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typografie. grafickdesign .vizuln komunikace

typography.graphic design.visual communication

TYPO.16

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ANTALIS s. r. o., velkoobchod paprem,len nadnrodn spolenosti ANTALIS

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Partnei asopisu / Partners of magazine

Distributor a produkn partner spolenosti Linotype Library,dodavatel a systmov integrtor grafickch, pedtiskovch a publikanch

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TYPO.EDITORIAL

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

www.magtypo.czvydavatel publisher

Vydavatelstv Svt tisku, spol. s r. o.Spolenost je zapsan u mstskhosoudu Praha, oddl C, vloka 80559

adresa addressHollarovo nmst 11, 130 00 Praha 3tel./phone: +420 271 737 788

fax: +420 272 736 252pedplatn subscription

[email protected]@magtypo.cz

manaerka redakce editorial office managerLinda Kudrnovsk ([email protected])

inzerce advertisingMartin Jamrich ([email protected])

redakce [email protected], [email protected] Blaek ([email protected])Pavel Koika ([email protected])Jakub Kr ([email protected])Pavel Zelenka ([email protected])

grafika designJana Vahalkov ([email protected])

pre-pressStudio Marvil (www.marvil.cz)

tiskprintREALTISK 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/m2 & 250 g/m2 (dodv ANTALIS s. r. o.)

programysoftwareAdobe 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 firem 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.

LEN ICOGRADA DESIGN MEDIA NETWORK.A MEMBER OF ICOGRADA DESIGN MEDIA NETWORK TYPO.EDIT

TYPO.

Krisztina SomogyiHUNGARICUMS Type from HunTypografov z Maa

TYPO.PHENOM

Johannes BergerhausenThe democratisation of charaDemokratizace z

TYPO.PR

Filip BlaekProject DiacProjekt Diac

TYPO.ANNIVE

Jan MiddendorpFiFFteen: type for independent mFiFFteen: psmo pro nez

TYPO.

Alejandro Cabrera vilaTypography with a Typografie se srd

TYPO.B

tiskdoformtuB1,B2grafikaDTP 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. do18. z v Helsinkch. Pednky, je spojuje motto Na hran, vybral organizan tm pod vedenmt finskch designr Kaie Rentoly, Tomiho Haaparanty a Jarna Lukkarily. Hlavn konferennprogram zahrnuje vce ne tyicet prezentac, workshop a demonstrac zhruba sedmdestispkr. 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, zdakonferenci navtvit, pette si na webu www.atypi.org10 dvod, pro pijet na ATypI Helsinky. Konference sesamozejm zastn i n magazn: report z konferenceotiskneme v ptm sle spolen s dalmi lnky, mezinimi najdete tebas rozshl a uniktn materil o historiipsma 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 HelsinSeptember 15 through 18, 2005. Based on the conference theme On the Edge, the lectures wchosen by the organizers team, led by three Finnish designers Kai Rentola, Tomi HaaparantaJarno Lukkarila. The main conference programme includes more than forty presentations, woand demonstrations, delivered by approximately seventy speakers. Among others, you will havchance to hear and see Ken Barber, Peter Biak, Alessio Leonardi, Gerry Leonidas, Thomas PJean Franois Porchez, Erik Spiekermann, Sumner Stone, Adam Twardoch or Alan Zruba. If yare still hesitating to participate in the event, we suggest that you read 10 reasons to come to Helsinki 2005, posted atwww.atypi.org. Of course, our magazine is also going to take part in

conference: in the next issue of Typo we will publish a report from Helsinki, accompanied by otexts, e. g. a long and unique feature on the history of DIN font and an interview with the typogAlbert-Jan Pool, author of the FF DIN digital version.[the editors]

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TEXT.KRISZTINA SOMOGYITYPO.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 fewwords about the situation in which we live and work. Itis necessary to introduce our own cultural context so asthe works can bear significance. That of course impliesthat I feel an important difference between our designexperience and possibilities compared to what one cansee in publications, books and exhibition coming fromthe West. The specifications of our situation is not only

evident within this comparison but travelling around theregion and especially coming back to the Czech Republicseveral times, I have realized that there are characteristicsto each different country.As a general fact, I have to say that very different cul-tures, aims, reasons, motivations and techniques form ourpresent day visual reality. They coexist without any visibleorder, 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 andcontemporary 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 tasteand ideas, a possibility for many to freely express, butthis heterogeneity also tells us that there is no prevailingorder, that we are far from achieving a clear system of

values. We are still in a state of flux. To use the crossroadmetaphor suggested in the title of ATypI conference thereare no easy highways leading to professional success inHungary but rather there are personal ways that bringtogether a path that can be seen as an authentic searchfor organic solutions. The personal achievements and thefew commonly made efforts of the last 5 years look as ifsomething has been started. My hopes are that out of themultitude 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 allthe factors leading to the visual illiteracy of our civilisa-tion, but the strong discontinuity of our 20th centuryculture is certainly one of the reasons. The last historictime we were truly in tune with the European art scene

was during the first thirty years of the last century. Afterthe Art Nouveau period (secession) that possessed a greatnational folk and urban version came modernism thatwas 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 theworld. This modern heritage was unfortunately disturbed.The last stroke was a communist political doctrine in1951 that stated the modernist movement to be a ratherdangerous western manipulation and favoured, that

means prescribed a so called social-realism especiallyin architecture but this also applied to design. The factthat graphic design was in the hand of the propagandadepartments of big state owned firms, did not help theprestige of design either. However it would be a big mis-take to treat the 40 years of socialism as a homogeneousperiod, we had our ups and downs, so from time to timethere 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 maincounter culture of the 60s, 70s was more verbal thanvisual in our country; hidden messages were to be foundin between words and lines much more then in visual im-agery, it is not surprising that the most interesting field ofdesign was theatre poster art. I must mention the namesof those Hungarian poster artists (among othersJzsefrends, Ferenc Barth, Dra Keresztes, Istvn Orosz,Pter Pcs, Sndor Pinczehelyi, Kroly Schmall, or thePolish born Krzysztof Ducki) that became world famouswith their highly intellectual and personal imagery.

FROM 1989 The big change in the profession naturallycame in 1989: graphic design as a modern profession wasto be born in the chaotic shift from socialism to brutalcapitalism. Design was happily freed from political obliga-

tions but that hiatus was soon replaced by commercialintentions. A completely new situation was establishedalmost within a year. International advertising agencieshad opened their office one after the other. The welltrained old school designers had difficulties in adaptingto this situation, many of them were out of work, as themarket favoured young computer technicians who couldfirst of all speak some English. Computer and linguisticexpertise won over visual knowledge. The time whena central jury valued all works was finally over, but thenew freedom was not favouring quality at first. Theprestige of design was still very low; graphic design wasregarded as a cheap tool of advertisement that broughtbig money for computer literate youngsters. For a timedesign was an easy way to succeed only for those whowere willingly dropping professional standards to comply

in a servile manner with the favours of a completely il-literate client. Understanding and therefore selling gooddesign is not easy in Hungary. The reception of designis maybe the most problematic factor in the develop-ment of the profession. It is not surprising that by theend of the last millennium the taste of people becameextremely heterogeneous. The basic models as to whatis good and what is not good are shattered. Part of theproblem has its rules in our general visual education: it isstill focused more on teaching about big work of arts than

At the last years'conference ATypI in Prague,dedicated to the themeCrossroads of Civilisations,a Hungarian theorist ofvisual communicationand typography KrisztinaSomogyi gave a talk onthe present-day Hungariantypography and graphic

design. We are publishingits modified version.

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OSZKR BOSKOVITZMoab and Shrapnel are named after bombs and are used within Offline XTR MAG magazine. Moab a Shrapnel jso

psma pojmenovan podle typ bomb a jsou uvna v asopisu Offline XTR MAG.

Monostar This monospace font was created in 2002 and was intended to be used for Boskovitzs own firm, NpfonToto neproporn psmo bylo navreno v roce 2002 pro poteby Boskovitzova studia Npfont.

Wagon and Tilos These typefaces are typical to the first period o f the design of Boskovitz. These designs are very linked to street and graffiti culture, that is attained by the making of stencil or roughened fonts. Tato psma jsou typiukzkami ran Boskovitzovy tvorby. Do znan mry souvisej se street kulturou a graffiti, co se projevuje uitm aa drsnch psem.

Cassius was designed for the logo of Offline XTR MAG magazine targeted at young extreme sport practitioners butmost recent issues are set with Wagon bold. Cassius byl navren pro logo asopisu Offline XTR MAG, urenho prmlad 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 andversions and exists in 5 different weights. The name is inspired by a comic figure of Rejt Jen, a fantastic Hungariwriter. Plakt byl navren pro typografickou vstavu, kter se konala v ulici Rday. Toto knin psmo m patkovoui bezpatkovou variantu a existuje v p ti rznch ezech. Jeho nzev byl inspirovn komiksovou postavikou fiktivnhmaarskho spisovatele Rejt Jen.

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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 bylovytvoeno 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 seinspirovala 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 istgeometrie a postrd jakkoliv o bl 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 sestaromaarskmi 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 dependingon the choice of the typ ographer. Fonster is the image font of Csatais own type foundry. Toto retro psmo je vystavno okolo zkladn propojovac linie, kterjednotliv 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. Typografick plakty byly navreny pro vstavu v ulici Rdai v roce 2004. Jejich clem bylo ukzat charakteristick rysy rznch design ve formpstupn pro irokou veejnost.

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TYPO.TH

Kdy jsem dostala nabdku pedstavit souasnoumaarskou typografii mezinrodnmu publiku,bylo mi jasn, e budu muset naped strunnastnit okolnosti, ve kterch ijeme a pracujeme,

protoe pochopen kulturnho kontextu je propochopen vznamu jednotlivch prac nezbyt-n. Z toho vyplv, e vidm zsadn rozdl mezinaimi monostmi a na zkuenost s designema tm, co vidme v publikacch, knihch a na vsta-vch zpadnho grafickho designu. Rozdlnostvak nen patrn pouze v tomto srovnn. Pisvch cestch po vchodn Evrop a zvlt piopakovanch nvtvch esk republiky jsemsi uvdomila charakteristick rysy grafickhodesignu v jednotlivch zemch. V obecn rovinlze ci, e nai souasnou vizuln realitu formujodlin kultury, cle, dvody, motivace a techniky,kter koexistuj bez jakhokoli viditelnho uspo-dn nebo priorit. Celkov vizuln obraz, kterpi nvtv vchodoevropskch mst zskme,

je spe chaotick. Vude najdeme mezinrodnloga a reklamy, star npisy na zdech i souasngrafick design. A prv tato koexistence rznchobraz je pravdivm zrcadlem na kultury odr- pluralitu vkusu i nzor a dv kadmu mo-nost svobodn se vyjdit. Tato rznorodost vaksouasn svd o tom, e postrdme jakkolid a e jsme jet nedoshli vytvoen jasnhohodnotovho systmu. Jet stle hledme smr.Abych pouila metaforu kiovatky, kter je v n-zvu konference ATypI v maarskm grafickmdesignu neexistuje dn rovn dlnice vedouck profesnmu spchu. Existuj jen osobn stezky,kter se spojuj v cestu, ji meme chpat jakoautentick hledn organickch een. Osobnspchy a trocha obyejnho sil bhem uply-nulch pti let dv tuit, e se konen zannco dt. J osobn vm, e se z nepebernhomnostv souasnch idej a npad jednoho dnepirozen vyvine jednotn identita maarskhografickho designu.

trocha historieBylo by nemon vypotatvechny faktory, kter vedly k vizuln negramot-nosti na civilizace, ale jednm z dvod je uritvrazn diskontinuita kultury dvactho stolet. Po-sledn obdob, kdy Maai s evropskou vtvarnouscnou opravdu dreli krok, skonilo ve tictchletech minulho stolet. Po obdob secese, ktermlo velkou celonrodn oblibu nejen meziobyvateli 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, VilmosHuszr, Sndor Bortnyik nebo Marcel Breuer.Tato modern tradice vak byla nsiln peruena.Posledn rnu j v roce 1951 zasadil komunistickreim, kter oznail modernismus za nebezpe-

nou manipulaci zpadnch tv a jako jedinmon uril takzvan socialistick realismus; tenod t doby pevldal nejen v architektue, alei v designu. Prestii designu neprospl ani fakt, ebyl v rukch propagandistickch oddlen velkchzesttnnch 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, pednemaarsk teoretika umn a typografie Krisztina Somogyi pednku o souasnmaarsk typografii a grafickm designu. Jej upravenou verzi pinme.

encouraging children to understand creatively the visualphenomena. That pushes visual communicators intoa difficult situation: when trying to sell their work theyface a dilemma as there is a huge gap in between whatthe designer thinks to be professionally good and whatthe 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 gooddesigners are growing. I remember in 1994 when withZsolt Czak we organized the first Experimental Typogra-

phy exhibition in Pcs, it was difficult to find Hungariandesigners that could fit into the picture. It was the timeof a big typographical boom worldwide in Hungary thiswhat the time when the first Macintosh computers werepurchased. Two years latter when Rick Poynor arrived toopen the second exhibition of Experimental Typographyin Pcs there were about a dozen very interesting na-tional participants. Nowadays, there are about a hundredtypographers and graphic designers who come togetherfrom time to time, they organize events, co-edit booksand publications such as Postscript, Dblin, or Trakta ona self initiated, self-financed way. These shows providean interesting picture of how the profession thinks aboutits own role, and it also helps understanding the maincharacteristics of our design.

TYPOGRAPHIC EDUCATION The role of schools has alsochanged during this time: especially the University of Artsand Design, Budapest (MIE) has started becoming moreand more active. Under the guidance of this institutiona new non-profit gallery called Ponton was opened in thecastle district of Budapest, where not only diploma works,but design exhibitions (including type design, typography,book design, etc) coming from all over the world helpto form the good prestige of design. There is also a shiftin the curriculum of the university showing that there isa bigger and bigger need for contemporary design profes-sions. The change of interest from the traditional craftstowards modern design is evident to the point that theUniversity is thinking of changing its name. What concernstype design it must also be said that within MIE there isa 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. Andgraphic 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 highereducation lacks deep and systematic type design training,so the importance of self-teaching and the personal expe-rience gathered abroad is definitive. However, we registera growing interest in type; not only exhibitions becomemore numerous but I am happy to report that 6 yearsago Oszkr Boskovitz was the first student to work ona typeface as a diploma work. With that he made history;since then every year there is someone who chooses typedesign in his final professional presentation in MIE.To give an image of Hungarian type design I have chosen5 designers from three different generations and I havearranged their works around those important topics thatcharacterize us in general. Some further informationabout them can be found on www.font.hu under thename bettervezk ( type designers in Hungarian) or onthe site www.plusminus.hu, where around 40 designerspresent a selection of their works.

REVIVALSMaybe it is the lack of historical discontinuityof our 20th century, maybe that is a general Hungariancharacter, but for one thing it is true that national herit-

umleck udlosti poskytly vtvarnm um

pleitost k experimentu a autentickmu

Vzhledem k tomu, e hlavn proud neoficikulturn scny edestch a sedmdestc

v na zemi zamen vce na verbln ne n umn (mezi dky bylo vdy mon najvznamy), nen dnm pekvapenm, e nmavj oblast grafickho designu byla p

tvorba. Musm zmnit nkolik tvrc plakse ve svt proslavili svm vysoce intelekta osobnm pstupem k vtvarnmu zpracdla. Pat mezi n napklad Jzsef rendFerenc Barth, Dra Keresztesov, IstvPter Pcs, Sndor Pinczehelyi, Kroly Snebo Krzysztof Ducki, kter se narodil v P

po roce 1989V roce 1989 pochopiteln velk zmna. Grafick design jako moderse vznikal v chaotickch zmnch doprovpechod od socialismu k brutlnmu kapitDesign byl astn oprotn od politickck, ale mezera byla brzy zaplnna novmnmi zmry. Zhruba bhem jednoho rokudolo k nastolen zcela nov situace: mezreklamn agentury v Maarsku jedna po dotevraly sv poboky a zkuen designkoly mli problmy s adaptac na nov pmnoz z nich pili o zakzky, protoe trh dpednost mladm potaovm grafikm, vc mluvili aspo trochu anglicky. Potakov schopnosti zvtzily nad vizuln graasy, kdy vechna dla posuzovala centrse, byly konen pry, ale nov svoboda n

Zsolt Czak New Typo poster, designed theof New Typography, the first international exhon experimental typography and graphic desPcs in 1994, with the use of Jonathan BarnbPrototype typeface.

New Typo poster: Plakt pro N ew Typograpprvn mezinrodn vstavu vnovanou experimtypografii a designu v Pcsi uspodanou v rnavrhl Zsolt Czak. Pouil pro nj psmo ProtJonathana Barnbrooka.

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TYPO.THEME

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pednost kvalit. Presti designu byla stle velicenzk, grafick design byl povaovn za levnnstroj reklamy, kter vyn velk penze mladgeneraci s potaovmi znalostmi. Na as se de-sign stal jednoduchou cestou pro ty, kdo s istmsvdomm sniovali profesionln standard, abyserviln vyhovli naprosto nevzdlanmu klientovi.Pochopen, kter vede k prodeji dobrho designu,nen v Maarsku samozejmost. Pijet designu jenaopak mon tm nejproblematitjm faktoremv rozvoji na profese. Nebylo tak dnm pe-

kvapenm, e se na konci minulho tiscilet zaalvkus lid zsadn liit zkladn modely chpntoho, co je a co nen dobr, byly postaveny na hla-vu. Potek celho problmu najdeme v obecnvchov k vizuln gramotnosti, kter je stle spezamena na seznamovn dt s velkmi um-leckmi dly, ne aby podncovala jejich kreativnpstup k vizulnmu fenomnu jako celku. To takstav designry a ostatn tvrce komunikujc skrzevizuln strnku svta do obtn situace kdyse sna prodat svou prci, ocitnou se tv v tvdilematu vyplvajcmu z rozdlu mezi tm, co de-signr povauje za profesionln dobr, a tm, co

jeho klient akceptuje. Nerada bych, aby tyto dkyvyznly pli negativn, protoe se v prbhu po-slednch deseti let maarsk grafick design vyvjvelmi pozitivnm smrem. Zvyuje se jak rove,

tak i poet dobrch designr. Vzpomnm si, ekdy jsme v roce 1994 se Zsoltem Czak orga-

nizovali prvn Vstavu experimentln typografiev Pcsi, nebylo snadn najt maarsk designry,kte by zapadali do na koncepce. Bylo to obdo-b velkho celosvtovho typografickho boomua v Maarsku si grafici teprve kupovali sv prvnmacintoshe. Kdy o dva roky pozdji zahajovalRick Poynor druhou Vstavu experimentln

typografie v Pcsi, mli jsme u zhruba destkuvelmi zajmavch maarskch astnk. A dnesu je dobrch grafickch designr a typografkolem stovky as od asu se schzej, spolenvydvaj rzn knihy a publikace, jako je nap-klad Postscript, Dblin nebo Trakta, kter samizaloili a sami je i financuj. Tyto aktivity poskytujzajmav obrzek o tom, jak pedstavitel ttoprofese smlej o svm postaven ve spolenostia pomhaj pochopit charakteristick rysy naehografickho designu.

typografick vzdlvnV prbhu asu se takmnila role kol, zvlt pak Univerzity vtvarn-ho umn a designu v Budapeti (MIE), kter jestle aktivnj. Z iniciativy tto instituce vzniklav Budapeti neziskov galerie Ponton, kde senevystavuj pouze koln klauzury, ale tak design(vetn typografie, knin tvorby atd.) z celhosvta. Galerie tak pomh budovat dobr jmnooboru. Dolo tak ke zmn v osnovch univerzity,kter ukazuj, e existuje stle vt a vt hlad pografickch profesionlech. Posun zjmu od tradi-nch emesel smrem k souasnmu designu jenatolik markantn, e univerzita uvauje o zmn

jmna. Z grafickho hlu pohledu je teba takzmnit, e v rmci MIE je vyuovn speciln kurz

typografie rok a pl dlouh studium pro profe-sionly, kte se vnuj typografick praxi , co jepro rozvoj typografie velmi dleit oprn bod.

Grafick design a t ypografie jsou rovn vyuov-ny na Vysok kole vtvarnch umn v Budapetia na nkolika soukromch kolch. Je vak bohu-el smutnou pravdou, e v rmci dnho vyhovzdln nenajdeme hlub a systematickouvuku designu psma, take typografm nezbvne se sebevzdlvat a sbrat osobn zkuenostiv zahrani. Navzdory tomu vak zaznamenvmerostouc zjem o psmo. Nezvyuje se jen poet

typografickch vstav, ale u ped esti lety si Osz-

kr Boskovitz coby prvn student zvolil pstma diplomn prce. Tm se zapsal do hia od t doby si k ad rok vol psmo jako tzvren prce minimln jeden studenAbych poskytla vrnj obraz maarsk grafie, vybrala jsem pt designr ze t ga pedstavm jejich prce z oblast, kter jsmaarsk design charakteristick. Dal ince o nich najdete na strnkch www.fontodkazem bettervezk maart typog

v , nebo na www.plusminus.hu, kde sv

pedstavuje pes tyicet t ypograf a grafidesignr.

revivaly Mon nebyla nakonec historickkontinuita dvactho stolet tak zsadn, m

to obecn maarsk znak, ale je jist, e ddictv hraje v souasnm maarskm dvznamnou roli. Nicholas Kis (16501702nou z naich nejvznamnjch historicknost. Tento vjimen uenec, kter se v v Blaue v Nizozemsku nauil ryteckmu ua ryt psmovch matric, se vrtil do Maakde svou spnou drhu zanal, aby zdBibli (1685) a Nov Zkon (1687). Tento pvzorem pro mnoho souasnch typografpro Gbora Kthaye a Amonda Szegiho

jsou zakladateli psmolijny Fontana Fontsprodukuje primrn historizujc fonty.Gbor Kthay je znm dky nvrhm pse

historickch obdob, take jejich prostedmeme sledovat vvoj styl v t ypografii. LaDanse bylo inspirovno reprintem knihyznamem psem v tiskrn ve mst Nagysv Tyrnaviae. Tato publikace vyla poprv v1773 a najdeme v n vechna tehdy v tiskstupn psma na jedn stran strnky a nstran s run psanmi poznmkami jezumnicha. Psmo LaDanse vzniklo prv dig

jeho rukopisu. Je to velmi elegantn, odupsmo, a jak jeho nzev napovd, z textu zenho psmem LaDanse mte celkov dolehkho pohybu jako z tanenice se stuhoinspirac z tto broury je barokn antikva,byla sten navrena Nicholasem Kisem

ten jeho nsledovnky. Gbor nejdve dval Kisovo psmo pod nzvem Tyrnavia a pvytvoil jeho reinterpretaci v psmu Aquam

Amond Szegi sdl naden svho kolegyhistorii. Jeho psmo Xodus (pozdj Nexoje pmo inspirovno abecedami NicholasPvodn armnsk znaky vytvoil Kis v Amrodamu v roce 1685 a o ti roky pozdji naznaky gruznsk, ale dn z tchto psempr nikdy pouito. Ob se ztratila a dochopouze jedin tiskov vzorek. Z tchto psevychzel a Kisovu azbuku pevedl do latinfont nazvan Nexodus obsahuje tak saduornament a znak zvrokruhu. Dalm z dobe prodvanch psem je Telegdi, kterinspirovno reprintem roenky univerzitnvatelstv v Nagyszombatu, v n nalezl neksadu psem navrenou Abbotem NicolausTelegdim (polovina estnctho stolet). On minulost a mystick kulturn fenomn hvdy v ivot Amonda Szegiho dleitouNapklad font Zentes zavedl Amonda zp

jeho rodnho msta Szentes. Byl pekvapzjistil, e je na znaku tohoto malho mstelecho uprosted maarsk pusty vyobrapalma. A tato palma se stala hlavnm motidiny psem Zentes. Je to pln nov psm

jet nen dokoneno.Mnoh ze Szegiho a Kthayovch psem jv nabdce psmolijen T-26, Psy/ops a P-22a tak na jejich vlastn strnce www.jobara www.fontanatype.hu.

AMOND SZEGI

Mantra and Zentes poster were designed for an exhibition organizedin Rday street in 2004 to demonstrate the qualities of different designsfor a large public. Mantra a Zentes byly navreny pro vstavu v uliciRdai v roce 2004. Jejich clem bylo ukzat charakteristick rysy rznchdesign ve form pstupn pro irokou veejnost.

Nexodus Skateboard poster. Szegi has designed the skateboards withhis Nexodus typeface for his son Bence. Plakt Nexodus Skateboard. Prosvho syna Benceho navrhl Szegi design skateboard zaloen na jehovlastnm psmu Nexodus.

Nexodus This typefaces is inspired by the Cyrillic alphabets (Armenianand Georgian) of Nicholas Kis. As a special set of symbo ls Szegi has

designed the signs of the zodiac. Toto psmo se inspiruje armnskoua gruznskou azbukou Nicholase Kise. Jako zvltn sadu znak navrhlSzegi jednotliv znamen zvrokruhu.

Zenthes A strange fact, a mysterious palm tree in the coat of arm ofSzentes (home town of Szegi) was the inspiration source of this richlydecorated typeface. Zhadn palma ve znaku msta Szentes, odkud Szegipochz, se stala zdrojem inspirace pro toto dekorativn psmo.

Telegdi This revival font was inspired by the work of Abbot NicholasTelegdi who purchased the Wienna Jesuit Press in 1577 to print his ownspeeches. This font was presented in the book o f INDIEFONTS in 2002.Toto revivalov psmo bylo inspirovno d lem opata Nicholase Telegdiho,kter koupil vdeskou jezuitskou tiskrnu v roce 1577, aby mohl tisknoutsv vlastn kzn. Psmo bylo prezentovno v publikaci INDIEFONTSv roce 2002.

Bringa Bringa means bike in Hungarian and naturally this display typereflects Szegis love for bikes. The roughened version, Bringa-Rozsdahas an allusion to the rusted metal, the ornaments he has started creatinguses the visual language of metal tools for bike repairing. V maartintoto slovo znamen jzdn kolo. Jak je z nzvu patrn, toto titulkov psmoodr autorovu ve pro cyklistiku. Jeho hrub verze Bringa-Roszdapipomn zrezl kov, ornamenty jsou ispirovny nstroji urenmi pro

opravu jzdnch kol.Streetdub poster. The final year students of the Typographic Course of

the University of Arts and Design, Budapest organized an exhibition inGdr, a high prestige exhibition place in may 2005. Streetdub poster wasdesigned for this occasion. Plakt Streetdub. Studenti poslednho ronkuoboru typografie z budapesk Akademie vtvarnch umn uspodalivstavu v prestin vstavn sni Gdr v roce 2005, a plakt S treetdub bylnavren pi tto pleitosti.

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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 afterthe Hungarian origin DeStijl designer Vilmos Huszr. Initial Plastic and Night: are playful threedimensional and negative versions of the original idea. Toto titulkov psmo m 6 rznch variant.Normal je vybudovn na konstruktivistickch principech, Boogie-Woogie se pmo inspirujenejnovjm dlem Pieta Mondriana, Wilmos je pojmenovn po designrovi studia DeStijlmaarskho pvodu Vilmosovi Huszrovi. Initial Plastic a Nightjsou hrav trozmrn negativnvarianty pvodnho nvrhu.

Transylvanian Script This revival font was designed as a homage to the work of Kroly Ks, anarchitect and designer who successfully transposed the vernacular culture of Transylvania into theurban landscape of the early 20th century. Toto revivalov psmo bylo navreno jako pocta dlu KrolyKse, architekta a designra, kter spn penesl p rvky lidov kultury Transylvnie do mstskhoprosted potku 20. stolet.

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Gyrgy Sznyei se v oblasti gr afickho 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 odk azujeke jmnu designra maarskho pvodu Vilmose

Huszre, kter mimo jin navrhl logo pro DeStijl.

Dalm psmem ze Sznyeiovy dlny, kter bychrda zmnila, je Transylvanian script. Na tomtopsmu zaal pracovat pot, co v knihovn sveny nalezl reprint Knihy balad sesbranch K-rolyem Ksem. Tento slavn maarsk architekt,spisovatel a designr, kter penesl lidovou tran-sylvnskou architekturu do urbnnho prostedBudapeti, sestavil zmiovanou kneku v roce1906 jako zsnubn dar pro svou nastvajc.V run psan knce pouil psmena, kter vdalna devnch nhrobcch ve svm rodnm kraji.Ks si toto psmo tak zamiloval, e jej pouvalpo cel ivot, zvlt na svch architektonickchvkresech. O sto let pozdji pak piel GyrgySznyei, kter se rozhodl psmo digitalizovat.Dlouho pvodn knku studoval do nejmench

detail, a nakonec vybral nejlpe navren znakya z nich sloil abecedu. Psmo jet nen plndokoneno, Sznyei zatm pouil pouze znaky,kter byly v originlnm textu.

design a vtvarn umnKrom zjmu o historiije dalm dleitm znakem maarskho designujeho siln napojen na vtvarn umn. Tutotendenci meme pozorovat v ivot typograf,ve zmnnch publikacch i v samotnch navrho-vanch psmech. Vtvarn umn a design nejsoustriktn rozdleny, designi vdy maj i umlec-k vzdln. Gyrgy Sznyei je hlavn vtvarnumlec, Gbor Kthay studoval na Vysok kolevtvarnch umn a psmo zaal pouvat jakodoplnk svch obraz, Amond Szegi byl pomnoho let znm jako aktivn mal v politicky za-interesovanm sdruen Inconnu Group. Sznyei

m tedy pro navrhovn psma stejn dvod jakopro malovn obraz, motivace u nj nem funkncharakter, ale vznik z poteby estetickho vyj-den. Vtvarnho vchodiska si v tvorb Kthayea Szegiho vimneme dky stylovm hrtkms psmem a bohat dekoraci mnoha jejich font(napklad Zanizibar a Mantra). Oba tak s obliboupouvaj inicily s kvtinovm ornamentem,stnovan a negativn verze a ornamenty vbec(napklad v psmu Aquamarin a Glosso).

mlad generaceKdy jsem pedstavila timezinrodn uznvan osobnosti maarskhografickho designu, rda bych zmnila tak dva

tvrce z nejmlad generace. Jejich tvorba m blk modernmu pojet designu zamili se vce na

jeho vnitn hodnoty. Oszkr Boskovitz a PterCsatai vystudovali MIE a do navrhovn psem se

pustili s velkm nadenm. Psma obou autornejastji pouvaj jejich kolegov designiv publikacch, jako je napklad Pesti Est, co

je publikace orientovan na voln as.Otzka kulturn identity a historickho kontextu jepro jejich ivot mn dleit pokud se vracejdo minulosti, vytvej s velkou dvkou humoruironick retro fonty. Oszkr Boskovitz nazval svoupsmolijnu Npfont (www.nepfont.hu), co je slov-n hka odkazujc na maarskou komunistickouorganizaci, a celkov image Npfontu tomuto

nzvu tak odpovd. V Boskovitzov profnlnm ivot hraj dleitou roli extrmn a neoficiln sdruen kolem tvorby graffitiprvn z nich navrhuje a sz asopis, pro dprv pipravuje nekomern publikaci, a b obou projekt vyuv sv vlastn psmvytvoen loga asopisu XTR MAG navrhl Cassius a k sazb titulk na vnitnch strapouv psmo Shrapnel, pojmenovan pontech z prvn svtov vlky. Tento geomefont je pokusem o podobnost s clovou sk

alternativnch ten tohoto asopisu. Ofontu jsou vt, ne je obvykl, a vypadajby v nich rapnel prv explodoval. Pro poasopisu byly tak navreny fonty Tilos, MMoab, Wagon a Tjfun. Krom komern p

trv Boskowitz hodn asu studiem sv pJako poctu dvma vznamnm tvrcm pkonce socialistick ry v Maarsku zesnZoltnu Nagyovi a Edit Zignyov piprasvolenm rodiny redesign jejich psem. V psloit prce na tchto fontech poctil Bospotebu vytvoen novho, snadno itelnpsma, a tak vznikla rodina psem Tropauem jak patkovou, tak bezpatkovou verzi a mho nzoru dokld jeho stle rostouc k typografickmu emeslu.Pter Csatai zskal vysokokolsk diplompouhmi dvma lety, ale jeho psma u nav Maarsku na mnoha mstech. Napklad

z nejprestinjch maarskch soukromleckch kol Budai Rajziskola nedvno zaz popudu vedoucho katedry grafickho dFerence Ndaie kompletn sadu Csataiovpsem. Csataiovou diplomn prac bylo Acpsmo inspirovan povrchem mdn desrozleptan kyselinou v grafick technice lePo tomto prvnm pokusu zamil svj zjenalezen sprvnch elegantnch proporc,pi navrhovn oblch tvar. Harmonie zlatezu je dleitm principem jeho prce. Pzaoblench a geometrickch tvar pro n

jmav, kdy vytvel psmo Antagon, ktergeometrick a zaoblen konstrukn princDal z jeho psem, antikva Hungarum Fon

byla inspirovna starmi maarskmi lui

Hlavnm prvkem tohoto psma je zaoblen

znak. Pravm opakem psma Hungarum

ner jsou pak psma Cube a Octan, kter bpak konstruovna s naprostm vynechn

rch zakivench tvar. U nzev Octan na

souvislost s chemi: prvotn ideou pro vzni

fontu byl tak chemick symbol pro benzy

tohoto spojen nm me design psma O

pipadat jako z jinho svta ze svta am

western. Pter Csatai navrhl rovn retro

n font Fonster, kter me bt spojen link

dolnm, hornm nebo stednm a v zv

volb typografa, kter s nimi pracuje.

Typografie je v Maarsku novou profes. Amnoh profesn faktory maj daleko k idestavu, spchy uplynulch deseti let nejsozanedbateln. Snahy designr docenmev ppad, kdy si uvdomme, e se tito lirekrutuj z ad samouk. Nov vznikl fondleitm pspvkem k souasn kultue

a mohou pomoci pithnout pozornost vek tomuto zkladnmu prvku grafickho deasto velice siln a individuln rysy tchti jejich druhotn vznam mohou pozvednon mnn o typografii v Maarsku. Doufe

jednoho dne daj nov zakzky na psma tfii vrazn impulz, protoe prv to v souvelmi postrdme.[peklad: Linda Kudrnovs

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 greatscholar 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, toprint his Bible (1685) and New Testament (1687). Heis a source and a model for many type designers, mostimportantly to Gbor Kthay and Amond Szegi, who arethe founders of Fontana Fonts where mostly revival fonts

can be found.Gbor Kthay is known from designing a typeface fittingall historical periods, so one can follow the stylistic de-velopment of typography by watching his fonts. LADANSEwas inspired by the reprint of a stock-list book in theprinting-house of Nagyszombat, Tyrnaviae. This bookletdates back at the end of the 18th. (1773) and it lists thefonts available in the printing-house in chronologicalorder on one side of the page while the other side con-tains handwritten remarks of the Jesuit monk. LaDanse isrecreated from the handwriting; it is recreated from theinventor's manuscript. It is a very elegant, animated typeand as the choice of the name suggests when the text isset with LaDanse, the overall image is a light movement,as if someone would dance with a ribbon. The otherinspiration 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 typefaceof Kis (TYRNAVIA) then made a reinterpretation out of it(AQUAMARIN)Amond Szegi shares his friend's interest in history: hisXODUS then his NEXODUS typefaces were inspired directlyby the work of Nicholas Kis. Szegi found an interest inturning the big master's Cyrillic alphabets back into Latin.The original Armenian letters of Kis were cut in 1685 inAmsterdam for a book written by the burgomaster, theGeorgian 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 foundin Amsterdam. These typefaces were the base of Szegi'swork. The new typeface called Nexodus was designedwith a set of ligatures, ornaments and signs of the zodiac.

One of his best selling typeface is TELEGDI which wasinspired by the reprint of the yearbook of the UniversityPress of Nagyszombat where he found an incompleteseries of types designed by Abbot Nicholas Telegdi. Outof the fragments of this type cut in the second part ofthe 16th century Amond create an authentic highlydistressed font. The personal past and mysterious culturalphenomena always plays an important role in SzegiAmondo's life. His ZENTES typeface for example bringsAmond back to his home town, to Szentes. He wasamazed to observe that on the coat-of-arms of this littletown in the middle of the Hungarian great plain there isa palm tree. This became the main motif for the Zentesfamily: this is a very new type; some minor parts are stillunder creation. Many of Szegi's and Kthay's typefacescan 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 animportant source of inspiration for Gyrgy Sznyei whohas worked in the profession for decades. (Chartpackbought his LABYRINTH typefaces in1989 and he won thespecial Morisawa Prize in 1996 for his Kanji signs.) Hisdisplay font ARCHIAN has it roots in modern architecture:the Boogie-Woogie version is directly inspired by the lastwork of the Piet Mondrian, where interrupted vertical andhorizontal lines create the image, and the other playful TYPO.TH

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SalomeFig. 1.GborKthaysLaDanse

Gbor Kthays{Fig. 2}

Tyrnaviafl Qirnabia

Gbor KthaysFig. 3

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GboKKthays

p

E F

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KolozsvrMDCXC V

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Fig. 034

ATyrnaviabetcsalda TtfalusiKisMikls(16501702) ltalAntonJanson hollandnyomdszszmrametszett barokkantikvnalapul. EredetijeaNagyszombati JezsuitaEgyetemnyomdjnak1773-banleltrazott skiadottbetmintaknyvben tallhat.Adigitalizlt, jrarajzolts szellemisgbenazeredetit folytatvakiegsztettan tikva,valamintmindenegybtpussajt tervezs.gyegytt, ebbena formbanittlthat elszr. 1999-2002KthayGbor(FontanaBettervezMhely,Szeged)

70Brevier Antiqua Matrices per 30Typus fusus ponderat 10350 71Brevier Cursiva Matrices per 30Typus fusus ponderat 6 216

[ LaDanse]28/20pt(aftertheinventorsmanuscript,c. 1773) [Tyrnavia ]12/14pt(afterNicolasKis, aHungarianpunch-cutterandprinter,16501702)

LXX. Brevier Antiqua.

Namhomoproponit,sedDEUSdisponit,nec estinhomineviaejus.Si pietatiscausa,autfraternutilitatisproposito,quandoqueconsuetumomittiturexercitium,facileposteapoteritrecuperari.Si autemtdioanimi ,aut negligentiafaciliterrelinquitursatisculpabile est,&nocivumsentietur. Conemurquantumpossumus, adhucleviterdeficiemusin multis.

LX XI. Brevier Cursiv.

Sempertamenaliquidcertiproponendumest, &contrailla prcupie,quampliusnos impediunt.Exterioranostra, &interiora ,pariter nobisscutandasunt ,& orinanda, quiautraqueexpediunt adprofectum.Si noncontinuetevalescolligere, salteminterdum:& adminussemelin die, manevidelicet,autvespere.

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Archetype/Tyrnavia< a20th centuryrevival >< an18th centurysource >

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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 workis called Transylvanian script. It was when he found the

reprint of the Book of Ballads of Kroly Ks in the libraryof his wife that made him start work on the typeface.Kroly Ks, the famous Hungarian architect, writer anddesigner who had transposed the vernacular architectureof Transylvania into the urban landscape of Budapest,compiled a small booklet in 1906 as an engagement giftto his fianc. In this handwritten book he used letters hehad seen on the wooden grave stones in his home re-gion. In typographical terms that he reinterpreted at thebeginning of the 20th century was the folklore version of

GBOR KTHAY

LaDanse It is the free quotations from different historical periods whatmakes the postmodern thinking interesting for Kthay. LaDanse isa remake after the notes of a Jesuit monk on the stock-list book ofa printing house of Tyrnaviae. Pro Kthaye jsou v p ostmodernm knonuinspirujc zejmna voln vpjky z nejrznjch historickch obdob.LaDanse je modernm zpracovnm poznmek jezuitskho mnicha,nalezench v etn knize tiskrny v Tyrnaviae.

Tyrnavia-ArchetypeArchetype is a remake of a type cut by Nicolaus Kisin the late 17 c., Tyrnavia is Kthays own response to this baroque RomanArchetype je modernm zpracovnm psma, kter vytvoil Nicolaus Kiskoncem 17. stolet. Tyrnavia je Kthayovou vlastn odpovd na tuto baroknantikvu.

Pirofka This poster was made for TRAKTA exhibition in 2000 with the useof Arhetype in the name an Tyrnavia in the text. Tento plakt byl navrenpro vstavu TRAKTA, podanou v roce 2000. V titulku je uito psmoArchetype, v te xtu Tyrnavia.

Aquamarin is a further step from Archetype with different influences ofbaroque floral motives. Aquamarin je dal variantou Archetypu. Inspirujese typicky baroknmi kvtinovmi motivy.

Zanzibr Baroque calligraphy, just as much as Moorish culture was animportant inspiration when designing this playful typeface. Pi tvorbtohoto hravho psma se autor inspiroval barokn kaligrafi a moorskoukulturou.

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the two important type designers of the end of socialisttimes, 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 thatthe need for the creation of a new, easily legible typefacewas born. TROPAUER is a family that has both serif andsans 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 histypefaces are to be found in many places in Hungary,

for example one of the most prestigious private art anddesign school (Budai Rajziskola) has recently boughta complete set on the initiation of chief design teacherFerenc Ndai. Csatai's diploma work was called ACYDUM.It is a typeface that was inspired by the view of the acidcorroded copperplate surfaces of etching. After this firstattempt, soon his interest was focused at finding theright, elegant proportions, especially in the design ofcurved 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 thatmarries geometrical and curved construction principles.Another of his fonts, the Roman letters of HUNGARUMFONTAINER was inspired by old Hungarian archers. Themain thing about the design is the fact that all the ele-

ments are curved. We could present CUBE and OCTAN as anopposite of Hungarum Fontainer regarding the fact thatthey were designed with the complete omission of curvedelements. As the name of OCTAN suggests chemistry, thechemical symbol of benzyl was the initiative idea. Besidesthis connection the design of serifs of OCTAN reminds us ofa totally different world: that of the typography of Ameri-can westerns films. Csatai's work is presented under thename Fonster. For his own image he designed a typefacewith the same name. This retro typeface is organizedaround a linear connection that can link the separate char-acters at the baseline midline and cap lines depending onthe choice of the typographer working with them.Type design is a new profession in Hungary. Though manyfactors are far from being ideal, the achievements ofthe last 10 years are important. The efforts of designers

can only be valued if one considers that these peopleare often self-taught craftsmen. The typefaces that werecreated are important contributions to the present daydesign culture and they can play a big role in calling thepublic's attention to this very basic element of design.The frequently very strong, individualist features, thesecondary levels of meaning of these typefaces can en-hance the better appreciation of typography in Hungary.Hopefully one day type commissions and professionalunderstanding will give new momentum to type designbecause this is lacking at the present time.

TYPO.TH

Krisztina Somogyi (born in 1969 in Budapest) is the head editor of the Plusminus forum (www.plusminus.huand a curator of Hungarian and international exhibitionsNew Typo Exhibitions (Pcs 1995, 1997) and Kakuk(Ponton Gallery associated with the University ofVisual Arts and Design, Budapest 2005). She isa co-founder of Articsk graphic design studio andan author of books, TV shows and art reviews focused

on visual communication and architecture. She hasa four-years old son, Barnabs.Krisztina Somogyi (narozena 1969 v Budapeti)je fredaktorkou fra Plusminus (www.plusminus.hu),kurtorkou maarskch i mezinrodnch vstav NewTypo Exhibitions (Pcs 1995, 1997) a Kakukkfik(galerie Ponton pi Univerzit vtvarnho umna designu, Budape 2005). Je spoluzakladatelkougrafickho studia Articsk, autorkou knih, televiznchpoad a umleckch kritik zamench na vizulnkomunikaci a architekturu. M tyletho synaBarnabse.

a renaissance Roman. Ks came to love this typeface somuch that he used it throughout his life, especially in hisarchitectural drawings. Then came Gyrgy Sznyei, abouta hundred years later, and he adapted it for computers.He analyzed the original booklet for a long time, payingattention to every little detail, and then he selected thebest drawn letters and made an alphabet out of it. Thistypeface is not complete yet only those characters weremade that he found in the original text.

DESIGN AND FINE ART Besides historical interest theother important character of Hungarian design is itsstrong connection to fine arts. This can be observed inthe life of designers, in the mentioned publications andit is manifest in the design of typefaces in the designof typefaces. One reason is that fine art and design wasnot strictly separated for a long period, often design-ers have an art qualification. Gyrgy Sznyei is foremosta fine artist, Gbor Kthay was a student at the Universityof Fine art, and began working with type to match hisimages, Amond Szegi was known for many years as anactive painter in the Inconnu Group, a politically involvedsub-cultural gathering. As a conclusion, type design forSznyei presents the same issues as his art work, so themotivation for doing a typeface is not functional but firstof all an inner aesthetical need. Kthay's and Szegi's fine

artist background can be detected in the stylistic gamesand rich decoration of many of their typefaces (e.g. ZAN-IZIBR and MANTRA) and in the fact that they both verymuch like including Floral Caps, Engraved version, Orna-ments and Cameos (like in AQUAMARIN and GLOSSO) intheir alphabets.

THE YOUNG GENERATION After presenting the threeinternationally known figures of Hungarian type de-signers I would like to introduce two from the newestgeneration. Their formation brings them closer to themodern notion of design: they focus more strictly on theproblematic intrinsic to design. Oszkr Boskovitz andPter Csatai got their diploma at MIE. They have startedcreating typefaces with great enthusiasm the numerousdesigns they have made are often used by their fellow

designers in publications such as Pesti Est a Time-outlike publication. The questions of cultural identity andhistorical allusions are less important in their life; if theygo back they make rather retro fonts with some ironyor with a great sense of humour. The type foundry ofOszkr Boskovitz is NPFONT (www.nepfont.hu), a punfor what used to be a Hungarian communist organisationwhile the icons and the overall image are also a referenceto that. An Extreme Sport magazine and a non-officialgraffiti group play an important role in the professionallife of Boskovitz. For one he is designing a magazine, forthe other he is actually preparing a non-commercial, nonstandard little publication. Both offer him the possibilityto use several of his own typefaces. The Offline XTR MAGis a magazine and therefore a marketplace and meetingpoint 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 FirstWorld War. This geometrical font is an attempt to suggestthe alternative audience of the magazine; the eye of thefont is bigger than usual and looks as though it has beenexploded. A street-art ambiance is often attained by thestencil or roughened fonts. TILOS (forbidden), MONOSTAR,MOAB, WAGON and TJFUN were also created for thismagazine. Besides his commercial work Boskowitz spendsa great time with learning the profession. As a homage to

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Writing, both hand and keyboard writ-ten, is a highly personal matter. At the

same time, it is entirely natural for us to usea certain set of characters, as public as wecan imagine. A, B and C have belonged to thepublic domain for centuries.

Access to high-quality (and, also, terrible)typefaces was never as easy and affordableas in this century. Fortunately, we do not haveto weigh glyphs in kilograms of lead, nor dowe need to measure them in hours of work onexpensive photosetting machines. Thanks tothe computer, which has become a universaltool for everyone, the process of typeset-ting and typing, that is, typography andtypewriting, have merged into one. Thus, bil-lions of laymen gained access to typographiccharacters.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 first version of American Stand-ard Code of Information Interchange (ASCII)1was developed. As its name suggests, itsinventors from the IBM team of Bob Bemer

TEXT.JOHANNES BERGERHAUSENTYPO.PHENOMENON

did not have the least intention to definesome sort of international standard2. Today,however, ASCII rules the world: inventionssuch as the internet (or its predecessor,ARPA-Net, 1969) and eMail (1971) would besimply unthinkable without a standard char-

acter encoding. ASCII, promoted, also knownas ISO 646, is the most successful code oftoday, not counting the DNA.ASCII has only one disadvantage you mayonly use it for writing in English. Czech diacritics, German umlauts, or French accents wonstand a chance. It was as late as in 1980sthat so-called 8-bit codes were developed,accommodating 256 code-positions. Those256 characters managed to cover a varietyof non-standard Latin characters. ISO Latin-1remains to be a widely used standard. Thefirst 128 characters cover the original ASCII,however, its rest remains to be a product ofthe Cold War era: the diacritics of Westernlanguages are included in full, but many

Eastern symbols were omitted, which madethem, in the typographic sense, somehowsecond-rate, incompatible with the rest of theworld. Many readers of this magazine will befamiliar exactly with the problems of various8-bit sets.One thought springs to mind: to increasethe size of the code, and thus the numberof characters. Already in 1981, the program-mers in Xerox and Apple from the team of

*www.decodeunicode.org*

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Josef D. Becker3 designed a universal codewhich should suffice for all the charactersused by various civilisations of the world. Nomatter how visionary this thought may seemto sound, today, it became a reality on everymodern computer. In 1990, Unicode 1.0 was

introduced. Its Basic Multilingual Plane (BMP)was based on 16 bits, that is, it had 65 536code points. It soon became clear that eventhis number is not sufficient for all the worldalphabets, as Chinese alone needs more than70 000 characters. Then, calls appeared foraccommodating of extinct writing systems,such as cuneiform, for the purposes of sci-ence. The goal of the ISO 10646 is to solvethe problem once and for all by a 32-bit code.The standard has exactly 2 billion 147 mil-lion 483 thousand and 648 characters. Evenexperts like Richard Gilliam call this figureclearly overkill4. A general agreement wasmade to use only the first 17 planes of thisstandard, each plane offering 65 536 code

spaces. In total, this gives space of 1 114 12characters, which should suffice for the timebeing The actual version of Unicode 4.1of 2005 encodes over 97 000 characters,originating in a vast variety of cultures5. Everymodern Mac or PC makes them accessible toits user.The term typographic revolution really isappropriate here. Brought along by program-mers and almost imperceptible for the public,

United Nations General Assembly, in whichevery living culture and script has the right toits own seat.The reason is that when a certain cultureor nation is not represented by its script inUnicode, it is excluded from the world com-

munity on the very basic communicative leveland it cannot further advance in moderntechnologies. The Script Encoding Initiative7launched by Debora Anderson, a linguist fromthe University of Berkeley, is aimed at accept-ing the script sets yet missing in Unicode.Even when a certain script is accepted intoUnicode, 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 KhmerOS8is running in Cambodia. This group fights fora Cambodian localisation of an operating sys-tem. Just imagine the uproar in Europe if allthe leading technologies would be accessibleonly in English, or even in foreign scripts! Al-

though thanks to Unicode, the localisation ofsoftware is not as serious problem as it usedto be not too long ago, many companies willprefer to save its costs, especially as softwarepiracy in some countries destroys the wholesoftware market. However, if the richest manof the world does not offer the Khmers theirlocalised operating system in future, the initiative will be taken on by OpenSource groupsand Microsoft or Apple will lose all chance of

in the typographic community, it becameknown thanks to the OpenType format, basedon Unicode. The non-profit organisationUnicode Consortium6 is backed by the impor-tant players of the computer field Adobe,Apple, IBM, Microsoft, Oracle, or Sun. During

the 15 years of its existence, Unicode hasachieved the position of undisputable interna-tional standard. It serves its purpose in vari-ous fields for example, in simple softwarelocalisation, unified encoding brings greateconomic advantage.The Unicode standard is based on the distinc-tion between character and glyph. Unicodeencodes characters, not glyphs. The charac-ters are abstract representations of the small-est possible elements of written languagewhich bear a semantic value.In Unicode, all the important cultures arerepresented by their script. More and moreapplications are made compatible withUnicode. The industry wishes to stabilise

and close the standard as soon as possible.However, the whole titanic work is still onlyhalf-finished. Many living and extinct culturesare still missing in Unicode, because they donot constitute an important market for thecomputer industry. Here, the whole problembecomes an affair of politics. Of course thatthe future updates of Unicode must coverthe script systems of all cultures, with noexceptions! Unicode is a kind of typographic

U+20B0GERMAN PENNY SIGN.In German markets, itwas possible to spot thischalk-written character evenin 1980s and 1990s. TheGerman pfennig originatesin the denar of Charlemagne(in Latin, it was calleddenarius), and this is whyit is derived from the d in

German hand-written script,called Stterlin. It disap-peared in the monetaryreform in 1948. Until today,it is utilised in hand-writtenproofs as the deleatursymbol, in Latin meaning tobe deleted.

FENIK. Na nmeckch tri-tch se jet v osmdestcha devadestch letech mohltento znak napsan kdouobas objevit. Nmeckfenik pochz z denru KarlaVelikho (lat. denarius),proto m jako znak dz nmeckho psacho psma(tzv. Stterlin). Pi mnovreform v roce 1948 bylodstrann. Dnes se jet po-uv pi runch textovchkorekturch jako deleatur

(lat. budi odstranno).

U+2117SOUND RECORDINGCOPYRIGHT. The P ina circle may be found onevery CD as the musicindustry copyright. Itwas introduced in 1971in association with newAmerican copyrightlaw. It reflects the C incircle widely known

American symbol ofcopyright, dating backto 1910. Together withRegistered andTradeMark , thesesymbols introduced by theAmerican patent authorityare presently known andused worldwide.

SOUND RECORDINGCOPYRIGHT. P v kruhuje na kadm CD diskujako copyright hudebnhoprmyslu. Byl zavedenv roce 1971 v souvislostis novm americkmzkonem o autorskmprvu. Opr se o obecn znm americksymbol copyrightu,doloen od roku 1910.Spolen s Registered

a TradeMark jsoutyto znaky americkhopatentnho aducelosvtov rozen.

U00A4CURRENCY SIGN. At theend of the 1960s, ASCII wasto become an internationalstandard. However, therepresentatives of severalcountries refused to acceptthe US dollar sign into theISO 646. Apparently, theCold War did not stop evenat typography. Then, the

decision was made to createa new symbol, representingthe universal currencysign. Currency is one ofthe least used symbolsof todayit is meant tosymbolise a coin glisteningin the sun. Even though ithas no practical use, youwill find this symbol in thesets of special characterson mobile phones.

ZNAK MNY. Na konciedestch let, kdyse ml kd ASCII sttmezinrodn normou,zdrhali se v grmichzstupci nkterch zempijmout do ISO 646 znakamerickho dolaru $.Studen vlka se nezastavilaani ped typografi. Proto

tehdy padlo rozhodnutvytvoit nov znak, kterby univerzln nahrazovalpojem mny. Currencyje tak dodnes jedenz nejmn pouvanchznak: m znzorovatminci tpytc se na slunci.I kdy nem praktickvznam, najdete ho dnesdokonce i mezi zvltnmiznaky na mobilnchtelefonech.

U+00ACLOGICAL NOT. The logicalnegation , defined by ISOLatin-1 as Logical Not, isa mathematical character.In logic, A means not A.Its inclusion on Westernkeyboards provided thischaracter its widespreaduse, even in non-mathematical context.

LOGICK NOT. Logicknegace (podle definiceISO Latin-1 logick not)je matematick symbol.V logice A znamenne A. Ptomnost nazpadnch klvesnicchzajistila tomuto symbolucelosvtov rozeni za hranice matematiky.

U+00A5YEN. This is not a Japanesecharacter. In Kanji, thereis another glyph forYen. It seems that themodified Y character wasinvented in the Westernworld. Its creator addedtwo horizontal strokes,an analogy of the poundSterling or dollar characters.

Who was it, though? Andwhen was this characterfirst documented?

JEN. Nen to japonskznak. Vechna ti japonskpsma kanji, hiraganaa katakana maj pro jenvlastn znak. Upravenypsilon tedy budepravdpodobn zpadnmvynlezem. Jeho tvrcepidal dva pn krtyanalogicky ke znakmdolaru i libry. Kdo to ale byla odkdy je znak doloen?

U+3020POSTAL MARK FACE.Unicode is strict in notencoding political symbolsor logos. However, otherpolicy of Unicode says thatit should be compatiblewith all the existing nationalcodes. This is whereseveral strange charactersappeared from, including

this symbol of JapanesePost.

POSTAL MARK FACE(potovn znaka lc).Unicode zsadn nekdujepolitick symboly ani loga.Jin zsada unicodu ovemk, e by ml bt zptnkompatibiln ke vemdosavadnm nrodnmkdm. Proto se v nmpece jen objevuje nkolikpodivnch znak jakotento symbol japonskchpotovnch ad.

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future profit 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 keyboardsdid not accommodate some basic Arabiccharacters for Pashto and Dari, two officiallanguages of Afghanistan. A programme sup-ported by UN has added these characters tothe Unicode system in 2003, and it developeda special keyboard for Pashto. The culture

thus acquired its first chance to communicatevia computer in its own script. It seems to bea simple advance of technology, however, ithas far-reaching cultural effect.As Utopian as Beckers idea of multilingualtext processing seemed 20 years ago, thedemand for localisation of internationallyused software for all living cultures may seemtoday.Typedesigners have to face a challenge pre-sented by Unicode. The idyllic times of 256characters in one font are gone. Even the so-called expert sets were just a partial solution,not functional today. A worldfont does notmake much sense technically, but more andmore 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 onUnicode. Its other great advantage is the factthat the previously incompatible sets of fontsfor Mac and PC are becoming a problem ofthe past. However, the simple fact that a cer-tain font is sold as OpenType does not saymuch about the actual number of charactersit contains. Some font manufacturers like tomake their life as easy as possible they sim-ply convert the old typefaces without addingnew characters. Others, on the other hand,publish the number of glyphs per font, eventhough one character may be representedby several glyphs. Mrs. Eaves OpenType font

by Zuzana Liko, released last year, containsa set of full 17 old 8-bit fonts.As Marshall McLuhan said in 1963: Weshape tools and they in turn shape us9,I believe that a democratic approach to allthe characters of various scripts of the worldwill change typography, linguistics, and manyother fields of science, such as paleographyand archaeology.Now, only one thing is missing a goodoverview of and information about all thesecharacters hidden in the keyboard. The pro-grammers of Unicode have done a great job,but even professionals are not entirely surewhat some of the characters mean. DecodeUnicode!Decodeunicode is an independent platform,released online in May 2005 with the namesand images of more than 50 000 characters.The project was conceived and launched byProfessor Johannes Bergerhausen and de-signer Siri Poarangan from the Department ofDesign at the University of Applied Sciencesin Mainz, Germany.The goal of the project, supported by theGerman Federal Ministry for Education and

Research, is to prepare the ground for basictypographic research and to make the mean-ing of all the characters accessible to all com-puter users. The meaning of such enormousamount of characters touches upon severalfields of science, such as l inguistics, mathe-matics, numismatics, paleography, semioticsor 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, variousmeanings, ortographic use, typographicnotes, synonyms and popular names, imagesof examples.Decodeunicode is an OpenScience project,built on the submissions of material byits online users. The information is addedon the same principle which has been foryears successfully used by the Wikipediaencyclopaedia10. You can also upload animage of each character, provided its freedistribution is permitted. We welcome bothtraditional typographic images and photo-graphs of its use in everyday life. To maintainthe quality of the project, the submissions areedited by a team from the Fachhochschule in

Mainz, who are allowed to delete unsuitablematerial.When preparing the images of charactersfor the website, it was often difficult evento obtain a font accommodating that certainscript. Some characters are used by a singleisland nation with the population of 10 000members. All 50 000 characters are thus ac-cessible as .gif images for the users which donot have the particular font installed on theircomputer. The information consists of theEnglish 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 SputnikThe present online database supports Ger-

man and English as the main communicationlanguages. Our small team is unable to man-age more languages at the moment. (If an-yone would be interested in launching anyother version of the project, please contactthe author of this article.)The complicated Arabic ligatures, undeci-pherable Chinese ideograms and hundreds ofmathematical symbols offer plenty of spacefor discovery. Try to seach for, say, 3 orstar in the fulltext search. We will be lookingforward to your contributions.[peklad: Olga Neumanov]

TYPO.PH

Prof. Prof. Johannes Bergerhausen (born 1965) studied communication design at the University of Applied Sciences inDsseldorf, Germany. He worked in Paris 19932000, first with Grapus founders Grard Paris-Clavel and Pierre Bernard, thenfree-lance. In 1998, he received a grant from the French Centre National des Arts Plastiques, Paris, for a research project ontypography 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 App lied 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 grafickho spolku GrapusGrardem Paris-Clavelem a Pierrem Bernardem). V roce 1998 zskal grant od paskho Centre National des Arts Plastiquesna vzkumn typografick projekt tk ajc se ASCII. Od roku 2002 vyuuje t ypografii na katede designu na Fachhochschulev 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 nationto abandon Arabic script in favour of Latin alphabet. Theinfluence of German and French cultures as the modelsfor the newly born countr y went so far that modern writtenTurkish uses the German umlauts and , and the Frenchcedilla . Today, Turkey is preparing for the negotiations onentering the EU.Typografie vdycky mla co do inn s moc. V roce 1928Mustafa Kemal, een Atatrk, piml cel nrod k tomu, abynamsto arabskch psmen zaal pouvat latinku. Vliv nmec-k a francouzsk kultury jako vzor pro nov vznikajc stt etak daleko, e dodnes najdeme v psan turetin nmeckpehlsky , nebo francouzskou cedillu . Turecko ekajpijmac rozhovory do EU.

The Basic Multilingual Plane Poster. First printed overviewof all 65 536 characters of the first plane of Unicode 4.0.It was awarded a number of prizes for its design. All 300copies have been sold out. At the end of this year, anupdate 4.1 is being prepared.The Basic Multilingual Plane Poster. Prvn titn pehledvech 65 536 znak prvn rovn Unicodu 4.0. Bylvyznamenn mnoha cenami za design. Vech 300 e xemplji je vyprodno, na konec roku se pipravuje update 4.1.

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0041;LATIN CAPITAL LETTER A;

Lu;0;L;;;;;N;;;;0061;

TYPO.PHENOMENON

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Psan a u na klvesnici, nebo rukou je veliceosobn zleitost. Pitom vak zcela samozejmpouvme urit soubor znak: nco tak veejnho,

jak si jen dokeme pedstavit. A, B i C jsou toti jipo tiscilet public domain.Pstup k velice kvalitnm (ppadn velice patnm)psmm pro sazbu nebyl jet nikdy tak snadna levn jako v tomto stolet. Natst se dnes ulitery nev v kilogramech olova ani se nepotajv hodinch prce na drahch fotosazbovch strojch.Dky potai jako univerzlnmu nstroji dokoncev poslednch desetiletch sazba a psan, tedy ty-pografie a psan na stroji, srostly v jedno. Tm zskalyi miliny laik pstup k typografickm znakm.Na horizontu se te rsuje dal krok vvoje: globali-zace typografie. Vtina kultur v dnenm svt ji po-uv potae, a chtj samozejm pouvat i vlastnpsma. Znakov systmy jako arabtina, hebrejtina,mongoltina, thajtina nebo nesetn nsk ideogra-my kladou na t ypografii a potae nov poadavky.Vvoj smrem k vcejazykovmu zpracovn textu elrychle a pokroil u daleko.V roce 1963 byla vyvinuta prvn verze AmericanStandard Code of Information Interchange, krtceASCII. Jak ji jmno napovd, ani zdaleka tehdyineni IBM okolo Boba Bemera nemli v plnudefinovat njak celosvtov platn standard. Dnesovld ASCII cel svt: vynlezy jako internet (a jehopedchdce ARPA-Net, 1969) nebo e -mail (1971) bybyly 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 pstpouze anglick texty. Nmeck pehlsky, eskhky i francouzsk akcenty si tu nekrtnou. Teprvev osmdestch letech byly zavedeny takzvanosmibitov kdy s 256 znaky, kter ji eji pokrvalyspeciln znaky v latince. ISO Latin-1 je iroce roz-en standard. Na prvnch 128 pozicch pevzal znakyASCII, dle vak zstal dttemstuden vlky: diakritika zpad-nch jazyk je pokryta kompletn,ale na mnoh vchodn znamnka se nedostalo tmse stala jaksi typograficky druhoad, nekompatibilns ostatnm svtem. Mnohm tenm budou prvproblmy s rznmi osmibitovmi sadami dvrnznm.Vyvstala tedy poteba zvtit rozsah kdu a tmi zsobu znak. Ji v roce 1981 navrhuj programtoiApple a Xeroxu okolo Josefa D. Beckera univerzlnkd, kter pokryje znaky celho lidstva. Tato zdnlivutopie je dnes u na kadm modernm potai rea-litou. V roce 1990 byl pedstaven Unicode 1.0, jehoBasic Multilingual Plane (BMP) zahrnuje 16 bit, tedy65 536 monch znakovch pozic. Zhy se ukzalo,e ani to nesta k zaazen vech psem, kter jsouna svt. Jen ntina potebuje okolo 70 000 znak.Navc se ozvaly hlasy, kter chtly pro vdeck elyintegrovat i vymel znakov systmy, napklad kl-nov psmo. Zmrem ISO 10646 je vytvoit pomoc32bitovho kdu dostatek msta jednou provdy. Tatonorma 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 dnespot s omezenm na prvnch 17 rovn, piem ka-d rove obsahuje 65 536 mst. Dohromady je tedyprostor 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 kadmMacintoshi nebo PC s modernmi verzemi operanchsystm k nim mme pstup.Nabz se pojem typografick revoluce: byla zosno-vna programtory, veejnost takka nepovimnuta,zato v typografick obci vela ve znmost dkyformtu OpenType (zaloenm prv na unicodu). Zaneziskovou organizac Unicode Consortium dnes stojnejdleitj 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 pipouh lokalizaci softwaru pin jedno kdovn procel svt obrovsk hospodsk vhody.Principem unicodu je rozlien znaku (angl. chara-cter) a glyfu: kduje znaky, nikoliv glyfy. Znaky jsouabstraktnmi reprezentanty nejmench prvk psanei, maj smantickou hodnotu.V unicodu jsou ji svm psmem zastoupeny vechnydleit kultury. Vc a vc program je s unicodemkompatibilnch. Prmysl se dnes sna tento standardco nejdve dovst do konce. Pitom cel titnskprce je hotova teprve z poloviny. Mnoh ijci vymel kultury v unicodu stle chybj, protoe propotaov prmysl nejsou vznamn. Tady se celzleitost dostv na pole politiky. Samozejm, ptaktualizace unicodu mus pojmout bez vjimky psmavech kultur: unicode je jakmsi generlnm shrom-dnm typografickho OSN a kad kultura m prvona to, aby zde byla zastoupena.Pokud toti njak kultura i nrod svm psmemv unicodu zastoupena nen, vyluuje se tm na z-kladn komunikan rovni ze svtovho spoleenstva tko se me na poli modernch technologi dlerozvjet. Iniciativa Script Encoding lingvistky DeboryAndersonov z univerzity v Berkeley si klade za cldoshnout pijet znakovch sad, kter dosud chybj.I kdy u je njak psmo do unicodu pijato, ekajna nj dal pekky. Pro pslun jazyk (resp.

jazyky) je jet teba lokalizovat operan systmy

a programy. Aktuln probh initiativa KhmerOSv Kambodi. Toto sdruen bojuje za k ambodskoulokalizaci operanho systmu. Pedstavte si, jak byse bouila Evropa, kdyby vechny vysok techno-logie byly dostupn jen v anglitin nebo dokoncev cizch psmech! I kdy dnes dky unicodu lokalizacesoftwaru nen a takov problm, pece jen si mnohfirmy tyto nklady uet, zvlt kdy softwarovpirtstv v chudch zemch ni veker trh. Ale kdy

nejbohat mu svta ani v budoucnu nenabdneoperan systm pro Khmery, pevezmou tuto lohuopensourceov skupiny a Microsoft pijde v tchtozemch navdy o monost vdlku. Kamboda mostatn 13 milion obyvatel.Jin pklad: po porce Talibanu zjistili zpadnvojci, e pro patu a dari, oficiln jazyky v Afghnis-

tnu, chybj na klvesnicch nkter arabsk znaky.Program podporovan OSN v roce 2003 tyto znakydo unicodu doplnil a tak vyvinul pro patu vlastn kl-vesnici. Tamn kultue se tak poprv otevela monostkomunikovat pes pota vlastnm psmem. Zdnlivvedn technick vvoj, ovem s nevdanm kulturnmdosahem.Stejn jako se zdla bt utopickou ped dvaceti let yBeckersova mylenka o mnohojazynm zpracovn

textu, me dnes znt blzniv poadavek, aby bylinternacionln zamen software lokalizovn provechny 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 psmasi dnes dv zleet, aby vybavili sv latinky alespo

kompletn vchodn diakritikou, eckou abecedoua azbukou.Nov formt pro psma OpenType je zaloen na uni-codu. Dky nmu se vzjemn nekompatibiln fontypro Mac a PC stvaj minulost. Pesto skutenost, enjak font je nabzen jako OpenType, jet neknic o tom, kolik znak doopravdy obsahuje. Nktevrobci si zjednoduuj prci a star psma jednoduekonvertuj, ani pidvaj nov znaky. Jin ji udvajpoet glyf ve fontu. Jeden znak tu ale me zastu-povat vce glyf. V loskm roce vydan Mrs. EavesOpenType Zuzany Liko obsahuje v jednom souborucelch 17 starch osmibitovch font.Marshall McLuhan v roce 1963 ekl: We shape toolsand they in turn shape us. I j vm, e demokra-

tick pstup ke vem znakm svtovch psem trvalezmn typografii, lingvistiku a mnoho dalch vd jakopaleografii 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 jerozklovat!Decodeunicode je nezvisl platforma, kter seotevela on-line v kvtnu 2005 se jmny a zobrazenmvce ne 50 000 znak. Projekt spolen pipravilia nastartovali prof. Johannes Bergerhausen spolus designrkou Siri Poarangan na katede designuv Mainzu.Projekt podporovan nmeckm ministerstvem

pro vzdlvn a vzkum chce pipravit pdu prozkladn typografick vzkum a uivatelm potam osvtlit vznam vech znak. Vechny informaceke kadmu jednotlivmu znaku jsou zajmav: his-

torie, rozen, rzn vznamy, ortografick pouit,typografick 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 kekadmu znaku uploadovat i obrzek, pokud jevoln iiteln vtna jsou jak klasick typografickvyobrazen, tak fotografie vednho uit. Pro zajitnkvality jsou pspvky dodaten kontrolovny mo-dertory z Fachhochschule v Mainzu (ti je ppadnmohou i smazat). Vedle obrzk mete pidvatnapklad hovorov nzvy, kter jsou potebn zv ltpro fulltextov vyhledvn zkuste si nkdy tebazadat do vyhledvae Sputnik.Pi pprav vyobrazen znak bylo asto obtn k n-kterm psmm vbec najt pslun font. Jsou znakykter pouv jedin ostrovn nrod s deseti tiscipslunky. Vce ne 50 000 znak je tedy k dispoziciv podob gifovch nhled, aby byly zobrazitelni pro uivatele, kte dan font na potai nemaj.Souasn on-line databze komunikuje nmeckya anglicky, vce jazyk zatm n mal tm nemezvldnout. (Kdo by chtl otevt eskou verzi, mese pihlsit u autora lnku.)Mezi zamotanmi arabskmi ligaturami, sloitminskmi ideogramy a stovkami matematickchznaek se d objevit mnoh zkuste si u ns nechatvyhledat eba 3 nebo star Tme se na vaepspvky.[peklad: Jan Dobe]

1 Charles E. Mackenzie: Coded Character Sets, History and Developement, Boston, MA, USA, 1980, ISBN 0-201-14460-32 Johannes Bergerhausen: Questionner le clavier: les Codages ASCII et ISO-Latin 1, Dossier CNAP, Paris, France, 19993 Joseph D. Becker: Multilingual Word Processing in: Scientific American No. 251, July 1984, Seiten 96-1074 Richard Gillam: Unicode Demystified, Boston, MA, USA, Addison-Wesley, 2003, ISBN 0-201-70052-25 The Unicode Consortium: The Unicode Standard Version 4.0, Boston, MA, USA, Addison-Wesley, 2003, ISBN 0-321-18578-16 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 0-07-045436-110 wikipedia: www.wikipedia.org (12th June, 2005)

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BlockDock. Thanks to flash 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 flashov 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.orgPohlednice. Sada pohlednic s 36 zvltnmi nebo vzcnmi znaky z unicodu ve tech rznch neonovch barvch. Sadu je mon objednat nawww.decodeunicode.org

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Internetov projekt Diacritics jsem poprv pedstavil16. dubna 2005 ped zaplnnm slem na konfe-

renci Typo.Graphic.Beirut. Diacritics je uniktn databzeinformac o diakritickch znamnkch: jak maj mt tvar,velikost, umstn, v jakm jazyce se konkrtn diakritickznamnka pouvaj a dal podrobnosti. Web projektufunguje na principu Wikipedie, a tak me kdokoli pisptsvmi znalostmi.Jako grafick designr si ji mnoho let uvdomuji, jakme nekvalitn diakritika pokazit jinak velmi pkn ps-

mo. Technicky i esteticky nepoveden akcenty nkterchpotaovch font bohuel velmi negativn ovlivuj typo-grafii nrod stedn a vchodn Evropy. Ale nen se emudivit. Informac, jak maj akcenty vypadat, jak se umisuja jak se pouvaj, je velmi mlo, navc jsou roztrouenypo rznch knihch, internetovch diskusch a obtndostupnch lncch v mnoha jazycch. Proto jsem pedrokem v destm sle asopisu Typo publikoval rozsh-l text o diakritickch znamnkch a pislbil jsem, einformace budou asem k dispozici on-line. Nyn se mito podailo, webov strnky projektu funguj a navc jsouinformace vrazn rozeny, opraveny a doplnny.Po dlouh vaze jsem se rozhodl, e strnky projektu Di-acritics budou (zatm) pouze v anglitin. (Alespo do tdoby, ne se najde nkdo, kdo nezitn pome s pekla-dem do dalho jazyka.) On-line databze nyn obsahuje

pehled akcent uvanch v evropskch jazycch, kterp 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, napkladseznam jazyk, ve kterch se akcent objevuje, Unicodeindex, postscriptov jmno. Po kliknut na konkrtn j

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