouk. Nov vznikl fonty jsou
dleitm pspvkem k souasn kultue designu
a mohou pomoci pithnout pozornost veejnosti
k tomuto zkladnmu prvku grackho designu.
asto velice siln a individuln rysy tchto psem
i jejich druhotn vznam mohou pozvednout veej-
n mnn o typograi v Maarsku. Doufejme, e
jednoho dne daj nov zakzky na psma typogra-
i vrazn impulz, protoe prv to v souasnosti
velmi postrdme. [peklad: Linda Kudrnovsk]
age is an important factor in our contemporary type de-
sign. Miszttfalusi Kis Mikls (Nicholas Kis, 16501702)
is one of the most important historical figures: this great
scholar who learned the craft of engraving and punch-cut-
ting in the Netherlands in the printing-house of Blaue,
came back to Hungary after a successful start there, to
print his Bible (1685) and New Testament (1687). He
is a source and a model for many type designers, most
importantly to Gbor Kthay and Amond Szegi, who are
the founders of Fontana Fonts where mostly revival fonts
can be found.
Gbor Kthay is known from designing a typeface fitting
all historical periods, so one can follow the stylistic de-
velopment of typography by watching his fonts. LADANSE
was inspired by the reprint of a stock-list book in the
printing-house of Nagyszombat, Tyrnaviae. This booklet
dates back at the end of the 18th. (1773) and it lists the
fonts available in the printing-house in chronological
order on one side of the page while the other side con-
tains handwritten remarks of the Jesuit monk. LaDanse is
recreated from the handwriting; it is recreated from the
inventor's manuscript. It is a very elegant, animated type
and as the choice of the name suggests when the text is
set with LaDanse, the overall image is a light movement,
as if someone would dance with a ribbon. The other
inspiration of this booklet of the 18th century are the ba-
roque Roman letters that were partly cut by Nicholas Kis,
partly his followers. Gbor first redesigned the typeface
of Kis (TYRNAVIA) then made a reinterpretation out of it
(AQUAMARIN)
Amond Szegi shares his friend's interest in history: his
XODUS then his NEXODUS typefaces were inspired directly
by the work of Nicholas Kis. Szegi found an interest in
turning the big master's Cyrillic alphabets back into Latin.
The original Armenian letters of Kis were cut in 1685 in
Amsterdam for a book written by the burgomaster, the
Georgian ones three years later, and as the legend goes,
this last alphabet has not reached the client unfortunate-
ly. They were lost, only one specimen sheet was found
in Amsterdam. These typefaces were the base of Szegi's
work. The new typeface called Nexodus was designed
with a set of ligatures, ornaments and signs of the zodiac.
One of his best selling typeface is TELEGDI which was
inspired by the reprint of the yearbook of the University
Press of Nagyszombat where he found an incomplete
series of types designed by Abbot Nicholas Telegdi. Out
of the fragments of this type cut in the second part of
the 16th century Amond create an authentic highly
distressed font. The personal past and mysterious cultural
phenomena always plays an important role in Szegi
Amondo's life. His ZENTES typeface for example brings
Amond back to his home town, to Szentes. He was
amazed to observe that on the coat-of-arms of this little
town in the middle of the Hungarian great plain there is
a palm tree. This became the main motif for the Zentes
family: this is a very new type; some minor parts are still
under creation. Many of Szegi's and Kthay's typefaces
can be found at T-26, Psy/ops and P-22 besides their own
sites www.jobart.hu. and www.fontanatype.hu.
Another period of time, the early 20th century is an
important source of inspiration for Gyrgy Sznyei who
has worked in the profession for decades. (Chartpack
bought his LABYRINTH typefaces in1989 and he won the
special Morisawa Prize in 1996 for his Kanji signs.) His
display font ARCHIAN has it roots in modern architecture:
the Boogie-Woogie version is directly inspired by the last
work of the Piet Mondrian, where interrupted vertical and
horizontal lines create the image, and the other playful
TYPO.THEME 9
16 typo 2005.indd 9 16.8.2005 11:58:32
Salome
Fig. 1. Gbor
Kthays
LaDanse

Gbor Kthays
{Fig. 2}
Tyrnavia

Qirnabia
Gbor Kthays
Fig. 3
AquaMARINE

GboKKthays
p
E F
Fig. 4.
Z
Regular :: CE
ABCDEFGHIJKLMNOPQRSTUVWXYZ+
abcdefghijklmnopqrstuvwxyz+
&({[0123456789!?$]})
Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ+
abcdefghijklmnopqrstuvwxyz+
&({[0123456789!?$]})
SmallCaps
ABCDEFGHIJKLMNOPQRSTUVWXYZ+
abcdefghijklmnopqrstuvwxyz+
&({[0123456789!?$]})
Xperts
ABCDEFGabcdefghijOPQR
HIJKLMNklmnopqrstSTUVXWX
&(<{[0123456789!?]}>)
AIJKLOPQST 0123456789
Ornaments
ABCDEFGHIJKLMNOP
abcdefghijkmnopqr
Cyrill
AE
a
&({[0123456789!?]})
Italic
AE
a
&({[0123456789!?]})
SmallCaps
AE
a
&({[0123456789!?]})
Greek
ABGDEZHQIKLMNXOPRSTUFCYW
abgdezhqiklmnxoprsjtufcyw
&({[0123456789?]})
Italic
ABGDEZHQIKLMNXOPRSTUFCYW
abgdezhqiklmnxoprsjtufcyw
&({[0123456789?]})
SmallCaps
ABGDEZHQIKLMNXOPRSTUFCYW
ABGDEZHQIKLMNXOPRSTUFCYW
&({[0123456789?]})
Pirofa
Piroska

Piroska
Trakta
Ttfalusi Kis Mikls:
Szakcsmestersgnek Knyvecskje
Kolozsvr
MDCXCV
VX igen szp j trt, abba trj eXnhny
nyers tykmonyat, s kalnnal jl trd meg;
ha kevs metlt kaprot tsz bel, ha nem is,
j afell; azonban csinlj tsztt, azt nyjtsd el,
s darabonknt metld el, a kalnnal mindenre
tX eX-eX darabocskt, hajtogasd szve,
s ha vaXon, recs rzzel vaX fval krl
metld el, hnd forr vzbe, forrald fel,
szedd ki abbl, add fel, fell vajazd meg, s
ha reszelt kenyrbllel meghinted, lssad.
Fig. 034

A Tyrnavia betcsald a Ttfalusi Kis Mikls (16501702) ltal Anton Janson holland nyomdsz szmra metszett barokk antikvn alapul. Eredetije a Nagyszombati Jezsuita Egyetem
nyomdjnak 1773-ban leltrazott s kiadott betmintaknyvben tallhat. A digitalizlt, jrarajzolt s szellemisgben az eredetit folytatva kiegsztett antikva, valamint minden
egyb tpus sajt tervezs. gy egytt, ebben a formban itt lthat elszr. 1999-2002 Kthay Gbor (Fontana Bettervez Mhely, Szeged)
70
Brevier Antiqua Matrices per 30
Typus fusus ponderat 10350
71
Brevier Cursiva Matrices per 30
Typus fusus ponderat 6 216
[ LaDanse ] 28/20 pt (after the inventors manuscript, c. 1773) [ Tyrnavia ] 12/14 pt (after Nicolas Kis, a Hungarian
punch-cutter and printer, 16501702)
L X X. Brevier Antiqua.
Nam homo proponit , sed DEUS disponit , nec est in homine via ejus. Si pietatis causa ,
aut fratern utilitatis proposito , quandoque consuetum omittitur exercitium , facile postea
poterit recuperari. Si autem tdio animi , aut negligentia faciliter relinquitur satis culpabile est ,
& nocivum sentietur. Conemur quantum possumus , adhuc leviter deciemus in multis.
L X X I. Brevier Cursiv.
Semper tamen aliquid certi proponendumest , &contra illa prcupie , qu amplius nos impediunt.
Exteriora nostra , & interiora , pariter nobis scutanda sunt , & orinanda , quia utraque expediunt ad
profectum. Si non continue te vales colligere , saltem interdum : & ad minus semel in die , mane videlicet ,
aut vespere.
304 305
{ S P E C I M E N }
CharaOerum,
seu
Literarum,
Id et :
Typorum Latinum
Probatiimorum
Secundum suas DiEerentias
Exhibitorum,
qui
T Y R N A V I
in Collegii Soc. Jesu
OFcina Fusoria Formantur,
Atque pro Ornamento
Edendorum
Librorum
Ad proprium usum proTant.
Anno Domini
MDCCLXXI I I .
Archetype/Tyrnavia
< a 20th century revival > < an 18th century source >
O 1773/2000 O
E F

version named WILMOS is a reference to Vilmos Huszr,

the Hungarian origin designer who among others, partici-
pated in the creation of the logo DeStijl.
The other typeface I would like to present from his work
is called Transylvanian script. It was when he found the
reprint of the Book of Ballads of Kroly Ks in the library
of his wife that made him start work on the typeface.
Kroly Ks, the famous Hungarian architect, writer and
designer who had transposed the vernacular architecture
of Transylvania into the urban landscape of Budapest,
compiled a small booklet in 1906 as an engagement gift
to his fianc. In this handwritten book he used letters he
had seen on the wooden grave stones in his home re-
gion. In typographical terms that he reinterpreted at the
beginning of the 20th century was the folklore version of
GBOR KTHAY
LaDanse It is the free quotations from different historical periods what
makes the postmodern thinking interesting for Kthay. LaDanse is
a remake after the notes of a Jesuit monk on the stock-list book of
a printing house of Tyrnaviae. Pro Kthaye jsou v postmodernm knonu
inspirujc zejmna voln vpjky z nejrznjch historickch obdob.
LaDanse je modernm zpracovnm poznmek jezuitskho mnicha,
nalezench v etn knize tiskrny v Tyrnaviae.
Tyrnavia-Archetype Archetype is a remake of a type cut by Nicolaus Kis
in the late 17 c., Tyrnavia is Kthays own response to this baroque Roman.
Archetype je modernm zpracovnm psma, kter vytvoil Nicolaus Kis
koncem 17. stolet. Tyrnavia je Kthayovou vlastn odpovd na tuto barokn
antikvu.
Pirofka This poster was made for TRAKTA exhibition in 2000 with the use
of Arhetype in the name an Tyrnavia in the text. Tento plakt byl navren
pro vstavu TRAKTA, podanou v roce 2000. V titulku je uito psmo
Archetype, v textu Tyrnavia.
Aquamarin is a further step from Archetype with different inuences of
baroque oral motives. Aquamarin je dal variantou Archetypu. Inspiruje
se typicky baroknmi kvtinovmi motivy.
Zanzibr Baroque calligraphy, just as much as Moorish culture was an
important inspiration when designing this playful typeface. Pi tvorb
tohoto hravho psma se autor inspiroval barokn kaligra a moorskou
kulturou.
16 typo 2005.indd 10 16.8.2005 11:58:33
the two important type designers of the end of socialist
times, to the late Zoltn Nagy and Edit Zigny he is rede-
signing their typefaces with the permission of the family.
It was during the thorough work of these typefaces that
the need for the creation of a new, easily legible typeface
was born. TROPAUER is a family that has both serif and
sans version, and I think it illustrates well his ever grow-
ing respect for the craft of typography.
Pter Csatai got his diploma only two years ago, but his
typefaces are to be found in many places in Hungary,
for example one of the most prestigious private art and
design school (Budai Rajziskola) has recently bought
a complete set on the initiation of chief design teacher
Ferenc Ndai. Csatai's diploma work was called ACYDUM.
It is a typeface that was inspired by the view of the acid
corroded copperplate surfaces of etching. After this first
attempt, soon his interest was focused at finding the
right, elegant proportions, especially in the design of
curved shapes. The harmony of the golden section is of-
ten an important principle that guides him when working.
The proportion of curved and geometrical features was in-
teresting to him when making ANTAGON, a typeface that
marries geometrical and curved construction principles.
Another of his fonts, the Roman letters of HUNGARUM
FONTAINER was inspired by old Hungarian archers. The
main thing about the design is the fact that all the ele-
ments are curved. We could present CUBE and OCTAN as an
opposite of Hungarum Fontainer regarding the fact that
they were designed with the complete omission of curved
elements. As the name of OCTAN suggests chemistry, the
chemical symbol of benzyl was the initiative idea. Besides
this connection the design of serifs of OCTAN reminds us of
a totally different world: that of the typography of Ameri-
can westerns films. Csatai's work is presented under the
name Fonster. For his own image he designed a typeface
with the same name. This retro typeface is organized
around a linear connection that can link the separate char-
acters at the baseline midline and cap lines depending on
the choice of the typographer working with them.
Type design is a new profession in Hungary. Though many
factors are far from being ideal, the achievements of
the last 10 years are important. The efforts of designers
can only be valued if one considers that these people
are often self-taught craftsmen. The typefaces that were
created are important contributions to the present day
design culture and they can play a big role in calling the
public's attention to this very basic element of design.
The frequently very strong, individualist features, the
secondary levels of meaning of these typefaces can en-
hance the better appreciation of typography in Hungary.
Hopefully one day type commissions and professional
understanding will give new momentum to type design
because this is lacking at the present time.
TYPO.THEME 11
Krisztina Somogyi (born in 1969 in Budapest) is the head editor of the Plusminus forum (www.plusminus.hu)
and a curator of Hungarian and international exhibitionsNew Typo Exhibitions (Pcs 1995, 1997) and Kakukkk
(Ponton Gallery associated with the University of
Visual Arts and Design, Budapest 2005). She is
a co-founder of Articsk graphic design studio and
an author of books, TV shows and art reviews focused
on visual communication and architecture. She has
a four-years old son, Barnabs.
Krisztina Somogyi (narozena 1969 v Budapeti)
je fredaktorkou fra Plusminus (www.plusminus.hu),
kurtorkou maarskch i mezinrodnch vstav New
Typo Exhibitions (Pcs 1995, 1997) a Kakukkk
(galerie Ponton pi Univerzit vtvarnho umn
a designu, Budape 2005). Je spoluzakladatelkou
grackho studia Articsk, autorkou knih, televiznch
poad a umleckch kritik zamench na vizuln
komunikaci a architekturu. M tyletho syna
Barnabse.
a renaissance Roman. Ks came to love this typeface so
much that he used it throughout his life, especially in his
architectural drawings. Then came Gyrgy Sznyei, about
a hundred years later, and he adapted it for computers.
He analyzed the original booklet for a long time, paying
attention to every little detail, and then he selected the
best drawn letters and made an alphabet out of it. This
typeface is not complete yet only those characters were
made that he found in the original text.
DESIGN AND FINE ART Besides historical interest the
other important character of Hungarian design is its
strong connection to fine arts. This can be observed in
the life of designers, in the mentioned publications and
it is manifest in the design of typefaces in the design
of typefaces. One reason is that fine art and design was
not strictly separated for a long period, often design-
ers have an art qualification. Gyrgy Sznyei is foremost
a fine artist, Gbor Kthay was a student at the University
of Fine art, and began working with type to match his
images, Amond Szegi was known for many years as an
active painter in the Inconnu Group, a politically involved
sub-cultural gathering. As a conclusion, type design for
Sznyei presents the same issues as his art work, so the
motivation for doing a typeface is not functional but first
of all an inner aesthetical need. Kthay's and Szegi's fine
artist background can be detected in the stylistic games
and rich decoration of many of their typefaces (e.g. ZAN-
IZIBR and MANTRA) and in the fact that they both very
much like including Floral Caps, Engraved version, Orna-
ments and Cameos (like in AQUAMARIN and GLOSSO) in
their alphabets.
THE YOUNG GENERATION After presenting the three
internationally known figures of Hungarian type de-
signers I would like to introduce two from the newest
generation. Their formation brings them closer to the
modern notion of design: they focus more strictly on the
problematic intrinsic to design. Oszkr Boskovitz and
Pter Csatai got their diploma at MIE. They have started
creating typefaces with great enthusiasm the numerous
designs they have made are often used by their fellow
designers in publications such as Pesti Est a Time-out
like publication. The questions of cultural identity and
historical allusions are less important in their life; if they
go back they make rather retro fonts with some irony
or with a great sense of humour. The type foundry of
Oszkr Boskovitz is NPFONT (www.nepfont.hu), a pun
for what used to be a Hungarian communist organisation
while the icons and the overall image are also a reference
to that. An Extreme Sport magazine and a non-official
graffiti group play an important role in the professional
life of Boskovitz. For one he is designing a magazine, for
the other he is actually preparing a non-commercial, non
standard little publication. Both offer him the possibility
to use several of his own typefaces. The Offline XTR MAG
is a magazine and therefore a marketplace and meeting
point of his design. CASSIUS was created for the logo of
the magazine; on the inside he uses SHRAPNEL in the ti-
tles. This font was named after a grenade used in the First
World War. This geometrical font is an attempt to suggest
the alternative audience of the magazine; the eye of the
font is bigger than usual and looks as though it has been
exploded. A street-art ambiance is often attained by the
stencil or roughened fonts. TILOS (forbidden), MONOSTAR,
MOAB, WAGON and TJFUN were also created for this
magazine. Besides his commercial work Boskowitz spends
a great time with learning the profession. As a homage to
16 typo 2005.indd 11 16.8.2005 11:59:18
Writing, both hand and keyboard writ-
ten, is a highly personal matter. At the
same time, it is entirely natural for us to use
a certain set of characters, as public as we
can imagine. A, B and C have belonged to the
public domain for centuries.
Access to high-quality (and, also, terrible)
typefaces was never as easy and affordable
as in this century. Fortunately, we do not have
to weigh glyphs in kilograms of lead, nor do
we need to measure them in hours of work on
expensive photosetting machines. Thanks to
the computer, which has become a universal
tool for everyone, the process of typeset-
ting and typing, that is, typography and
typewriting, have merged into one. Thus, bil-
lions of laymen gained access to typographic
characters.
Now, next step of development is emerging on
the horizon: globalization of typography. Most
cultures of the world use the computer, and
they naturally want to use their own script.
Script systems such as Arabic, Hebrew, Mon-
golian, Thai, or countless Chinese ideograms
are demanding, both on typography and on
computers. The development towards multilin-
gual text processing advanced quickly, and to
this day, it has gone a long way.
In 1963, the rst version of American Stand-
ard Code of Information Interchange (ASCII)
1

was developed. As its name suggests, its
inventors from the IBM team of Bob Bemer
T
Y
P
O
.T
E
X
T
N
i
m
b
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s

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s

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u
m
,

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,

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R
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+
+

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TEXT. JOHANNES BERGERHAUSEN 12 TYPO.PHENOMENON
did not have the least intention to dene
some sort of international standard
2
. Today,
however, ASCII rules the world: inventions
such as the internet (or its predecessor,
ARPA-Net, 1969) and eMail (1971) would be
simply unthinkable without a standard char-
acter encoding. ASCII, promoted, also known
as ISO 646, is the most successful code of
today, not counting the DNA.
ASCII has only one disadvantage you may
only use it for writing in English. Czech diacrit-
ics, German umlauts, or French accents wont
stand a chance. It was as late as in 1980s
that so-called 8-bit codes were developed,
accommodating 256 code-positions. Those
256 characters managed to cover a variety
of non-standard Latin characters. ISO Latin-1
remains to be a widely used standard. The
rst 128 characters cover the original ASCII,
however, its rest remains to be a product of
the Cold War era: the diacritics of Western
languages are included in full, but many
Eastern symbols were omitted, which made
them, in the typographic sense, somehow
second-rate, incompatible with the rest of the
world. Many readers of this magazine will be
familiar exactly with the problems of various
8-bit sets.
One thought springs to mind: to increase
the size of the code, and thus the number
of characters. Already in 1981, the program-
mers in Xerox and Apple from the team of
*www.decodeunicode.org*
16 typo 2005.indd 12 16.8.2005 12:00:41
Josef D. Becker
3
designed a universal code
which should sufce for all the characters
used by various civilisations of the world. No
matter how visionary this thought may seem
to sound, today, it became a reality on every
modern computer. In 1990, Unicode 1.0 was
introduced. Its Basic Multilingual Plane (BMP)
was based on 16 bits, that is, it had 65 536
code points. It soon became clear that even
this number is not sufcient for all the world
alphabets, as Chinese alone needs more than
70 000 characters. Then, calls appeared for
accommodating of extinct writing systems,
such as cuneiform, for the purposes of sci-
ence. The goal of the ISO 10646 is to solve
the problem once and for all by a 32-bit code.
The standard has exactly 2 billion 147 mil-
lion 483 thousand and 648 characters. Even
experts like Richard Gilliam call this gure
clearly overkill
4
. A general agreement was
made to use only the rst 17 planes of this
standard, each plane offering 65 536 code
spaces. In total, this gives space of 1 114 12
characters, which should sufce for the time
being The actual version of Unicode 4.1
of 2005 encodes over 97 000 characters,
originating in a vast variety of cultures
5
. Every
modern Mac or PC makes them accessible to
its user.
The term typographic revolution really is
appropriate here. Brought along by program-
mers and almost imperceptible for the public,
United Nations General Assembly, in which
every living culture and script has the right to
its own seat.
The reason is that when a certain culture
or nation is not represented by its script in
Unicode, it is excluded from the world com-
munity on the very basic communicative level,
and it cannot further advance in modern
technologies. The Script Encoding Initiative
7

launched by Debora Anderson, a linguist from
the University of Berkeley, is aimed at accept-
ing the script sets yet missing in Unicode.
Even when a certain script is accepted into
Unicode, it faces further challenges. Operat-
ing system and applications have to be local-
ized for the particular language (or languag-
es). At this moment, an initiative KhmerOS
8

is running in Cambodia. This group ghts for
a Cambodian localisation of an operating sys-
tem. Just imagine the uproar in Europe if all
the leading technologies would be accessible
only in English, or even in foreign scripts! Al-
though thanks to Unicode, the localisation of
software is not as serious problem as it used
to be not too long ago, many companies will
prefer to save its costs, especially as software
piracy in some countries destroys the whole
software market. However, if the richest man
of the world does not offer the Khmers their
localised operating system in future, the initia-
tive will be taken on by OpenSource groups
and Microsoft or Apple will lose all chance of
in the typographic community, it became
known thanks to the OpenType format, based
on Unicode. The non-prot organisation
Unicode Consortium
6
is backed by the impor-
tant players of the computer eld Adobe,
Apple, IBM, Microsoft, Oracle, or Sun. During
the 15 years of its existence, Unicode has
achieved the position of undisputable interna-
tional standard. It serves its purpose in vari-
ous elds for example, in simple software
localisation, unied encoding brings great
economic advantage.
The Unicode standard is based on the distinc-
tion between character and glyph. Unicode
encodes characters, not glyphs. The charac-
ters are abstract representations of the small-
est possible elements of written language
which bear a semantic value.
In Unicode, all the important cultures are
represented by their script. More and more
applications are made compatible with
Unicode. The industry wishes to stabilise
and close the standard as soon as possible.
However, the whole titanic work is still only
half-nished. Many living and extinct cultures
are still missing in Unicode, because they do
not constitute an important market for the
computer industry. Here, the whole problem
becomes an affair of politics. Of course that
the future updates of Unicode must cover
the script systems of all cultures, with no
exceptions! Unicode is a kind of typographic
U+20B0
GERMAN PENNY SIGN.
In German markets, it
was possible to spot this
chalk-written character even
in 1980s and 1990s. The
German pfennig originates
in the denar of Charlemagne
(in Latin, it was called
denarius), and this is why
it is derived from the d in
German hand-written script,
called Stterlin. It disap-
peared in the monetary
reform in 1948. Until today,
it is utilised in hand-written
proofs as the deleatur
symbol, in Latin meaning to
be deleted.
FENIK. Na nmeckch tri-
tch se jet v osmdestch
a devadestch letech mohl
tento znak napsan kdou
obas objevit. Nmeck
fenik pochz z denru Karla
Velikho (lat. denarius),
proto m jako znak d
z nmeckho psacho psma
(tzv. Stterlin). Pi mnov
reform v roce 1948 byl
odstrann. Dnes se jet po-
uv pi runch textovch
korekturch jako deleatur
(lat. budi odstranno).
U+2117
SOUND RECORDING
COPYRIGHT. The P in
a circle may be found on
every CD as the music
industry copyright. It
was introduced in 1971
in association with new
American copyright
law. It reects the C in
circle widely known
American symbol of
copyright, dating back
to 1910. Together with
Registered and
TradeMark , these
symbols introduced by the
American patent authority
are presently known and
used worldwide.
SOUND RECORDING
COPYRIGHT. P v kruhu
je na kadm CD disku
jako copyright hudebnho
prmyslu. Byl zaveden
v roce 1971 v souvislosti
s novm americkm
zkonem o autorskm
prvu. Opr se o
obecn znm americk
symbol copyrightu,
doloen od roku 1910.
Spolen s Registered
a TradeMark jsou
tyto znaky americkho
patentnho adu
celosvtov rozen.
U00A4
CURRENCY SIGN. At the
end of the 1960s, ASCII was
to become an international
standard. However, the
representatives of several
countries refused to accept
the US dollar sign into the
ISO 646. Apparently, the
Cold War did not stop even
at typography. Then, the
decision was made to create
a new symbol, representing
the universal currency
sign. Currency is one of
the least used symbols
of todayit is meant to
symbolise a coin glistening
in the sun. Even though it
has no practical use, you
will nd this symbol in the
sets of special characters
on mobile phones.
ZNAK MNY. Na konci
edestch let, kdy
se ml kd ASCII stt
mezinrodn normou,
zdrhali se v grmich
zstupci nkterch zem
pijmout do ISO 646 znak
americkho dolaru $.
Studen vlka se nezastavila
ani ped typogra. Proto
tehdy padlo rozhodnut
vytvoit nov znak, kter
by univerzln nahrazoval
pojem mny. Currency
je tak dodnes jeden
z nejmn pouvanch
znak: m znzorovat
minci tpytc se na slunci.
I kdy nem praktick
vznam, najdete ho dnes
dokonce i mezi zvltnmi
znaky na mobilnch
telefonech.
U+00AC
LOGICAL NOT. The logical
negation , dened by ISO
Latin-1 as Logical Not, is
a mathematical character.
In logic, A means not A.
Its inclusion on Western
keyboards provided this
character its widespread
use, even in non-
mathematical context.
LOGICK NOT. Logick
negace (podle denice
ISO Latin-1 logick not)
je matematick symbol.
V logice A znamen
ne A. Ptomnost na
zpadnch klvesnicch
zajistila tomuto symbolu
celosvtov rozen
i za hranice matematiky.
U+00A5
YEN. This is not a Japanese
character. In Kanji, there
is another glyph for
Yen. It seems that the
modied Y character was
invented in the Western
world. Its creator added
two horizontal strokes,
an analogy of the pound
Sterling or dollar characters.
Who was it, though? And
when was this character
rst documented?
JEN. Nen to japonsk
znak. Vechna ti japonsk
psma kanji, hiragana
a katakana maj pro jen
vlastn znak. Upraven
ypsilon tedy bude
pravdpodobn zpadnm
vynlezem. Jeho tvrce
pidal dva pn krty
analogicky ke znakm
dolaru i libry. Kdo to ale byl
a odkdy je znak doloen?
U+3020
POSTAL MARK FACE.
Unicode is strict in not
encoding political symbols
or logos. However, other
policy of Unicode says that
it should be compatible
with all the existing national
codes. This is where
several strange characters
appeared from, including
this symbol of Japanese
Post.
POSTAL MARK FACE
(potovn znaka lc).
Unicode zsadn nekduje
politick symboly ani loga.
Jin zsada unicodu ovem
k, e by ml bt zptn
kompatibiln ke vem
dosavadnm nrodnm
kdm. Proto se v nm
pece jen objevuje nkolik
podivnch znak jako
tento symbol japonskch
potovnch ad.
16 typo 2005.indd 13 16.8.2005 12:00:51
16 typo 2005.indd 14 16.8.2005 12:01:02
future prot in these countries. After all, Cam-
bodia has some 13 millions of people.
Another example: after Taliban was defeated,
the Western military found out that keyboards
did not accommodate some basic Arabic
characters for Pashto and Dari, two ofcial
languages of Afghanistan. A programme sup-
ported by UN has added these characters to
the Unicode system in 2003, and it developed
a special keyboard for Pashto. The culture
thus acquired its rst chance to communicate
via computer in its own script. It seems to be
a simple advance of technology, however, it
has far-reaching cultural effect.
As Utopian as Beckers idea of multilingual
text processing seemed 20 years ago, the
demand for localisation of internationally
used software for all living cultures may seem
today.
Typedesigners have to face a challenge pre-
sented by Unicode. The idyllic times of 256
characters in one font are gone. Even the so-
called expert sets were just a partial solution,
not functional today. A worldfont does not
make much sense technically, but more and
more type designers take good care to equip
their Latin fonts at least with complete East-
ern diacritics, Greek alphabet, and Cyrillic.
The OpenType font format is based on
Unicode. Its other great advantage is the fact
that the previously incompatible sets of fonts
for Mac and PC are becoming a problem of
the past. However, the simple fact that a cer-
tain font is sold as OpenType does not say
much about the actual number of characters
it contains. Some font manufacturers like to
make their life as easy as possible they sim-
ply convert the old typefaces without adding
new characters. Others, on the other hand,
publish the number of glyphs per font, even
though one character may be represented
by several glyphs. Mrs. Eaves OpenType font
by Zuzana Liko, released last year, contains
a set of full 17 old 8-bit fonts.
As Marshall McLuhan said in 1963: We
shape tools and they in turn shape us
9
,
I believe that a democratic approach to all
the characters of various scripts of the world
will change typography, linguistics, and many
other elds of science, such as paleography
and archaeology.
Now, only one thing is missing a good
overview of and information about all these
characters hidden in the keyboard. The pro-
grammers of Unicode have done a great job,
but even professionals are not entirely sure
what some of the characters mean. Decode
Unicode!
Decodeunicode is an independent platform,
released online in May 2005 with the names
and images of more than 50 000 characters.
The project was conceived and launched by
Professor Johannes Bergerhausen and de-
signer Siri Poarangan from the Department of
Design at the University of Applied Sciences
in Mainz, Germany.
The goal of the project, supported by the
German Federal Ministry for Education and
Research, is to prepare the ground for basic
typographic research and to make the mean-
ing of all the characters accessible to all com-
puter users. The meaning of such enormous
amount of characters touches upon several
elds of science, such as linguistics, mathe-
matics, numismatics, paleography, semiotics
or typography, and it must be clearly acces-
sible to the wide public.
Each information on each character is inter-
esting in itself its history, spreading, various
meanings, ortographic use, typographic
notes, synonyms and popular names, images
of examples.
Decodeunicode is an OpenScience project,
built on the submissions of material by
its online users. The information is added
on the same principle which has been for
years successfully used by the Wikipedia
encyclopaedia
10
. You can also upload an
image of each character, provided its free
distribution is permitted. We welcome both
traditional typographic images and photo-
graphs of its use in everyday life. To maintain
the quality of the project, the submissions are
edited by a team from the Fachhochschule in
Mainz, who are allowed to delete unsuitable
material.
When preparing the images of characters
for the website, it was often difcult even
to obtain a font accommodating that certain
script. Some characters are used by a single
island nation with the population of 10 000
members. All 50 000 characters are thus ac-
cessible as .gif images for the users which do
not have the particular font installed on their
computer. The information consists of the
English Unicode name, but we are also inter-
ested in all the popular names of the charac-
ters, important especially for fulltext search.
Try, for example, to search for Sputnik
The present online database supports Ger-
man and English as the main communication
languages. Our small team is unable to man-
age more languages at the moment. (If an-
yone would be interested in launching any
other version of the project, please contact
the author of this article.)
The complicated Arabic ligatures, undeci-
pherable Chinese ideograms and hundreds of
mathematical symbols offer plenty of space
for discovery. Try to seach for, say, 3 or
star in the fulltext search. We will be looking
forward to your contributions.
[peklad: Olga Neumanov]
TYPO.PHENOMENON 15
Prof. Prof. Johannes Bergerhausen (born 1965) studied communication design at the University of Applied Sciences in
Dsseldorf, Germany. He worked in Paris 19932000, rst with Grapus founders Grard Paris-Clavel and Pierre Bernard, then
free-lance. In 1998, he received a grant from the French Centre National des Arts Plastiques, Paris, for a research project on
typography in the ASCII code. He guest lectured at Amiens, Berlin, Frankfurt, Paris, Prague, Rotterdam, Warsaw and Weimar.
Since 2002, he is a professor of typography in the Department of Design at the University of Applied Sciences in Mainz.
Johannes Bergerhausen (narozen 1965) vystudoval komunikan design na Vysok kole umlecko-prmyslov v n-
meckm Dsseldorfu. V letech 19932000 pracoval v Pai (jak na voln noze, tak se zakladateli grackho spolku Grapus
Grardem Paris-Clavelem a Pierrem Bernardem). V roce 1998 zskal grant od paskho Centre National des Arts Plastiques
na vzkumn typograck projekt tkajc se ASCII. Od roku 2002 vyuuje typograi na katede designu na Fachhochschule
v Mainzu. Pednel na univerzitch v Amiensu, Berln, Frankfurtu, Pai, Praze, Rotterdamu, Varav a Vmaru.
Typography had always much to do with power. In 1928,
Mustafa Kemal, known as Atatrk, forced an entire nation
to abandon Arabic script in favour of Latin alphabet. The
inuence of German and French cultures as the models
for the newly born country went so far that modern written
Turkish uses the German umlauts and , and the French
cedilla . Today, Turkey is preparing for the negotiations on
entering the EU.
Typograe vdycky mla co do inn s moc. V roce 1928
Mustafa Kemal, een Atatrk, piml cel nrod k tomu, aby
namsto arabskch psmen zaal pouvat latinku. Vliv nmec-
k a francouzsk kultury jako vzor pro nov vznikajc stt el
tak daleko, e dodnes najdeme v psan turetin nmeck
pehlsky , nebo francouzskou cedillu . Turecko ekaj
pijmac rozhovory do EU.
The Basic Multilingual Plane Poster. First printed overview
of all 65 536 characters of the rst plane of Unicode 4.0.
It was awarded a number of prizes for its design. All 300
copies have been sold out. At the end of this year, an
update 4.1 is being prepared.
The Basic Multilingual Plane Poster. Prvn titn pehled
vech 65 536 znak prvn rovn Unicodu 4.0. Byl
vyznamenn mnoha cenami za design. Vech 300 exempl
ji je vyprodno, na konec roku se pipravuje update 4.1.
16 typo 2005.indd 15 16.8.2005 12:02:00

0041;LATIN CAPITAL LETTER A;
Lu;0;L;;;;;N;;;;0061;
16 TYPO.PHENOMENON
16 typo 2005.indd 16 16.8.2005 12:02:22

Psan a u na klvesnici, nebo rukou je velice
osobn zleitost. Pitom vak zcela samozejm
pouvme urit soubor znak: nco tak veejnho,
jak si jen dokeme pedstavit. A, B i C jsou toti ji
po tiscilet public domain.
Pstup k velice kvalitnm (ppadn velice patnm)
psmm pro sazbu nebyl jet nikdy tak snadn
a levn jako v tomto stolet. Natst se dnes u
litery nev v kilogramech olova ani se nepotaj
v hodinch prce na drahch fotosazbovch strojch.
Dky potai jako univerzlnmu nstroji dokonce
v poslednch desetiletch sazba a psan, tedy ty-
pograe a psan na stroji, srostly v jedno. Tm zskaly
i miliny laik pstup k typograckm znakm.
Na horizontu se te rsuje dal krok vvoje: globali-
zace typograe. Vtina kultur v dnenm svt ji po-
uv potae, a chtj samozejm pouvat i vlastn
psma. Znakov systmy jako arabtina, hebrejtina,
mongoltina, thajtina nebo nesetn nsk ideogra-
my kladou na typograi a potae nov poadavky.
Vvoj smrem k vcejazykovmu zpracovn textu el
rychle a pokroil u daleko.
V roce 1963 byla vyvinuta prvn verze American
Standard Code of Information Interchange, krtce
ASCII. Jak ji jmno napovd, ani zdaleka tehdy
ineni IBM okolo Boba Bemera nemli v plnu
denovat njak celosvtov platn standard. Dnes
ovld ASCII cel svt: vynlezy jako internet (a jeho
pedchdce ARPA-Net, 1969) nebo e-mail (1971) by
byly bez jednotnho kdovn znak nemysliteln.
ASCII, poven na ISO 646, je dnes po DNA nej-
spnjm kdem.
ASCII m jen jednu nevhodu mete s nm pst
pouze anglick texty. Nmeck pehlsky, esk
hky i francouzsk akcenty si tu nekrtnou. Teprve
v osmdestch letech byly zavedeny takzvan
osmibitov kdy s 256 znaky, kter ji eji pokrvaly
speciln znaky v latince. ISO Latin-1 je iroce roz-
en standard. Na prvnch 128 pozicch pevzal znaky
ASCII, dle vak zstal dttem
studen vlky: diakritika zpad-
nch jazyk je pokryta kompletn,
ale na mnoh vchodn znamnka se nedostalo tm
se stala jaksi typogracky druhoad, nekompatibiln
s ostatnm svtem. Mnohm tenm budou prv
problmy s rznmi osmibitovmi sadami dvrn
znm.
Vyvstala tedy poteba zvtit rozsah kdu a tm
i zsobu znak. Ji v roce 1981 navrhuj programtoi
Apple a Xeroxu okolo Josefa D. Beckera univerzln
kd, kter pokryje znaky celho lidstva. Tato zdnliv
utopie je dnes u na kadm modernm potai rea-
litou. V roce 1990 byl pedstaven Unicode 1.0, jeho
Basic Multilingual Plane (BMP) zahrnuje 16 bit, tedy
65 536 monch znakovch pozic. Zhy se ukzalo,
e ani to nesta k zaazen vech psem, kter jsou
na svt. Jen ntina potebuje okolo 70 000 znak.
Navc se ozvaly hlasy, kter chtly pro vdeck ely
integrovat i vymel znakov systmy, napklad kl-
nov psmo. Zmrem ISO 10646 je vytvoit pomoc
32bitovho kdu dostatek msta jednou provdy. Tato
norma umouje kdovat pesn 2 miliardy, 147 mi-
lin, 483 tisc a 648 znak. To u je i pro odbornky
jako Richard Gillam clearly overkill. Norma dnes
pot s omezenm na prvnch 17 rovn, piem ka-
d rove obsahuje 65 536 mst. Dohromady je tedy
prostor pro 1 114 112 znak, co by mlo lidstvu pro
zatek stait Aktuln verze Unicode 4.1 (2005) k-
duje pes 97 000 znak z destek kultur. Na kadm
Macintoshi nebo PC s modernmi verzemi operanch
systm k nim mme pstup.
Nabz se pojem typograck revoluce: byla zosno-
vna programtory, veejnost takka nepovimnuta,
zato v typograck obci vela ve znmost dky
formtu OpenType (zaloenm prv na unicodu). Za
neziskovou organizac Unicode Consortium dnes stoj
nejdleitj zstupci potaovho svta: Adobe,
Apple, IBM, Microsoft, Oracle, Sun. Za patnct let se
unicode prosadil jako nezpochybniteln svtov stan-
dard. Svj smysl m v mnoha oblastech, napklad pi
pouh lokalizaci softwaru pin jedno kdovn pro
cel svt obrovsk hospodsk vhody.
Principem unicodu je rozlien znaku (angl. chara-
cter) a glyfu: kduje znaky, nikoliv glyfy. Znaky jsou
abstraktnmi reprezentanty nejmench prvk psan
ei, maj smantickou hodnotu.
V unicodu jsou ji svm psmem zastoupeny vechny
dleit kultury. Vc a vc program je s unicodem
kompatibilnch. Prmysl se dnes sna tento standard
co nejdve dovst do konce. Pitom cel titnsk
prce je hotova teprve z poloviny. Mnoh ijc
i vymel kultury v unicodu stle chybj, protoe pro
potaov prmysl nejsou vznamn. Tady se cel
zleitost dostv na pole politiky. Samozejm, pt
aktualizace unicodu mus pojmout bez vjimky psma
vech kultur: unicode je jakmsi generlnm shrom-
dnm typograckho OSN a kad kultura m prvo
na to, aby zde byla zastoupena.
Pokud toti njak kultura i nrod svm psmem
v unicodu zastoupena nen, vyluuje se tm na z-
kladn komunikan rovni ze svtovho spoleenstv
a tko se me na poli modernch technologi dle
rozvjet. Iniciativa Script Encoding lingvistky Debory
Andersonov z univerzity v Berkeley si klade za cl
doshnout pijet znakovch sad, kter dosud chybj.
I kdy u je njak psmo do unicodu pijato, ekaj
na nj dal pekky. Pro pslun jazyk (resp.
jazyky) je jet teba lokalizovat operan systmy
a programy. Aktuln probh initiativa KhmerOS
v Kambodi. Toto sdruen bojuje za kambodskou
lokalizaci operanho systmu. Pedstavte si, jak by
se bouila Evropa, kdyby vechny vysok techno-
logie byly dostupn jen v anglitin nebo dokonce
v cizch psmech! I kdy dnes dky unicodu lokalizace
softwaru nen a takov problm, pece jen si mnoh
rmy tyto nklady uet, zvlt kdy softwarov
pirtstv v chudch zemch ni veker trh. Ale kdy
nejbohat mu svta ani v budoucnu nenabdne
operan systm pro Khmery, pevezmou tuto lohu
opensourceov skupiny a Microsoft pijde v tchto
zemch navdy o monost vdlku. Kamboda m
ostatn 13 milion obyvatel.
Jin pklad: po porce Talibanu zjistili zpadn
vojci, e pro patu a dari, ociln jazyky v Afghnis-
tnu, chybj na klvesnicch nkter arabsk znaky.
Program podporovan OSN v roce 2003 tyto znaky
do unicodu doplnil a tak vyvinul pro patu vlastn kl-
vesnici. Tamn kultue se tak poprv otevela monost
komunikovat pes pota vlastnm psmem. Zdnliv
vedn technick vvoj, ovem s nevdanm kulturnm
dosahem.
Stejn jako se zdla bt utopickou ped dvaceti lety
Beckersova mylenka o mnohojazynm zpracovn
textu, me dnes znt blzniv poadavek, aby byl
internacionln zamen software lokalizovn pro
vechny iv kultury.
Tvrcm psma tak unicode pedkld novou vzvu.
Idylick doby 256 znak v jednom fontu minuly.
I takzvan expertn sady byly jen stenm eenm,
kter dnes ji nefunguje. Jeden celosvtov font
technicky nem vznam, ale stle vce tvrc psma
si dnes dv zleet, aby vybavili sv latinky alespo
kompletn vchodn diakritikou, eckou abecedou
a azbukou.
Nov formt pro psma OpenType je zaloen na uni-
codu. Dky nmu se vzjemn nekompatibiln fonty
pro Mac a PC stvaj minulost. Pesto skutenost, e
njak font je nabzen jako OpenType, jet nek
nic o tom, kolik znak doopravdy obsahuje. Nkte
vrobci si zjednoduuj prci a star psma jednodue
konvertuj, ani pidvaj nov znaky. Jin ji udvaj
poet glyf ve fontu. Jeden znak tu ale me zastu-
povat vce glyf. V loskm roce vydan Mrs. Eaves
OpenType Zuzany Liko obsahuje v jednom souboru
celch 17 starch osmibitovch font.
Marshall McLuhan v roce 1963 ekl: We shape tools
and they in turn shape us. I j vm, e demokra-
tick pstup ke vem znakm svtovch psem trvale
zmn typograi, lingvistiku a mnoho dalch vd jako
paleograi nebo archeologii.
Co nm te schz, je pehled o vech tch znacch,
kter se pod klvesnic skrvaj. Programtoi unico-
du odvedli dobrou prci, ale ani mnohm odborn-
km nen jasn, co kter znaky znamenaj. Musme je
rozklovat!
Decodeunicode je nezvisl platforma, kter se
otevela on-line v kvtnu 2005 se jmny a zobrazenm
vce ne 50 000 znak. Projekt spolen pipravili
a nastartovali prof. Johannes Bergerhausen spolu
s designrkou Siri Poarangan na katede designu
v Mainzu.
Projekt podporovan nmeckm ministerstvem
pro vzdlvn a vzkum chce pipravit pdu pro
zkladn typograck vzkum a uivatelm pota
m osvtlit vznam vech znak. Vechny informace
ke kadmu jednotlivmu znaku jsou zajmav: his-
torie, rozen, rzn vznamy, ortograck pouit,
typograck poznmky, anglick unicodov nzev,
synonyma a hovorov nzvy, obrzky pklad.
Decodeunicode funguje jako OpenScience projekt,
stav na pspvcch on-line uivatel. Informace
se vkldaj podobn jako ve Wikipedii. Mete ke
kadmu znaku uploadovat i obrzek, pokud je
voln iiteln vtna jsou jak klasick typograck
vyobrazen, tak fotograe vednho uit. Pro zajitn
kvality jsou pspvky dodaten kontrolovny mo-
dertory z Fachhochschule v Mainzu (ti je ppadn
mohou i smazat). Vedle obrzk mete pidvat
napklad hovorov nzvy, kter jsou potebn zvlt
pro fulltextov vyhledvn zkuste si nkdy teba
zadat do vyhledvae Sputnik.
Pi pprav vyobrazen znak bylo asto obtn k n-
kterm psmm vbec najt pslun font. Jsou znaky,
kter pouv jedin ostrovn nrod s deseti tisci
pslunky. Vce ne 50 000 znak je tedy k dispozici
v podob gifovch nhled, aby byly zobraziteln
i pro uivatele, kte dan font na potai nemaj.
Souasn on-line databze komunikuje nmecky
a anglicky, vce jazyk zatm n mal tm neme
zvldnout. (Kdo by chtl otevt eskou verzi, me
se pihlsit u autora lnku.)
Mezi zamotanmi arabskmi ligaturami, sloitmi
nskmi ideogramy a stovkami matematickch
znaek se d objevit mnoh zkuste si u ns nechat
vyhledat eba 3 nebo star Tme se na vae
pspvky. [peklad: Jan Dobe]
1 Charles E. Mackenzie: Coded Character Sets, History and Developement, Boston, MA, USA, 1980, ISBN 0-201-14460-3
2 Johannes Bergerhausen: Questionner le clavier: les Codages ASCII et ISO-Latin 1, Dossier CNAP, Paris, France, 1999
3 Joseph D. Becker: Multilingual Word Processing in: Scientic American No. 251, July 1984, Seiten 96-107
4 Richard Gillam: Unicode Demystied, Boston, MA, USA, Addison-Wesley, 2003, ISBN 0-201-70052-2
5 The Unicode Consortium: The Unicode Standard Version 4.0, Boston, MA, USA, Addison-Wesley, 2003, ISBN 0-321-18578-1
6 The Unicode Consortium: www.unicode.org/consortium/consort.html (12th June, 2005)
7 Deborah Anderson: www.linguistics.berkeley.edu/~dwanders (14th June, 2005)
8 www.khmeros.info (12th June, 2005)
9 Marshall McLuhan: Understanding MediaThe Extensions of Man, New York, NY, USA, McGraw Hill, 1964, ISBN 0-07-045436-1
10 wikipedia: www.wikipedia.org (12th June, 2005)
16 typo 2005.indd 17 16.8.2005 12:02:38
BlockDock. Thanks to ash navigation, we may easily access the 105 blocks of the BMP of Unicode. Each character symbolises one type of script or a group of characters.
BlockDock. Pomoc ashov navigace mme jednoduch pstup ke 105 blokm unicodu. Kad znak symbolicky zastupuje jeden druh psma nebo skupinu znak.
Postcards. A set of postcards with 36 unusual or rare characters of Unicode in three silkscreen neon colours. The set may be ordered at www.decodeunicode.org
Pohlednice. Sada pohlednic s 36 zvltnmi nebo vzcnmi znaky z unicodu ve tech rznch neonovch barvch. Sadu je mon objednat na www.decodeunicode.org
16 typo 2005.indd 18 16.8.2005 12:02:39
Internetov projekt Diacritics jsem poprv pedstavil
16. dubna 2005 ped zaplnnm slem na konfe-
renci Typo.Graphic.Beirut. Diacritics je uniktn databze
informac o diakritickch znamnkch: jak maj mt tvar,
velikost, umstn, v jakm jazyce se konkrtn diakritick
znamnka pouvaj a dal podrobnosti. Web projektu
funguje na principu Wikipedie, a tak me kdokoli pispt
svmi znalostmi.
Jako grack designr si ji mnoho let uvdomuji, jak
me nekvalitn diakritika pokazit jinak velmi pkn ps-
mo. Technicky i esteticky nepoveden akcenty nkterch
potaovch font bohuel velmi negativn ovlivuj typo-
grai nrod stedn a vchodn Evropy. Ale nen se emu
divit. Informac, jak maj akcenty vypadat, jak se umisuj
a jak se pouvaj, je velmi mlo, navc jsou roztroueny
po rznch knihch, internetovch diskusch a obtn
dostupnch lncch v mnoha jazycch. Proto jsem ped
rokem v destm sle asopisu Typo publikoval rozsh-
l text o diakritickch znamnkch a pislbil jsem, e
informace budou asem k dispozici on-line. Nyn se mi
to podailo, webov strnky projektu funguj a navc jsou
informace vrazn rozeny, opraveny a doplnny.
Po dlouh vaze jsem se rozhodl, e strnky projektu Di-
acritics budou (zatm) pouze v anglitin. (Alespo do t
doby, ne se najde nkdo, kdo nezitn pome s pekla-
dem do dalho jazyka.) On-line databze nyn obsahuje
pehled akcent uvanch v evropskch jazycch, kter
p latinkou. Ke kadmu znamnku jsou doplnny infor-
mace o jeho historii, uit a zejmna sprvnm vzhledu,
tedy jak tvar, velikost a umstn m dan znamnko mt.
Mal tabulka obsahuje doplkov informace, napklad
seznam jazyk, ve kterch se akcent objevuje, Unicode
index, postscriptov jmno. Po kliknut na konkrtn jazyk
se objev strnka s informacemi vztahujcmi se k danmu
jazyku. Zde jsou uvedena diakritick znamnka uvan
v tomto jazyce, pehledn seznam akcentovanch znak
vetn Unicode index a postscriptovch nzv a tak
obvykl abecedn azen.
Aby byla databze pstupn kadmu a hlavn aby
kdokoliv mohl pispt svmi znalostmi, inspiroval jsem se
osvdenm modelem encyklopedie Wikipedia. Edito-
vn text a informac projektu Diacritics je proto velmi
jednoduch. Pihlen uivatel se po stisknut editanho
tlatka na kad strnce dostane do editanho reimu,
kde me i bez znalosti HTML kdu pohodln mnit,
doplovat, ale i mazat zveejnn informace. Systm
je samozejm zabezpeen proti zneuit inteligentnm
zlohovnm. V souasn dob pracuji s programtorem
Bohdanem Kolekem na dalm rozen projektu. Pede-
vm pibude podpora pro dal psmov systmy: krom
latinky tak bude mon do databze pohodln vloit i in-
formace teba o akcentech v cyrilici, alfabet, arabtin
nebo hebrejtin. Zrove se pipravuje i monost doplnit
do systmu obrzky s ukzkami sprvn a nesprvn
diakritiky.
Projekt Diacritics se li od iniciativy Decodeunicode,
o kter pe na str. 1218 Johannes Bergerhausen. Pes-
toe jsou ob databze zaloen na podobnm principu
a mohou teoreticky o diakritickch znamnkch obsa-
hovat stejn informace, pednost Diacritics je zejmna
automatick provzanost akcent s jednotlivmi jazyky,
velmi pehledn uivatelsk rozhran a seznam literatury
a odkaz.
Projekt Diacritics ji ije svm vlastnm ivotem. O sv zna-
losti se zatm podlila asi dvactka typograf z nejrznj-
ch mst svta od Spojench stt po Vietnam a ka-
d tden pibvaj nov uivatel systmu. Mte-li chu
pispt, pihlaste se na http://diacritics.typo.cz.
I rst presented the internet
project Diacritics on 16th of
April, 2005, facing a full lecture
hall at the Typo.Graphic.Beirut
conference. Diacritics is a unique
database of information about
accents: what their shape, size
and position should be, what
languages utilise them, and other
details. The project works on the
same principle as the Wikipedia
encyclopedia, so that everyone
may contribute with his own
knowledge.
As a graphic designer, I have
come to realise many years ago
how wrong diacritics could spoil
otherwise well-designed typefa-
ce. The poor aesthetic and tech-
nical quality of some computer
fonts has, unfortunately, strong
negative impact on the typogra-
phy of Central and Eastern Euro-
pe. Not surprisingly. The informa-
tion on shape, position and use of
individual accents is sparse and
scattered across a wide range
of books, internet forums, and
pretty much inaccessible articles,
written in various languages. This
is the reason why, one year ago,
I have published an extensive
article on diacritics in the 10th
issue of Typo, together with the
promise of making the informa-
tion available online. Now, I have
accomplished the goal the web-
site of the project went online,
and the information it contains
has been extended, corrected,
and appended.
After careful consideration,
I decided that the website will
only be available in an English
version for the time being. (At
least until a volunteer willing to
help with its translation into some
other language appears.) The
on-line database now contains
an overview of accents used in
European languages which utilise
the Latin script. Each symbol is
complemented by information on
its history, use, and especially
on its proper shape, size and
positioning. Small table covers
some additional information, for
example a list of languages which
use the accent, its Unicode index,
or its postscript name. After clic-
king on each language, a page
with information on that certain
language appears. It has a list of
accents used in that language,
their Unicode indexes, postscript
names, and the order of letters in
the alphabet.
I took inspiration from the well-
-tried model of the Wikipedia
encyclopaedia to make the
database accessible to anyone
and, most importantly, to enable
the editing of information by
every user. This is why editing
the texts of the Diacritics project
is as simple as possible. Every
registered user may click on the
editing icon, thus moving into
the editing mode. Here, he may
easily change, add, or erase the
information, even without the
knowledge of HTML. Naturally,
the system is protected against
abuse by automatic backup. I am
working on further expansion
of the project with the program-
mer Bohdan Koleek right now.
The rst priority is to extend the
support to other writing systems.
Apart from the Latin script, it will
be easy to add information about
accents in, say, Cyrillic, Greek,
Arabic, or Hebrew. We are also
preparing the option to upload
images with examples of right
and wrong accents.
The Diacritics project is diffe-
rent from the Decodeunicode
initiative, as described on page
XXX by Johannes Bergerhausen.
Although both databases are
based on a similar principle and
thus may, in theory, cover the
same information on accents, the
advantage of Diacritics lies in its
automatic interconnectedness
with the languages, its well arran-
ged user interface, and the list of
literature and links.
The Diacritics project started to
live its own life. About twenty
typographers from around the
world, reaching from U.S.A. to
Vietnam, have already shared
their knowledge, and each week,
new users keep appearing. If you
feel like contributing, register at
http://diacritics.typo.cz.
[translation: Olga Neumanov]
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TEXT. FILIP BLAEK TYPO.PROJECT 19
16 typo 2005.indd 19 16.8.2005 12:02:47

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TEXT. JAN MIDDENDORP 20 TYPO.ANNIVERSARY
In the autumn of 2004, FontShop
International rst presented
an exhibition called FiFFteen:
15 years of type for independent
minds. The exhibition, celebrating
the FontFont type library as well as
the experimental FUSE project, had
its opening in London in November,
it subsequently travelled to
Manchester, Berlin and New York,
and will be on show on various
sites in Europe and the US later
this year and in early 2006. The
FontFont section of the exhibition
was curated by Jan Middendorp
with designer Erik Spiekermann,
while the FUSE section was
conceived by Neville Brody. Jan
Middendorp who is also editing
a book on FontFont presents
an insiders view of the project
and a brief overview of the
FontFont history.
TYPE FOR INDEPENDENT MINDS
16 typo 2005.indd 20 16.8.2005 12:02:48
The late 1980s were a era of unprecedented changes
in the world of typography. A new technology desk-
top publishing had recently been introduced and quick-
ly gained popularity. Those design companies and print-
ing ofces that still relied on conventional typesetting,
paying specialized companies by centimeter for slips of
text, would soon nd out that continuing to do so was bad
for business: not just nancially, but also because those
expensive high-end systems did not have much future and
thus stopped attracting new typefaces. The area where
new things were happening was the desktop. In mere ve
or six years, the scene was to change dramatically, in terms
of distribution and technology as well as design. Apart
from the pricing (a font soon costing as much as a single
sheet of set text had cost before) the main gain was in the
creative realm. Never before had type designers had the
freedom, the autonomy and the control they were to have
from 1990 onwards. In March of that year, Adobe Systems
decided to release the specications of its PostScript Type
1 font format, hoping to turn it into a worldwide standard;
this opened up possibilities for every designer to make
fonts with simple, affordable font design software.
1990 was also the year in which designers Erik Spieker-
mann (Berlin) and Neville Brody (London) created a new
library of digital type: FontFont, published by Spieker-
manns rm FontShop, which up to then had limited
itself to distributing fonts from other foundries. Through-
out the 1980s, the main players in the typographic world
had been the large typefoundries which had struggled
their way through the quick transition from photographic
to digital technologies: Monotype, Linotype, Berthold,
ITC. These were also the foundries from which the fast-
growing software company Adobe licensed most of its
fonts. There had been a few exceptions small compa-
nies that had pioneered digital typography, such as URW,
Emigre and Bitstream. Although the FontFont model was
not unlike Emigres, its scope and ambitions were differ-
ent. While the Emigre library essentially represented the
cutting-edge view of two people, Zuzana Liko and Rudy
Vanderlans, FontFont was more multiform right from the
start. It set out to provide type in many different styles and
for many purposes: the historically inspired alongside the
contemporary; experimental and unorthodox fun fonts
alongside business-like and pragmatic text faces. All these
typefaces were new. Unlike most other type libraries,
FontFont did not contain re-releases of fonts originally
made for previous technologies.
UNRELEASED FONTS The FontFont type library was off
to a ying start, releasing dozens of remarkable families
during the rst years. With hindsight, it is amazing how
things fell into place within such a brief timespan. Intui-
tion, serendipity and coincidence rather than carefully
calculated master plan were the major factors contrib-
uting to FontFonts early expansion.
Both Spiekermann and Brody had unreleased typefaces
from the 1980s waiting in the wings. As art director of The
Face magazine, Brody had hand-drawn numerous head-
lines and alphabets which had never been digitalised.
Among the early fonts based on this work were FF Type-
face Four, SIX and Seven, iconic faces of the early 1990s.
FF Blur, the rst typeface by Brody that explored the spe-
cic aesthetics of digital typography, became even more
successful. And then there was FF Meta. Named after
Spiekermanns Berlin design rm MetaDesign, the font
was based on a typeface that Spiekermann had drawn in
the mid-1980s for the Deutsche Bundespost although it
had never been adopted by the client. While Brodys faces
Konec osmdestch let byl obdobm nebvalch
zmn i v oblasti typograe. Nedvno pedstaven
technologie DTP rychle zskvaly popularitu, ty de-
signrsk spolenosti a tiskrny, kter stle jet
spolhaly na tradin sazbu a platily dodavatelm
za kad centimetr sloupcov sazby, zhy zjistily,
e pokud by tmto zpsobem mly pokraovat,
dlouho by se na trhu neudrely. A to nejen z -
nannch dvod, ale i proto, e jejich nkladn
pikov systmy nemly budoucnost a pestala
bt pro n vyrbna nov psma. Novm centrem
dn se tak stal stoln pota. V pouhch pti i
esti letech se prosted grackho designu dra-
maticky zmnilo, a to nejen v oblasti technologie
a distribuce, ale i v oblasti designu samotnho.
Krom nzk ceny (jeden font stl brzy tolik, kolik
stl dv jeden arch vysazenho textu) byla hlav-
nm pnosem monost kreativn prce. Nikdy dv
nemli typografov takovou svobodu, autonomii
a kontrolu nad svou tvorbou jako od roku 1990.
V beznu tohoto roku toti rma Adobe Systems
zveejnila pro fonty formt PostScript Type 1
a doufala, e se z nj stane svtov standard, co
by kadmu designrovi umonilo vytvoit si vlast-
n font v jednoduchm a dostupnm softwaru.
A v roce 1990 tak berlnsk designr Erik
Spiekermann a Neville Brody z Londna vytvoili
novou kolekci digitlnch psem, kterou nazvali
FontFont. Zveejnila ji Spiekermannova rma Font-
Shop, je se do t doby zabvala pouze distribuc
font jinch psmolijen.
V prbhu osmdestch let byli hlavnmi hri na
poli typograe velk psmolijny, kter si uhjily sv
msto v obdob rychlho pechodu od fotogra-
ckch k digitlnm technologim. Patily mezi
n Monotype, Linotype, Berthold nebo ITC. Od
tchto spolenost si tak rma Adobe zakoupila
licence na vtinu font. Existovaly vak tak
vjimky mal spolenosti, kter byly prkop-
nky v digitln typograi, jako napklad URW,
Emigre a Bitstream. Pestoe se model formovn
FontFontu pli neliil napklad od modelu Emi-
gre, oblast jejich psoben a jejich ambice byly
odlin. Zatmco kolekce font Emigre primrn
reprezentovala prce dvou svch pedstavitel
Zuzany Liko a Rudyho Vanderlanse FontFont
byl od samho zatku oteven. Rozhodl se dis-
tribuovat psma mnoha odlinch styl pro mnoh
ely od napodobenin historickch font a po
souasn, od experimentlnch a neortodoxnch
po komern a serizn textov ezy. Vechna tato
psma byla nov. Na rozdl od vtiny ostatnch
kolekc psem neobsahovala kolekce FontFontu
nov vydn psem, kter byly pvodn navreny
pro pedchoz technologie.
nezveejnn fonty FontFont ml raketov vze-
stup. Jeho kolekce hned v prvnch letech obsaho-
vala destky nezapomenutelnch rodin psem. Je
tk uvit, e se bhem tak krtk doby zaalo
vechno dait. Spe ne peliv vypotan pln
vak sehrly v rychlm spchu FontFontu svou
roli intuice, tstna a nhoda.
Spiekermann i Brody mli v zloze nezveejn-
n fonty z osmdestch let. Jako art director
asopisu The Face ml Brody mnostv run
napsanch titulk a abeced, kter nebyly nikdy
digitalizovny. K tmto ranm fontm pat nap-
klad FF Typeface Four, Six a Seven, kultovn fonty
ranch devadestch let. Jet spnjm se
FIFFTEEN: PSMO PRO NEZVISL
Na podzim roku 2004 rma FontShop International poprv pedstavila vstavu nazvanou FIFFTEEN:
15 YEARS OF TYPE FOR INDEPENDENT MINDS. Putovn vstava na poest psmolijny FontFont
a experimentlnho projektu FUSE byla v listopadu zahjena v Londn a v prbhu roku 2005
a na zatku roku 2006 ji mohou nvtvnci zhldnout v Manchesteru, Berln, New Yorku a na
mnoha dalch mstech Evropy a Spojench stt. Kurtory sekce vnovan FontFontu jsou Jan
Middendorp a grack designr Erik Spiekermann, st zamenou na projekt FUSE pipravil
Neville Brody. Jan Middendorp v souasn dob dokonuje knihu o psmolijn FontFont a asopisu
TYPO poskytl pohled organiztora projektu a strun pehled historie FontFontu.
Donald Beekman (Amsterdam), Cover of a book on the history of hip-hop in the
Netherlands, designed with his own fonts FF Flava and FF Beekman.
Oblka knihy o historii hip-hopu v Nizozem navren s pouitm autorovch vlastnch
psem FF Flava a FF Beekman.
16 typo 2005.indd 21 16.8.2005 12:03:23
22 TYPO.ANNIVERSARY
Type specimen of Martin Majoors FF Scala Sans. Concept by Martin Majoor, design by Jaap van Triest. FontShop, 1992.
Ukzka psma FF Scala Sans Martina Majoora. Koncept Martin Majoor, design Jaap van Triest. FontShop, 1992.
Following FF Scala and FF Quadraat, several other original text typefaces were published in the FontFont series.
This is a marked proof of FF Celeste by British designer Christopher Burke, 1994.
Po fontech FF Scala a FF Quadraat pedstavil FontFont dal originln textov psma. Zkuebn ntisk psma
FF Celeste britskho typografa Christophera Burkeho, 1994.
16 typo 2005.indd 22 16.8.2005 12:03:35
represented the trendy, display-oriented side of the Font-
Font library, FF Meta epitomized the pragmatic, conven-
tional-yet-modern aspect. Meta became an instant classic
and has remained the best selling FontFont to date.
DUTCH CONNECTION Apart from the input of its founders,
the strongest inuence in the early days of the new foun-
dry came from Netherlands. Through his relationships
in international typographic circles, Spiekermann had
discovered the new generation of Dutch type designers,
many of whom had studied at the Royal Academy of Arts
in The Hague, where the typographer-craftsman-type his-
torian Gerrit Noordzij had established an inuential type
programme. Spiekermann could use well-trained young
designers for his corporate type projects at MetaDesign,
and so he hired The Hague graduates Just van Rossum,
Erik van Blokland, and later Luc(as) de Groot, all of whom
were to make major contributions to the FontFont library.
Peter Verheul was another type designer from the same
school who soon joined the ranks of FontFont designers.
The other Dutch art college that yielded a number of inu-
ential type designers was the Arnhem Academy; between
1990 and 1993, innovative designs by Martin Majoor
(FF Scala), Fred Smeijers (FF Quadraat) and Evert Blo-
emsma (FF Balance) were welcomed to the library. One
of Hollands most independent and iconoclast graphic
designers was also recruited by FontFont: Max Kisman,
a pioneer of computer-aided graphic design, contributed
fonts originally created for magazines such as Language
Technology, the forerunner of Wired.
In fact, it was a Dutch font that kick-started the whole
idea of creating a type library in the rst place. While
working at MetaDesign in 1989, Just van Rossum and
Erik van Blokland (collaborating as LettError) had begun
experimenting with the PostScript Type 3 technology in
order to spice up digital type design. Bored by the formal
perfection of well-crafted fonts like Adobe Garamond,
they wanted to bring back the liveliness of metal type by
introducing a random function into digital typography.
The result was Beowolf, the worlds rst randomfont,
a font with a built-in program that unpredictably modi-
ed the outlines of each character while sending it to the
printing device. While the two Dutchmen saw the result
as pure experiment, their colleagues at MetaDesign were
enthusiastic about the graphic possibilities. Spiekermann
decided to publish it, even before the idea of the Font-
Font collection had materialized. Initially Beowolf was
not thought of as the start of a new collection; instead,
it served to draw attention to FontShop as a savvy distribu-
tion rm by designers, for designers.
Once FontFont had been launched, the Dutch connection
made sure there was a fast growing offer of high-quality
typefaces in a wide range of genres, from the modern tra-
ditionalism of Quadraat and Scala to the conceptually in-
teresting, yet also user-friendly found fonts by LettError,
such as Trixie (a typewriter font), FF Hands (digitalised
handwriting) and FF Instant Types, a series of found
alphabets based or toy stamp letters, stencil alphabets
and the like. Many of these novelty fonts now seem part
of a short-lived fashion, but at the time they were genu-
inely original: no-one had done it before, and many would
imitate them.
PROLIFERATION As the collection gradually became
truly international, other tendencies and techniques
of the 1990s were also pioneered by FontFont designers.
Layered fonts such as FF Kipp, FF Identication and
FF Advert Rough allowed designers to create multicol-
stal Brodyho font FF Blur, kter stl na zatku
vzkumu specick estetiky digitln typograe.
A pak pila samozejm FF Meta, pojmenovan
po MetaDesignu, berlnskm studiu Erika Spie-
kermanna. Psmo bylo zaloeno na Spiekerman-
nov psmu pro Deutsche Bundespost z poloviny
osmdestch let, kter vak klient nikdy nepijal.
Zatmco Brodyho psma reprezentovala trendovou
strnku FontFontu zamenou spe na displeje
a monitory pota, FF Meta byla typickm p-
kladem pragmatickho a konvennho, ale pesto
modernho pstupu. FF Meta se stala okamit
klasikou a dodnes zstv nejlpe prodvanm
psmem FontFontu.
Holandsk spojka Krom vkladu jejch zakla-
datel mli nejvt vliv na formovn psmolijny
spojenci z Holandska. Dky svm kontaktm v me-
zinrodnch typograckch kruzch se Spieker-
mann seznmil s mladou generac holandskch
typograf, z nich mnoz byli absolventy Krlovsk
akademie umn v Haagu, kde vyuoval vznam-
n typograf, emeslnk a historik psma Gerrit
Noordzij. Spiekermann u dve pizval haagsk
absolventy ke spoluprci na svch projektech
tvorby korportnch psem v MetaDesignu, a tak
se i nyn mlad designi Just van Rossum,
Erik van Blokland a pozdji i Luc(as) de Groot
stali jednmi z hlavnch pispvatel do kolekce
psem FontFontu. Jejich ady rozil pozdji
i dal z absolvent haagsk univerzity, typograf
Peter Verheul. Dal holandskou kolou, z n se
rekrutovalo mnostv vlivnch designr psma,
byla Akademie v Arnhemu mezi lety 1990 a 1993
rozili kolekci psem FontFontu Martin Majoor
(FF Scala), Fred Smeijers (FF Quadraat) a Evert
Bloemsma (FF Balance). A FontFont dokonce
zskal i jednoho z nejvtch ikonoklast holand-
skho grackho designu, prkopnka potaov
graky a nezvislho tvrce Maxe Kismana, kter
obohatil nabdku o fonty pvodn vytvoen pro
takov asopisy, jakm byl napklad Language
Technology, pedchdce asopisu Wired.
Byl to vlastn holandsk font, kter odstartoval
mylenku tvorby kolekce psem jako priority Font-
Fontu. V roce 1989 pi prci ve spolenosti Meta-
Design zaali Just van Rossum a Erik van Blokland
(spolupracuj pod nzvem LettError) experimento-
vat s technologi PostScript Type 3. Snaili se oivit
digitln typograi a vrtit j nco z temperamentu
a nedokonalosti hork sazby, protoe je u nudily
perfektn emesln zpracovan fonty, jako je
Adobe Garamond. Doshli toho dky zaveden n-
hodn funkce do digitln typograe a vsledkem
byl Beowolf, prvn nhodn se generujc font na
svt, tedy font se zabudovanm programem,
kter nepedvdateln promuje kivky kadho
znaku. Zatmco oba Holanan chpali svou prci
jako pouh experiment, jejich kolegov v Meta-
Designu byli nadeni jeho grackmi monostmi.
Spiekermann se rozhodl jej zveejnit jet dv,
ne byla mylenka FontFontu uvedena do praxe.
Beowolf nebyl z potku mnn jako prvn font no-
v kolekce, ml sp upozornit na FontShop jako
na chytrou distribun rmu pracujc na principu
designi designrm.
Kdy byl FontFont sputn, zjistila holandsk
spojka, e existuje rychle rostouc nabdka
vysoce kvalitnch psem nejrznjch nr
od modernho tradicionalismu psem Quadraat
a Scala a po koncepn zajmav, ale tak dobe
pouiteln digitalizovan psma pevzat z rel-
nho svta od dvojice LettError, jako napklad
Trixie (font napodobujc psac stroj), FF Hands
(digitalizovan rukopis) a FF Instant Types (rodina
font zaloen na psmenkch dtsk tiskrny,
ablonkovch abecedch a podobn). Mnoh
z tchto inovativnch font se te zdaj u trochu
zastaral, ale ve sv dob byly opravdu originln,
nic takovho nedlal nikdo ped tm a mnoz jejich
tvrce pozdji napodobovali.
rozen Kolekce se postupn stvala skuten
mezinrodn a designi FontFontu byli prkop-
nky i mnohch technik a tendenc devadestch
let. Vrstven fonty, jako napklad FF Kipp, FF
Identication a FF Advert Rough, umoovaly
typografm vytvet mnohobarevn typograc-
k konstrukce. FF Dot Matrix, Screen Matrix
a dal bitmapov psma zase umonila pevdt
antiestetiku elektronickch displej na papr
a FF Childs Play, FF Priska a FF Fontesque nab-
zely vyuit lkavch run psanch a kreslench
psem. Kolekce Dirty Faces sestaven Nevillem
Brodym byly pspvkem FontFontu k destruktivn
typograi. Tyto experimenty a mdn vstelky byly
vyveny rozrstajc se kolekc dobe navrench
vceelovch textovch font od designr z rz-
nch evropskch zem.
Od tchto potk u ubhlo patnct let a Font-
Font je dnes jednou z nejvtch svtovch kolekc
souasnho psma. Poet seriznch textovch
ez se vrazn rozrostl dky pspvkm typo-
graf nejen z Evropy, ale i z Japonska a Severn
Ameriky. Pliv novch psem je kontrolovn malou
komis nazvanou Type Board, je pijm pouze
psma, kter kolekci skuten obohacuj bu
svou originalitou a invenc, nebo monost praktic-
kho a vestrannho vyuit a kvalitou proveden.
Vnj pozorovatel se me ptt, jestli jsou tato kri-
tria vdy aplikovan se stejnou psnost. V nedv-
n dob jsme byli svdky a absurdn masovho
en obyejnch bezpatkovch psem nekone-
nch variac na jedin tma. Zjevn vak existuje
nenasytn trh, kter po takovchto fontech vol,
a uivatel m prvo vybrat si z velkho mnostv
variant.
vstava a kniha V kvtnu roku 2004 jsem na kon-
ferenci TypoBerlin poprv probral s Erikem Spie-
kermannem a spolenost FontShop International
(FSI) sestaven putovn vstavy u pleitosti oslav
patnctho vro zaloen FontFontu. O msc
pozdji jsme se seli na konferenci v eck Soluni,
tentokrt i s Nevillem Brodym, a probrali jsme
hlavn jeho potenciln pnos vstav st vno-
vanou projektu FUSE. FUSE je sbrka experimen-
tlnch font a plakt, kterou vydv FontShop
jako uritou poctu psmm distribuovanm Font-
Fontem. Brody zaal na projektu FUSE pracovat
spolen s Jonem Wozencroftem a Johnem
Critchleyem v roce 1990, z eho vyplv, e i tato
sbrka nyn slav sv patnct narozeniny. Odtud
jmno vstavy, kter bylo konen vybrno z dlou-
hho seznamu monost, kdy Spiekermannova
partnerka Susanna Dulkinys z United Designers
Network pila s jednoduchm a pmm logem,
kter v sob zahrnovalo Brodyho pvodn logo
FontFontu.
Pestoe znm kolekci FSI i jejich designry
pomrn dobe, nikdy dv jsem s nimi pmo
nespolupracoval. Mj dlouholet klient v rmci
FontShopu je FontShop Benelux, zsobujc ho-
landsk a belgick trh, pro kterho jsem sestavoval
a navrhoval mnoho publikac. Podobn jako tato
lokln spolenost, byl i FontShop International po-
nkud nezvykl klient, preferujc spe neformln
pracovn vztah zaloen na vzjemn dve,
porozumn a svobodnm rozhodovn ne jakko-
li formln rozhodovac proces.
Brody a jeho Research Studios pracovali nez-
visle a my s Erikem Spiekermannem a podporou
FSI jsme vypracovali obsah vstavy spolen. Erik
navrhl svou vizi kolekce, kterou si pedstavoval
16 typo 2005.indd 23 16.8.2005 12:03:44

24 TYPO.ANNIVERSARY
One of a series of silk-screen posters designed in the early 1990s for the Royal Music Conservatory in The Hague by
Fred Smeijers, using his own FF Quadraat typeface. The picture was taken at Smeijers studio Quadraat in Arnhem; the
bicycle belonged to type designer Evert Bloemsma. Photo from Smeijers book Type Now, Hyphen Press, 2003.
Stotiskov plakt z kolekce, kterou s pouitm svho psma FF Quadraat navrhl Fred Smeijers na potku 90. let pro
Krlovskou hudebn konzervato v Haagu. Fotograe byla pozena ve Smeijersov studiu Quadraat v Arnhemu, kolo pod
plaktem patilo Evertu Bloemsmovi. Fotograe ze Smeijersovy knihy Type Now, Hyphen Press, 2003.
Poster designed by Max Kisman in 1992. Author used his experimental typefaces FF Fudoni (one of the rst cut-and-paste
fonts, combining Bodoni and Futura), and FF Jacque (a font directly drawn on the computer screen).
Plakt Maxe Kismana z roku 1992. Autor pouil sv experimentln psma FF Fudoni (kombinujc psma Futura a Bodoni
jeden z prvnch font, k jejich tvorb byla pouita metoda cut and paste) a FF Jacque (psmo vznikl pmo na monitoru
potae).
Xavier Dupr, one of Frances most talented and prolic young type designers, has made remarkably original text
fonts as well as display fonts mostly used for packaging. These samples of three of his FontFonts were designed with
photographs he took while living in Cambodia.
Jeden z nejtalentovanjch a nejplodnjch francouzskch typograf mlad generace, Xavier Dupr, se zabv
tvorbou originlnch textovch a titulkovch font, kter jsou primrn vyuvny v obalovm designu. Tyto ukzky jeho
t psem uveejnn FontFontem byly navreny k fotogram, kter podil za svho tletho pobytu v Kambodi.
FF Cocon by the late Evert Bloemsma was based on an experiment in seriessness. The result was a soft-looking and
surprisingly usable display font, which is currently being used as the main typeface on all Durex condom packaging.
FF Cocon Everta Bloemsmy vznikl z experimentu s bezpatkovost. Vsledkem je jemn a pekvapiv pouiteln titulkov
font, kter je nyn pouvn na vech obalech kondom Durex.
16 typo 2005.indd 24 16.8.2005 12:03:46

jako krajinu protkanou spojnicemi, kiovatkami
a tmaty: holandsk sekce, souasn bezpatkov
psmo, megarodiny font, inteligentn fonty se
specilnmi funkcemi a tak dle. A pak prost ekl:
Dej mi informace a zaneme pracovat.
Mla tak vzniknout kniha, kter by mapovala
uplynulch patnct let jaksi bible FontFontu.
Ale k tomu se vrtm pozdji.
shrnut a vbr Je vbec mon pedstavit tak
rozmanitou kolekci psem sestvajc ze zhruba
tisce druh od vce ne stovky designr? Z d-
vod, kter jsem u zmioval, jsem se vdycky
domnval, e FontFont nen jen obyejn kolekce
dobe navrench psem. Podobn jako Emigre
nebo kolekce psem jedinho autora, kam pat
napklad Shinntype a Virus Fonts, je i FontFont
sp seznamem npad (npad pevedench do
praxe) ne jen vtem produkt. Ne vechna ps-
ma jsou stejn promylen, nkter jsou zastaral,
nkter nm u te pipadaj pli jednoduch,
ale jako celek je tato kolekce uniktn prv ve sv
rozmanitosti. Abychom mohli sdlit ideu, kter
stoj za kadm fontem, zvlt kdy pichzme
do kontaktu s divky, kte nejsou specialist, a se
studenty, na kter jsme se chtli zamit primrn,
museli jsme pi koncipovn vstavy zvolit lehce
didaktick pstup. Pokud jsme vak souasn
nechtli nudit specialisty, museli jsme pout
i nco novho a pekvapivho, co by je zaujalo.
Pro komunikaci s obma skupinami vak bude
zcela jist pnosem zdrav dvka zbavy. Seteno
a podtreno: pehldka mus mt pbh, mus
poskytnout proniknut do procesu tvorby nvrhu
i pouit font ve skutench projektech a mus
obsahovat 3D objekty, kter nejsou pro putovn
vstavu pedstavovanou ve kolch a jinch nemu-
zejnch prostorch tak pln bn.
Rozhodli jsme se, e nejlep bude zredukovat
sbrku tm, e se zamme na omezen mnostv
rodin font a jejich designr, a koncipovat tak
vstavu jako srii jednotlivch portrt jak lid,
tak psem. A najednou se zdlo jednoduch i ne-
mon zrove vybrat dostaten reprezentativn
kolekci. Jednoduch proto, e se mnostv psem
i osobnost nabz jaksi automaticky, nebo jsou
s FontFontem natolik spojeni, e je prost nem-
eme ignorovat. Nemon proto, e ve struktue
vstavy, kter se ped nmi zaala rsovat, byl
prostor pro zhruba osm typograf a est psem,
co zdaleka nemohlo pokrt irok spektrum cel
kolekce.
Abych se vyhnul libovoln a subjektivn volb,
zaal jsem sepisovat komplikovan seznamy
a schmata font seazench podle data vzniku,
objemu prodeje a nru a seznamy typograf
podle dleitosti jejich pnosu pro FontFont. Aby-
chom mohli vytvoit reprezentativn kolekci, snaili
oured typographic constructions. FF Dot Matrix, Screen
Matrix and other bitmap fonts made it possible to project
the anti-aesthetics of electronic displays onto the printed
page. FF Childs Play, FF Priska and FF Fontesque
explored the allure of the hand-drawn and the hand-writ-
ten. The Dirty Faces packages, compiled by Brody, were
Font-Fonts contribution to grunge typography. These ex-
periments and fashion items were balanced by a growing
collection of well-made, versatile text fonts by designers
from several European countries.
Fifteen years after its inception, FontFont has grown to
be one of the worlds major libraries of contemporary
type. The number of serious text faces has grown con-
siderably, with contributions by designers from all over
Europe, as well as Japan and North America. The inux of
new typefaces is controlled by a small committee called
the Type Board, which only accepts fonts that truly enrich
the collection, either because of their originality and
inventiveness, or by being practical, versatile and very well
made. At times, the outsider may wonder if these criteria
are always applied with equal sternness. There has lately
been a proliferation of no-nonsense sans-serifs, so mas-
sive that it seems almost nonsensical: endless variations
on the same theme. But apparently there is a huge market
for such typefaces, and the user should be offered a wide
range of choices.
AN EXHIBITION AND A BOOK In May 2004, during Ty-
poBerlin, I rst met Erik Spiekermann and FontShop In-
ternational (FSI) to talk about putting together a travelling
exhibition to celebrate fteen years of FontFont. A month
later, another meeting took place during the Thessaloniki
Conference on Typography and Visual Communication.
This time Neville Brody was also present, mainly to dis-
cuss his contribution to the exhibition: a section devoted
to the FUSE project. FUSE is a collection of experimental
fonts and posters published by FontShop as a kind of
free-form complement to the FontFont series. Brody has
begun FUSE in 1990, editing the series with Jon Wozen-
croft and John Critchley; which means that this collection,
too, was celebrating its fteenth anniversary. Hence the
name of the exhibition, which was picked out of a long
list of possibilities, but nally agreed upon when Susanna
Dulkinys of United Designers Network Spiekermanns
partner came up with the simple and straightforward
logo which incorporates Brodys original FontFont logo.
I had not been working with FSI before, although I know
the collection and many of its designers quite well.
My long-time client within the FontShop network was
FontShop Benelux, catering for the Dutch and Belgian
market, for which I edited and designed many publica-
tions. Just like that local company, FontShop Interna-
tional turned out to be a peculiar client, preferring an
informal working relationship built on trust, mutual
understanding and freedom, to any kind of formal deci-
sion-making process.
As Brody and his Research Studios were working inde-
pendently from us, Spiekermann and I with ideas and
support from FSI were to work out the exhibition con-
tents between us. Erik sketched his view of the collection,
which he sees as a kind of landscape of crossroads, con-
nections and themes: the Dutch connection, the contem-
porary sans-serif, the mega-family, the intelligent font
that has built-in extra functions, etc. And then he simply
said: Just give me input, then we can start designing.
I was, so to speak, given carte crme. There was also going
to be a book covering those fteen years a FontFont
bible of a kind. More about that later.
FF Unit by Erik Spiekermann is a typical example of a versatile contemporary sans-serif made for corporate design;
it clearly comes from the same source as Spiekermanns bestseller FF Meta.
FF Unit Erika Spiekermanna je typickm pkladem souasnho univerzln pouitelnho bezpatkovho psma
pouvanho pi tvorb korportnho designu. Je zejm, e tento font vychz ze stejnho zdroje jako Spiekermannv
bestseller FF Meta.
16 typo 2005.indd 25 16.8.2005 12:04:03
LettError (Erik van Blokland and Just van Rossum) wrote a large number of programs
and scripts which allow them to partly automate page layout. This sheet of postage stamps
designed with LettError fonts such as FF Trixie, FF Zapata and FF Advert, was originally
designed for Druk magazine, using a piece of software called the Stamp Machine, 2000.
Dvojice LettError (Erik van Blokland a Just van Rossum) vytvoila mnostv program
a skript, kter umouj stenou automatizaci sazby. Tento arch znmek, navren v roce
2000 pro asopis Druk s pouitm psem FF Trixie, FF Zapata a FF Advert z dlny LettErroru,
vznikl s pomoc softwaru Stamp Machine.
Siegfried Rckel, Alega Serif, 2003. Berlin designer Rckel made a collection
of amusing fake designs to illustrate the possibilities of his versatile
FF Alega family.
Siegfried Rckel, Alega Serif, 2003. Berlnsk designr Rckel vytvoil kolekci
vtipnch nvrh, ktermi chtl ilustrovat monosti vyuit rodiny font FF Alega.
16 typo 2005.indd 26 16.8.2005 12:04:08
jsme se pojmenovat hlavn proudy v rmci Font-
Fontu. Kdy pak ale nastal as skuten volby, ly
vechny pseudoobjektivn vzkumy stranou a my
jsme intuitivn vybrali to, co jsme jednodue po-
vaovali za zajmav. A tak se stalo, e se soust
kolekce stal napklad Xavier Dupr nejplodnj
francouzsk typograf, kter v souasn dob ije
v Kambodi nebo idiosynkratick psma jako
FF Nelio nskho designra Samiho Kortemkiho
i FF Cocon Everta Bloemsmy.
(Kdy jsem o nco pozdji vidl v Praze vstavu
e-a-t, zaal jsem mt urit pochybnosti o na
vizuln koncepci. Pehldka eskho a slovensk-
ho psma, kterou uspodala Johanna Balukov
a Alan Zruba, byla hutn a pmoar, byla inte-
lektuln striktn a mla muzeologickou kvalitu,
kterou podle mho nzoru FiFFteen asi postrd.
Ob koncepce maj nco do sebe a j jsem sm
sebe pesvdil, e s materilem, kter jsme mli
k dispozici, byl n barevnj pstup naprosto
legitimn.)
portrty a vzornky Navzdory vbru omezenho
mnostv pedstavench font a designr jsme
chtli, aby vechna psma a jejich tvrci byli svm
zpsobem na pehldce zastoupeni. Jednm z kla-
d kolekce FontFontu je, e tady nenajdete dn
anonymn nvrh. Kad psmo je dlem konkrt-
nho autora, jeho ivotopis a motivace k tvorb
konkrtnho psma je mon vtinou najt na
webovch strnkch FontFontu. Fakt, e nvrh
psma je lidskm dlem a kreativnm poinem,
je uivateli psma (kte nsledn jen tko ct
povinnost za psmo zaplatit) asto opomjen. Spie-
kermann proto trval na tom, e v rmci vstavy
uveejnme portrty vech autor, kte pro Font-
Font pracovali. Zkompletovn tchto fotogra byl
kol sm pro sebe a nkte designi nm svj
portrt neposlali nikdy, ale nakonec jsme pipravili
psobivou adu luto-edo-ernch panel (barvy
FontShopu) s fotogra tm kadho, kdo se
na pprav font podlel the faces behind the
faces (tve ukryt za psmy).
Chtli jsme tak vzorek pokud mono vech font.
Protoe vak bylo psem obrovsk mnostv, nej-
jednodu bylo cel proces zpracovn zautomati-
zovat a nejlepmi odbornky, kter jsme mohli pro
tuto prci zskat, byli opt pnov z LettError. Just
van Rossum a Erik van Blokland vyvinuli mnostv
maker a program urench ke generovn typo-
grack pravy s konkrtnmi parametry a jsou
tak autory pvodn webov strnky FontFontu.
Kdy jsem pracoval jako editor asopisu Druk,
spolupracoval jsem s Erikem, kter tehdy vyvinul
poloautomatick vzornky nov vydanch font.
Proto jsme ho tak pizvali k prci na dlouh ad
vinylovch plakt (mily celkem 25 2 metry),
kter zobrazuj ukzky vech psem.
Pouil obdobu programu, kterou vyvinul pro
asopis Druk: lo o textov genertor, kter z da-
tabze vybr slova a frze podle toho, kolik znak
je teba k vyplnn tiskovho dku v konkrtn,
nhodn vybran velikosti.
Dal vzorky psma jsme chtli animovat chtli
jsme pece, aby se lid nejen vzdlvali, ale i ba-
vili. Oslovili jsme dva mlad designry pracujc
v Haagu Catelijne van Middelkoopovou, kter
je v souasnosti jedinou holandskou typografkou,
a jejho americkho partnera Ryana Pescatora
Friska , jestli by mohli vytvoit hodinovou animaci
s pouitm rodin psem FontFontu. Ale ovem!
Po deseti dnech mi vak nervzn volali, zda by
ten lm nemohl bt trochu krat a zda by teba
nemohli pout jenom nkter fonty msto pln
vech. Nakonec vytvoili asnou desetiminutovou
pohdku vyprvnou pouze znaky a ornamenty
FontFontu typograckou variaci na ervenou
Karkulku nazvanou lut Karkulka. Na podn
FontShopu byl k pvodn nmmu lmu doda-
ten doplnn zvuk a v tto podob se promtal
v kvtnu v Berln.
Prvn vstava FiFFteen se konala v London Colle-
ge of Communication (dve London College of
Printing), kde Brody studoval a Spiekermann uil.
st vnovanou FontFontu, kter dominovaly lut
a ern korportn barvy FontFontu a barevn
ukzky, dobe doplovala Brodyho sekce zame-
n na projekt FUSE na tmavch tvercovch pane-
lech se serizn vysazenmi doprovodnmi texty.
Od t doby byla vstava FiFFteen pedstavena jen
s malmi pravami v rznch mstech. Nejvyda-
enj vstavou byla dosud zejm ta berlnsk,
kde se pehldka konala ve vstavnch prostorch
v budov rmy Allianz. Jej oteven bylo bohuel
poznamenno nhlm skonem Everta Bloemsmy,
jednoho z vznamnch designr FontFontu, kter
v tdnu, kdy se konalo zahjen, zemel na infarkt.
Bylo pro ns vak v jistm smyslu tchou, e
jsme mohli st vstavy vnovat jeho celoivotn-
mu pnosu.
FontFont: kniha Nikdy jsme nedoufali, e by
se nm ped zahjenm vstavy podailo sestavit
katalog, kter by mapoval celou historii Font-
Fontu. Msto toho jsme vytvoili malou brourku
postavenou na textech ti m, kter v prbhu
let napsal Jrgen Siebert a dal autoi a kter byly
uchovny na disketch a pozdji na webovch
strnkch. Nkolik vydavatel vak projevilo zjem
o vydn velk plnobarevn knihy FontFontu, a tak
ji prv te pipravujeme. Bude obsahovat dosud
nepublikovan eseje a rozhovory o psmech
a jejich autorech a mnoho stran vzork a dalch
obrazovch materil, kter designi FontFontu
a renomovan typografov pipravili speciln pro
tuto publikaci. Nkter z obrzk, kter TYPO
publikuje na tchto strnkch, budou v knize tak
k vidn. Publikace by mla vyjt nkdy v roce
2006. [peklad: Linda Kudrnvsk]
SUMMARIZE AND SELECT How should one present such
a diverse collection of typefaces, comprising roughly
a thousand typefaces designed by over a hundred design-
ers? For reasons which I hinted at above, I have always
felt that FontFont is not simply a collection of well-made
fonts. Like the Emigre type library, or one-man collec-
tions such as Shinntype and Virus Fonts, FontFont is
a catalogue of ideas ideas made into tools rather than
just products. Not all typefaces are equally thought-out,
some are dated, some now look too easy, but on the whole
there is richness to the collection that is quite unique.
In order to convey the ideas behind the fonts, especially
when dealing with an audience of non-specialists and
students (which we were aiming at), a mildly didactic
approach was called for. Yet in order not to bore the spe-
cialists, there had to be something new and surprising to
look at. Moreover, the communication with both groups
would certainly benet from a healthy dose of entertain-
ment. Summarizing: the show should contain an element
of storytelling, give some insight into the design process
as well as the use of fonts in real projects, and preferably
contain three-dimensional objects which for a traveling
exhibition presented in schools and other non-museum
environments is not such an obvious thing to arrange.
We decided that the best approach would be to summa-
rize the collection by focusing on a limited number of
font families and designers, conceiving the exhibition as
a series of portraits, both of people and of typefaces. It
seemed at once easy and impossible to make a selection
that would feel right. Easy, because many items presented
themselves automatically: there are designers (or design
collectives) and typefaces so easily identied with Font-
Font that they could not be ignored. Impossible, because
with the structure that began to emerge, we would have
space for about eight designers and half a dozen typefac-
es hardly sufcient to cover the collections rich scope.
In an attempt to avoid making arbitrary and subjective
choices, I began by making elaborate lists and schemes
of fonts arranged according to their publication date,
sales gures and genre; and designers according to the
importance of their past and present contributions. We
tried to identify the main tendencies within the library in
order to make a representative selection. But then when
the time came to make real choices, all the pseudo-ob-
jective research was more or less thrown overboard and
we hand-picked an intuitive selection which we thought
was simply interesting. That is how a designer like Xavier
Dupr the most prolic French type designer, currently
living in Cambodia or idiosyncratic typefaces like
FF Nelio by Finnish designer Sami Kortemki or FF Co-
con by Evert Bloemsma came to be part of the show.
(When I later saw the e-a-t exhibition in Prague, I began
having some doubts about our visual concept. The exhibi-
tion of Czech and Slovak type put together by Johanna
Balukov and Alan Zruba was dense and straightfor-
ward and had an intellectual rigueur and museological
quality that I thought FiFFteen might lack; but there was
something to defend both concepts, and I convinced
myself that for the subject at hand, our more colourful
approach was totally legitimate.)
HEADSHOTS AND SPECIMENS Having made a limited
selection of featured fonts and designers, we wanted to
make sure that somehow all typefaces and their makers
would be represented. One of the qualities of the Font-
Font library is that there are no anonymous designs: each
of the typefaces has been designed by a living person
whose biography and motives can, in most cases, be
TYPO.ANNIVERSARY 27
Jan Middendorp (born in The Hague, The Netherlands) is a self-taught graphic designer and writer. He has contributed
articles about design, type and performing arts to many magazines. He was the founding editor and art director of Druk,
a magazine on type published between 1999 and 2003 by FontShop Benelux. He wrote and designed Lettered, an
award winning book about the Belgian type designer Clotilde Olyff, and wrote Ha, daar gaat er een van mij (Hey, there
goes one of mine), a chronicle of graphic design in The Hague. In 2004 he published Dutch Type, a colourful overview
of type design in Holland, and collaborated with designer Ren Knip on his catalogue ARK/ABC. He recently moved
from Ghent (Belgium) to Berlin.
Jan Middendorp (narozen v nizozemskm Haagu) je grack designr samouk. Pe o designu, psmu, divadle
a tanci do mnoha asopis. Je zakldajcm editorem a art directorem typograckho asopisu Druk, kter publikovala
belgick poboka FontShopu v letech 1999 a 2003. Napsal a gracky upravil oceovanou knihu Lettered (Z psem)
o belgick typografce Clotilde Olyff a kroniku grackho designu v Haagu po roce 1945 Ha, daar gaat er een van
mij (, tady jde jedno m j). V roce 2004 vydal Dutch Type, barevn souhrn tvorby psma v Holandsku, a tak
spolupracoval s Ren Knipem na jeho katalogu ARK/ABC. Ped nedvnem se pesthoval z belgickho Gentu
do Berlna.
16 typo 2005.indd 27 16.8.2005 12:04:19

28 TYPO.ANNIVERSARY
The members of Berlin trio eBoy are famous for their bitmap illustrations; their typeface FF eBoy was designed to match these
bitmap aesthetics. eBoy also digitized the Prater alphabets drawn by Henning Wagenbreth for the Berlin outdoor pub of the same name,
and Super Grotesk, East Germanys variation on Futura.
Berlnsk trojice eBoy se proslavila svmi bitmapovmi ilustracemi a jejich psmo FF eBoy bylo navreno tak, aby s touto bitmapovou
estetikou ladilo. lenov eBoy tak digitalizovali rodinu psem Prater, kterou pro berlnskou hospodu stejnho jmna vytvoil autor komiks
Henning Wagenbreth, a Super Grotesk, vchodonmeckou variantu Futury.
Beowolf brochure, the very rst typeface in the FontFont type library (1990). It was announced as being the worlds rst randomfont.
Broura k psmu Beowolf, kter bylo pln prvnm psmem kolekce FontFontu (1990). Veejnosti bylo pedstaveno jako prvn nhodn
se generujc font na svt.
The eBoy display from the FiFFteen exhibition. Designed by United Designers Network, with window dressing by Marina Chaccur,
a Brazilian student of the London College of Communication.
Sekce nvrh eBoy na vstav the FiFFteen. Nvrh: United Designers Network a brazilsk studentka London College of
Communication Marina Chaccur.
Based in Berlin, the Italian designer Alessio Leonardi spiced up the FontFont library with a series of wildly original, mostly hand-
drawn typefaces such as FF Priska, FF Handwriter and FF Grafo.
Italsk designr ijc v Berln Alessio Leonardi oivil kolekci FontFontu sri divoce originlnch, vtinou run kreslench psem,
mezi n pat napklad FF Priska, FF Handwriter a FF Grafo.
16 typo 2005.indd 28 16.8.2005 12:04:20

found on the FontFont website. The fact that type design
is a work of man as well as a creative act is often over-
looked by the users (who, consequently, hardly feel a mor-
al obligation to actually pay for type). So Spiekermann
insisted we include portraits of all FontFont designers
in the show. Collecting those photos was a task in itself,
and some designers never sent in their portrait; but in the
end there was an impressive row of yellow-grey-and-black
panels (the FontShop colours) with headshots of almost
everyone who had designed a FontFont: the faces behind
the faces.
We also wanted specimens of possibly each and every
FontFont. With so many typefaces to show, the best thing
to do is automate the design process; and the best people
to hire for such a job are LettError. Just van Rossum and
Erik van Blokland have developed numerous scripts and
programs to generate typographic layouts within certain
parameters; they also developed the original FontFont
website. As the editor of Druk magazine I had worked
with Erik, who made semi-automated specimens of newly
published fonts. So we invited him to design a long series
of vinyl banners (25 by 2 metres in all) showing samples of
as many FontFont as his computer could handle which
turned out to be virtually all of them. He used a variation
of the program he had made for Druk: a text generator
that picks words and phrases from a database according
to how many characters are needed to ll a line-of-type at
a particular, randomly chosen point size.
The other type specimen in the show had to be animat-
ed after all, we were producing infotainment. We ap-
proached two young designers operating from The Hague
as Strange Attractors: Catelijne van Middelkoop (currently
the only female Dutch type designer) and her American
partner Ryan Pescatore Frisk. Could they make a one-hour
animation using fonts from all FontFont families? Sure!
Ten days later, I received a nervous phone call: could the
lm be slightly shorter and, please, would it be OK if they
used only a selection of fonts, instead of all of them? What
they nally came up with was a brilliant, wonderful way of
not meeting the brief: a ten-minute fairytale, told entirely
with FontFont characters and ornaments a typographic
variety on Little Red Riding Hood called Little Yellow
Writing Hood (writing to be pronounced the American
way, of course). At FontShops request, they later added
sound to their original silent movie, and in that form it
was shown during the Berlin edition in May.
The rst edition of FiFFteen was produced just in time,
of course for the London College of Communication,
formerly the London College of Printing, where Brody
studied and Spiekermann taught. The FontFont sec-
tion with its dominant corporate yellow-and-black and
brightly coloured displays was nicely balanced by Brodys
FUSE section, with its dark square panels and sternly
laid out explanatory texts. Since then, FiFFteen has been
shown in various cities, with only small changes. So far
the best venue has probably been the one in Berlin, where
it occupied three large exhibition spaces at the Allianz
building, sponsored by the assurance company of that
name. Unfortunately, its opening was overshadowed by
the unexpected passing away of FontFont designer Evert
Bloemsma, who died of a heart attack that very week; but it
somehow felt gratifying to celebrate his lifetime achieve-
ment as part of the exhibition.
FONTFONT: THE BOOK We never had any hope of nishing
a full-size catalogue in time for the exhibition. Instead,
we made a small booklet based on the ReadMe texts that
were written, through the years, by Jrgen Siebert and
others and could be found on the FontFont diskettes
and now on the website. However, several publishers
expressed interest in publishing a larger, full-colour Font-
Font book in due time; it is now in the process of being
edited. There will be a section of partly unpublished es-
says and interviews on the typefaces and their designers;
and many pages of specimens and other visual material
prepared especially for the book by FontFont designers,
as well as renowned typographers who have a predilection
for specic typefaces in the collection. Several images on
these pages will be a part of that book, which will come
out somewhere in 2006.
16 typo 2005.indd 29 16.8.2005 12:04:32
TEXT + PHOTO. ALEJANDRO CABRERA VILA 30 TYPO.PHOTO
Typography with a heart
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16 typo 2005.indd 30 16.8.2005 12:04:36
V centru Mexika le oblast Huasteka, kter geogracky a kulturn zahrnuje nkolik vesnic nlecch
souasn rznm sttm v zemi San Luis Potosu, Veracruzu, Tamaulipasu, Hidalgu a Quertaru.
V tchto zempisnch kch se ped nkolika tisci lety usadili Huastekov a vytvoili vznamnou
domorodou kulturu s hlubokou znalost matematiky a astronomie a s vysplm umnm. Dodnes po n
nachzme archeologick stopy a jej zvyky a pradvn tradice petrvaly a do naich as. Nyn v oblasti
Huasteka ije smen domorod nrod, u po lta utlaovan a diskriminovan, v dsledku neschopnos-
ti vldy ivoc v bd.
Vechny historick vlivy se promtaj do vzhledu okolnho svta: kdy prochzte vesnicemi Huasteky,
mete obdivovat originln reklamn tabule a npisy. Jsou vude na smenm zbo, kadenictv,
kulenkovch hernch, eznictv, pekrnch, restauracch, autobusech, autodlnch, znakch, zdech,
hospodch, jdelnch i trikch a vtina je vyrobena run amatrskmi designry.
V typograi, zkladnm prvku psan komunikace, se vdy odr podstatn st due designra. Jeho
prce tak pln nejen funkci komunikan, ale zrove v sob ukrv i prvky, kterch si vtina lid ani
nevimne, ale kter dvaj dlu opravdovou hodnotu. Za kadm tahem ttce, v kad e, pravideln i
nepravideln, v kadm npisu nebo vyobrazen se ukrv r ducha mstnch obyvatel, jejich nezmrn
ve pro barvu a tvar.
Je to jeden velk karneval opojnch barev a psem: patkov i bezpatkov, kurzivn, tun, normln,
vlasov, obrysov nebo kaligrack.
Dky plaktm poulinch typograf proud v ulicch vesnic Huasteky, podobn jako v cel zemi, fasci-
nujc energie. Kad npis tady ov, m v sob ivouc srdce cel historie. Lidov typograe zrcadl
Mexiko tak, jak je popisuje Jack Kerouac: Mexiko nevinn. [peklad: Gabriela Beranov a Olga Neumanov]
typografie se srdcem
The Huasteca region lies in the centre of Mexico. Geographically and culturally,
it consists of several villages, which, at the same time, belong to several Mexican
states San Luis Potos, Veracruz, Tamaulipas, Hidalgo and Quertaro. For thousands of
years, the area has been inhabited by Huastecs. They had created an important native cul-
ture, remarkable in its deep knowledge of mathematics, astronomy, and mature arts. Until
today, archaeologists keep uncovering its trails, and its customs and ancient traditions
were preserved to this day. Nowadays, the Huasteca region is inhabited by a mixed native
population, oppressed and discriminated for years, living in poverty due to the incompe-
tence of the government.
All inuences of history are mirrored in the appearance of the visible world. When you
pass through the villages of Huasteca, you get a chance to admire original street signs,
present literally everywhere. On corner shops, hairdressers, pool game rooms, butchers,
bakers, restaurants, buses, service shops, trafc signs, walls, pubs, eateries and
T-shirts and most are hand-made by amateur designers.
Typography, the core element of written communication, reects the soul of the designer.
His work thus not only helps the communication process, but it also hides the elements
unnoticed by most, which lend the nal craftwork its real value. Every stroke of a brush,
every regular and irregular line, each sign or image reveals the ardent spirit of local peo-
ple, their passion for colour and shape.
It is a conceptually-formal synthesis of some sort: it developed with time and its approach
to typography and diverse craftwork seems to mirror all the kindness of the world. Even
non-academic works are charged with creativity, spontaneity, freshness and joy. They pass
on an authentic message, full of life, yet fully functional. If we look at the typography of
Huasteca advertisement as a whole, we face a stunning, chaotic mosaic, full of plasticity,
colours and images. Some are over-decorated, some are sober, some geometric or just
randomly created. However, each shouts to draw the attention of the audience. It is one
great carnival of intoxicating colours and types: serifed, sanserifed, italic, bold, roman,
outlined, hair-thin, or calligraphic.
Thanks to the posters of street typographers, the streets of Huasteca villages are charged
with fascinating energy, similar to the energy of the whole country. Each sign takes on
a life of its own, it has a living heart of the entire history. The popular typography mirrors
Mexico as it was described by Jack Kerouac: Mexico Innocent.
16 typo 2005.indd 31 16.8.2005 12:04:45
32 TYPO.PHOTO
16 typo 2005.indd 32 16.8.2005 12:04:50
16 typo 2005.indd 33 16.8.2005 12:05:10
34 TYPO.PHOTO
16 typo 2005.indd 34 16.8.2005 12:05:32
16 typo 2005.indd 35 16.8.2005 12:05:41
Tato publikace je vytitna na papru Black Label Mat 250 g/m
2
(oblka) a 150 g/m
2
(vnitn listy).
ANTALIS s. r. o., Ofce Park Nov Butovice, Bucharova 1314/8, 158 00 Praha 5
tel.: +420 233 113 211, fax: +420 233 113 223, e-mail: antalis@antalis.cz, www.antalis.cz
WHO WANTS TO BE A FONTOGRAPHER? Only a few can withstand as much as a woman
can; it may be that the Fontographer is one of such kind. What else would explain that despite
of all that has been and is done to it, it still has a great user platform and it may even live to see
a new version of itself? Not even the Font Studio, may it rest in peace, was that successful.
Fontographer (and FreeHand) was the main motive for the purchase of Altsys from Adobe by
Macromedia once Adobe has taken over Aldus. Macromedia needed a quality illustration pro-
gram for Flash, which it intended to use to take over the internet. FreeHand was OK and its new
versions kept appearing eventually, although the people who actually used it recall that they
werent too excited about it. On the contrary, Fontographer was tucked away as an unimportant
and marginal product. However, this years acquisition of Macromedia by Adobe has turned the
graphic design business upside down. Before the merger, probably to improve its cash-ow,
Macromedia offered Fontographer to Fontlab Inc., since it is widely known that Adobe is not
very interested in developing tools which will not bring it immediate prot, although it develops
technologies and graphic programs. However, the importance of the sale of Fontographer
reaches even further the program includes the copyright of several technologies connected
with font design (such as the original Adobe hinting), and these will be denitely put to use in
Fontlab Inc.
The immediate result of the merger is the implementation of .fog format support into the
FontLab Studio 5, which is meant to be released this summer. But even the Fontographer itself
probably wont end up as a mere source of technologies for other companys products, it will
probably live its own independent life. Fontographer will be the application linking the Type-
Tool, which is the basic tool for beginners, and the high-end FontLab Studio. The rst planned
project is the development of Fontographer 4.1 for Mac OS X.
Commentary: It is the both mine and the other editors opinion that the font-creating applica-
tions market is so small and compact that creating a third set of development tools resembles
the discovery of the Piltdown man. Developing of three different products which do not share
almost any common features is a waste of energy and money. The company will not acquire
a signicant amount of new users, and it will bring chaos unto its own development capacities,
thus consuming the energy it could invest elsewhere.
This is why the main positive output of the whole affair could be a new issue of the Fontogra-
pher: Type by Design book, which the author refused to compose until now, since the program
seemed dead to him. [pk]
http://www.pyrus.com/html/pr/pr_20050509_fontographer4mw.html
FROM COW TO WEBCTIONARY Typo-
grack humor mohou dlat vichni, tedy
a na domorod Nmce. Po neuviteln
knize Alessia Leondardiho o vvoji psma
z lidtjho pohledu se dal dkaz objevil
u portugalskho autora, kter si k ABC
Darius. Vytv strnky Webctionary (pvod-
n portugalsk, nyn peloen do anglitiny),
kter jsou really funny. Pi pohledu na
jednotliv pspvky je a neuviteln, jak
hky se daj provst s pouhmi psmeny.
Jenom byste nemli dvat odkaz svm
negrackm kamardm, kte tento styl
humoru tko ocen a jet vs mou poslat
na psychiatrick vyeten. [fb]
http://webctionary.blogspot.com/
WHO WANTS TO BE A FONTOGRAPHER?
Jenom mlokdo vydr vc ne ensk mo-
n Fontographer. Jak jinak vysvtlit, e pes
vechno, co se mu provdlo a provd, m
stle skvlou uivatelskou zkladnu a mon
se dok i nov verze? Ani FontStudio blah
pamti na tom nebylo tak dobe.
Fontographer (a FreeHand) byl hlavn dvod,
pro Macromedia odkoupila rmu Altsys od
Adobe, kdy ta pohltila Aldus. Macromedia
potebovala dobr kreslic program pro
Flash, kterm plnovala ovldnout internet.
Jet relativn dobe dopadl FreeHand,
u kterho se obas objevovaly nov verze,
i kdy pamtnci jimi nebyli zrovna nadeni.
Naopak Fontographer byl coby naprosto
okrajov zleitost odloen k ledu.
Leton pohlcen Macromedie rmou Adobe
zamchalo kartami v grackm byznysu.
Zejm pro zlepen cash-ow ped odku-
pem oslovila Macromedia FontLab Inc., zda
nem zjem o Fontograher, protoe Adobe,
a tvrce technologi a grackch program,
nem pli zjem vytvet nstroje, kter
nikdy velk primrn zisk nepinesou. Ale
v prodeji Fontographeru jde o vc program
m od Adobe licencovny rzn patenty sou-
visejc s psmem (napklad originln Adobe
hinting), kter se budou FontLab Inc. hodit.
Okamitm vsledkem nkupu bude imple-
mentace podpory formtu .fog do FontLab
Studia 5, kter by mlo bt hotov letos
v lt. Ale ani samotn Fontographer zejm
neskon jako pouh zdroj technologie pro
ostatn programy rmy, ale bude t vlastnm
ivotem. Bude tvoit spojovac lnek mezi
TypeTool, zkladnm nstrojem pro za-
tenky, a highendovm FontLab Studiem.
Prvn na adu m pijt Fontographer 4.1 pro
Mac OS X.
Podle mho nzoru i podle nzoru redakce
je trh psmovch program natolik mal
a kompaktn, e vytvoen tet ady vvoj-
skch nstroj se podob objevu Piltdown-
skho lovka. Vvoj t rznch produkt,
kter spolu tm nic nesdlej, pedstavuje
zbyten ttn sil a pltvn penzi. Vrazn
vc uivatel vrobce nezsk, zato si bude
komplikovat vvojov kapacity, kter by mohl
vnovat jinm smrem.
Proto by hlavnm pozitivnm poinem mohlo
bt upraven a revidovan vydn knihy Fon-
tographer: Type by Design, kter autor zatm
odmtal udlat, protoe se samotn program
jevil mrtv. [pk]
http://www.pyrus.com/html/pr/pr_
20050509_fontographer4mw.html
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36 TYPO.BAZAAR
VICHNI TYPOGRAFOV BY MLI
STUDOVAT TUTO KNIHU. (HERMANN ZAPF)
Kniha Roberta Bringhursta The Elements
of Typographic Style vyla v nakladatelstv
Hartley & Marks u ve tetm vydn. Kdy
si ji letmo prolistujete, najdete tam ve, co
v bn uebnici typograe: nco historie
psma, nco o kompozici strnky, typogra-
ck pravidla, typologii psem a mnostv
ilustranho materilu. Pokud vak vldnete
dobe anglicky, u po pr strnkch obje-
vte, e nm se Bringhurstova kniha od
ostatnch li: nen psna ani v ovilnm tnu
pruek pro zatenky, ani v akademick
terminologick suchain, ale v esejisticko-
-beletristick anglitin, kter se neboj, kdy
je teba, ut metaforu namsto termnu. (Nen
se co divit, autor pat k uznvanm kanad-
skm bsnkm, esejistm a pekladatelm.)
A jet jednou vc se jeho kniha odliuje od
standardu podobnch pruek: typograi
chpe nikoli jako sadu pouek v rmci ang-
litiny a latinky, ale jako nauku rozkroenou
mezi lozoi, estetiku, emeslo a komunika-
n prostedek mezi nrody a jazyky. I proto se
v novm vydn vnuje fenomnm unicode
a OpenType, seznamuje s vznamem, uitm
a histori nejrznjch nezvyklch znak
a diakritik (prbn v textu a souhrnn for-
mou pehledovch slovnk v ploze A a B),
vnuje se typograi v etin a azbuce.
(Ostatn i proto byla kniha peloena jak do
etiny, tak do rutiny.) V doslovu ke tetmu
vydn autor rozdluje cestu softwaru a font
coby dvojici linernho a cyklickho: (typo)-
grack software jde jednoznan neustle
kupedu a jeho funkce umouj aplikovat
vc a vc klasickch typograckch pravidel
(pro technologick ouraly: 1. vydn knihy
bylo szeno ve Ventue, 2. v QuarkXPressu,
3. v InDesignu), u font je typograf stle
jakoby na zatku neexistuje dokonal
font, dn psmotvrce ani program
neme pedem odhadnout, k jakmu typu
textu bude typograf font pouvat a jak bude
sm font vnmat. Bringhurst tuto kolektivn
(ne)souhru pirovnv k hudb: ladn font,
stejn jako ladn hudebnch nstroj, nikdy
nekon [jk]
BEZTRESTN S FONTFONT Na neaktul-
nost dosud pouvanch licennch ujednn
psmolijen (EULA) se poukazuje ji del do-
bu. Uivatel se bu sna neporuit licenn
ujednn, take nemohou tm nic, nebo se
naopak chovaj modern vkldaj fonty do
PDF, poslaj je s lohou do tiskrny a cho-
vaj se protiprvn. Za takov jednn je
zejm nikdo neodsoud, ale pjemn to
rozhodn nen.
Mnoho naich zkaznk pracuje mobiln
a na obchodn jednn nebo dom si berou
pracovn dokumenty. Stejn dokumenty
nakonec poslaj do osvitovho stediska
nebo do tiskrny, k Jrgen Siebert z FSI.
Takov fonty mus splovat mnohem exibil-
nj poadavky.
Nov EULA psmolijny FontShop Internatio-
nal takov poadavky spluje. Nov licenn
smlouva ji nen vzan na poet procesor
(tedy poet pota nebo tiskren, na
kterch se d font pout). Msto toho se
bude licence vztahovat na poet pracovnk.
Psmo se nyn d poslat i do servisnho
stediska s otevenmi dokumenty. Mus
vak bt splnny dv podmnky: psmo bude
poslno kompletn a nebude mnno a po
vytitn mus bt smazno.
Nov pravidla se tak vztahuj na pouit
psem na internetu. Nyn je mon vkldat
psma FontFont do nekomernch PDF, kter
jsou uren k zobrazen nebo distribuci pes
webov strnky.
Zmna se vztahuje na vechny nov i existuj-
c licence FontFontu. [pk]
http://www.fontfont.com/
FONTMASTER 2.5 Bhem letonho lta
plnuje Dutch Type Library aktualizaci
svho psmovho editoru DTL Font Master
na verzi 2.5. Podrobnosti o novinkch nebyly
zveejnny.
Momentln je dostupn bezplatn
aktualizace na verzi 2.1.3. Krom ady
drobnch vylepen je jej hlavn novinkou
zahrnut podpory posledn verze Adobe Font
Development Kitu for OpenType. [pk]
http://www.fontmaster.nl/Blogs/FMNews/
16 typo 2005.indd 36 16.8.2005 12:05:49
.atp|.org

.tpeeeots.com
typevents
enjoy
discover
communicate enjoy the moment!
LLP
typevents llp | www.typevents.com | telephone +44 (0) 19 23 80 04 25
maxstoke house, 104 parkside drive, watford, hertfordshire wd17 3bb
This conference is being organised on behalf of atypi by typevents llp, a uk-based multi-national partnership
that provides a comprehensive events service to the printing, paper, type, and graphic design communities.
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15-18 Sr1M8z 2005

Storm Jype Fouadry

E
ANTALIS s. r. o., velkoobchod paprem,
len nadnrodn spolenosti ANTALIS
International Holdings.
ANTALIS s. r. o.
Ofce Park Nov Butovice
Bucharova 1314/8, 158 00 Praha 5
tel.: +420 233 113 211, fax: +420 233 113 223
e-mail:antalis@antalis.cz
www.antalis.cz
Partnei asopisu / Partners of magazine
Distributor a produkn partner spolenosti Linotype Library,
dodavatel a systmov integrtor grackch, pedtiskovch a publikanch
systm a zazen pro produkn digitln tisk.
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
www.dataline.cz
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partner / partner
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
www.amsoft.cz
Oc umouje svm zkaznkm
inn a efektivn zpracovn dokument
nabdkou prbn inovovanch
produkt pro sprvu a tisk dokument
pro profesionln prosted.
grack nvrhy, DTP, scan, osvit
velkoformtov a digitln tisk
prodej font URW++ a Adobe
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
ADOBE AUTHORIZED SERVICE PROVIDER
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
(nejen) knin typograe
a sazba, jazykov redakce, korektury,
kolen grackch pracovnk
Studio LACERTA
Chvalova 11
130 00 Praha 3
tel.: 603 746 009
sazba@sazba.cz
www.sazba.cz
Univerzln tiskrna a grack studio.
Tisk katalog a asopis V1, V2, V3,
automatick vsek.
OMIKRON Praha, spol. s r. o.
Doudova 22, 147 00 Praha 4
tel.: 261 218 30910, fax: 261 227 946
vroba: U Elektry 650, Praha 9 Hloubtn
e-mail: omikron@omikron.cz
www.omikron.cz
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
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
DTP, redigitalizace lm, osvit CtP, archov i rotan
ofsetov tisk na strojch Heidelberg, vazby V1 a V2
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
graka, DTP, CTP, tisk do formtu B1,
kompletn knihask zpracovn
REALTISK, s. r. o.
Opatovick 18, 110 00 Praha 1
tel.: +420 224 930 426, +420 224 933 8223
fax: +420 224 933 824
Steovick psmolijna je vrobcem kvalitnch
OpenType font s jedenctiletou tradic.
Krom slavnch klasickch textovch psem
z evropsk historie nabz tak dleit pvodn
dla eskch psma 20. a 21. stolet.
Frantiek torm
plova 23, 162 00 Praha 6 CZ
mail@stormtype.com
www.stormtype.com
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
partner / partner partner / partner
Pvodn psma, korportn psma,
psma na objednvku.
SUITCASE TYPE FOUNDRY
Sobslavsk 27
130 00 Praha 3
tel.: +420 775 066 498
e-mail: mail@suitcasetype.com
www.suitcasetype.com
16 typo 2005 obalka.indd 2 16.8.2005 12:43:12
typograe. grack design. vizuln komunikace
typography . graphic design . visual communication

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TYPO.16 JULY 2005
UVNIT / INSIDE HUNGARICUMS Type from Hungary The democratisation of characters Project diacritics FiFFteen: type for independent minds Typography with a heart