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typografie. grafick design.vizuln komunikace

typography.graphic design.visual communication

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TYPO.OBSAH

TYPO.EDITORIAL

TYPOtypografie. grafick design. vizuln komunikacetypography.graphic design.visual communication

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Filip Blaek, Pavel ZelenkaPrask m

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Typografie v podzem.Pedstavte si sami sebe v neznmm velkomst s nesmrn rozshloust metra, kdy se muste z jednoho konce msta dostat na druh. Jedn se o intelektuln nron poin,zvlt kdy nerozumte jazyku domorodc a oni vaemu. Mnoz v tto chvli radji zvol taxi. Pokud se pece

jen k dobrodrun cest podzemm odhodlte, muste nejprve v okol nalzt samotnou stanici, co me btv modernm mst plnm reklamnch pouta problm, zvlt je-li oznaen vstupu mal a nenpadn. Potmuste urit stanici, kter je vaemu cli nejbl, a naplnovat vhodnou trasu na zklad vybranch kritri (conejrychlej spojen, co nejmn pestup apod.). V samotnm metru vs pak ek hledn cesty na sprvnnstupit a nstup do sprvnho vlaku, pokud se na nstupiti stdaj soupravy mc do rznch smr.Ani te nemte vyhrno: jet muste vystoupit na sprvnstanici a najt sprvn vchod.Typografie vstupuje do podzem proto, aby cestujcmu celve popsan kol co nejvce zjednoduila a zpjemnila.Bohuel ne vdy je dleitost orientace v metru prioritoupepravnch spolenost. Ml jsem monost vyut dobroudestku rznch podzemnch drah v nejrznjch mstech nasvt a uvdomil jsem si pitom, jak je dobr orientan systmdleit. Zvlt tehdy, kdy se mi podailo nastoupit do vlakumcho opanm smrem nebo kdy jsem se marn snailnajt vchod ve sprvn sti obrovskho nmstPedstavujeme vm oima typograf ti evropsk metra. Lon-dnsk, kde se modern orientan systm zrodil, pask, jeprv zav vizuln promnu, a prask, kter na nezbytnouzmnu k lepmu teprve ek.

Typography underground.Imagine being in an unknown city with an extremely extensunderground railway network when you have to get from one end of the cit y to the other. This is an ally demanding feat, particularly when you do not understand the language of the natives and they dunderstand yours. At that moment many prefer to take a taxi. However should you really do decide ton this adventurous journey, you must first find the local underground station, which may pose a proa modern city full of billboards, particularly if the underground entry sign happens to be small and inous. You must then select the station that is the nearest to your destination and plan a suitable routeon the selected criteria (the quickest possible connection and the fewest possible changes etc.). In ground itself you are confronted with the task of finding the way to the right platform and of boardingtrain if this is a platform with trains that alternate and travel in different directions. But it still does notyou have succeeded: you must still get off at the right station and find the right e xit.Typography appears in the underground in order to simplify the above-described task for travellers atheir journey as pleasant as possible. Unfortunately the importance of orientation is not always a prio

public transport companies. I had the opportunity to travel on a good dozen various underground ravarious cities worldwide and realised how important a good orientation system is. Particularly when Ito board a train travelling in the opposite direction or when I fruitlessly tried to find the exit in the righan enormous squareWe present three European underground railways through the eyes of typographers. There is Londthe modern orientation system was born, Paris, which is currently undergoing a visual transformationPrague, which is still waiting for an essential change for the better.

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The author of the original graphic design of the orientation panels in the Prask metro (Prunderground railway) was graphic artist Ji Rathousk (19242003). The characteristic feof his design became his typeface called Metron that is still seen in the metal lettering of thstation names. In the 1980s Dopravn podniky (Pragues Public Transport Company) attempto integrate the metros information system and that of surface transpor t. It was Rostislav V(1945) who won the tender, but his draft was not used to the extent intended and ended upbeing used in the metro and for the funicular on Petn Hill. At the beginning of the 1990s Vcooperation with Dopravn podniky came to a rather unfortunate end, nevertheless the gra

appearance of the orientation panels remained unchanged for several more years. But as owhite plastic boards with black lettering replaced the original i lluminated buttons and thing orange colour gave way to tasteless reflective orange. Unfortunately this change took pwithout Vanks approval and evidently without any thought for broader correlations and deknowledge, which is why it was decided to revert to the normal orange colour. Today new psignboards have been erected at most stations. Nevertheless, and this is particularly true oC Line, there are still exceptionally cases to be found of many buttons with a negative text arelics of Rathousks lettering. It is a great pity that the management of Dopravn podniky dtake up the opportunity, when many stations were being reconstructed after the flood damsignificantly changing the orientation system because a similar opportunity will (hopefully)repeated.

Autorem pvodnho grafickho een orientanch panel v praskm metru byl grafik Ji Rathousk (19242003). Charakteristickm

rysem jeho een se stalo psmo Metron, jm jsou dodnes zhotoveny kovov litery s nzvy stanic. V osmdestch letech se Dopravn podpokusily o sjednocen informanho systmu metra i povrchov dopravy. Vyhlenou sout vyhrl Rostislav Vank (1945), jeho nvrh alerealizovn v zamlen i a skonil pouze v metru a u lanovky na Petn. Na potku 90. let byla Vakova spoluprce s Dopravnmi podnnepli astn ukonena, nicmn grafick vzhled orientanch panel zstal jet nkolik let tm beze zmny. Od roku 1995 ale zabt pvodn prosvtlen butony nahrazovny blmi plastovmi deskami s ernm psmem a stvajc oranovou vystdala nevkusn reoranov. Tato zmna bohuel probhla nejen bez Vakova souhlasu, ale evidentn i bez promylen irch souvislost a bez hlubch zno em svd i nvrat k normln oranov barv. Dnes jsou na vtin stanic nov pozitivn cedule, nicmn zejmna na trase C je stlemnostv buton s negativnm textem a vjimen lze najt i relikty Rathouskho een. Je obrovsk koda, e veden Dopravnch podniknevyuilo rekonstrukce mnoha stanic po povodnch k razantn zmn orientanho systmu, nebo podobn pleitost se ji (doufejme) nopakovat.

PRAGUE UNDERGROUND

Kovov Rathouskho litery v nzvu stanice spolu s hlinkovm rastrem vydutch a vypouklch polokoul darchitektue trasy A nezamnitelnou atmosfru kosmick lodi. erven barva stanice Flora pr byla pro archtrest. Rathouskys metallic letters in the station names and aluminium grid of concave and convex semi-balls crespaceship-like look of the A-line architecture. In that period the architects considered the red colour to be a desig

V prostorch Hlavnho ndra dodnes koexistuj pvodn butony upraven Jim Rathouskm vetn origiazbuky a Windsorova loga (vlevo) spolu s novj grafikou od Rostislava Vaka a dvma dalmi verzemi log(uprosted a vpravo). In the Hlavni nadra station the original buttons by Rathousk (including his Cyrillic) and Wlogo (left) still coexists with the newer graphic design by Vank and two other different versions of logo (in the mright).

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Rathouskho ikony jsou formln velmi j ednoduch, sdln a pesto vynikaj vysokouvtvarnou hodnotou. Rathousks pictographs are formally very simple, easy to understand, andyet visually attractive. (From left to right: no smoking, no entry, alarm, ladies, gents, coin changer,attendant, use handrail on escalator, invalid)

Na psmu Metron pracoval Ji Rathousk v letech 1971 a 1972. Vyuil pitom poznatko itelnosti psma v mstskch i krajinnch komunikacch. Nvrh pot s uplatnnm psmav rozmanitch aplikacch: od textov sazby a po plastick, z kovu odlvan litery. Stedn obrazpsma je oteven, horn a doln petanice jsou zkrceny, verzlky jsou oproti minuskm jennepatrn nasleny; duktus je zvolen podle vsledk vzkum o vhodn tlouce tah psmatenho na dlku, ukonen litery je kolm na smry zkladnch tah, co pispv ke zrychlenten. Charakteristickm rysem Metronu jsou hlubok zezy v mstech, kde obvykle vznikajoptick slitky. (Josef Kroutvor, Typografia 12/1976)Ji Rathousk was creating the Metron typeface between 1971 and 1972. He exploited the piecesof knowledge about the legibility in urban environment. His type can be used very well in manyapplications ranging from the small text size to three dimensional metallic letters. The ascenders anddescenders are lowered, capital letters are subtly thickened compared to the lowercase. The weightof face was carefully chosen according to the researches of the legibility at a distance. The lettershave the large aperture and orthogonal terminal of the stroke speeds up the recognition of charactersThe most prominent characteristic of Metron is the deep incisions compensating ink-trapping areas.(Josef Kroutvor, Typografia 12/1976)

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Jak jste se k prci pro metro dostal?

Kolem roku 1985 jsem byl vyzvn Dopravnm pod-nikem hl. m. Prahy k souti na vytvoen orienta-nho systmu prask Mstsk hromadn dopravy.Mezi vyzvanmi byli Ji Rathousk, designr MilanMek a dal dva autoi, kte nvrhy v termnunedodali. Vypisovatel dal, aby orientan systmbyl pouiteln nejen v prostorch metra, ale i nazastvkch tramvaj, autobus, lanov drhy; mlobshnout i vltavskou lodn dopravu a taxislubu.Nvrhy v metru musely vychzet ze stvajcch

svtelnch nosi, jejich velikost a prostorovhorozmstn. Autorem tchto dnes ji a na malvjimky vyazench nosi (buton, jak bylynazvny) byl designr prof. Petr Tun, t autorgrafickho een vozu metra, jeho vtipn spor-nho a zcela funknho een vstupnch dvev erven a lut barv. Petr Tun navrhl designr-sky nadasov mobili metra, informan tabule

integrovan do skladebnch sedaek vetn odpadkovchko na nstupitch. Nic z toho nebylo realizovno.Svj nvrh jsem postavil na negativnm een: bl psmotextovch informac v ern ploe bylo realizovno naprhlednm filmu, kter se vloil mezi dv plexiskla stva-jcch buton. V horn sti byl lut pruh (pozdji zmnnna oranov), kter se tiskl stotiskem a na nm byla stl,nemnn texty. V dolnch pruzch byly textov informace

o nvazn tramvajov a autobusov doprav. Vzhledemk tomu, e se sla tramvaj a hlavn autobus stle mnila,byl tento systm velmi praktick. Stailo na lepen pozitivnpedloze zamnit slo a pmou reprodukc v podniku Karto-grafie na reproduknm apartu, kter dovoloval exponovatfilmy z role fotografickho materil o i 100 cm, zskatmetrov negativ, kter byl ji vslednm produktem. Tmtozpsobem jsem realizoval i mapy okol stanic a mapy linekautobus a tramvaj.

Pro jste nepouil Rathouskho abecedu?

Rathouskho psmo bylo ve svm konceptu i uit neobvykl.Reflektovalo v t dob velmi pozoruhodnou abecedu Syntax-AntiquaHanse Eduarda Meiera (psmolijna D. Stempel AG).Pro ob psma je spolen kolm ukonen ikmch tahliter k,v,y, jet vraznji se tento princip projevuje u verz-lek. Je pozoruhodn, e Syntax-Antiqua pes svoji originalitua zzem u firmy Stempel nedola vtho rozen (abecedabyla kreslena jako knin psmo).Abeceda Jiho Rathouskho v textov dce psobilapece jen ponkud neklidn. Samozejm, na vin bylai primitivn realizace. Psmomali drustva Malba sestavovalitexty z jednotlivch liter, kter mli rozmnoen na filmech,oezanch tsn k psmu. Kladenm vedle sebe vznikal velminekvalitn rozpal: texty byly k sob nahutn, pirozenkiv a nemohly dret a. Monte se nsledn osvtily na

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Digita. Originln Rathouskho sada slic pro stanin hodiny s mechanicky se peklpjcmi destikami dnes obvyklch displej. Digita. The original set of digits by Rathousk for station clocks with mechanical face.

Jednoduch systm t tras umonil do schmatu metra zalenit i nkter turisticky vznamn povrchov Tekovan a peruovan ry naznauj trasy ve vstavb. Prague simple underground system consists of thonly. This fact allowed to include pictographs of some important surface details. The doted and dashed lines symthe lines under construction (1972).

ROZHOVOR NA TMA HISTORIE A SOUASNOSTI GRAFICK

PODOBY INFORMANHO SYSTMU PRASKHO METRA

NM POSKYTL DOC. AK. MAL. ROSTISLAV VANK

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Vakovy pvodn ikony. ada z nich se dosud u v, ale v upraven podob. Vanks original icons. A number of them are still used, but in altered form.Realizovan een informanch panel dlilo plochu do ty vodorovnch dl. povimnte si originln pomlky ve tvaru svisl rky nebo Vakem up-

ravench akcent psma Helvetica. The design implemented for information panels divided the space into four horizontal parts. Notice the original dash shapedlike a vertical comma or Vanks modified accents of the Helvetica typeface.

Negativn panel s vyznaenmi zastvkami se v dn stanici nedochoval. The negative panel marking stops has not survived at any station.

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How did you get to work for the Metro?

In about 1985 Dopravn podniky hl. m. Prahy (Prague Public Transport Company) called on me, throa tender, to create an orientation system for Pragues City Public Transport. Among those also calle dwere Ji Rathousk, designer Milan Mek and another two authors who did not deliver their draft don time. The companys tender requirement was that the orientation system be used not only in the premises, but also at the tram, bus and funicular stops; it was also to include the Vltava River boat trand the taxi service.Draft d esigns in the Metro were to be based on the existing neon signboards, their size and distribuauthor of these today, with some small exceptions, removed signboards (buttons, as they were cadesigner Prof. Petr Tun, also the author of the graphic design for the Metro train carriage, its ingeneconomical and altogether functional design for the entrance doors in a red and yellow colour. Petrsigned the timeless chattels for the Metro, the information signboard integrated into the compositionand the waste bins on the platforms. None of this was used in the end.I based my design on a negative solution: the white lettering for the text information on a black backwas applied to transparent film that was then inserted between two Perspex glass panes of the existons. The yellow strip on the top part (was later changed into orange) and produced using silk-screeand the texts on it remained constant and unchanged. Text information about tram and bus connecplaced in the bottom strips. In view of the fact that the tram and particularly the bus numbers changstantly, this system was highly practical. All that was required was to replace the number on the gluedraft and direct re produce it at the Kartografie (Cartography company) on a reproduction camera ththe exposure of film from a roll of 100 cm wide photographic material to result in a one-metre negatwas already an end product. This was the method I also used for maps of the environs of the statiothe bus and tram route maps.

Why did you not use the Rathousk alphabet?

Rathousks typeface was unusual in its concept and application. It reflected the highly remarkable of Eduard Meiers Syntax-Antiqua Hanse (from the D. Stempel AG type-foundry). Both typefaces shasame vertical endings for the slanting strokes of the lettersk,v,y, this rule is even more distinct for tal letters. It is remarkable that Syntax-Antiqua, despite its originality and background at the Stempelnot further extended (the alphabet was drawn like book lettering).Ji Rathousks typeface had a somewhat agitated look in a lined text. Of course this can be blamedprimitive way it was produced. The sign-writers of theMalba cooperative set texts from individual letthad duplicated on film cutting very close to the lettering. Placing the lettering next to each other gavvery bad quality and appeared feveri sh: the texts were crowded, naturally crooked and could not k

the baseline. The mountings was subsequently illuminated on screen and printed on the front of nePlexi boards, so they could be easily scratched during routine maintenance. Unfortunately the list ofancies did not e nd here very bad fluorescent l amps were installed in the buttons so the fluorescencould be seen, or kept blinking, or one was a yellowish and the a bluish colour. So the impression ywhen crossing the vestibule or platform was dismal. Perhaps the sole e xception was that the buttonthrough the communication route supplying extra light there.When selecting a typeface, I originally thought aboutAkzidenz Grotesque, but after testing the legibiI chose Helvetica in semi-bold form. The typeface was robustly legible and could be aligned very wethermore I enhanced the horizontal with lines structuring the medium into six sections, of which fivethe text information. The black area with the white lettering greatly reduced the blinking of the fluolamps. As the work continued, the communication of information was gradually decreased, bus and

Pvodn zmr rozit orientan systm z podzem i na povrchovoudopravu nebyl realizovn. The original plan to extend the orientation systemfrom the underground to ground transport was not i mplemented.

Rostislav Vank vytvoil nov akcenty pro Helveticu uitou jako zkladnpsmo orientanho systmu praskho metra. Rostislav Vank created newaccents for the Helvetica used as the base typeface for the Prague Metrosorientation system.

WE WERE TALKING TO ROSTISLAV VANK, THE HEAD OF GRAPHIC ART AND VISUALCOMMUNICATION AT PRAGUES ACADEMY OF APPLIED ART, ABOUT THE HISTORY APRESENT TIME OF THE PRAGUE UNDERGROUND DESIGN OF INFORMATIONAL SYSTE

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Negativn een buton od Rostislava Vaka je stle k vidn v nkterchstanicch, kter nebyly znieny pi povodni. The negative design of thebuttons by Rostislav Vank can still be seen in some stations that were notdamaged by the floods.

Orientan pln: Mapa metra z roku 2004. Dkaz, e i jednoduchsystm vyaduje racionln pstup a cit pro vtvarn een. Zarejcje napklad ptomnost znaky Vae stanovit na kad map,vetn tch umstnch v pohybujcm se vlaku. Mechanicky zopa-kovan piktogramy tramvaj na konci kad linky zbyten konkurujostatnm symbolm; tramvaje jsou navc paradoxn vt ne vizuln

zamniteln symbol vlaku. Msto kotvi plave po Vl tav jaksi neitelnsmet. Umstn a rozdlen nzv Malo/stransk a Staro/mstsk jenumocuj rozpait dojem. Underground map in 2004 proves that even thesimple schema demands carefully planned design and sense of rationality.The You are here sign is just ridiculous when the map itself is placed in themoving train. There is no need for abundant presence of tram pictograph atthe end of every line. There is also wrong size ratio between the tram and trainicons. Instead of anchorage icons there are some debris floating in the VltavaRiver. The hyphenated names of Staro/mstsk or Malo/stransk stationsemphasise the overall feeling of awkwardness.

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sto a tiskly na plexidesky svtelnch buton zepedu, takei pi bn drb bylo mon je snadno pokrbat. Tmvet nedostatk bohuel nekon v samotnch butonechbyly mimodn nekvalitn zivky, take tam bu byly zivkyvidt, nebo blikaly, nebo byla jedna do luta a druh domodra. Dojem, kdy jste prochzeli vestibulem nebo ponstupiti, byl tristn. Snad jedinou vjimkou bylo, e butonyprosvcovaly komunikan cestu, byl tam pebytek svtla.Pi vbru psma jsem pvodn uvaoval o Akzidenz Gro-tesku, ale po zkoukch s itelnost jsem zvolil Helvetovu

v pltun verzi. Psmo bylo robustn iteln a velmi dobedrelo dku. Horizontlu jsem navc podpoil i linkami len-cmi nosi na est dl, z nich v pti byly textov informace.ern plocha s blm psmem vrazn omezila bliknzivek. Pi realizaci se postupn stle ubralo na informansdlnosti a postupn se upoutlo od uvdn sel auto-bus a tramvaj, a zstalo pouze TRAMSMR HOSTIVA apod.Rovn z pti textovch dek a jedn lut informan zbylynakonec dky ti a jedna informan oranov.

Nebyla tu njak esk psmolijna, kter by vm moh-

la pomoci s ppravou psma na mru?

Pedstava, e by nkdo v t dob udlal eskou abecedua zpracoval ji do runho fotoszecho zazen, tzv. pravtka,byla nemysliteln. Kdy piel na VUP jeden z prvnchStaromat, byl to zzrak, technologick pika, vichni

jsme se tam chodili dvat. Pravtko bylo kvalitn udlno, hori-zontln posun byl perfektn, take se vm podailo vysaditdku, kter neskkala.

Jak byla spoluprce s Dopravnm podnikem?

Ji pi souti jsme byli instruovni skupinou technik, ktemli sv pedstavy a informace ze zahrani; musel jsemped nimi svj zmr obhjit. Vhodou bylo, e jsem jednalvdy pmo se zadavatelem. Byly i prohry: piktogram tramvajemusel mt pantograf a stejn tak jsem musel pedlat i la-novku. Pili s tm, e lanov drha je na kopci a e mus btpodobn skutenosti. Vechny piktogramy pro povrchovoudopravu maj i svou verzi s kresbou dopravnho prostedkuz boku. Bl kresba v modrm poli; ostatn tak je to dodnes,ale bez mch piktogram. Nic se za dvacet let nezmnilo. Utehdy se kalo, e DP je nepohybliv kolos, co me metro,

to neprosadme u tramvajk a u autobus do toho zasemluv kad garmistr. Nepjemn zjitn, ale platn.Byly to kompromisy, ale pro m pevaovala vtzstv. Nadkadou novou stanic jsme vedli nekonen debaty o vechdetailech realizace a neml jsme pocit, e si rozumme. Do-pravn podnik zrealizoval pro poteby projektant novch sta-nic jednoduch manul, kter obsahoval i nznak rozeninformanho systmu na povrchovou dopravu. V neschop-nosti tento zmr realizovat vidm hlavn nedostatek celhoinformanho systmu, propojen na celou MHD je v budouc-nu zcela nezbytn. Ped 20 lety jsme se o to aspo snaili.

A co logo metra?

Autorem je pan Windsor. Na logo metra bylo nkolik sout,o jejich prbhu by vm mohl ct vc Petr Tun, kter snadi jednu z nich vyhrl dobrm logem, kter vypadalo njak

takto: . Windsorovo logo mlo adu podob. Vdy nkdopiel s npadem, e by se mlo njak upravit, ale moc tonelo. Mn by stailo pouh psmeno M.

Opravdu si myslte, e pvodn logo nen dostaten

nosn?

V dob vzniku mla ada firem loga na podobnm principu.Vdy v nich byla jaksi odborsk estetika. Dopravci mi-lovali ve okdlen, ale ke kdlm mla vztah i Mototechna,Motorlet ani se mi nechce vzpomnat.

numbers were slowly removed until onlyTRAMSMR HOSTIVA (Hostiva-bound tram)remained and so Finally only three lines and one orange information-line remained of the five text lines.

Was there no Czech type-foundry that could have helped with the preparation of the customise

typeface?

At this time the idea seemed incredible that somebody would come up with a Czech alphabet and for use in photo-typesetting equipment, so-called rulers. When one of the first Staromt machines apthe VUP (University of Industrial Art), it was considered a miracle of high technology, we all cameit. The ruler was of fine quality, the horizontal shift perfect so you could set a l ine that did not jump.

What was cooperation like with Dopravn podniky?

During the tender we were already instructed by a group of technicians who had their ideas and infofrom abroad; I had to defend my plan in front of them. An advantage was that I could directly discus

with the customer. But there was also defeat: the tram pictogram had to have a pantograph and I hathe funicular in the same way. They came up with this idea that the funicular was on a hill and had tothe real thing. All the pictograms for ground transport also have their own version containing a drawmeans of transport on the s ide of the conveyance. A white drawing on a blue background; incidentais the case to date, but without my pictograms. Nothing has changed in the last twenty years. Even tsaid that DP (Dopravn podniky) is an inflexible giant for while things could be enforced with the Mesame could not as far as tram and bus employees were concerned as every garage attendant had hopinion. An unpleasant discovery that was true.Compromises had to be made, but this was compensated by every victory in my case. We held enddiscussions over each new station about all the details and I did not feel that we understood each oDopravn podniky came up with a simple manual for the requirements of designers of the new statiomanual also contained an idea about extending the information system to ground transport. I considbeing capable of enforcing this plan the main shortcoming of the entire information system becausenecting the entire city public transport system will prove essential in future. At least we tried to achieyears ago.

And what about the Metro logo?

The author is Mr Windsor. Several tenders we called for the Metro logo and Petr Tun would be the p

tell you more about the course of these tenders because he even won one of them with a good logo th

something like this: . Windsors logo had several versions. Somebody always came up with an idea tshould be altered in some way, but that did not really work. I would have been satisfied with the mere le

Do you really think the original logo is not sufficiently enhanced?

At the time they emerged, several firms produced logos on a similar principle. They also contained sof trade-unionist aesthetics. Transport workers loved everything that contained wings, but companMototechna and Motorlet also liked wings, I do not even want to recall this.I tried to use the central part of the Windsor logo for my tender design an M with an arrow pointingThe design was not the subject of the tender and was not used. It is only today that it has begun to aillicitly as a sort of transformation of my design. Redesign is probably the right word, but why alter sothat no artist welcomed at the time it appeared.

And where did you gain information at the time on the way these things were done?

It was possible to look into professional magazines: the libraries of the UMP (Industrial Art Museum)VUP (University of Industrial Art) had copies ofGraphis, Gebrauchsgrafik and other publications. Bto look for? The Metro in Paris had a blue enamel sign with white painted Grotesque that was diffeevery station. It had its charm but it was not a graphic design. It was not until Frutigers design cameand altered at least the typeface on the traditional media. But even today there are stations where thforgotten about Frutiger (like Bonne Nouvelle). But we can see the charm in this too. In 1968 I wasby the Metro signs in Milan. The dark corridors, where on an anthracite background white glowing lred lines safely directed passengers to train platforms. I have not been in the Metro there since. The

of the corridors in 1968 appeared cosy, the dimmed lamps thre w light from the arms of the banisterstairs. Today any passenger would certainly be afraid of such an e nvironment.

Do you believe that your design was unique in east Europe?

Yes I do. What even happened immediately after the revolution was that my friend from England angraphic designer colleagues praised the Metro and its orientation system while visiting Prague. I do sider this to be a mere friendly gesture after visiting London.

How did your cooperation with the Metro end and what do you think of the present situation?

When I was working for the Metro, I had to do several things myself. When doing the silk-screen prinI worked with Miroslav Paek, who was an employee ofn. p. Vstavnictv(the Exhibition Organisatiocompany). Later he founded his own firm that revised and provided a service for my designs. Eventuthis firm took over all the production and realisation work. The Metros new architect for the repair oHradansk station together with Mr Paek (I do not know whether any graphic designer contributework) came up with new, illuminated media and reversed the graphics from the negative to the posthe last decade they also created a set of new pictograms, which are sort of based on my original differ considerably.Sadly the problem was at the outset. The medium itself, whose shape design I consider unfortunateenough, but the graphics should have been completely different. The sharp corner of a board cannprinted using rounded corners and thereby refine it. A sharp cut requires different type of graphics

evident even at the spot where the board is fixed to the lamp. It is there that the orange strip hides, wany gap, in the body of the lamp, so the information is cut up and the graphics are distorted. I do nowish to mention the colour changes on the platforms. The use of colour is devoid of any logic.A new graphic design was certainly to have been created together with the new medium that was tobeen based on the shape design.

Do you think the Prague Metro orientation system will change one day?

It certainly will, but it will not come as quickly as required. DPs management is evidently satisfied wwork, nothing is being done about the ground transport signs and maybe it is a good thing. Rather tapplying a travesty from the underground, it is better to maintain this open-air museum of the totalitaPerhaps it will be possible one day to apply a new shape, technological and graphic design based otransport to the underground

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Stanice Sokolovsk v pvodnmproveden. Sokolovsk station with theoriginal design.

Ani Rathouskho grafika se pirealizaci nevyhnula nkterm skalm:nestejn dlouh smrov ipky nebonepasujc nzvy. Even the originalgraphic system by Rathousk showedup some awkwardness like the differentlength of the adjacent arrows or notfitting t ypography.

Jeden z poslednch podsvcenchbuton na trase A, stanice Flora. Oneof the last back-lit buttons is hanging inA-line station of Flora.

Stanice Muzeum je muzeumpostmodern estetiky. Vedlemajesttnch kovovch liter naletnm mramoru se vyjm reflexnsamolepka s slem kolejit.Podsvcen butony byly nahrazenykusem plastov desky se shora svtczivkou. Cestujc zblzka oslnnnezakrytm svtelnm zdrojem mohou,

a se jim zrak zadaptuje, obdivovatkadou matiku, nerovnost ezu izapinn nezaitnch hran. TheMuzeum station is literally the museumof post-modern aesthetic: there aremajestic metallic letters on the darkmarble hanging by the self-adhesive withthe railroad number. Back-lit buttonswere replaced by the piece of plasticboard with the top-fastened fluorescenttube. The travellers are blinded with thelight but after a while they can admireevery screw and nut as well as theroughly cut edges.

Jedin nadzemn staniceVyehrad samolepkov vstavas vhledem na Prask hrad. V noci,kdy cel stanice z do tmy, vyniknematerilov degradace informanhosystmu snad nejvce. The only centralabove-ground station Vyehrad serves as

the self adhesive display. Degradation ofmaterial used for the information systembecomes apparent mainly in the night.

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Do svho soutnho nvrhu jsem se pokusil ut stednst Windsorova loga M se ipkou dol. Nvrh nebylpedmtem soute a nebyl realizovn. A dnes se pokoutnobjevuje cosi jako transformace mho nvrhu. Redesign jesnad mon, ale pro upravovat nco, co ji v dob vznikunikdo z vtvarnk nevtal.

A kde jste v t dob zskval informace o tom, jak se

tyto vci dlaj?

Bylo mon hledat v odbornch asopisech: v knihovn

UMP i na VUP byly Graphis, Gebrauchsgrafik a dal. Aleco hledat? Metro v Pai mlo modr smaltovan cedules blm lakrnickm groteskem, v kad stanici jinm. Mloto pvab, ale nebyl to grafick design. A Frutigerv zsahalespo zmnil psmo na tradinch nosich. Ale i dnes jsoustanice, kde na Frutigera zapomnli (teba Bonne Nouvel-le). Ale i v tom hledejme pvab. V osmaedestm roce jsembyl naden ze znaen metra v Miln. Setml chodby, kdena antracitovm pozad svtilo bl psmo v ervench linich,kter bezpen navdly na nstupit. Od t doby jsem tamv metru nebyl. Setmlost chodeb v roce 68 psobila tuln,svtlo tlumen prosvcovalo schody z madel zbradl. Dnesby se pasar v takovm prosted urit bl.

Domnvte se, e vae een bylo ve vchodn Evrop

ojedinl?

Myslm, e ano. Dokonce se mi hned po revoluci stalo,e mj ptel z Anglie a jeho kolegov grafici pi nvtvv Praze metro a jeho orientan systm chvlili. Po nvtvLondna to neberu jako pouh ptelsk gesto.

Jak skonila vae spoluprce s metrem a jak se dvte

na souasn stav?

Kdy jsem dlal pro metro, tak jsem adu vc musel smzrealizovat. Na stotiskovch pracch jsem spolupracovals Milanem Pakem, kter byl zamstnn v n. p. Vstavnic-tv. Pozdji si zaloil firmu, kter zajiovala opravy a servismch nvrh. Tato firma nakonec pevzala vekerou vrobua realizaci. Nov architekt metra pro opravu stanice Hradan-sk spolu s panem Pakem (nevm, zda se na een podlelnjak grafik) zrealizovali nov, nasvcen nosie a pevrtiligrafiku z negativu do pozitivu. Za poslednch deset let vytvo-

ili i soubor novch piktogram, kter jako vychzej z mchpvodnch, ale znan se od nich li.Bohuel problm je v prvopotku. Samotn nosi, jeho tva-rov een nepokldm za astn. Budi, ale grafika mlabt zcela jin. Nelze potiskovat ostr roh desky zaoblenmirky a tm ho kultivovat. Ostr pez chce jinou grafiku.To je patrn i v mst upevnn desky do svtelnho nosie.Tam se oranov pruh schovv bez mezery do tla nosie,informace se ee, grafika deformuje. O barevnch zm-nch na nstupitch se nechci ani zmiovat. Uvn barevpostrd logiku.Rozhodn k novmu nosii ml bt vytvoen i nov graficknvrh, kter by z tvarovho een vychzel.

Myslte si, e v Praze jednou ke zmn orientanho

systmu v metru dojde?

Urit ano, ale nebude to tak rychle, jak by bylo poteba.Veden DP je se svou prac zjevn spokojeno, nadzemnpovrchov znaen se nekon, a to je mon dobe. Ne tamaplikovat paskvil z podzem, tak je lep dret ten skanzenz totality. Mon prv nov tvarov, technologick a grafickdesign z povrchov dopravy bude mon jednou aplikovati v podzem

Souasn nevesel podoba informanho systmu v architektonicky zdailch prostorch trasy A, staniceMru. Contemporary dreary version of the informational system in the distinctive space of A-line station Nmst m

Logo praskho metra m mnoho podob a jejich pouvn nen zd se nijak ustleno. Povimnte sipodivnho, nikdy nerealizovanho nvrhu Jiho Rathouskho (druh zleva). Prague Underground logo has mdifferent versions and they are apparently used without any recognizable system. Note the weird never-released sby Rathousk (the second one from left).

Za laskav zapjen pedloh a originlnch skic Jiho Rathouskho k reprodukci dkujeme redakci asopisu Deleatur, jeho 7. slo pin obshl a posledn rozhovor s tmto grafikethanks to Dealatur magazine for the providing of original sketches by Ji Rathousk. You can find the last interview with this remarkable graphic designer in Deleatur #7.

TYPO.LI

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TYPO.PROJEKT

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textJean

Frano

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anslationLinda

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Parisine, psmo pro PaObecn lze ci, e exis-tuj dva pstupy ke tvorb psma: jednm je nvrhpsma podle vlastnho vkusu, pravidel a omezena nsledn prodej prostednictvm distributora fontnebo pmo; druhm pak je prce na zakzku proklienta. Ta pedstavuje finann jistotu a pleitostnavrhnout psmo podle pesnho klientova zadni pizpsoben se jeho potebm. Je obtn ped-stavit si a posoudit vechny technick, historicka vizuln initele, pokud navrhujete psmo pro svou

vlastn potebu.

rozdlyPo stlm navrhovn psem novinovchmi nvrh psma pro orientan systm metra (tedypro jin finln mdium ne papr) pipadal jako za-jmav vzva. Na rozdl od psem navrhovanch promal velikosti a pro papr a tisk nevelk kvality, kdyje designr nucen naslit nkter tahy psma, musbt forma znak psma vytvoenho pro orientan

systm ist a minimalistitj. Zsadou je istota vrazu.Archetypem vtiny psem, jejich finlnm mdiem je papr,zstvaj renesann antikvy. Naopak pro orientan systmse zd bt historicky vhodnj idel eckch a mskchnpis. Kdy navrhujeme psma pro monumentln npisy,mli bychom se dret svtlosti, proporc a jednoduchostimskch verzlek.

vchoz bodZpsob fungovn paskho metra v prvnchletech provozu vznamn ovlivnil i znaen ve stanicch. Zpo-tku byly toti jednotliv trasy metra provozovny rznmikomernmi spolenostmi a to byl tak jeden z dvod, prose npisy v jednotlivch stanicch zsadn liily: od smalto-vanch cedul a po nzvy stanic proveden v keramice. Provelk npisy bylo primrn pouvno bezpatkov psmo,zatmco na vagnech bylo vdy pouito takov psmo, kterse hodilo ke stylu konkrtnho vagnu. Brzy pot pily naadu secesn tvary. V t dob byla vtina innost spojenchs pepravou vykonvna manuln zamstnanci metra,prodejem jzdenek ponaje a poloautomatickm zavrnm

MTRO TYPEParisine, a Parisian Type There are two common approaches to typeface design. The first is to dea new typeface to your personal taste, following your own rules or restrictions, and distribute it eithera type distributor or directly. The second is to work for a client on a commission. The latter method omore financial security and an opportunity to design a typeface following a narrow design brief, sugby the client or governed by the clients needs. Technical, historical or design considerations are all imagine if you design a t ypeface for your own use.

Differences After designing typefaces for newspapers, it came as an interesting challenge to creatface for signage, for a medium other than paper. Unlike typefaces designed for small sizes, for poorpaper and printing, which factors push the designer to reinforce certain parts of letterforms, typefaceters made for signage need to be cleaner and more minimal in their form. A purity of expression is n

Book typefaces from the Renaissance remain our archetype for most fonts created with paper as a dium in mind. For signage, the purity of the Greek and Roman inscriptions seems historically suitabopen counters, proportions, and simplicity in the case of Greek capitals, need to be followed when dtypefaces for monumental inscriptions.

Design brief The way the Mtro started its life strongly influenced signage in the stations. In the eara number of commercial companies ran the different Mtro lines. This is one of the reasons why thetions varied enormously, from enamel signage to big ceramic station nameplates. Sans serifs were mused for big signage, and on the carriages, letters were painted in a style appropriate to the carriageEarly on, it was Art Nouveau forms. At the time, most of the transportation procedure was done manrail workers, from the sale of individual tickets, to the semiautomatic door closing. Later, the nationanetwork, the RATP, took over.It was not before the 1960s, however, that the overall signage question was taken into account by thRATP. After the Second World War, at the time of the industrial boom and automation, the network wextended into the surburbs and signage became a key factor. The situation was similar for buses. Mdirection signs on both sides of the buses were done by lettering artists, always in caps, in various csans serifs. This method was used on the buses until the end of the 1970s, when Helvetica was choreplace these methods.In the early 1970s, the RATP set up a study group, including Swiss type designerAdrian Frutiger. He

asked to design a special variation of his Univers typeface. The variant was introduced in 1973 to rethe twenty alphabets previously in use by the network. Later, Frutiger wrote:It is the special charm oParis Mtro that its applied aesthetics are not stamped with a uniform style. Forms of expression ofpast hundred years, such as the beautiful Art Nouveau portals, are in many cases still present. Thisshould be preserved as well as possible, as an enrichment of the scene. The joining together of typcal elements into a new harmonious order was a task requiring a certain degree of restraint so far acreation of new forms was concerned.His recommendation was to stick to capitals to fit better with existing signs and with the historical roMtro. The new alphabet was used only when the text needed to be updated or the station renovateafter, around 1973 to 1975, Frutigers Roissy, a preliminary version of the typeface calledFrutiger, wafor the new Charles de Gaulle Airport. This time, without historical constraints, he used caps and lowinstead of the all caps RATP alphabet. Frutiger wrote:We rejected an elongated condensed face beof its loss of legibility. The similarity of the shapes of all letters, due to central vertical lengthening, hunfavourable effect. I remember clearly from my childhood the stri kingly contemporary effect of theairport with its signage on yellow.It was not until the early 1990s that the RATP started to move towards using caps and lowercase sigconcepts, which provide better word shapes and contrast. This formula was adopted to improve legFor future signage, which was to be applied to all the transportation systems, from the Mtro to buseFrench capital, a typeface family was needed. The RATP president decided to select from one of the

families already in used by the RATP. These included the Adrian Frutiger all-cap face based on UnivRER, Albert Botons thin, rounded, all-cap face designed specifically for the new fast Mtro in the latties, Gill Sans, used in recent years for corporate identity and official communication, andNeue Helvchosen by designer Jean Widmer, which was used for the bus signage system from 1994.Neue Helvetica was selected because of its general availability and compatibility with various compuprogrammes. This seeming advantage actually produced problems. Potential users mistakenly usedinstead of Neue Helvetica. Because of the various widths, weights, and letterforms, the corporate guhave never been successfully implemented. Early on at the testing stage, the people involved came different areas. (The signage, from basic stickers to illuminated boxes or classic enamels metal platea range of production methods.) Non-t ypographers could not comprehend the consequence of chowrong version.

Why a specific typeface? The people in charge of the signage system quickly understood that NeuHelvetica did not work well, because of its width and standard narrow spacing. The station name CElyses Clmenceau is obviously longer than the station name Nation. Historically, the name-platebeen sized according to the length of the name of station or the de sign style of the station itself. At swhere a lot of information had to be displayed (various connections and ways out), the name-plate wthan in stations where less information was needed. After some tests in real conditions with strict rufinal modular system permitted a modest level of adaptation of the name-plate size: a real problem inwhich stubbornly resists standardisation.

Due to the problems described, the idea emerged for a specific RATP typeface with some Helveticaacteristics, and with the same legibility, but more economical in width. The rail network asked severlarger typefonderies to provide quotations for a unique Helve tica to belong to the RATP, to avoid mversions of their signage applications. They wanted to give away the typeface in one way or another suppliers. However, typeface designs are intellectual propert y. Neue Helvetica is used by the RATP, others. RATP could not buy and distribute a font licence, nor could a des igner be asked to create a Helvetica, we call that piracy.Most companies approached responded with quotations based on large corporate multi-site licencedealing with the design problems described. Instead of doing this, I asked for a meeting and broughtypeface research. I had made just two station name signs, directly on Illustrator, as we do when wea logotype or a lettering job. I built some comparisons with Helvetica in reverse (signages are usually

Nvrh abecedy Davida Pularda z roku 1999 ke stmu vro paskhometra napodobuje pvodn psmo Hectora Guimarda. Typeface design byDavid Poulard in 1999 for the centenary of the Mtro, to emulate the originallettering style of Hector Guimard.

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Place dItalieBobigny 683Eha

dve kone. Pozdji pevzala provoz metra Nrodn seleznic (RATP).Otzkou celistvho orientanho systmu se vak RATP za-ala zabvat a v 60. letech 20. stolet. V dob industrilnhoboomu a automatizace, kter nastaly po druh svtov vlcebyla s metra prodlouena na pedmst Pae a znaen sestalo klovm problmem. Stejn situace se tkala i auto-busov dopravy: vtinu smrovch oznaen na obou stra-nch autobus psali psmomali vdy verzlkami, v rznchvariantch kondenzovanho grotesku. Tak tomu bylo a do

konce 70. let, ne zaala bt pouvna Helvetika.Na potku 70. let ustanovilo RATP zvltn studijn skupinu,do kter patil i vcarsk typograf Adrian Frutiger; ten bylpodn, aby navrhl zvltn variantu svho Universu. Vari-anta pedstaven v roce 1973 mla nahradit dvacet psemdve spolenost RATP pouvanch. Frutiger pozdji napsalZvltn arm a nezamniteln styl dv paskmu metruprv jeho uit neuniformn estetika. Vrazov prostedkyuplynulho stolet, k nim pat napklad i secesn vchodydo metra, jsou v mnoha ppadech stle na svch mstech.Tato rozmanitost by mla bt co nejpelivji uchovvnaa ml by bt rovn ponechn prostor jejmu dalmu roz-en. Spojen typografickch prvk do novho harmonic-kho celku bylo kolem vyadujcm urit omezen, pokudbylo nam clem vytvoen novch forem.Frutiger doporuil pouvat kapitlky, kter se lpe hod k ji

existujcmu znaen a k historickm koenm paskhometra. Nov psmo bylo pouvno pouze v ppad, kdybylo poteba aktualizovat text nebo renovovat stanici. Brzypot (v letech 19731975) vytvoil Frutiger pro nov letitCharlese de Gaulla psmo Roissy, pedchdce Frutigeru.Frutiger napsal: Odmtli jsme protaen kondenzovantyp, protoe nebyl dostaten iteln. Centrln vertiklnprodlouen vech znak zpsobilo jejich podobnost, cobyl jednoznan nepzniv efekt. Ze svho dtstv si jasnvybavuji pozoruhodn modern vizuln podobu novholetit s orientanm systmem na lutm podkladu.RATP se zaala piklnt k pouvn verzlek spolens minuskami, jejich souasn uit dv slovu lep tvara kontrast, a zatkem 90. let. Tato koncepce mla zlepititelnost. Pro budouc orientanm systmem, kter se RATPchystala zavst ve vech systmech hromadn dopravy

v cel Pai, bylo zapoteb najt vhodnou rodinu psem. Pre-sident RATP se rozhodl volit z psem, kter u firma pouv.Mezi nimi byla i Frutigerova verzlkov abeceda RER zalo-en na Universu, tenk zaoblen verzlkov psmo AlbertaBotona, navren speciln pro nov, rychl metro na konci70. let, Gill Sans, pouvan v nedvn dob pro vizuln stylspolenosti a oficiln komunikaci, a Neue Helvetika, kterbyla od roku 1994 pouvna v autobusov doprav.Nakonec zvtzila Neue Helvetika dky sv obecn dostup-

nosti a kompatibilit v rznch potaovch programech.

Tato zdnliv vhoda vak psobila neekan obte. Uivate-

l chybn pouvali Helvetiku msto Neue Helvetiky. Kvli roz-

dlnm km, tloukm a tvarm jednotlivch znak nebyla

nikdy pravidla pro vizuln styl spolenosti do detailu splnna

Ranho stdia zkuebnho procesu se astnili odbornci

z rznch oblast, protoe orientan systm od malch

samolepek pes prosvtlen vitrny a po klasick smaltovan

kovov tty vyaduje odlin zpsob zpracovn.

Pro svbytn psmo? Odbornci, kte mli orientansystm metra na starost, rychle pochopili, e Neue Helvetikavzhledem ke sv ce a standardn zenmu prostrknnefunguje, jak m. Nzev stanice Champs-Elyses Clmen-ceau je samozejm del ne nzev stanice Nation. V historiiurovaly velikost tabule s npisy st yl stanice nebo dlkajejho nzvu. Ve stanicch, kde ml bt zvraznn vt objem

Jeana Franoise Porcheze pi navrhovn psem vznamn ovlivnilynzory Erica Gilla na itelnost a kontrast a filosofie Ladislase Mandela.EricGills view of legibility and contrast, along with Ladislas Mandels philosophystrongly influenced Jean Franois Porchezs way of designing letterforms.

Psmo Mtro zaloen na Universu navrhl Frutiger v roce 1973.Povimnte si, e verzlkov abeceda byla navrena ve stejnm roce, kdyvzniklo prvn psmo Roissy (pozdji nazvan Frutig er). Hlavn mylenkoubylo, aby se nov psmo hodilo ke starmu orientanmu systmuneoptimalizovanho pro itelnost, co psmo Roissy velmi dobe spluje.The Mtro typeface designed by Frutiger in 1973 based on his own Univers.Note that all caps alphabet was designed in the same year as the first Roissytypeface (later called Frutiger). The idea behind this was to blend with the oldsigns despite the not too ideal legibility of original typeface.

Protoe byla Helvetika pouvna na zkuebnm orientanm systmu,bylo nam clem navrhnout nov psmo tak, aby bylo ekonomitj co doky, ale stejn dobe iteln. Ke srovnn je poui ta Helvetika zen na90 % sv normln ky. Because Helvetica was used on some fake signage,the idea was to design a new typeface more economical in width and withsame legibility. To compare, Helvetica is used at 90% of its normal width.

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informac (rzn pestupy a vchody), byly nzvy men neve stanicch s menm potem potebnch informac. Ponkolika zkoukch v relnch podmnkch umonil finlnorientan systm jistou rove pizpsoben velikosti tabulenzvu stanice, co je ve Francii, kter tvrdohlav vzdorujestandardizaci, zsadn spch.Kdy odbornci zvili vechny popsan problmy, rozhodlise vytvoit pro RATP vlastn, specifick psmo s nktermicharakteristikami Helvetiky: mlo bt stejn iteln, aleekonomitj co do ky. Spolenost podala nkolik

vtch psmolijen o cenovou nabdku zpracovn takovuniktn Helvetiky, k jejmu pouit by mla prvo pouzeRATP chtla tento font distribuovat jen mezi sv dodavate-le, aby tak zabrnila koprovn svho orientanho systmu.Avak nvrh psma je duevn vlastnictv: Neue Helvetikupouv RATP i mnoho dalch. RATP nemohla kupovatani distribuovat licence k psmu, ani nemla prvo dattypografy, aby vytvoili Helvetiku RATP, tomu se toti kpirtstv.Vtina oslovench spolenost odpovdla kalkulacemizaloenmi na obrovskch korportnch multilicencch, aniby se zabvala eenm popsanch problm souvisejcchs designem. J jsem namsto toho podal o schzku, kamjsem s sebou pinesl nkolik typografickch studi. Vytvoiljsem pouze dva nzvy stanic pmo v Illustratoru, jako vdy,kdy navrhuji logotyp nebo jinou typografickou zakzku.

Provedl jsem jist srovnn s Helvetikou v negativn variant(orientan systmy se vtinou realizuj v bl barv na tma-vm pozad). Pi schzce jsem ve tmav chodb umstil naze dva vzorky formtu A4, podal jsem, aby se v chodbco nejvce zatemnila vechna svtla, a pak jsem zaal vysvt-lovat, jak funguje itelnost otevench a uzavench vbho-vch tah a rznch ek psma. Tm zamstnanc RATPpoven vbrem psma byl pjemn pekvapen a zaal seo mou koncepci iv zajmat. Nvrh byl zhy schvlen a brzypot na jae roku 1995 bylo psmo dokoneno a tmRATP pro n vybral nzev Parisine. Vvoj tunho ezu a kur-zivy trval nkolik msc; dv sady jsme dodali spolenostiRATP v lednu 1996.V roce 1995 jsem organizoval vron srpnovou konferenciRencontres Internationales de Lure v jin Francii. Jednmz enk, kter jsem pozval, byl americk typograf Sumner

Stone, kter mn jet ped konferenc navtvil v Malakoffuv Pai. Mluvili jsme spolu o projektu Parisine a zdlo se mi,e ho mj humanistick pstup potil. Sumner se zajmo npisy a kaligrafii. Byl editelem oddlen psma ve firmAdobe a krom jinch zaizoval tak projekty psem Trajan,Lithos a Myriad. Vedli jsme spolu vnivou debatu o vzna-mu verzlek v npisech, o jejich prostrkn a o problmechse sladnm verzlek a minusek v npisech. Vyprvl mio svch zajmavch experimentech v tto oblasti a ty mneujistily v mch vlastnch nzorech. V t dob se Stone zrovnazabval verzlkovm groteskem pro Knihovnu Cecil H. Greenna Stanfordsk univerzit. (Jistch odkaz na psmo Parisinejsem si pozdji viml na vstav Stoneovch prac v Ditch-lingskm muzeu v britskm Sussexu roku 2000.)

koncepceEric Gill ve sv Eseji o typografii, kde srovnv

dv ukzky psma npis z hranatch, zkch, tkchliter a npis jen v Gillovskch verzlkch , napsal: Nvratk pouh itelnosti je douc, i kdy vsledn efekt nentak zajmav. Je teba studovat principy itelnosti: typickcharakter, kter odliuje jeden znak od druhho, pomr bla ern u znak a samozejm prostrkn. Pozdji Gill po-dotkl: Mnoz technici ovlivuj styl znak a v, e kdy sejim poda zbavit je vekerch umleckch nesmysl, mo-hou bt na sebe konen nleit hrdi. Podle mho nzorum psmo, o kterm Gill mluv, blzko k tomu, co reprezentu-

on dark). We went out into a dark corridor, I put two A4 samples on the wall, asked to make the corrdark as possible, then s tarted my explanation about the legibility of the open faces, horizontal openi

various widths. The RATP team was surprised by the result and became very interested. We decidedthe project in-house as a kind of Helvetica, which it is certainly not, but possibly is for non-typographearlier conclusion proved the enthusiasm of the team in charge of the signage. The typeface was adand cut its supposed family links with He lvetica soon after the ide a was accepted. Parisine, a name by the RATP team, was born in the summer of 1995. The development of the new bold and true itala couple of months and the two se ries were delivered to the RATP in January 1996.In 1995, was involved in the organisation of the annual August conference ofRencontres InternationLure, in the south of France. One of the speakers that I invited, American digital type designerSumnevisited me at Malakoff in Paris before the Rencontres. We discussed the Parisine project and he seepleased by its humanistic touch. Sumner has strong interests in inscriptions and calligraphy. He has at the head of the type department of Adobe and managed theTrajan, Lithos, and Myriad projects, aothers. We had a passionate discussion about the importance of capitals in inscriptions, their spacinthe difficulty of fitting them with lower case lettering. He told me about his experiments on this, whicenriching, and which allowed me to confirm some of my own views. At that time, he was thinking abcap sans serif face for the Cecil H. Green Library, at Stanford University, which he went on to create (The reference to Parisine has bee n acknowledged by Sumner Stone in an exhibition of his work at ling Museum in Sussex, United Kingdom in 2000.)

Concept In his Essay on typography, which compared two type displays, one in square narrow heavthe other in purely Gillesque caps, Eric Gill wrote:A return to mere legibility seems desirable even

effect is less striking. To this end it is necessary to study the principles of legibility; the characters wtinguish one letter from another, the proportion of light and dark in letters and spacing. Later on, hMany engineers affect this style of letter, believing it to be devoid of that art-nonsense on the absof which they pride themselves. The style of letter to which he refers is close to what Helvetica repto my eyes. I have thought for a long time about this idea of contrast that helps legibility. Humanity iswhen you design typefaces, and this is particularly true for public signage, where no special marketiis needed as it is just a service to the public. Type designerLadislas Mandel perceives typefaces as items, writing: Our first glance of any written work is always cultural. If the perceived forms are cin our cultural references, we recognise them, we own them like the reflection of our own imageopen wide the doors to their intelligence. Together with Gill, Mandel and Frutiger share a concernact of perception as a key factor.

TYPO.PR

Zkuebn smaltovan orientan tabule. Ukzka psma Parisine v praxi. Stejn zkuebn orientan tabule, s pouitm Helvetiky. Povimnte si, e v tomto ppad zabr text vce msta (srovnejte napklad umstn sChevreuses na obou vzorcch). A fake signage enamel panel showing Parisine in action. The same fake signaHelvetica. Note that in this case, the text takes up more space (compare the position of Chevreuses on booth s

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PARISIENCLAIR

PARISIEN

PARISIENSOMBRE

PARISIENPLUS

je Helvetika. Dlouho jsem se zabval mylenkou kontrastu,kter napomh itelnosti. Lidskost je pi navrhovn psmaklov a dvojnsob to plat o npisech na veejnch pro-stranstvch, kde nen poteba dn speciln marketingovefekt. Typograf Ladislas Mandel chpal psmo jako soustkultury, kdy napsal: N prvn pohled na psemn projev jevdy kulturn. Pokud jsou vnman formy obsaeny v naemkulturnm vzoru, chpeme je, pat nm jako reflexe naichvlastnch obraz a doiroka otevrme dvee informaci,kterou nm sdluj. Gill, Mandel i Frutiger spolen sdlej

zjem o akt vnmn, kter povauj za klov.

charakteristikaParisine je zmrn otevenj, protoekondenzovnm psma se mu ubr na svtlosti. Kdy jsemse zabval charakteristikami Helvetiky a tm, jak se mn kvlelektronick deformaci, snail jsem se tahy zmkit a zakula-tit a tm vlastn zlidtit. Horizontln tahy jsou opticky o ncot, aby tak kompenzovaly vertikalitu umocnnou zenmpsma Parisine. To je zvlt citliv tma pi pouit minusek.Specifick tvar kadho znaku byl peliv optimalizovn,aby odlioval jeden znak od druhho a podporoval celistvoubarvu psma. Zakonen tah jsou spe kolm na samotntah ne ukonen vertikln jako u Frutigeru nebo horizontln jako u Helvetiky.Oka liter b, d, o, p a q se navzjem zsadn li. Psme-no g je ve srovnn s Johnstonovm groteskem pro londn-

sk metro svbytnj. Mal f a t jsou ir ne obvykle, abyudrela vertikalitu celho psma. Velk R m siln diagonl-n tvar chvostu, aby se lpe odliovalo od B. Velk psmenajsou navrena t, ne vyaduje dnen norma, aby odliilaslova vysazen z verzlek od minusek. Verzlky zaloenna mskch npisech psob ve srovnn s minuskami jakopli velk. sla jsou tak navrhovna irok a oteven, abyse zlepila jejich itelnost pi samostatnm pouit odd-len od textu jsou sla pouvna asto nejen v metru, alei v autobusov doprav. Tato prvn verze se objevila pouzeve dvou ezech tunm a kurzivnm pro poteby orientanho systmu v roce 1996.V pekladech a v turistickch informacch je vyuvna hlavkurziva, jej hlavn charakteristikou je vt zdobnost, kon-denzovanost a svtlost. Jednoduch naklonn tvar kurzivynebyl vybrn, protoe postrd vizuln kontrast k stojatmu

ezu. V te dob bylo problmem skuten kurzivy mal a,lehce zamniteln s malm o. Problm byl vyeen ukone-nm tahu, kter rozliitelnost posiluje. Mal e je zakulacenj- podobn jako u patkov kurzivy. Po nkolika zkoukchbylo mal f navreno bez pouit bnho kurzivnho doln-ho dotahu, kter nachzme u tradinch patkovch tvar a jepli kurzivn pro pouit ve velkch velikostech.

pedbn zvrPouit psma Parisine se ilo pomalu(hlavn z finannch dvod), ale nov trasy metra, napkladtrasa 14, u z novho orientanho systmu tily. Zane-dlouho zaala spolenost RATP pouvat Parisine i k dalmelm, napklad pro sazbu map. Bylo tomu tak proto, ekrom orientanho systmu a map je jet mnoho dalchdruh informac, kter je teba zpracovat (napklad mapyloklnch tras ve vagnech metra), take se brzy objevilamylenka pout Parisine i na malch paprovch mapkch.To jen potvrdilo, e se hlavn uivatel zaali zabvat vyuitmnovho psma i pro jin ely. Poteba vt rodiny psemzaala vzrstat a v roce 1999 podal tm, kter se zabvzpracovnm map, o vytvoen zkladnho a kurzivnho ezu.

rozen rodinaTento nov poadavek byl jen pokrao-vnm starho snu z roku 1996 o velk rodin psem proirokou klu komunikanch a informanch materilRATP. Navrhl jsem rodinu o esti duktech s pidruenmi

Hlavnm rysem rodiny psma Parisine jsou promnliv zakonen tah v zvislosti na duktu. V zjmu zachovnrovnovhy je tun ez otevenj, zatmco extra tenk je uzaven.Main feature of the Parisine family is the variousendings depending on the weight. A Black is more open while an Extra Light is more symmetrical.

Podle mylenky, e kontrast napomh itelnosti, jsou oka psma Parisine podobn, ale pece natolik rozdln,aby bylo jednodu odliit zn ak b od d a o a podobn. Tak znaky t a f jsou navreny tak, aby ve slovech vcevynikly.Following the idea that contrast helps legibility, the counters of Parisine are similar, but still different enough tohelp distinguish the specific nature of b compared to d or o, etc. In some way the fand t are specially designed to bemore distinctive in the words.

Navrhovn kurzvy pro orientan systm (pestoe to nebude jej jedin vyuit) je obtnj, ne pro bntextov psmo. Nvrh mus bt dostaten kurzvn a svtlej, ne stojat ez, ale ne zase pli, aby si uchoval

relativn statick vzhled, kdy jej pouijeme ve vtch velikostech. Designing an Italic for a signage typeface (althoughthis is not its only use), is not as simple as a text face. The design needs to be cursive enough and lighter than Roman, butnot too much to keep a relative static effect when used in a bigger size.

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CharacteristicsParisine is intentionally more open to counteract the reduction of the areas of the due to its being condensed. Considering the characteristics of Helvetica and how they change becathe electronic distortion, I tried to make the forms softer and more round, human. Horizontal parts arheavier, optically, to compensate for the verticality accentuated by the slight narrowness of Parisine. tive in lowercase lettering in particular. The specific form of each character has been carefully optimdifferentiate each from the others, uniformly, to maintain the overall colour of the typeface. The termicharacters align more with their ending than the vertical, as in Frutiger, or than the horizontal, as in Has this provides more shape to the forms.The counters of b, d, o, p and q are all different from one another. The g is more peculiar, in deferenEdward Johnstons typeface for the London Underground. The f and t are wide, more than usual, tothe verticality of the typeface. The R has a strong diagonal tail, to help distinguish it from the B. The are designed to be heavier than todays norm to affirm the words set in upper and lower case. The p

tions of the capitals, based on Roman inscriptions, are large compared to the lower case letters. Figalso designed to be wide and open, to improve legibility when used alone they are used a lot for Mbus line references, used separately from plain text. This first version appeared only in two series, a its italics, to cater for the needs of the signage system in 1996.Translations and tourist information are the main use of the italic. Its forms came from its use, the maacteristics being that it is more condensed, a bit more cursive, and lighter. The simple slanted form owas not selected because it lacked visual contrast to the Roman. At the same time, the true italic fora major problem with any that can be mistaken for an o. Without completely resolving the problem, tstroke helps visibility. The e is more rounded, like in serif italics. After some tests, the f was designedusual italic descender that we find in traditional serif forms too cursive for use in large sizes.

A preliminary conclusion Early on, the new t ypeface was not widely used (mainly for budgetary rebut new Mtro lines, such as line14, did benefit from the new signage set inParisine. Soon after, the signage team started to useParisine for other purposes, such as maps. This happened because theof information in between signage and maps, such as local line maps inside train carriages, so the iproducing the Parisine effect in small paper maps came quickly. This proved that the main users hato appropriate the new typeface for alternative tasks. The need for a bigger family began to grow, anthe map team asked for a regular and italic version in addition to the bold and bold italic.

Extended familyThis new request was a continuation of the earlier 1996 dream: a big family for a

range of communication and information material from the RATP. I proposed a sixweight family withcompanion italics. I explained that more weights would soon be a necessity, such as extra bold andboth important for maps. Other wide uses of a family would become an important element of global I prepared two quotations: one more expensive than usual, for a regular and italic version, and a secexpensive than usual for a six-weight family. My objective was to give RATP a financial incentive to asecond solution.I always considered the light and extra light of open humanistic sans serifs suchFrutiger or Thesis toand black weights too closed. I went back to Gill and thought about how he made his Kayo so diffethe lighter weights. This was part of his search for contrast, equilibrium, and legibility. I was, howeveof the desire for rationalism embodied in typefaces like Univers, where twenty-one series are made same way for all graphic jobs, from signage to books. Ladislas Mandel expresses strong views on thtion: (typographers) confused modular architecture with type design, and they removed all handwerences which might remind us of our cultural roots they switched to the nudity of the sans serifs appeal and made up to twenty alternatives and more from a unique basic form, to pretend to answthe needs of typography.As the endings of the original bold were diagonal, an idea came into my mind. I created an extra ligcloser endings, and a black with more open endings; the rest of the weights between these extremeand the original bold, came from the computer, thanks to typeface interpolation software. I also triedto myself at least, that it is not because of some ending, as is sometimes shown in typographic book

can recognise the style of a typeface it is more a question of the overall design.When I was creating the intermediate weights, many trials and mistakes helped me adjust the weighseries. In 1999, I usedFontographer 4.1, for its speed, its ability to clean up early forms easily, its mekerning assistance functions. But it became less useful when moving to tedious things, such as the for different x and y interpolation percentages, global control of IDs, copyrights, encoding, hinting. Rand FontLab soon proved to be more up-to-date for such things at the time: Robofog because of scFontLab because it is the only software able to build professional master fonts for Mac/OS and WinThis last aspect was essential for me, as RATP uses different systems depending on the use and usa project can start in Adobe Illustrator on Mac/OS and finish in Freehand on Windows. The naming because of cross platform compatibility, were resolved by three sub-family naming systems:Parisine Parisine, Parisine Sombre each of them including four basic ser ies, regular, italic, bold and bold ita

Parisine Plus Parisine Plus started its life as a game when I designed Parisine. The Plus version waa diversion for me, and offered an opportunity to play with extravagant forms that are not feasible in ard version. In fact, in the early days, I felt very sceptical about the novelt y of Parisine, and the P lus hto appropriate the forms. The italics of the Plus were very interesting to design because of the variounormally used only in serif fonts.Today, the typeface family is not only used by the RATP for signage, maps, and communication, Paravailable to the public in all of its versions. But, strange as it seems to me, the Parisine standard be

most successful of all of my t ypeface families. I say strange because I always questioned myself abonovelty of it. Why is Parisine so appreciated? Perhaps because it is a synthesis between a Germanicand the too Latin style of its creator?

kurzivnmi ezy. Vysvtloval jsem, e bude brzy potebavytvoit vce ez, jako extra bold a light, nepostradatelnchpro mapy. Dal irok vyuit rodiny psem se mlo sttdleitou soust celkov identity. Pipravil jsem dv cenovnabdky: varianta, kter byla nkladnj, ne je obvykl, za-hrnovala zkladn ez a kurzivu, zatmco druh varianta, prospolenost levnj, ne je bn, zahrnovala rodinu o estiduktech. Mm clem bylo dt RATP finann motiv k pijetdruh monosti.Vdy jsem se domnval, e u otevench humanistickch

grotesk, mezi n pat napklad Frutiger nebo Thesis, jsoutenk ezy pli oteven a velmi tun ezy zase pli uza-ven. Vrtil jsem se ke Gillovi a pemlel o tom, jak dokzalsv tun Kayo tak odliit od tenkch ez. To byla soustjeho hledn kontrastu, rovnovhy a itelnosti. Byl jsempesto kritick k touze po racionalismu, vtlenmu napkladdo psma Univers, je m jedenadvacet ez pro zpracovnvekerch grafickch zakzek od orientanho systmu poknihu. Ladislas Mandel se k tto otzce vyjdil jasn: (Ty-pografov) pomtli standardn architekturu svm designempsem, kdy odstranili vechny stopy run malovanhopsma, kter by nm mohlo pipomnat nae kulturn koeny() Peli k nahmu grotesku bez pvabu () Z uniktnzkladn formy vytvoili dvacet alternativ a pedstraj, e jimimohou reagovat na vechny poteby typografie.Protoe pvodn tun ezy mly diagonln zakonen,

dostal jsem npad: vytvoil jsem tenkmu ezu uzavenjkresbu a tunmu otevenj; ostatn dukty mezi tmito dv-ma extrmnmi variantami vytvoil pomoc interpolace. Snailjsem se tak alespo sm sob dokzat, e charakterpsma nerozeznvme jen na zklad zakonen tah, jak senkdy v typografickch knihch dokazuje, ale e jde speo celistvost designu.Kdy jsem navrhoval interpolovan ezy, pomohla mi s na-lezenm sprvnch dukt metoda pokus a omyl. V roce1999 jsem pouval Fontographer 4.1 kvli jeho rychlosti,monosti jednodue vyistit nov vznikajc tvary a kvli jehofunkcm pro metriku a kerning. Mn uiten u byl v oka-miku, kdy dolo napklad na potebu vt kontroly nad pa-rametry interpolace, sprvu identifikanch sel, copyright,kdovn a hintingu. Robofog a FontLab brzy potvrdily, e sepro tyto ely hod lpe a jsou aktulnj ne Fontographer.

Robofog napklad kvli skriptovn a FontLab pro jedine-nou schopnost exportovat profesionln fonty pro Mac OSi Windows. Posledn aspekt mi piel zsadn, protoe RATPpouv rzn platformy, take prce nkdy zane v AdobeIllustratoru na Macu a dokonena je ve Freehandu ve Win-dows. Problmy s kompatibilitou nzv font mezi platforma-mi jsem vyeil rozdlenm rodiny do t sad: Parisine Clair,Parisine a Parisine Sombre, z nich kad obsahuje tyizkladn ezy: zkladn, kurzvu, tun a tunou kurzvu.

Parisine PlusPsmo Parisine Plus vzniklo pi prci naParisine jako hka. Byla zbavou a dala mi monost hrtsi s extravagantnmi formami, ve standardn verzi neppust-nmi. Abych ekl pravdu, byl jsem zpotku k originalitParisine velice skeptick, a a verze Plus mi pomohla stse s jeho tvary. Velmi zajmav byl proces nvrhu kurzivy

vzhledem k uit nkterch rys, kter se normln vyskytujpouze u patkovch psem.Dnes u RATP nepouv rodinu psem pouze pro orienta-n systm, mapy a komunikaci, ale uvolnila vechny verzepsma Parisine pro veejnost. Akoli mi to pijde podivn,stal se zkladn Parisine nejspnjm ze vech mchpsmovch rodin. Podivn km proto, e jsem vdy taktrochu pochyboval o jeho originalit. Pro bylo Parisine takdobe pijato? Je to snad proto, e jde o syntzu germnskHelvetiky a pli antikvovho stylu jeho tvrce?

JEAN FRANOIS PORCHEZ(1964), francouzsk typograf, autor novch psem pro Le Monde, RATP (Padopravn podniky), Peugeot, France Tlcom atd. Je provozovatelem typofonderie.com, viceprezidentem Aa nositelem mnoha mezinrodnch ocenn. Mimo jin vyuuje typografii na cole nationale suprieure des dcoratifs (ENSAND) ve Francii a na Univerzit v britskm Readingu.French typographer, author of new typefaces for Le Monde, RATP (Paris public transport company), Peugeot, FrTlcom etc. He is operator of the t ypofonderie.com, vice president of AtypI and holder of many international awHe also teaches typography at the cole nationale suprieure des arts dcoratifs (ENSAND) in France and at theUniversity of Reading in Britain.

TYPO.P

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TYPO.TMA

Snad nikdo z nvtvnk britsk metropole se nevyhne cest jej

podzemn drhou. A ji pilette na letit Heathrow nebo jste vlakem

dovezeni z nedalekho Stanstedu, Gatwicku i Lutonu, ek vs

cesta nkterou ze souasnch 13 linek metra. Kdy jednou vstoupte

do podzemnho krlovstv osmimilionovho velkomsta, ji nikdy

nezapomenete na specifickou atmosfru, kter se zde rozprostr.

I kdy asy se mn tak zde, zaruen si z Londna pivezete

hlednou skldaku (tube map), kter obsahuje malou mapku metra

a spolu s logem mode pekrtnutm ervenm kruhem.

Ty z vs, kte se v metru poprv postav na nstupit

v trobch podzem, dost mon pekvap asto naprosto

nesrozumiteln a chrchlajc pivtn pi pjezdu vlaku nco

jako mound d gaber. Pozdji, v jin stanici, kde je instrukce

srozumitelnj (zle na kvalit a st staninho rozhlasu) pochopte,

e se jedn o laskav pipomenut, abyste dali pozor pi nastupovn

do vlakov soupravy na nezakrytou trbinu mezi nstupitm

a vlakem Mind the gap!. Ano, dm si pozor! Dm si pozor, abych

si pozorn uil toto nejvznamnj svtov podzemn muzeum

technickho pokroku, architektury, grafickho designu a umn.

MINDTHEGAP

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KOLA SE TO POD LONDNEMKola se to

pod Londnem ji od roku 1863. Prvn vlak vyjel do

podzem pohnn prou, a tak a do roku 1890, kdy

byla otevena prvn elektrifikovan podzemn drha

na svt, nebylo cestovn zrovna pjemnou udlost.

Postupn pak byly zavdny dal novinky technickho

pokroku prvn dlkov ovldan vstupn dvee do

vlaku (1922), hlinkov konstrukce voz metra a interi-

r z materil, kter umouj velmi operativn smazat

i povstn londnsk graffiti (1950), oteven nov

hi-tech trasy Jubilee line (2000). Dnes metro pev

kad den miliony cestujcch mezi vce jak 270 stanice-

mi. Londnsk metro vak neproslavily jen technologic-

k pokrok a dopravn monosti. Snad jet slavnjm

se stal specifick, vtvarn pojednan interir jednotli-

vch stanic a informan systm, kter umouje pesti tvrt stolet a v tm nezmnn podob rychlou

a snadnou orientaci v celm podzem metra.

Ve zaalo ji v roce 1908, kdy zodpovdnost zaveejnou prezentaci Underground Group pevzal Frank Pick(18781941), kter zahjil program modernizace systmusdlovn dopravnch informac a pod jeho vedenm zaalo lon-dnsk metro vyuvat inzertnch ploch k vlastn sebepropagaci.Hned prvn plakt vytvoen pod Pickovm dohledem hlsal:Metrem kamkoliv! (Underground to Anywhere!) Pick navzalna ji uvedenou tradici a pro tvorbu plakt a vnitnho proste-d stanic pizval renomovan umlce a architekty sv doby.V polovin 20. let to byl architekt Charles Holden (18751960), kdo byl poven modernizac interiru jednotlivchstanic metra. Jeho prce je dnes povaovna za jednu z nejkva-litnjch ukzek komern architektury.

Pravdpodobn nejznmjm prvkem corporate identity jeznaka sestvajc z kompozice ervenho kruhu pedlenhorovnm modrm pruhem, kter slou jako prostor udlujc v-znam nejen identit vlastnho metra (Underground), ale i jmenjednotlivch stanic a navazujcch informac. V Londn se tatoznaka stala jednou ze specifickch ikon celho msta a v his-torii corporate designu se ad mezi nejproslulej loga, stejnjako americk Coca-Cola nebo britsko-holandsk Shell. Logo sevyvjelo postupn z nkolika verz, z nich prvn z roku 1908mla podobu vyplnnho ervenho kruhu. Znaku t pevza-

Probably no visitor to the British capital can avoid travelling on its underground railway. Whethe

ing into Heathrow airport or travelling by train from nearby Stansted, Gatwick or Luton, a journe

awaits you by any one of the present 13 underground lines. Once you enter the underground re

the city with eight million people you can never forget its specific atmosphere. Although times

even here too, you are bound to bring back a neat folding tube map containing a small map of tunderground and a logo a red roundel cut across by the blue underground sign.

Those of you who stand on the platform in the bowels of the Underground will probably be rath

surprised by the often incomprehensible and disgorged welcome with the arrival of a train soun

something like mound d gaber. Later at another station, where the instruction sounds mor

prehensible (depending on the quality and age of the station radio), you discover that this is a kreminder to passengers when boarding a train to look out for the open gap between the platfor

train Mind the gap! Yes I will take care! I will take care to make as much use of the most sign

underground museum of technical progress, architecture, graphic design and art in the world

Wheels turning under LondonThe wheels have been turning under London since 1863 when the fisteam-powered train began running underground, so travel was not a particularly pleasant event, not uwhen the first electrified underground railway in the world was opened. Gradually further novelties of teprogress were introduced such as the first remote control train entrance door in 1922), an aluminium sfor underground trains instead of steel and the interior made of materials allowing the very effective remof even the notorious London graffiti in 1950 and the opening of a new hi-tech line the Jubilee line in Today the underground ferries millions of passengers between more than 270 stations every day. Hownot merely technological progress and transport possibilities that have made the London UndergroundIt is the specific artistic design that is perhaps more famous of each station and the information systembling quick and easy orientation throughout the Underground in its almost unchanged form for over thters of a century. Everything began in 1908, when Frank Pick (18781941) took on the responsibility fopublic presentation of the Underground Group by launching a program for the modernisation of the sydisseminating transport information, and under his management the London Underground began expadvertising space for its own self-promotion. The very first poster created under Picks supervision procUnderground to Anywhere!In the mid 1920s he empowered architect Charles Holden (18751960) with the task of mod ernising trior of each underground station. Today Holdens work is regarded as one of the best examples of comarchitecture.Probably the most significant element of corporate identity is the sign consisting of a composition of a divided by a straight strip, which acts as space granting significance not only for the Undergrounds owtity, but also for the names of each station and further information. In London this sign has become onspecific icons of the entire city and is ranked among the most famous logos in the history of corporate next to Americas Coca-Cola or British-Dutch Shell. The logo was developed gradually from several vethe first of which, dating back to 1908, took the form of a filled in red roundel. The transport company adopted the sign for ground transport and all the alternative versions were integrated under Picks manment by typographer Edward Johnston (18721944)in about 1918. The filled in colour of the red rouremoved and the well-known blue strip was incorporated. The sign has more or less existed in this formsince. In 1972 only minor changes were made to its proportions. Pick had originally hired Edward Johnto integrate the text information and inscriptions in the Underground by designing new lettering that wsufficiently distinctive, modern and supporting the character of the introduced changes. The result waNew Johnston grotesque type that became a symbol of the London Underground equal to his logo. Thother attributes of single visual communication was the culmination of Picks ambitions to be at the origa system, which would offer passengers a timeless, secure and comfortable environment. Time has cothe systems high standard, which has also made the Underground famous even far beyond the bordeBritish Isles.

Underground museum of architecture and designSince the modernisation begun by Pick and c

out by Holden in the 1920s, the basic principles for the strategy of design and architecture in the Londderground have not changed: the simplicity, comprehensibility and purity based on the use of primaryand the simple chattels of the information system are accompanied by examples of the imaginative deof each station almost from all known periods of the history of modern architecture, design and appliedforms some sort of underground industrial art museum, accessible to everybody for a single entry feeby the transport rules. Many experts marvel at the brilliant simplicity of the Underground line diagram. Itsigns of being inspired by the work of Mondriaan and the De Stijl movement as such. Nonetheless, theis simple: the author, Harry Beck (19031974), was not a qualified information designer at all and evena skilled artist, but one of the temporary colleagues of the London Underground publicity office. (Seeon page. 24)In the 1980s the integration took place of the principles of design strategy into three basic levels:1. corporate identity / 2. line identity / 3. station identity. The first category defines the logo (the roundestandard information chattels, the lettering and the basic graphic style when applied to the direction indThe map (Becks diagram) complements the core elements.The line identity consists of the Underground line colours used in the map, the information graphics ainterior design of the stations as a single and constant signal element.The station identity i s defined by a certain genius loci of each station related to historical tradition or sexperience a sort of genera l memory of a place enhanced by a concrete design and architectural layoapplication of this identity program saw the gradual transformation of the face of the Underground statunder the simultaneous permeation of peculiar artistic elements defining the magical poetics of each sthe underground museum.

Lesson for the present The significance of all the aspects of the London Undergrounds visual styleexceeds the framework of the needs of one world capital. It is very important to realise that the interactbetween the specific environment and millions of people that travel in it every day is based on the real between function and form. And what must be added is that this has been happening continuously foone century now.What has contributed to such a unique result? After all the London Underground is not the only undergrailway in the world and we could find more such specific examples of excellent design which significadefine identity and also provide an adequate amount of information.In my opinion, one of the viewpoints is the sometimes just and sometimes unjust criticism of English co

Frank Pick (18781941)John Hassall (No need to ask a Pliceman!) 1908.

Jeden z prvnch plakt pro londnskou podzemn drhu odetablovanho umlce sv doby peduril pozdj propojenprosted metra s aktulnmi vtvarnmi trendy.One of the first posters for the London Underground by an artistestablished in his day pre-determined the later link between theenvironment of the Underground and current artistic trends.

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Euston Station, Northern Line (1987) David Hamilton a Robert Cooperpouili kompozinch princip a barevnho ladn z heraldickho znakurodiny Euston pro abstraktn ztvrnn inspirace hudebnmi stavebnmiprvky: rytmem, repetic, variac apod. David Hamilton and Robert Cooper usedcompositional rules and colour harmony merging with the heraldic coat-of-armsof the Euston family for an abstract depiction of inspiration of music compositionelements: rhythm, repetition, variations, etc.

Edgware Road Station, Bakerloo Line (1992)Pklad propojen detailnrekonstrukce interiru do pvodnho stavu s modernmi prvky, nezbytnmi probezpenost a sprvnou orientaci cestujcch, kterou zpracovalo londnskstudio Format 2 Architects. An example of a link between the detailed restorationof an interior to its original condition and modern features, essential for the safeand accurate orientation of passengers designed by the London studio Format 2

Architects.

Oval Station, Northern Line (1982) Design stanice navren firmou MinaleTattersfield & Partners Ltd. vychz z tmatiky blzkho slavnho kriketovhostadionu. Symbol zrychlenho mku ilustruje pohyb cestujcch smremk vchodu. Minale Tattersfield & Partners Ltd. produced the station design basedon a theme closely associated with the famous cricket stadium. It is a symbolof an accelerated ball illustrating the movement of passengers bound east.

Tottenham Court Road, Central Line (1986) V tto stanici byly poprvuplatnny nov tubulrn orientan prvky liniov identity. The new tabularorientation features incorporating line identity were used at this station for thefirst time.

Marble Arch Station, Central Line (1986) Interir stanice je obloenz vtvarn atraktivn pojednanch panel, nmtov erpajcch z tvaroslovslavn architektonick pamtky na povrchu stanice. Vtvarn nvrhy pochzod Annabel Grey. The interior of the station is covered with artistically attractivepanels based in theme on the morphology of the famous architectural monumenton the ground above the station. The creative designs are the work of AnnabelGrey.

Charring Cross Station, Northern Line (1983) Tato stanice byla vlajkovoulod modernizace 80. let. Nmty b yly pevzaty z devoez interiru budovymanelky krle Edvarda I. Eleonory Crosses. Do vtvarn podoby panelje pevedl umlec David Gentleman. This station was the flagship of themodernisation work of the 1980s. It themes were adopted from wood cuttingsof the interior of the building of king Edward Is wife Eleonors Crosses. ArtistDavid Gentleman came up with the artistic design for the panels.

Waterloo Station, Jubilee Line (2000) Vstup do stanice ptho tisicilet,kde jsou uplatnny v duchu high-tech architektury novodob materily a logodostalo novou 3D podobu. The entrance to the station of the next millenniumwhere modern materials have been applied in the spirit of high-tech architectureand the logo has assumed a new 3D look.

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la spolenost pro povrchovou dopravu autobusy a sjednocenvech variant provedl pod Pickovm vedenm typografEdwardJohnston (18721944) nkdy okolo roku 1918. erven kruhbyl zbaven barevn vpln a opaten znmm modrm pru-hem. Vcemn v tto podob znaka existuje dodnes, v roce1972 byly pouze drobn obmnny jej proporce. EdwardJohnston byl Pickem pvodn najat pro to, aby sjednotil textovinformace a npisy v metru nvrhem novho psma: dostatenvraznho, modernho a podporujcho charakter zavdnchzmn. Vzniklo groteskov psmo New Johnston a stalo se

stejnm symbolem londnskho metra jako jeho logo. Spolus ostatnmi atributy jednotn vizuln komunikace tak zavriloPickovu ambici stt u zrodu systmu, kter by cestujcm nabdlnadasov, bezpen a komfortn prosted. as provil jehovysokou rove a samo metro se jm proslavilo i daleko zahranicemi britskch ostrov.

tism. Despite the many style creating changes which particularly in the period beginning with Postmodin the west in the 1970s and 1980s completely destroyed many outstanding projects that had appeabefore the Second World War, the Underground was saved from all attempts at fundamental modificatthe contrary, the already mentioned principles of d esign strategy were devised, which reinforced the pof the systems core elements and precisely defined the limits and degree of the invasion of external (mostly advertising). It was not until the 1990s that showed how sensible a deed this had been when thdominance of billboards and all sorts of corporate information began making orientati