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typografie. grafickdesign .vizuln komunikace

typography.graphic design.visual communication

TYPO.17

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

International Holdings.

ANTALIS s. r. o.OfficePark NovButovice

Bucharova 1314/8, 158 00 Praha 5tel.: +420 233 113 211, fax: +420 233 113 223

e-mail:[email protected]

Partnei asopisu / Partners of magazine

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

systm a zazen pro produkn digitln tisk.

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e-mail: [email protected]

partner

Vhradn distributor Adobe Systems pro R a SR.Dodavatel aplikac pro klasick, internetov a multimediln publiko

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Oc umouje svm zkaznkminn a efektivn zpracovn dokument

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dla eskch psma 20. a 21. stolet.

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plova 23, 162 00 Praha 6 [email protected]

Vydavatel odbornch publikaci, poadatel semin, konferenca odbornch zjezd, konzultant a poradce pro oblast pedtiskov

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tel.: 271 737 788, 271 733 554, fax: 272 736 252e-mail: [email protected]; [email protected]

http://www.svettisku.cz

partner / partner

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Pvodn psma, korportn psma,psma na objednvku.

SUITCASE TYPE FOUNDRYSobslavsk 27130 00 Praha 3

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(nejen) knin typografiea sazba, jazykov redakce, korektury,

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tiskdoformtuB1,B2grafikaDTPCTP

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

TYPO.EDITORIAL

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

www.magtypo.cz

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

adresa addressHollarovo nmst 11, 130 00 Praha 3

tel./phone: +420 271 737 788

fax: +420 272 736 252pedplatn subscription

[email protected]@magtypo.cz

manaerka redakce editorial office manager

Linda Kudrnovsk ([email protected])inzerce advertising

Martin Jamrich ([email protected])redakce editors

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

grafika design

Jana Vahalkov ([email protected])pre-press

Studio Marvil (www.marvil.cz)tiskprint

REALTISK s. r. o. Opatovick 18, 110 00 Praha 1 Nov Msto,titno na papr BLACK LABEL mat / printed on BLACK LABEL mat paper 150 g/m2 & 250g/m2 (dodv ANTALIS s. r. o.)programysoftware

Adobe InDesign

, Adobe Photoshop

, Adobe Acrobat

, ScenicSoft ColorCentral

, ScenicSoft Preps

Vydvn povoleno Ministerstvem kultury R pod slem MK R E 13984, ISSN 1214-0716. Nzvy produkt a jmen firem zmiovanchv 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.INTE

with Albert-Jan PoolEach typeface serves a certain pur

Kad psmo m konkrtn

TYPO.PHENOM

Albert-Jan Pool Industrial archae

Industriln archeo

TYPO.A

Pavel ZelenkaThe land where reindeers wish typographers good

Kde sobi dvaj typografm dobrou

TYPO.TYP

Tom BrousilDed

TYPO.

Krytof BlaekSa

TYPO

Pavel KoikaFonT

Linotype FontExplorer X Think diffe

TYPO.B

Mil teni, jak jsme avizovali v minulm sle, pinme uniktn materil vnovan nmeckmudlninmu psmu DIN. Vme, e i vs pekvap dlouh historie tohoto psma, tak oblbenho mezisouasnmi designry po celm svt. lnek pro Typo pipravil typograf Albert-Jan Pool, autor spnrodiny psem FF DIN. Fenomnu DIN se rovn tk vtina otzek, kter jsme Poolovi poloili v interview.Sname se bt ptomni na dleitch evropskch akcchvnovanch typografii a grafickmu designu. Tou zejmnjdleitj byla konference ATypI, kter se konalav z v Helsinkch. Postehy Pavla Zelenky z Finskaotiskujeme na str. 16. Rdi bychom napsali i o konferenci

GraficEurope, kter se mla konat letos v Budapeti.Pli vysok poplatek za konferenci a nsledn nzkast zejm odradily poadatele od organizovn dalhoronku. koda, prezentace byly loni vydaen.[redakce]

Dear readers, as we announced in the previous issue, we are bringing you some unique mater

dedicated to the German motorway typeface DIN. We believe that you, too, will be surprised b

long history of this t ypeface, so popular among the present-day designers all over the world. T

article for Typo was prepared by the typographer Albert-Jan Pool, author of the successful fam

typefaces FF DIN. Most of the questions we asked Pool in the interview also touched upon the

phenomenon.We take care to be present at important European events concerning typography and graphic

The ATypI conference, which took place in Helsinki in September, counts among the most sign

ones. You will find Pavel Zelenkasimpressions of Finland at page 16. We also wantedto write

the GraphicEurope conference, which was meant to take place in Budapest. However, high en

fees and the resulting poor attendance probably discouraged its organisers from running it ag

year. What a shame the presentations last year were quite successful.[the editors]

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WITH ALBERT-JAN POOL

In 1994, in San Francisco, Albert-

Jan Pool and Erik Spiekermann took

a cab together from the ATypI conference

to the airport. Spiekermann knew that

Pools employer went bust, so he told him

that if he wanted to earn some money with

type design, he should have a look at fonts

such as OCR and DIN. At the same time, he

invited Pool to Berlin to discuss the idea in

detail. One year later, FontShop published

Pools typeface FF OCR-F, followed by

the family FF DIN. Spiekermann had theskill to point out an empty space in the

market. Digital DIN fonts were available

at that time, however, only in two weights

and solely in pure geometric shape. Pool

designed a family of five weights, he added

true italics and also some alternative char-

acters, such as the i with a round dot

and the lower case figures. With time, five

weights of DIN Condensed were added,

as well as Greek and Cyrillic versions. The

shape of new FF DIN differs from the origi-

nal mostly by thinner horizontal strokes

and by more fluent curves.

Despite its primitive, technical look and the

clear reference to the German motorway

signboards, FF DIN became a phenome-non. The typeface has even pervaded book

and magazine typography, and it found its

place in posters of cultural institutions.

That is why we asked Albert-Jan Pool for

an interview and an article on the DIN type-

face history, when we met him at the Typo

Berlin conference in 2005.

EACH TYPEFACE SERVES A CERTAIN PURPOSE

RESPONSIBILITY FOR SPREADING GERMAN

CULTURE, GERMAN GEOMETRIC STYLE?

There is not that much responsibility, because

a typeface cannot lead to a disaster, I hope.

I do not work for those who deal with atomic

energy, for example, and my work could not

lead to the invention of a nuclear weapon.

A bad typeface does not really hurt. Compared

to warfare, my work brings no serious respon-

sibility.

I think FF DIN serves certain needs. Forexample, the designers of Geo Magazine

use FF DIN, also its black version, combined

with Collis, a very sophisticated text typeface,

created by Christoph Noordzij, one of my old

schoolmates. This shows a great contrast DIN

is very mechanical, very bold and striking. So

there is one typeface that serves reading and

a second one which suggests information, sug-

gests legibility. This is the principle of informa-

tion design you read a traffic sign and you

accept it as pure information. You dont need

to think it over again. Berlin is Berlin, what else

could it be? The simplicity invites people to get

into it. If you would set the whole magazine in

a sophisticated text typeface, people would

think that it is aimed at very educated people,that it would be too complicated, and that they

could never understand it. So, the typeface

serves certain purpose, and therefore it is good

that it exists.

YOU SAY THAT DIN TELLS THE TRUTH,THAT IT IS A SERIOUS NEUTRAL TYPEFACE,THAT IT IS SOMETHING THAT WORKS IN GER-MANY, BUT IT WOULDNT WORK THE SAME WAYFOR EXAMPLE IN BRITAIN, BECAUSE THEY USEMORE DECORATIVE STYLE.Yes, DIN is neutral, but it is not as neutral asUnivers, because FF DIN has not been madeperfect. It has simple appearance. Its formssuggest that it is easy to read. And it is neutral

and somehow objective. But that is the wayhow people look at things. When you tell peo-ple something about type design, they wouldalways come up with the idea that Futura isprobably the best legible typeface, becausepeople understand how the forms are beingmade this is circle, this is trianglePeople think that if they can understand

TYPO.INTERVIEW IN YOUR LECTURES AT TYPO BERLIN, YOUDESCRIBED THE EVOLUTION OF THE FF DINTYPEFACE. SO, WAS IT CREATED JUST TO FILLIN A GAP IN THE MARKET?It is part of the story. Erik Spiekermann sawthe old DIN typeface on the market in twoweights and he noticed that several designersbegan using it. And he thought: why is thishappening? These were leading designers, hesaw them going on and he thought: Hm, we

should do something about it. Why do they usethis unusable typeface? Lets ask someonewho can make something useful out of it. Thenit might work even better.

AND ARENT YOU THINKING ABOUTEXPANDING IT INTO MORE STYLES? CREATINGDIN SERIF, DIN ROUNDEDI am working on the rounded version. I am alsoworking on stencil, on extended, on mono-spaced. There are many things that are beingdeveloped.

IS IT STILL FUN FOR YOU TO STAY WITHONE CONCEPT AND TO EXPAND IT?On one hand, type design is creative. You think

of something new and try it out, and find outwhat it should be like, but at the same point,the production process starts. For example,when you have an o, you might make an eout of it, or when you have an n, you mighttransform it into an h. The work must thusbe perfect from the very beginning, becauseotherwise, if you decide to make the font a bitwider, youd have to start all over again. Youmust be aware of what you are doing fromthe very beginning. It is unlike many otherprofessions for example, when you work onan advertising campaign, you may keep chang-ing the motifs. The executive officer says: Wewill not bring this up. It is just impossible. Andtwo weeks later, the ad must be on TV or on

billboards.

YOU TOOK A GERMAN ROAD SIGN TYPE-

FACE, EXTENDED IT TO A FAMILY, AND NOW

YOU CAN SEE IT IN WORKS OF TYPOGRAPHERS

ALL AROUND THE WORLD. YOU CAN FIND DIN

IN NEWSPAPER HEADLINES, FLYERS OR EVEN

BOOKS. HOW DO YOU FEEL ABOUT HAVING

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KAD PSMO M KONKRTN ELV roce 1994 jeli Albert-Jan Pool spolu s Erikem Spiekermannem taxkem na letit z konference ATypI

v San Francisku. Spiekermann vdl, e Poolv zamstnavatel zrovna zkrachoval, a tak mu ekl, a semrkne na psma jako OCR a DIN, jestli chce svmi psmy vydlat njak penze. Zrove pozval Poola doBerlna, kde by mohli tuto mylenku spolen rozvinout.O rok pozdji skuten FontShop vydal Poolovo psmo FF OCR-F a vzpt i rodinu FF DIN. Spiekermanndokzal velmi pesn vystihnout mezeru na trhu. V prodeji sice byla digitalizovan psma DIN, ale pouze

ve dvou duktech a navc v psn geometrick kresb. Pool navrhl rodinu o pti duktech, doplnil jio skuten kurzivy a tak o alternativn ez lic se nap. kulatou tekou nebo minuskovmi slicemi.Postupn pibylo 10 ez rodiny DIN Condensed a tak varianta eck a cyrilice. Tvarov se nov FF DINod pvodn verze li zejmna tenmi horizontlnmi tahy a plynulej kresbou kivek.Pes svj primitivn technick vzhled a jasn odkaz na nmeck dlnin znaen se stal FF DIN

fenomnem. Psmo proniklo do knin i asopisov typografie i na plakty kulturnch instituc. Proto jsmena konferenci Typo Berlin 2005 podali Alberta-Jana Poola o rozhovor.

Ve svch pednkch na Typo Berlin jstepopisoval evoluci psma FF DIN. Bylo skuten

vytvoeno proto, aby vyplnilo mezeru na trhu?V jistm smyslu ano, ale je to jen st pravdy. ErikSpiekermann zjistil, e se prodv pvodn psmoDIN ve dvou tloukch a e ho nkolik designrzaalo pouvat. Protoe lo o uznvan grafiky, zaalse zajmat o to, pro DIN pouvaj, a ekl si: S tmbychom mli nco udlat. Pro vbec pouvaj

takov nepouiteln font? Kdyby ho ale nkdo upra-

vil, mohlo by fungovat mnohem lpe.

Neuvaujete o tom, e byste rozil rodinupsem DIN o dal variace? Nechystte se vytvoiteknme DIN Serif, DIN Rounded?Na variant DIN Rounded prv pracuji, ale pipravuji

tak Stencil, Extended, Monospaced Vznik mno-

ho font najednou.

Jet pod vs bav zabvat se roziovnmjedin koncepce?Navrhovn psem je sice kreativn vymysltenco novho, vyzkoute to a zjistte, jak by to mlovypadat , ale ve stejnou chvli je u poteba mysletna proces vroby. Napklad psmeno o metesnadno zmnit na e nebo psmeno n na h.

Prce mus bt perfektn promylen od samho za-tku, protoe pokud se v prbhu tvho procesurozhodnete font o nco mlo rozit, budete musetzat pln od zatku. V tom se design psma liod ostatnch profes kdy napklad pracujete nareklamn kampani, nen problm v prbhu prcezmnit motiv. Vkonn editel najednou prohls:Tohle nememe pout, to je naprosto vylouen.A o dva tdny pozdji mus bt reklama v televizinebo na billboardech.

Vzal jste psmo pouvan pro nmeck dopravnznaen, vytvoil z nj rodinu font a te ho vidte

v pracch typograf po celm svt. Najdete hov novinovch titulcch, letcch, dokonce v kni-hch. Ctte pocit odpovdnosti za toto en n-meck kultury, nmeckho geometrickho stylu?

Nen to zase takov odpovdnost, protoe fontneme, jak doufm, zpsobit katastrofu. Nepracujinapklad s atomovou energi a moje prce nemevst k vynlezu atomov zbran. patn psmoprost tak nebol.Domnvm se vak, e kad psmo mus slouitkonkrtnmu elu. Napklad designi nmec-kho Geo Magazine pouvaj FF DIN vetn ezuBlack v kombinaci s velice sofistikovanm textovm

how letters are being constructed, they canalso read them easily, but that is nonsense.One doesnt need to understand the way let-ters are made before one gets to read them.

THERE ARE TWO DIFFERENT VIEWS OF DIN.PEOPLE WERE USED TO SEE IT FOR TENS OF

YEARS, BUT WHEN I FIRST SAW IT IN A PRINTEDMAGAZINE, THE TYPEFACE WAS NEW. IT WASCOMPLETELY DIFFERENT, SO FRESH, SO NEW,

SO MODERN. AND I THINK THIS IS ALSO THEWAY IT IS USED OUTSIDE OF GERMANY.Yes, foreign typographers use it for differentreasons. It is new, it is practical, it has certainquality, and it seems like it hasnt been arounduntil now. Designers are the sort of people whoget fed up with what they are doing very easily.They are always looking for something new.Which is in fact irrational, because from therational point of view, you could say: Well, wehave Univers, the family is bigger, it has beenredrawn recently, its proportions are perhapsideal, the form solutions are better, becausethere is no constructivist idea behind it. It isgood, it works, why shouldnt we use it for-ever? But the public also looks for something

new. It is always nice to have a new shirt, newshoes, a new computer. So they like FF DIN,because it is new.

DIN IS ALSO USED AS A CORPORATE FONT OF

THE CZECH NATIONAL THEATRE. IT IS PERHAPS

ODD THAT A TRAFFIC TYPEFACE IS USED BY

ONE OF THE MOST ADMIRED CZECH CULTURAL

INSTITUTIONS WHICH PLAYED A LEADING

ROLE IN THE NATIONAL REVIVAL MOVEMENT

AGAINST GERMAN CULTURE OF PRAGUE IN THE

19TH CENTURY. AND NOW, THEY ADOPT DIN AS

A CORPORATE TYPEFACE. IT IS SIMILAR TO THE

USE OF DIN IN CENTRE POMPIDOU IN PARIS.

I AM SURE THAT RUEDI BAUR KNEW THAT HE IS

USING GERMAN TYPEFACE.

One of my colleagues, a graphic designer, wentto Paris for her holiday, and she came back

saying: Did you know that all the signs in the

Centre Pompidou are designed using DIN?

She also brought a booklet on the Centre

Pompidou by Ruedi Baur, thats where I found

the pictures for my lecture. I was about 13 years

old when I first saw the Centre Pompidou. It has

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Signage for Centre Pompidou in Paris by Intgral Ruedi Baur et Associs, 2000. Typefaces: FF DIN (signage) and DIN Engschrift (screens and objects).Orientan systm paskho Centre Pompidou, studio Intgral Ruedi Baur et Associs, 2000. Psmo: FF DIN (orientan systm) a DIN Engschrift (vlohy a poutae).

TYPO.INTERVIEW

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psmem Collis mho bvalho spoluka Christo-pha Noordzije. Vznik tak vrazn kontrast DIN jemechanick, velmi tun a vrazn. Je zde tedy jedenfont, kter je uren pro ten, a druh, kter naznau-

je dobrou itelnost, jednoduch pedn informace.To je princip informanho designu tete dopravnznaku a pijmte ji jako istou informaci. Nemuste

ji dlouho studovat. Berln je Berln, co jinho by tomlo znamenat? Jednoduchost dodv lidem odva-hu. Pokud vysadte cel asopis dokonalm textovmfontem, budou se domnvat, e je uren jen vysoce

vzdlanm tenm, bude se zdt pli komplikova-n na to, aby mu mohli porozumt. Kad psmo mtedy konkrtn el, a proto je dobe, e vzniklo.

kte, e DIN mluv pravdu, e je to serizn,neutrln psmo, kter je vak typicky nmecka napklad v Britnii nepouiteln, protoe Britovmaj radi dekorativnj styl.Ano, DIN je neutrln, ale nen tak neutrln jakonapklad Univers, protoe FF DIN nebyl vytvens clem bt dokonal. Vypad velmi jednodue, jeho

tvary dvaj tuit, e bude dobe iteln. Je neutrlna svm zpsobem objektivn. Ale lid to vid jinak.Kdy jim eknete nco o typografii, vdycky dojdouk zvru, e Futura je nejlpe iteln psmo, protoe

je dobe vidt, jak jednotliv tvary vznikaly tohle jepece koleko, tohle trojhelnk Domnvaj se, ekdy chpou, jak jsou znaky konstruovny, mohou je

tak snadno st, ale to je pece nesmysl. Nemusme

rozumt tomu, jak znaky vzikaj, ne je zaneme st.

Lid byli zvykl vdat psmo DIN destky let nasilnicch, ale kdy je poprv uvidli v titnmasopise, bylo pro n nov, jin, zcela moderna jako takov je tak vnmaj designi zahranicemi Nmecka.Ano, zahranin typografov FF DIN pouvaj z jinchdvod. Je nov, je praktick, m jist pednostia zd se, e tady nco takovho dosud nebylo.Designi pat k lidem, kterm se vechno, co dlaj,brzy zprotiv. Pod hledaj nco novho. Je to veskutenosti iracionln, protoe z racionlnho hle-diska bychom mohli ct: Tak, mme rodinu psemUnivers, kter je vt, nedvno pekreslen, mnejsp ideln proporce, i tvarov een je lep, pro-

toe za n nestoj dn konstruktivistick idea. Je todobr psmo, funguje, pro bychom ho tedy nemli

pouvat nadosmrti? Ale veejnost chce tak vidtnco novho. Vdycky je lep mt nov triko, novboty, nov pota. Proto si lid oblbili FF DIN jeprost nov.

Psmo DIN pouv jako korportn font tak eskNrodn divadlo. Je zvltn, e jedna z nejvznam-njch eskch kulturnch instituc, kter v deva-

tenctm stolet sehrla dleitou roli v eskmobrozen, oste vymezenm vi nmeck kultue,pouv psmo uren pro nmeck dopravn

znaen. Je to podobn jako pouit psma FF DINv paskm Centre Pompidou. Ruedi Baur uritvdl, e pouv nmeck psmo.Jedna moje kolegyn grafika jela do Pae nadovolenou a po nvratu mi naden ekla: V, einforman a orientan systm v Centre Pompidou

je vyszen DINem? Poprv jsem vidl CentrePompidou, kdy mi bylo tinct let, a od t doby z-stv v m pomysln architektonick top ten. Vidt

tam FF DIN jako korportn psmo bylo fantastick.Krom toho Centre Pompidou kad zn, take jsem

hned vdl, e ve svch ptch pednkch chcipout fotografie, na kterch je jeho nov oreintansystm. Zavolal jsem tedy Baurovi a on mi fotografieobratem poslal.S mnoha lidmi jsem pak o Baurov volb mluvil, a tak

jsem se dozvdl o polemikch, kter kolem novhokorportnho stylu centra vznikly. Ne toti na scnuvstoupil Baur, byl autorem informanho a orientan-ho systmu jeden francouzsk grafik, a Baurovy zmny vyvolaly velkou diskuzi. Jet jsem se tm plinezabval, neetl jsem dn recenze ani jsem o toms Baurem nemluvil. Mon to od nj byla trochudrzost, e v tak prestin francouzsk budov pouilnmeck standardizovan industriln psmo. Jeale teba uznat, e se prost k architektonickmupojet Centre Pompidou velmi dobe hod.Vdy je nkolik dvod k pouit konkrtnho psma psmo dobe vypad, je dobe iteln, zapad dohistorickho a kulturnho kontextu. Kdybychom ale

nemli dost odvahy, pod bychom pouvali ernouna bl a psma jako je Garamond. Lid by si pakani nevimli, e se typografie a design vyvj a mn.Nejenom designi, ale i veejnost potebuje novpodnty. Zmny v obsahu si toti vimnete jen tehdykdy se zmn i vizuln strnka. Neuvte napklad,e asopis m nov urnalisty a zmnil styl informo-vn, pokud se nezmn tak grafick prava. Lid

jsou pesvdeni, e to spolu souvis. Stejn je tomui v ppad, e se spoj dv spolenosti. Lid uv veskuten nov zatek a v okamiku, kdy spole-nost dostane nov jmno a nov logo.

Vchodoevropt designi miluj DIN. Ptal jstese, pro si jej tolik automobilek vybr pro svreklamn kampan. Nen odpovd fakt, e m-linevzdlan esk designr pochybnosti, zvol DINprotoe zkrtka neme udlat chybu?

Ano, britsk tiskae dv tak uili: Kdy vh,pouij Caslon. Ale FF DIN je dnes sp nco jakobyla dve Helvetica. Byla tak nov a neokoukan.V pozad byl samozejm Akzidenz Grotesk, alerodina Helvetiky byla vt, byla dostupn pro vtinustroj, operanch systm a dalch zazen. Byla

tedy nov, dostupn a pkn a mnoho typografji propagovalo. Proto se stala celosvtovou mdoupodobn jako dny. [peklad: Linda Kudrnovsk]

rozhovor s Albertem-Janem Poolem vedli Filip Blaek a Pavel

Koika

Albert-Jan Pool (born in Amsterdam, 1960) studied in The Hague at the Royal Academy of Arts. He was one of theco-founders of Letters], a group of young Dutch t ype designers. Many of its members have become well-known typedesigners (e. g. Frank Blokland, Erik and Petr van Blokland, Jelle Bosma, Luc(as) de Groot, Bart de Haas, Henk van Leyden,Peter-Matthias Noordzij, Marie-Ccile Noordzij-Pulles, Just van Rossum or Peter Verheul). After his studies, he moved toGermany. Between 1987 and 1994, he worked as a Type Director (Scangraphic in Wedel, URW in Hamburg). During thisperiod, he designed his type families URW Imperial, URW Linear and URW Mauritius. In January 1995, he founded his own

studio Dutch Design in Hamburg. FF DIN and FF OCR-F were among his first projects. Dutch Design finally merged intoFarbTon Konzept + Design. For customers of FarbTon, he created a number of corporate typefaces. Pool is currently workingon several new series in order to extend the family of FF DIN in 2005.

Albert-Jan Pool (narozen 1960 v Amsterdamu) vystudoval Krlovskou akademii umn v Haagu. Je jednm ze zakldajcchlen skupiny mladch holandskch t ypograf nazvan Letters]. Mnoz jej lenov jsou dnes slavnmi designry (nap.Frank Blokland, Erik a Petr van Bloklandov, Jelle Bosma, Luc(as) de Groot, Bart de Haas, Henk van Leyden, Peter-MatthiasNoordzij, Marie-Ccile Noordzij-Pulles, Just van Rossum, Peter Verheul). Po studich se pesthoval do Nmecka, kde v letech19871994 pracoval pro Scangraphic ve Wedelu a URW v Hamburku jako t ype director. V tomto obdob navrhl rodinypsem URW Imperial, URW Linear a URW Mauritius. V lednu 1995 zaloil v Hamburku vlastn studio Dutch Design. Mezi jehoprvnmi samostatnmi projekty byl FF DIN a FF OCR-F. Dutch Design se pozdji spojil do skupiny FarbTon Konzept + Design.Pro klienty studia FarbTon vytvoil Pool mnostv korportnch psem. V souasnosti pracuje na nkolika novch ezech,roziujcch rodinu FF DIN.

been on my architectural top-ten ever since, so

seeing FF DIN there was fascinating. Besides

of that, Centre Pompidou is famous worldwide,

so I wanted to use the pictures showing FF DIN

in Centre Pompidou in my future lectures im-

mediately. So I called Ruedi Baur to ask him

for the pictures and he sent them to me. I have

been telling people about this, and this is how

I came to hear about the discussion. Before

Baur came in, there was a French designer who

designed the interior and the guiding system.And many people didnt like Baurs changes.

But I havent traced the discussion yet. I did

not read any articles. I did not even discuss it

with Ruedi Baur. Maybe Ruedi was a bit rude in

taking a German Industry Standard Typeface

for such a prestigious French place. But on the

other hand, one must admit that it fits very well

with the architecture.

So, there are always several reasons for using

a certain typeface: one is that it looks nice,

second is that it is legible, and the third is that

it goes well with the historical and cultural back-

ground. But if we werent brave enough, we

would always use black on white and typefaces

like Garamond. Then, people would not notice

that things change. Not only the designersneed new impulses, also the general public

does. You only notice a change in the content

when its appearance changes too you would

not believe that, for instance, a magazine has

hired new journalists and has changed its edito-

rial style, if the layout remained the same. Peo-

ple think these things belong together. In the

same way, when two companies merge, people

will only believe in the new beginning if the

company gets a new name, a new logotype, so

they can see it on their new business cards.

EASTERN EUROPEAN DESIGNERS LIKETHE DIN TYPEFACE. IT MIGHT BE AN ANSWERTO YOUR QUESTION WHY SO MANY CAR

PRODUCING COMPANIES CHOOSE DIN FORTHEIR ADVERTISEMENT CAMPAIGNS ANUNEDUCATED CZECH DESIGNER WHO HASSOME DOUBTS USES DIN AS HE CANNOT GOWRONG.Yes, just like the British printers weretaught If in doubt, use Caslon. But FF DIN isnow something like Helvetica. Once, Helveticawas also new and fresh. Of course, there wasAkzidenz Grotesk behind it, but the Helveticafamily was bigger, it was available for moremachines of the time, for more systems, it waslicensed to several others. So it was new, itwas available, it was nice, and it was promotedby many typographers so it became a kind ofworld-wide fashion. Just like the blue jeans.

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TEXT.ALBERT-JAN POOLTYPO.PHENOMENON

DIN (DeutscheIndustrie-Norm German IndustrialStandard) is themagic word foranything that canbe measured inGermany, includingthe officialGerman typeface,appropriately called DIN Schrift.Since it becameavailable in digitalform, this face hasbeen picked upby many graphicdesigners wholike it for its lean,geometric lines

Erik Spiekermann,Stop Stealing Sheep, 1993.

Motorway roadsign using DIN Mittelschrift.Dlnin ukazatel vyszen psmem DIN Mittelschrift.FontCard using FF DIN, Jrgen Siebert, 1995.Pohlednice vyszen psmem FF DIN, Jrgen Siebert, 1995.

IndustrialArchaeology

DIN

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In Germany, typography within the public environ-ment has been dominated by two typefaces as

defined in the German Industry Standard DIN 1451: DINMittelschrift and DIN Engschrift, its condensed companion.Also known as Autobahn typefaces, these two had beendominating the traffic signs and public lettering in Germanyfor decades.To supply a typeface that can be executed with the

help of a grid the long used typeface of the Deutsche

Reichsbahn was chosen. This quotation from a documentfrom 1936 is one of the very few keys that could be found inthe archives of the DIN Institute in Berlin. During World WarII, the archives had been bombed twice, so little documen-tation on the origin of the design of the DIN Schriften hasbeen saved. Fortunately, the history of almost anythingconnected with (German) railways is being researchedcontinuously, to the maximum limit. Not only steam-enginesand timetables, almost any object has its collectors, admir-ers and specialists. Even signposts and ownerplates.

DIN 1451 /THE FIRST GERMAN CORPORATE TYPEFACE?

Ruler, compass and coarse grid govern the design in this master drawing for the Prussian Railways from 1912, similar to the version of 1905. This is the model for DIN Engschrift.This typeface is currently being reconstructed, the working title is FF DIN Industrial.

Vzorov psma pro Prusk eleznice z roku 1912 byla, podobn jako ve verzi z roku 1905, vytvoen pravtkem a krutkem na mce. Toto je vzor psma DIN Engschrift.Na prav a digitalizaci tohoto psma se pracuje, pracovn nzev zn FF DIN Industrial.

In 1905, the KPEV Knigliche Preusische Eisenbahn(Royal Prussian Railways) defined a new master drawing fortheir lettering. Its original purpose was to unify the descrip-tions on the freight cars, but it was soon adapted for all

sorts of signposts, including the names of railway stationson platforms. It thus became one of the first corporatetypefaces in Germany. The foundation of the WeimarRepublic, which enforced the process of the unification ofthe patchwork of German countries into a single Germanstate was followed by a merger of all state railways into theDeutsche Reichsbahn in 1920. The master drawings of theKPEV (Prussian Railways) became the reference for mostrailway signposts. Originating in master drawing from 1905,the DIN typeface turned one hundred years of age in 2005.

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Handle of an emergency brake in a KPEV-car using the KPEV standard Typeface.Dradlo zchrann brzdy ve vagonu spolenosti KPEV s pouitm standardnho psma KPEV.Instead of setting a standard, the older KPEV master drawings from between 1883 and1897 document the variety of typefaces in use.Star varianty nkres dokumentuj spe rozmanitost souasn pouvanch psem nevytven normy. Ukzky z let 18831897.The 1920 design survived until the introduction of new DB Logos in 1951, which useDIN Breitschrift (left) and 1955 (right).Design z roku 1920 vydrel a do pedstaven novch logotyp Deutsche Bundesbahn (DB)roku 1951 s pouitm psem DIN Breitschrift (nalevo) a 1955 (napravo).This master drawing from AEG documents the use of the KPEV s tandard typefacefor the ownerplate of the steam engines built for the Deutsche Reichsbahn (top).As from 1920, all steam engines had identical license plates (centre).After World War II, Reichsbahn was renamed to Bundesbahn (bottom).Tento nkres od firmy AEG dokumentuje pouit standardizovanho psma KPEVna znaen parnch lokomotiv zkonstruovanch pro Deutsche Reichsbahn (nahoe).Od roku 1920 mly vechny parn lokomotivy identick tabulky (uprosted).

Po druh svtov vlce byla sk eleznice (Deutsche Reichsbahn) pejmenovnana Deutsche Bundesbahn (dole).In daily life, the German steam engine is only a number. Its enormous power isregulated by time tables, regulations and men in black. Musician and photographerAxel Zwingenberger masterly captured this phenomenon in his impressive bookZauber der Zge (Railway Magic).V kadodennm ivot byla nmeck parn lokomotiva pouhm slem. Jej nesmrnsla byla usmrovna jzdnmi dy, pravidly a mui v ernm. Hudebnk a fotograf AxelZwingenberger tento fenomn mistrovsky zachytil v impozantn knize Zauber der Zge(Kouzlo eleznice).

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TYPO.PH

DIN 1451 / A CHILD OF ITS TIMEINDUSTRILN ARCHEOLOGIEDIN (Deutsche Industrie-Norm nmeck prmyslov norma) je arovn oznaenehokoli, co lze v Nmecku zmit, vetn oficilnho nmeckho psma pznan ()nazvanho DIN Schrift. Od t doby, co bylo psmo digitalizovno, si jej mnoz designioblbili pro jeho geometrick linie

Erik Spiekermann, Stop Stealing Sheep, 1993

Comparison of letters drawn on grids identical to the grid of DINEngschrift: Master drawing, Prussian Railways, Berlin 1905 (top)Bauhaus Logotype, Joost Schmidt, Dessau 1929 (bottom)Srovnn znak zakreslench do mky identick s mkou psma DINEngschrift. Psmov pedlohy, Prusk eleznice, Berln, 1905 (nahoe).Logotyp Bauhausu, Joost Schmidt, Dessau, 1929 (dole).

The Konsumgebude by Walter Gropius from 1928. Whether thetypeface is DIN currently remains unclear. Still, the resemblance isquite astonishing. Photo: Bauhaus-Archiv Berlin. VG Bild-KunstBonn.Konsumgebude Waltera Gropia z roku 1928. Jestli pouit psmo

skuten je DIN, zstv dodnes neobjasnno. Podobnost je vakudivujc. Foto Bauhaus-Archiv Berlin. VG Bild-Kunst Bonn.

Veejn prostor v Nmecku ovldaj dv ps-ma DIN Mittelschrift a jeho zen verze DINEngschrift. Tato dv psma, znm tak jako dl-nin, vldnou dopravnmu znaen a npism naveejnch mstech u cel desetilet.Z nabdky psem, kter mohou bt vytvoe-

na s pomoc mky (), bylo vybrno psmo

Deutsche Reichsbahn (Nmeck sk elezni-

ce). Citt z roku 1936 je jednm z mla zznam,kter o vzniku psma najdeme v archivech ber-lnskho DIN Institutu. V prbhu druh svtovvlky byly tyto archivy toti dvakrt vybombardo-vny a o pvodu designu DIN Schriften se do-chovalo jen velmi mlo dokumentace. Natst jehistorie tm ehokoli, co m nco spolenhos (nmeckou) eleznic, neustle zkoumna a na

samou hranici monost. Nejen parn lokomotivya jzdn dy, ale tm kad objekt (teba i elez-nin ukazatele nebo tabulky se jmny majitel)m sv sbratele, obdivovatele a specialisty.

DIN 1451 / prvn nmeck korportn psmo?V roce 1905 definovala spolenost KPEV (Knig-liche Preusische Eisenbahn Prusk krlovskeleznice) nov pedlohy svho psma. Prvotnmdvodem pro jeho vznik byla poteba unifikacepopisu nkladnch vagon, ale brzy bylo pouv-

no pro nejrznj typy npis vetn nzna nstupitch. Tak se toto psmo stalo jez prvnch korportnch psem v Nmecku.Zaloen Vmarsk republiky, kter urychlproces slouen nmeckch zem do Nme, bylo v roce 1920 nsledovno spojenvech sttnch eleznic do spolenosti DeReichsbahn. Pedlohy psma spolenosti se staly vzorem pro vtinu npis spojens vlakovou dopravou. Nvrhy psma DIN z1905 oslav tedy letos u st narozeniny.

DIN 1451 / dt sv dobyV dessauskm obdob Bauhausu byly jedznaky abecedy kresleny za pouit krutkvtka na hrub mce. Dky tomu se organ

kurz typografie Herbert Bayer a Joost Scstali prkopnky konstruktivistick typogradvactch letech u hrl konstruktivismusroli ve formovn vizulnho prosted).Srovnn psma spolenosti KPEV, psma schrift a Schmidtovch nvrh prokazuje vpodobnost. Pestoe neexistovala (co se nvn psma te) dn pm spojitost mehausem a psmem DIN, je velmi pravdpoe eleznin ukazatele pedstavitel Bauhdobe znali. Nvrh, e se psmo spoleno

During the Dessau Period of the Bauhaus, characters weredrawn with ruler and compass on coarse grids. Doing so,Herbert Bayer and Joost Schmidt who were responsiblefor the courses in t ypography became the pioneers ofthe so-called Constructivist style of lettering. In the 1920s,

Constructivism was not the only game in town, but it cer-tainly played an eminent role. A comparison of the KPEVtypeface, DIN Engschrift, and of Schmidts designs showsremarkable resemblance. Although there were no directconnections between Bauhaus and DIN as far as type de-sign is concerned, it is very likely that the railway typefacewas well known at the Bauhaus. The proposal that theKPEV lettering would become a part of DIN 1451 has beenfirst published in 1924 and has been discussed in severalprinters and graphic magazines. Walter Porstmann, the fa-ther of the DIN Formats for paper sizes, held lectures at theBauhaus in about 19241925, where he promoted klein-schreibung. He also had the idea that a new phoneticalphabet would be economical, easier to read, and wouldtherefore be of great help in global communication.Standardisation based on plain solutions was an idea

common for both DIN and Bauhaus. With his Universaltypeface, developed from 1925 to 1930, Herbert Bayerconcentrated on a constructed alphabet with lowercaseletters only. Both he and Joost Schmidt promoted klein-schreibung in various publications.Porstmanns ideas on alphabet reform also inspired design-ers outside the Bauhaus, such as Kurt Schwitters and JanTschichold. Both developed optophonetical type designs,where the letterforms should visually resemble the soundsconnected to them. Especially Kurt Schwitters based his

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Dinbuch 1 by Walter Porstman from 1930, the first in a series of books on DINStandards. The lettering closely resembles DIN Engschrift. Dinbuch 1 WalteraPorstmanna z roku 1930. Prvn ze srie publikac o normch DIN. Npis jasnpipomn DIN Engschrift.Early (condensed) version of Herbert Bayers Universal typeface, 1924/1925.Ran (zen) verze Univerzlnho psma Herberta Bayera z let 1924/1925.Exhibition poster, design and typeface by Herbert Bayer, 1927.

Photo: Bauhaus-Archiv Berlin. VG Bild-Kunst BonnPlakt k vstav, design a psmo Herbert Bayer, 1927.Foto: Bauhaus-Archiv Berlin. VG Bild-Kunst Bonn.In 1929 Jan Tschichold published his proposals to reform the latin alphabet.He had been working on these since 1926. In his Universal alphabet (top),he tried to find a synthesis between upper and lowercase. The phonetic version(below) attempts to find li nks between letterforms and their pronunciation.V roce 1929 Jan Tschichold publikoval svj nvrh reformy latinkov abecedy, na kterpracoval od roku 1926. Ve sv Univerzln abeced (nahoe) se pokusil vytvoitsyntzu minusek a verzlek. Fonetick abeceda (dole) se sna najt souvislostimezi tvary psmen a jejich vslovnost.Kurt Schwitters based his Systemschrift (system type) on geometric forms.The example shown here is from 1927. Obviously, M, e, o and the numeralsresemble DIN, whereas A refers to the designs by Herbert Bayer.

Systemschrift Kurta Schwitterse z roku 1927 je zaloen na jednoduchchgeometrickch tvarech. Verzlkov M, minuskov e, o a sla pipomnaj DIN,zatmco verzlkov A odkazuje na nvrh Herberta Bayera.

TYPO.PHENOMENON

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alphabets on forms which show remarkable resemblance

to those of the DIN typefaces.Another interesting link between Bauhaus and DIN wasthe architect Ernst Neufert. Like Joost Schmidt, he wasa Bauhaus student from the very beginning in Weimarin 1919. Both attended Gropius classes. Later, between1925 and 1929, Ernst Neufert was the manager of Gropiusarchitecture studio. During this period, Gropius designedthe Konsumgebude(building with co-operative stores).It was located in the heart of his Gropius-Siedlung inDessau-Trten. The lettering is practically identical withDIN Mittelschrift, which has been published as a draf t in1926. Since 1926, Neufert had been working on what laterbecame his Bauentwurfslehre. The book title could betranslated into English as Architects design instructions.(Architects Data is the title used for it in the Englishtranslation). The Deutsche Normenausschu (GermanStandard Comittee) supported the publishing of the bookand contributed a foreword for the first issue in 1936. Inthis work, Neufert promoted standardisation. Many of hisguidelines refer to DIN Standards. Of course, he also setupthe standard for the layout of architectural drawings. DINtypefaces were to be used for all lettering on architectsdrawings. In 1944, when over 100,000 copies had beensold, most German architects used Neuferts Bauent-wurfslehre. Until today, it is internationally recognized asa standard work and has been translated into 17 languages.

stane vzorem pro DIN 1451, byl poprv zveejnnv roce 1924 a diskutovala nad nm mnoh dobov

tiskask a grafick periodika.Autor standardizace rozmr papr DIN WalterPorstmann podal v letech 19241925 v rmciBauhausu pednky, ve kterch propagoval Klein-schreibung (psan pouze minuskami). Piel taks mylenkou, e by bylo vhodn zavst novoufonetickou abecedu, kter by byla ekonomitj-, lpe iteln, a proto velice prospn v rmciglobln komunikace.Mylenka standardizace zaloen na jednodu-chch eench byla spolen pro DIN i Bauhaus.V letech 19251930 vyvjel Herbert Bayer svuniverzln psmo zamen na konstruovanouabecedu, sestavenou pouze z minusek. Jak on,

tak i Joost Schmidt propagovali Kleinschreibungv mnoha rznch publikacch. Porstmannova my-lenka na reformu abecedy inspirovala i designrymimo okruh Bauhausu, napklad Kurta Schwit-

terse nebo Jana Tschicholda. Oba se zabvalioptofonetickou typografi, kde tvary znak mlyvizuln pipomnat zvuky s nimi souvisejc. Zvl-

t Kurt Schwitters zaloil sv abecedy na tvarech,kter vrazn pipomnaj DIN.Dal zajmav spojnk mezi Bauhausem a psmemDIN pedstavuje architekt Ernst Neufert. Podob-n jako Joost Schmidt, byl i Neufert studentemBauhausu od plnch potk ve Vmaru v roce1919. Oba tak navtvovali Gropiovy pednky.

O nco pozdji, v letech 19251929, psoNeufert jako manaer Gropiova architektoho atelieru. V tomto obdob navrhl GropiuKonsumgebude postavenou v sdle Bauhv Dessau-Trten. Npis na fasd je praktidentick s DIN Mittelschrift, jeho hrub nbyl poprv publikovn roku 1926. Od rokuNeufert tak pracoval na knize, kter dostnzev Bauentwurfslehre, esky vyla pozvem Navrhovn staveb. Vydn knihy pNmeck standardizan vbor (Deutschenausschu, DNA), kter do prvnho vydn1936 pipravil pedmluvu. V tto publikacipropagoval ideu standardizace a mnoh zvodtek odkazuj na normy DIN. Definovalzejm i normy pro ppravu architektonicvkres, na nich mla bt standardn popouze psma DIN. V roce 1944 u bylo provc ne sto tisc vtisk Neufertovy knihy anmeckch architekt ji pouvala. Dnes jeprce povaovna za klasickou a byla pedo sedmncti jazyk.

DIN 1451 / Made in GermanyUnifikace a standardizace se v mlad Vmrepublice zhy staly hlavnm tmatem. Z pDIN (a tedy nmeckho prmyslu) byla stadizace jednm z hlavnch prvk kvality a snmeckch vrobk. Zd se, e si spoleSiemens cenila prce svho zamstnance

Correction sheet of DIN 1451 from 1931.DIN 1451 was finally released in 1936.Zkuebn arch psma DIN 1451 z roku 1931.Psmo bylo zveejnno roku 1936.Lettering rulers with DIN typefaces were the officialstandard for quite a long time. An attempt to applythem as an ISO-Standard failed. In 1976 it was decidedto supersede them by ISO 3998.ablony pro psmo DIN byly dlouhou dobu oficilnnormou. Pokus aplikovat je jako normu ISO se neujal.V roce 1976 byly vytlaeny normou ISO 3998.

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TYPO.PHENOMENON

Logotype using DIN Mittelschrift found on a machine. The DIN

typefaces were designed to be used for various purposes.Logotyp z psma DIN Mittelschrift nalezen na lokomotiv. Psma DINbyla navrena tak, aby vyhovovala rznm elm.These designs were a part of most issues of DIN 1451 from 1936to 1987.Tyto nkresy byly soust vtiny vydn normy DIN 1451 v letech 1936a 1987.Condensed (eng) and extended (breit) versions of DIN werecreated using the same grid. This page is from DIN 17, which wasa standard for typefaces drawn with drawing pens used since 1940.Varianty zenho (eng) a rozenho (breit) psma DIN byly navrenys pouitm stejn mky. Toto je ukzka DIN 17, norma pro psmakreslen vytahovacm perem, pouvan od roku 1940.For FF DIN (blue), the constraint of continous stroke width ofDIN 1451 (white) was abandoned. The weight of the horizontalstrokes has been reduced. Curves, as well as their transitions intostraight lines, were designed in a more fluent way.FF DIN ru princip stejn sly vech tah, tlouka horizontlnch tah jezredukovna. Obl tvary a jejich napojen na rovn tahy jsou plynulej.

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DIN 1451 / MADE IN GERMANY

As the President of the DIN Committee of Drawings,Siemens Engineer Ludwig Goller (18841964) wasresponsible for the development of the designs of DIN1451. With Gollers publication Normschriften (StandardTypefaces) from 1936, the typefaces of DIN 1451 and DIN16 were proclaimed as a standard for traffic signs, roadsigns, street names, house numbers and license plates.DIN 284 even defined DIN 1451as a standard for the borderstones of the German Reich. In September 1939, the

DIN Standards practically became legal status, since anofficial regulation was proclaimed in which the useof DINstandards could be dictated by an administrative order.Prezident Vboru pro ppravu psma DIN a inenr firmySiemens Ludwig Goller (18841964) zodpovdal za vvojpsma DIN 1451.Vydnm Gollerovy publikace Normschriften z roku 1936byla psma DIN 1451 a DIN 16 prohlena za normu prodopravn znaen, nzvy ulic, sla dom a SPZ. NormaDIN 284 dokonce definovala psmoDIN 1451 jakostandard prooznaovn hraninch kamen Nmeck e. V z roku 1939se normy DIN staly prvn zvaznmi, nebo bylo oficilnvyhleno, e dodrovn norem DIN me bt administrativnnazeno.Engraving models for the Siemens-Halske monogram from1899, and DIN 1451 from 1987.Vzory pro gravrovn monogramu Siemens-Halske z roku 1899a DIN 1451 z roku 1987.Siemens Logo from 1936 by Hans Domizlaff, one of the firstGerman brand consultants. The characters relate to DIN1451, which allowed a pointed M as an alternative design.

Logotyp firmy Siemens (z roku 1936) Hanse Domizlaffa,jednoho z prvnch nmeckch konzultant pro firemngrafickou identitu. Znaky odpovdajpsmu DIN 1451, kterjako alternativn variantu nabdlo piat verzlkov M.Comparison of DIN Mittelschrift (top) with FF DIN regular(bottom) in reading text. DIN Mittelschrift is far too heavyto suit the reading eye. Its continuous stroke width causesa spotty image. The condensed version, DIN Engschrift,stands out. The weight scheme for FF DIN was evolvedin a way to fit in a new and lighter regular version.Italics, bold and condensed weights allow for all levels oftypographic emphasis.Srovnn psma DIN Mittelschrift (nahoe) s psmem FF DINRegular (dole). DIN Mittelschrift je pli tk na to, abyvyhovoval toucmu oku. Stejn sla jeho tah vytv tmavmsta. Zen verze je dominantn. Schma dukt FF DIN bylovyvinuto tak, aby umonilo vytvoit novou a svtlej zkladnverzi. Kurziva, tun a zen ezy dvaj typografm vcemonost vyznaovn.

In the young Republic of Weimar, unification and stand-ardization soon became important mottos. Seen from theDIN position (and thus of German industry), standardizationwas one of the main elements of the quality and success ofGerman products. It seems that the company of Siemensappreciated the work of its employee Ludwig Goller (presi-dent of the DIN Committee of Drawings) so much that the

characters of the newly drawn DIN Mittelschrift became themodel for the new Siemens logotype from 1936. In the DINliterature on DIN 1451, Ludwig Goller, who was responsiblefor the development of DIN 1451, can be found acting asa true Dean of DIN. As from the start of the developmentof DIN 1451, which began around 1924, until the mostrecent versions of 1985, one main guideline forms thebasis of all designs. It should be possible to draw identi-cal characters with all kinds of tools, varying from drawingpens and engraving tools to compass and rulers. They allshould share the same heart line. Depending on the tool,stroke ends could be rounded or angular. Great care wastaken to ensure that all letters were designed in such a waythat they could be drawn with continuous stroke width. Thisfeature of DIN 1451 partly coincides with DIN 16, one of thefirst DIN Standards. DIN 16 had been released in 1919 as

a standard for hand-lettering in technical drawings. As anattempt to link up the two standards, DIN 17 was created.By its release in 1940, the italic DIN 16 finally became itsroman counterpart. Both typefaces were redrawn andthus fitted to the same grid as the one used for DIN 1451.(During World War II, DIN 1451 was introduced in theProtectorate of Bohemia and Moravia as SN 1034.)A striking point to be mentioned here is that the conceptof continuous stroke width is a constraint which places theDIN typefaces outside of the real world of type design.The principle of continuous stroke width is contradictoryto the principles of traditional typography, which statesthat only varying stroke weight may enable ideal images ofwords. This is why most typographers reject the DIN type-faces, or at least refuse to take them seriously.

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Yello-poster reading: Oh, well, I believe electricity is yellow. Originating in public signposts, FF DIN is at its best when

serving needs that take advantage of such image. Since the beginning of the liberation of the German power supplymarket, Yello was one of the most successful brands. The 1999 campaign by Kreutz & Partner laid the basis for thesuccess of FF DIN in Germany.Plakt firmy YelloVm, e elektinaje lutvychzz koncepceveejnchvstranchtabul a psmo FF DINnejlpe funguje,kdy je vyuito prv takovm zpsobem. Od potku liberalizace nmeckho trhu s energi pat Yello mezi nejspnjznaky. Kampa agentury Kreutz & Partner nastartovala spch FF DIN v Nmecku.By using FF DIN for the TV advertisement, the message Yellow. Good. Cheap. Yello power was being communicated asneutral and true information. Many people expected the new companies to go bankrupt and leave their customers in thedark. In the end, over one milli on customers not only believed that electricity has the same colour as FontShop, but alsodecided to switch to a product of neutral quality for significantly lowerprice, without having to worrythat theirsocketswould run out of electricity.Pouitm FF DIN v televizn reklam psobilo sdlen lut. Dobr. Levn. Yello energie. neutrln a pravdiv. Mnoho lid sedomnvalo, e nov spolenosti zkrachuj a ponechaj sv zkaznky potm. Nakonec pes milion zkaznk uvilo, e elek tinam stejnou barvu jako FontShop a rozhodlo se vyuvat produkt stejn kvality za vrazn ni cenu, ani by se bli, e jimv zsuvkch dojde proud.

Reference drawing from Guidelines for Measurement and Design of Road Signs,issued in 1957 by the German Ministry of Traffic.Pedloha z Pravidel pro men a nvrh dopravnho znaen vydanho Spolkovmministerstvem dopravy v roce 1957.Being used for all traffic signsalong the motorway, one of the significantexponents of the German Wirtschaftswunder, DIN Mittelschrift, became a part ofthe visual expression of that period.By Temporary Order Nr 10 from 1938, DIN 1451 was to be used for all road signsalong the new Reichsautobahnen (State Motorways). The Autobahn typefacewas born.Jeliko byl DIN Mittelschrift pouvn pro dopravn znaen na nmeckch dlnicch,kter jsou vraznm pedstavitelem nmeckho ekonomickho zzraku, stal sesoust vizulnho vrazu sv doby.

Podle Doasnho nazen slo 10 z roku 1938 ml bt DIN 1451 pouvn proveker znaen podl skch dlnic. Tak se zrodilo dlnin psmo.

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TYPO.PH

Ludwiga Gollera (prezidenta Vboru pro ppravupsma DIN) natolik, e se znaky nov navrenhopsma DIN Mittelschrift v roce 1936 staly modelempro nov logo spolenosti. Ludwig Goller, kterzodpovdal za vvoj psma DIN 1451, je v literatuezmiovn jako prav dkan DIN. Od plnchpotk psma DIN 1451 kolem roku 1925 a

do roku 1985, kdy vznikaly jeho posledn verze,formuje charakter psma jedna hlavn mylenka s pomoc kadho nstroje (od vytahovacch pera rydel a po krutko a pravtko) by mlo bt mo-n vytvoit identick znak. Vechny by mly sdletstejnou podstatu. V zvislosti na pouitm nstrojimohou bt zakonen bu zaokrouhlen, nebohranat. Velkou pi vnovali designi tomu, abyvechny znaky mly stejnou tlouku tahu. Tentorys psma DIN 1451 se sten shoduje s varian-

tou DIN 16, jednou z prvnch norem DIN. DIN 16

byl zveejnn roku 1919 jako norma pro rupsan npisy v technickch vkresech.Jako pokus o spojen tchto dvou psem vDIN 17. Jeho zveejnnm v roce 1940 zskkonen naklonn DIN 16 stojat protjabecedy byly pekresleny podle stejn m

jak byla pvodn pouita pro DIN 1451. (

druh svtov vlky byla norma zavedena tektortu echy a Morava jako SN 1034Vznamn je, e koncepce stejn sly tahuomezenm, kter odsouv psma rodiny Dmimo reln svt typografie. Tento prin

toti pravm opakem vtiny princip tradtypografie, je prosazuje nzor, e pouzetlouka tahu me poskytnout ideln obslova. Proto tak vtina typograf psma DIN odmt nebo je pinejmenm neberevn. [translation: Linda Kudrnovsk]

Screen from the Jaguar website. Typeface: FF DIN.Otisk obrazovky webov strnky Jaguar. Psmo: FF DIN.Detail from an advertisement for Toyota, Netherlands. Typeface: FF DIN.Detail z reklamy pro firmu Toyota, Nizozem. Psmo: FF DIN.Detail from an advertisement for Citron, Netherlands. Typeface: DIN Engschrift.Detail z reklamy pro firmu Citron, Nizozem.Psmo: DIN Engschrift.A growing number of agencies seem to recognize the suitability of DIN typefaces for car advertising. ERenault, which already had its own corporate t ypeface Renault, designed by Wolff-Olins back in 198uses DIN for its customer magazine.Together with Stefan Rgener of AdFinder, one of the largest archives of advertisements worldwide,Albert-Jan Pool analyzed the use of typefaces in car advertisements in the USA, Great Britain and Gerin 1995. Unlike in other product groups, a specifictypeface for car ads did not emerge from the reseaSince its release, FF DIN is constantly gaining popularity within this category, closely followed by DIN.Jak se zd, objevuje stle vt poet agentur vhody psem DIN v reklam na automobily. Dokonce i firmaRenault, kter m svj vlastn korportn font Renault navren firmou Wolff-Olins v roce 1984, pouv v sklientskho magaznu psmo DIN.Albert-Jan Pool spolen se Stefanem Rgenerem z AdFinder, jednoho z nejvtch archiv reklamy na svanalyzovali pouit psem v reklamch automobilovho prmyslu v USA, Velk Britnii a Nmecku v roce 19

Na rozdl od ostatnch produktovch skupin nevyplynul z tohoto vzkumu vtzn dn konkrtn font. Od szveejnn vak FF DIN v tsnm zvsu s psmem DIN zskv stle vt popularitu.Mutabor, a Hamburg-based design studio, won several awards for typography of its magazine for thePremier Automotive Group (Aston Martin, Ford, Jaguar, Volvo). Typeface: FF DIN Condensed and otheHambursk grafick studio Mutabor vyhrlo nkolik cen za typografii asopisu pro Premier Automotive Gro(Aston Martin, Ford, Jaguar, Volvo). Psma: FF DIN Condensed a dal.

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Before landing in Helsinki, one may well ask

how, in such green wetland scattered with birch

trees lying on rugged coast, one could find solid

enough ground to support kilometers of runways.

In Finland, without a dictionary, you will have

trouble even finding a phonebooth. On the other

hand, everyone speaks perfect English, and the

locals are very kind to foreigners. A cab driver will

apologise that the 20-kilometers-long trip from

the airport will take a bit longer in rush hour, and

in fact, it wont last longer than mere 35 minutes.

In the end, we almost regret it, as the driver skill-

fully comments the interesting buildings we are

passing National Museum and the Main Railway

Station by Eliel Saarinen, or Kaisma Museumby Steven Holl. (There are hardly any medieval

monuments in Helsinki, so the city will please

mostly those who like modern architecture.)

The conference with the title On the Edge

took place in Lume Center in admirable, well

equipped University of Art and Design. Even

though the programme did not include as many

lectures by typographic celebrities as the last

years one in Prague, I personally perceive this

fact as positive there was enough space for new,

unknown speakers. The programme was opened

by a banquet at the town hall, organised by the

mayor of the cit y herself. The ATypI conference

didnt receive such honour in years.

Two-and-half-day marathon of presentations start-

ed with the talk of Aaron Marcus, the first graphic

designer who worked on computer full time (since

1967). He spoke about the troubles of designinga user interface for very small mobile accessories.

He defended the antropocentic approach: meta-

phors, models of thinking, navigation, interac-

tion, and appearance. He explained the need for

creative thinking about those principles, and he

was very serious in his warning that if we ignore

this approach, in the future, we may witness the

birth of new lite of new literates, similar to the

lite of middle ages, where only chosen individu-

als were able to read and write. He demonstrated

an example of what he was talking about

the design of PDA device WuKong, which

developed by Ericsson specifically for the

market. The data structure in this device d

use the traditional system of folders and fi

common in computers. Instead, it is base

Confucianist tradition based on social rela

The screens of small devices require spec

approach to their typography, and they m

even need a new alphabet. For ex ample t

LoCoS, graphic language designed by pr

Yukio Ota.

It would be strange if in the land of Nokia,

or Polar, one would not hear a talk about b

fonts. Gustavo Ferreira, designer from Brintroduced his flexible system of bitmap f

called Elementar, which he was developin

past two years. By adjusting various param

in different axis, Elementar generates incr

ible scale of various bitmap fonts. Similarl

classic multiple-master font, the user may

character width and the stroke thickness b

in horizontal and vertical strokes. But this

all the bitmap fonts have one specific pa

eter, that is, the height of the matrix. Than

that, the system may generate characters

the height of one px. Ferreira demonstrat

practical example of the usage of such al

illegible characters in an interactive map

displayed and hid various levels of inform

changing the font height, without the user

the overall structure. Elementar even inclu

parameters for changing the font style, sopossible to change the serif width (on the

of serif, semi-serif, sans-serif). As the pres

Peter Biak exaggerated: When I saw Ele

I didnt feel like developing my own bitma

any more. At the moment, Elementar is s

an ideologic concept. It needs to be dress

some user-friendly interface, but I am sure

be no problem for an experienced progra

This is why I hope that this great Ferreiras

was attended by someone from FontLab.

Elementar, flexibiln systm bitmapovch font, na jehovvoji pracoval dva roky. Pomoc pravy rznch parame-

tr v rznch osch generuje Elementar neuvitelnou irznch bitmapovch psem. Podobn jako u klasickhomultiple-master fontu me uivatel nastavit ku znakua slu tahu v horizontlnm i vertiklnm smru, ale nejento: specifickm parametrem bitmapovch font je i vkamatrice, take systm umouje generovat znaky od vky1 px. Ferreira pevedl praktickou ukzku, k emu mohoubt takov prakticky neiteln znaky dobr na interaktivnmap zmnou vky psma zakrval a odkrval rzn rovninformac, ani by uivatel ztratil pehled o jejich celkovstruktue. Elementar dokonce zahrnuje parametry pro zmnustylu psma, take je mon modifikovat ku patek (ve kleserif, semi-serif, sans-serif). Jak v nadszce poznamenal mo-dertor Peter Biak: Kdy jsem spatil Elementar, pela mchu vyvjet vlastn bitmapov fonty. Systm Elementar jezatm sp ideovm konceptem, potebuje jet oblknout do

uivatelsky pvtivho rozhran, ale pro zkuenho progra-mtora to nebude dn problm. Doufm, e na Ferreirovskvl pednce sedl nkdo z FontLabu.Finsko neproslulo pouze technologiemi, ale rovndesignovm sklem iittala, vynikajcm titnm textilemMarimekko nebo mdn znakou Nanso. Proto nen divu, ei na typografick konferenci se mnoho prezentac zabvaloist designem psma.Sumner Stone pat mezi elitu typograf a lze o nm snadprohlsit, e je ijcm klasikem. Jeho sporn prezentacebyla tak klasikou: historick exkurs do mskch pedpatko-vch psem s mnostvm detail jednotlivch znak promta-nch ve formtu 4 3 m.To Andreu Balius zvolil pro pedstaven tm zapomenuthopanlskho typografa 18. stolet Eudalda Pradella zcela odli-n pstup: ve svin prezentaci stdal ukzky Pradellovch

prac zasazench do historickho kontextu a vtipn animova-n sekvence ve stylu vkldanch televiznch reklam oveminzeroval, jak jinak, sv vlastn psma vetn digitalizacePradellovy antikvy.Matthew Carter letos zavril 50 let kariry typodesignraa pi tto pleitosti shrnula Margaret Re jeho dosavadntypografickou tvorbu a v prostorch Lume Center byla insta-lovna souborn vstava Carterovch pracTypographicallySpeaking. Za svj pnos typografii byl Matthew Carter jme-novn estnm doivotnm lenem ATypI.

THE LAND WHERE REINDEERS WISH TYPOGRAPHERS GOOD NIGHT

Melancholick pohled na ostrov Suomenlinna, kam

si obyvatel Helsink jezd lit chmury

The melancholy-evoking view of Suomenlinna island,

where the Helsinki citizens go to heal their sorrows

Budova hlavnho ndra od Eliel Saarinena.

The building of the main railway station by Eliel Saarinen.

a kde na autora lnku ekalo mil typografick

pivtn (ale ert v, co Paja znamen Finsky).

and where the author of this article was greeted wit

a pleasant typographic surprise (Although God know

what Paja means in Finnish. In Czech, it is the familia

form of Pavel.)

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Erik Spiekremann by v aukci vydrail i 12" floppydisketu s Arialem; zdatn mu k excelentnmu vkonu pomhala i Simone Wolf z Typevents.In an auction, Erik Spiekermann would be able to sell even a 12 " floppywith Arial quitedear. His impressive performancewas wellassisted by SimoneWolf from Typevents.

Alan Zruba svou objevnou prezentac o ISOTYPE Otto Neuratha odhalil mnoha typografm svt piktogram (viz Typo 3).In his breakthrough presentation on ISOTYPE by Otto Neurath, Alan Zruba has uncovered the world of icons to manytypographers (see TYPO 3).Konferenci doprovzela vstava studentskch psem Souvenirs v Helsinskm Design Museu. Mezi vysoce kvalitnmi a zralmi pracemi bylopekvapiv i mnoho azbukovch psem.

The conference was complemented by an exhibiton of student typeface projects entitled Souvenirs. It took place in the Helsinki Design Museum.

The works were mature and well designed, and included a surprising portion of Cyrillic typefaces.Nejupovdanj Polk s nejvenjm Nmcem: o em si asi mohli povdat Adam Twardoch s Erikem Spiekermannem?The most talkative Pole with the most eloquent German. What were Adam Twardoch and Erik Spiekermann talking about?Adi Stern lamentoval nad neblahm vlivem latinky na hebrejskou abecedua ukzal i pr hebrejskch znak, kter by snad jen laikovi mohly pipomnat latinkou psan slovo.Adi Stern complained about the negative influence ofLatinscripton Hebrew alphabet

and he presented a few Hebrew glyphs which only a total amateur could consider to be resembling the Latin script.Fintina je pro cizince zbavn sama o sob, ale co teprve, kdy zanou bt Finov vtipn to pak mus tisknout npojovlstek na leato.For foreigners, Finnish is fun in itself. Once even the Finns themselves become funny, then the drinks menu has to be printed with a landacape orientation

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Superrodina Dederon je komplex patko-vho a bezpatkovho psma zaloenho

na totonch konstruknch principech; mharmonickou souhru dobe rozliitelnch ote-vench tvar, kter zaruuj snadnou itelnost.Dederon Serif je abeceda navren specilnpro knin sazbu. Prce na tomto psmu zaalyv roce 2004. Inspiranm zdrojem bylo psmoLiberta vchodonmeck psmolijny TypoArt,pedevm jeho duktus a kov proporce. Pozhodnocen pedlohy zstalo pouze u tchto in-spiranch prvk: Dederon je plnohodnotnm,originlnm psmovm projektem.Dederon Serif m vtinu charakteristickch

prvk dynamick antikvy ikmou osu stnov-n, zvenou stedn vku, men rozdly mezihlavnmi a vedlejmi tahy. Ve vtch velikos-tech vynik typick kresba znak kaligrafickprincipy, tak pznan pro tradin eskpsma Oldicha Menharta, nezvykl serifynaznaujc tah pera, tvar dk, zakonenchvost a zrna.Po doladn patkov verze byla pozdji dokres-lena bezpatkov varianta Dederon Sans. Jezaloen na stejnch kresebnch principechantikvy, co psmu propjuje oteven, huma-nistick rysy, zrove je ale citliv podzenazkonitostem modernho grotesku. S patkovouverz si zachovv v jednotlivch tunostechshodn zabarven duktu, kov proporce,

stedn vku, dlku pesah a naklonnvyznaovac kurzivy.Kad ez Dederon Open Type Pro obsahujestandardn zpadoevropsk a stedoevropskznaky, velk mnostv zkladnch i akcentova-nch ligatur, prav kapitlky, skkav, verzlko-v, kapitlkov, tabulkov, zlomkov i indexovslice, expertn glyfy a alternativn varianty,tedy na 800 glyf v jedinm ezu pro komfortnprci na tch nejlepch projektech.

Dederon super family is a complex package of serifand sans serif fonts based on common construc-

tion principles, with harmonic compliance of easilydistinguishable open shapes providing effortlessreading.Dederon Serif is specifically designed for book set-

ting. The evolution of this font begun in 2004. Thedesign was inspired by Liberta typeface, created inEast Germany type foundry TypoArt, especially byits weight and width proportions. In the end, thesewere the only two elements of the font which influ-

enced the new design. Thus, Dederon is an originalhigh-quality font project.Dederon Serif contains most of the characteristiccomponents of dynamic antiqua, such as inclinedaxis of shading, raised middle height, and smallerdifferences between main and secondary strokes.Typical drawing of types excels in larger sizesthefont respects the calligraphic principles specific for

traditional Czech fonts of Oldich Menhart, such asextraordinary serifs hinting pen strokes, shape ofstems or the endings of tails and ears.Sans serif version of the fontDederon Sans wascreated after final tuning of theserif face. It is basedon the same drawing principles as antiqua, giving

the font open humanists features. At the sametime, it is sensitively subjected to the influences ofmodern sans-serif. It preserves the same weightproportions in individual weights, width proportions,

middle height, overlapping length or italics slopingas the serif version of the font.Each Dederon Open Type Pro contains standardWestern European and Central European charac-

ters, wide range of basic and accented ligatures,genuine capitals, non-aligning, capital, small-capital,

table, fractional and index numeral characters,expert glyphs and alternative variations. This yields

the total of more than 800 glyphs in one typeface,permitting comfortable work on the most demand-ing projects.[translation: Kateina Jungov]

TYPO.TYTEXT.TOM BROUSIL

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eck ostrov Samos le v Egejskm moi. Je mal, zelen, hornat a od Turecka vzdlen

vzdunou arou piblin tyi kilometry. Po ostrov je pomrn snadn doprava automobi-lem, i kdy silnic tu nen mnoho a jejich kvalita je rznorod. Sever, zpad a vchod je propojensilnic s pevn jednm pruhem, kter vytv pdorysn tvar trojhelnku. Na map je znaenajako hlavn, cosi jako dlnice, ale ve skutenosti by se dala pojmenovat jako vedlej a hlavn,msty sp asfaltov lesn cesta.Dopravn systm a znaen odpovd konkrtnmu stavu a st vozovky: napklad v mst, kde jenov kruhov objezd, je cedul a ukazatel nejvce a jsou takka nov. Tam, kde je silnice zapre-n a viditeln dlouho neudrovan, jsou exis-tujc znaky rezav, pomlcen, vybledl odslunce i zcela zarostl v kov, kter persti okraj vozovky.Typografie dopravnho znaen zjevn nemstanoven pravidla: co nov cedule, to novpsmo. Znaky nemaj navc ani sjednocenoubarevnost, a pochybuji, e by na vin byloneutuchajc jin slunce.

seky silnic, kter vedou kolem vojenskch z-kladen a mstnho letit, jsou opateny cedulFotografovn zakzno. Podle grafick sty-lizace fotoapartu na jedn z cedul je zejm,e zde dopravn znaen obmuj opravdu jentehdy, kdy je to zcela nezbytn.astm jevem je pidruovn soukromchreklamnch pouta (taverny, prodejci medui keramiky) k silninm znakm.Dopravnho znaen na ostrov nen mnoho,msty mete lehce zabloudit, ale mstn jsouochotni ukzat sprvnou cestu a poraditv pekvapiv dobr anglitin. Vzdlenosti jsoumal, take takov zajka opravdu nemusvadit, ba naopak.

The Greek island of Samos lies in the Aegean sea.It is small, green and hilly, and it is located about fourkilometers far from the coast of Turkey. It is quite con-venient to travel around the island by car, even thoughroads are sparse and of varying quality. Northern,western and eastern parts of the island are connectedvia one so called main road. It mostly has one laneand it copies the shape of a triangle. It is the closestyou can get to a motorway here, however, it would

be more precise to call it main / semi-main road. Insome sections, it is rather a plain forest tarmac road.The road system and the road signs correspond withthe state and age of the road at one given place. Forexample, new roundabouts are characteristic by anabundance of almost new traffic signs. Once the roadbecomes dusty and apparently sparsely used, theexisting road signs are rusty, bleached by the sun,or completely hidden in weeds and shrub overgrowingthe sides of the road.Typography of the road signs clearly lacks any rules.Each new sign proudly displays new typeface. Thesigns dont even stick to the same colour, and I doubtthat it is the hot southern sun which should be blamedfor that.Sections of the road passing military bases andthe local airport are lined by Do not photographsigns. Judging by the style of one of the pictures ofa camera, the road signs here are really replaced only

in cases of genuine need.It is common to find private advertisements invitingyou to a local tavern or offering honey or ceramicsattached to official road signs.The road signs at the island are sparse and in someplaces, it is easy to get lost. However, the locals arealways willing to show you the way and to offer advice,speaking in surprisingly good English. Distances arenot great, so such detour really doesnt need to botheryou. The opposite is true it might be pleasant andenriching.[translation: Olga Neumanov]

TYPO.FOTEXT + PHOTO.KRYTOF BLAEK

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Pvodn FontExplorer, jetbez X, byl jakousi elektronic-

kou verz vzornku psem s monos-t jejich automatickho objednn.Krom prostho hledn psempodle vlastnost nabzel program

jejich vbr podle doby vzniku,styl nebo vhodnosti pro uritstyl t iskoviny. Spousta zajmavchmonost, ale pesto lo o program,kter ml omezen pouit. Hlavnmdvodem bylo soustedn pouzena psma jednoho vrobce, co najednu stranu pomohlo pehlednosti,protoe se o tdn a popisovnpsem staral jeden tm, na druhoustranu chybla modern a mdnpsma, napklad od FontFont iFont Bureau.Zato monost objednn psemon-line pmo prostednictvm apli-kace byla promylen: Pi proch-

zen psem stailo dvat psma dokoku, nakonec si kok dkladnprohldnout, zkontrolovat kreditnkartu, jestli vai ve unese, a zachvli jste mli psma na svmdisku.

FonTunes

TYPO.TOOLS TEXT.PAVEL KOIKA

JE PJEMN, KDY JEDNOHO DNE NEOEKVAN POTKTE PROGRAM, KTER VYPAD, E U NJ PROGRAMTOI PEM

A VBEC VM PITOM NEVAD, E SE POMRN HODN INSPIROVALI PROGRAMEM Z PLN JIN KATEGORIE.

CO TAKHLE PIDAT X?Psma jste sice mli na disku, aleco s nimi dl? Rozbalit archiv, nakoprovat run do systmu nebo vy-ut slueb sprvce psem Jejich

pehled jsme uveejnili v asopiseTypo . 1. (A konstatovali jsme, etyto programy maj nco do sebe,kad m sv kvality, ale o dnmse ned s klidnm svdommprohlsit, e by vyhovoval vem.Kdyby se tak vzala tato funkcez prvnho, jin funkce z druhhoa zbytek z tetho, vznikl by idelnsprvce.FontExplorer X je pokus o vytvoenprv takovho idelnho sprvcepsem. Jeho nejvt zbran jeprv kombinace sprvce psem(dokonale zapadajcho do uiva-telskho rozhran OS X) s monost

nakupovn.FontExplorer X toti vypad jakoiTunes a Linotype Font Store zasejako iTunes Music Store. Obojje citliv okoprovno, tedy obojpsob velmi intuitivn.Posun programu od pouh nkup-n aplikace po komplexn psmovouzkladnu je jist umonn zmnouchpn potae a internetu.(Zatmco dve byly potae osa-mocen ostrovy a internet slouilk obasnmu a asto pomalmupropojen, dnes je tomu naopak,vrobce asto prv prostednic-tvm internetu pin uivatelm

pravideln aktualizace a uivatelvd, e je proto nezbytn internetsledovat ostatn, FontExplorer Xprochz tak rychlm vvojem, ese nov verze objevuj bezmla cotrnct dn.)

Linotype FontExplorer X Think differen

OBRAZOV DOPROVOD A POPISKY / PICTURES AND DESCRIPTIONS.JAKUB KR

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FontExplorer pi instalaci rozpozn ptomnostzkladnch grafickch aplikac a nabdne monostautomatick instalace zsuvnch modul, kterumon pohodlnou aktivaci/deaktivaci, zmnua vyhledvn psem pro dan programy. U kadhoprogramu mete nastavit, jak psma nebo skupinme program sm od sebe zapnat. Zatmcovtina jinch sprvc se omezuje na jednoduchoumonost zapnut nebo vypnut psem pro aplikaci,ve FontExploreru X si mete vytvoit komplexnpravidla a tato nakonec uloit jako nastaven nadisk. A pak u jenom sta penst ta pravidlana jin pota ve skupin nebo ve firm a mtehotovo.During installation, the Font Explorer will detect thepresence of all basic design applications and will offer

the option of automatic plug-in installation. This allowseasy activation or deactivation, substitution and searchof fonts for the given apps. For each application, youcan specify which fonts and groups it may activate onits own. While most other font managers only offer thesimple option of activating and deactivating certainfonts for certain applications, the FontExplorer Xallows you to create a complex set of rules which youcan save into the system preferences. Again, you cansimply transfer these presets to another machine inthe group or in the company, and thats it.

FontExplorer doke v dialogu s informacemio danm fontu zobrazit nejen sadu znaka ukzkov vty, ale i mnostv informac o vrobcia od vrobce, jako je nap. koment psmotvrcek vlastnmu psmu i pln znn licenn dohody.

The info dialogue about given font shows not only itsset of characters and some sample sentences, butalso much info about and from the manufacturer, suchas the commentary of the fonts creator about his owntypeface, or the full version of the license agreement.

Uivatelsky nejvdnj je funkce tzv. SmartSet:monost nechat si automaticky vyhledat a seskupitpsma podle nejrznjch kritri (font aktivn/neaktivn, systmov, uritho vrobce, ezu,formtu a rozliuje se dokonce OTF s truetype

kivkami a OTF s postscriptovmi kivkami , nzvui jen sti nzvu, vlastnho hodnocen uivateleatd.). Aby ve fungovalo, muste mt samozejmkvalitn font, kter m vechny informace v sobkorektn obsaeny. Jedna z mocnch zbran namizern psma: zkrtka je nevyhledte, a dobejim tak.The SmartSet option is one of the most practical forthe users: you can automatically search for and groupfonts according to various criteria (active/inactive,system font, certain manufacturer, cut, format iteven distinguishes between OpenType with TrueTypecurves and OpenType with postscript curves , nameor part of the name, users own rating). Of course,if you want everything to function flawlessly, you musthave good quality fonts which contain complete andcorrect information. Good weapon against poorlymade fonts you wont even find them, and that willshow them.

U pi instalaci se me uivatel rozhodnout, kolikpravomoc FontExploreru sv. A pomoc rozshl,ale pehledn nabdky Preferenc me uivatelpravomoci kdykoli omezit i naopak rozit.Already during installation, the user can decide howmuch responsibility will be the FontExplorer X a llowed.With the assistance of extensive, yet clearly laid outPreferences set, the user can adjust the competencesof the application at any time.

Uitenou pomckou je i funkce Uri psmav dokumentu. Oznate-li libovoln dokumentformtu rtf, rtfd, pdf, eps, svg, svgz nebo dokumentInDesignu (bohuel jen verze CS2) a textovhoeditoru Apple Pages, dostanete vpis vech v nm

uitch font a jejich ez.Another useful function is the Font Detector. Bychoosing a document in rtf, rtfd, pdf, eps, svg, svgs,InDesign (unfortunately CS2 only) or Apple Pagesformat, you will get a list of all the used fonts and cuts.

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CHCI TO ZADARMO!FontExplorer X zejm zasadcitelnou rnu svm konkurentm.Na rozdl od nkterch je totipln zdarma. Neobsahuje dnzadn vrtka, otravn dialogy neboomezen funkce. (Je sice podv betaverzi, ale vrobce vslovn

upozoruje, e status bezplatnhosoftware mu zstane i v pln verzi.)Cenou za pouvn programu jemonost nkupu v Linotype FontStore. I kdy tko ct, jestli se tod vnmat negativn, kdy platte zanco, co stejn potebujete. Dosudjsou k dispozici pouze psma z ko-lekce Linotype, podle vyjden Ot-mara Hoefera, editele marketingu,bude vak Linotype vybrat kvalitnpsma jinch vrobc, kte budoumt zjem (zejmna pjde o nez-visl, men psmolijny), a bude jedo FontStore zaazovat.Nezbv ne doufat, e verz pro

Mac OS X prce Linotype nekon,protoe ve Windows chyb sprv-covsk aplikace mon jet vcne na OS X.

SPRVAFontExplorer X doke zapnat

a vypnat (aktivovat a deaktivovat)psma na vaem disku, vytvet sku-piny, kolekce nebo chytr sady, kte-r jsou vsadou Mac OS X a adyjeho aplikac, vyhledvat konfliktymezi fonty. Krom toho doke ps-ma tak prohlet zobrazit nhledpsma, vechny informace v nmobsaen nebo pln sady znak.Pokud se navc rozhodnetepout FontExplorer X jako hlavnpsmovou aplikaci, zskte plnoukontrolu nad psmy. (Poznmka naokraj: Experti doporuuj zkop-rovn systmovch psem mimosystm a pouit FontExploreru X

pro jejich sprvu. Vyhnete se takkonfliktm a mete nepotebnpsma vypnout.)Silnou zbran FontExploreru X jemnostv nastaven, jak m programreagovat na standardn situace.Od nastaven chovn pi importua exportu psem a po aktivaci,deaktivaci a mazn sad. Podobnjako u vtiny i-aplikac v OS Xme dlat vtinu prce automa-ticky za vs, nebo vykonvat jen to,co mu dovolte.Vraznm krokem kupedu je mo-nost spoustu nastaven uloit. Uetse tm prce pi ppadn reinsta-

laci systmu nebo instalaci na vcepotach: po instalaci a plnmnastaven programu sta pedvolbyuloit i penst na jin stroj.

minimln poadavky .minimum requirementsMac OS X 10.3.9 a vy.and higherwebhttp://www.linotype.com/fontexplorerX

TYPO.TOOLS

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The original, still X-less Font Explorer, was sort of anelectronic version of type-specimen, which offered

the option of purchasing the fonts. Apart from simplefont search according to its characteristics, it waspossible to search the fonts by period, style, or suit-ability for certain type of use. Quite a few interestingoptions then, but still, the use of the application was

limited. The main limitation was caused by concen-trating on a single font manufacturer. On one hand,this meant clarity and good arrangement, becausethe fonts were sorted and described by a singleteam. On the other hand, modern and fashionablefonts were missing, such as the ones by FontFontor Font Bureau.The order option was, however, carefully thoughtout: when browsing the fonts, you only had to add

them to basket. In the end, you simply went throughthe basket, sorted the fonts out and checked thatyour credit card will be able to bear the burden ofyour greed and passion. A few moments later, thefonts were on your hard drive.

How about adding an X?You had the fonts in your machine, but what to donext? Open the archive, manually copy them into

the library, or use the services of font managerTheir overview was published in Typo 1. We statedthat there really is something about those apps,each has its own qualities, however, none of themis perfect for each and every user. If we took onefunction from this one, other from that one and therest from the one over there, we would get a perfectfont manager.And this is what FontExplorer X is an attempt tocreate such perfect font manager. Its greatest advan-

tage lies in the useful combination of font manager

(which fits perfectly into the OS X user interface) andthe option of purchasing the fonts.Here it comes FontExplorer X has the appearanceof iTunes, and Linotype Font Store resembles theiTunes Music Store. Both was sensitively copied,so both looks quite intuitive.The shift from simple online font store to complex

font platform was probably caused by the shift inthe perception of computers and the internet itself.While previously, computers were isolated islandsand the internet served for their occasional and slowinterconnecting, today, the things are the other wayaround. Most manufacturers provide updates via theinternet and the users know that it is necessary tokeep track of what is changing there the FontEx-plorer X itself changes so rapidly that new versionsare available almost fortnightly intervals.

Font managementFontExplorer X can activate and deactivate the fontspresent in your system, it can group the fonts, createcollections and even SmartCollections, which are thedomain of Mac OS X and many of its applications.It can also find conflicting fonts. Apart from all that,it can browse fonts it shows preview of the font,

all the information it contains, or its complete set ofcharacters.If you decide to use the FontExplorer X as yourmain font managing application, you will gain com-plete control over the fonts in your system (one note:experts recommend that you copy all your systemfonts, store them elsewhere, and use FontExplorerX for their management. You will avoid conflicts andyou can also deactivate the fonts which you dontneed.)One of the strong points of FontExplorer X are the

many different settings options, where you choosehow the program should react in standard situa-

tions. From settings of its behaviour when importingand exporting fonts, to activation, deactivation, anddeleting of sets. Similarly as with most i-apps, theFontExplorer X in OS X can do most things automati-cally, or it can only do what you let him do. One of

the steps forward is the option of saving so manypresets. This may save you loads of work when youneed to reinstall your system, or when you need to in-stall it on more machines. After installing and setting

the application, you can simply transfer the presetsto another machine.

I want it for free!FontExplorer X will probably deal a good blow to itscompetitors. The reason is, among other things, thatunlike others, it is completely free. It does not haveany loopholes, no annoying dialogues or restrictedfunctions. (It is still in its beta-version, but the manu-facturer explicitly states that it will remain freewareeven in its final, full version.)The price you pay for using the application is the op-

tion to shop in the Linotype Font Store. However, it ishard to tell whether this i s to be perceived negatively

when you only pay for something that you need any-way. So far, only the Linotype collection is available.However, Otmar Hoefer, the head of the marketingdivision, states that Linotype will select quality fontsfrom other manufacturers interested (especiallysmall, independent type foundries) and include themin the FontStore.We can only hope that the version for Mac OS Xis not the end Windows needs its font managerbadly, maybe even more than OS X.[translation: Olga Neumanov]

FonTunesLinotype FontExplorer XThink different!It is pleasant when one day, you unexpectedly run into an application which seems like it has been thought through in theprocess of its creation. And you dont mind at all that its creators were very much inspired by a program from a completelydifferent sphere.

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Tato publikace je vytitna na papru Black Label Mat 250 g/m2 (oblka) a 150 g/m2 (vnitn listy).

ANTALIS s. r. o., Office Park Nov Butovice, Bucharova 1314/8, 158 00 Praha 5tel.: +420 233 113 211, fax: +420 233 113 223, e-mail: [email protected],www.antalis.cz

TYPO.BAZAAR

KROKY ZPT S OPENTYPE Ne vdy pichz s modernmi technologiemi i skutenvylepen. O to hor je, kdy se to tk firmy se zkuenost z oboru.

ITC byla vdy zrukou kdy ne kvality, tak alespo jistoty a solidnho emesla. Psmood ITC nemuselo bt naprosto exkluzivn, ale tko jste pod jeho hlavikou nali

nekvalitn prci.

Nyn se ITC, potamo jeho vlastnk Monotype (dve Agfa-Monotype), rozhodla vyrbtopentypov verze svch psem. A zaala hned psmem ITC Avant Garde Gothic, kter

hraje v historii ITC vznamnou roli. Herb Lubalin jej pouil pro pvodn asopis U&lc.V nm vyuil pomrn neobvyklou sadu slitk, je dvala psmu osobit vzhled.

Vtina slitk byla v pvodnch digitalizacch vynechna, protoe byly pro bn uit

zbyten ozdobn. Pouze nkolik mlo psmolijen dodalo i speciln ezy, ve kterch

byly alternativn slitky obsaeny.

Nov ITC Avant Garde Gothic Pro v sob obsahuje vechny slitky a alternativn znaky,navc nkolik nov dokreslench. A potud odvedli ineni z ITC dobrou prci.

A kde udlali chybu? Msto pouit kurzivy, kterou navrhli Andr Grtler ChristianMengelt a Erich Gschwind z Team 77 Letterform Research and Design, rozhodli se

vynalzt znovu kolo a kurzivu pekreslit. Vsledek je stran! Pokud byste si kurzivunekoupili a psmo pouze naklonili, mon doshnete lepch vsledk a rozhodn jich

doshnete za mn penz. Za tak patnou prci, jakou pedvedl Monotype (nebo ITC,

kdo v), je jakchkoli penz koda.[pk]

KRYEJT TEDY TVOM Se zajmavousadou nstroj piel novozlandsk

programtor Allan Murray. Pod hlavikouCR8 nabz vedle programu na tvorbu

designu plastickch karet i jednoduch

nstroj na tvorbu psem TrueType

a hintovac program (zatm v beta-verzi).

Nstroje jsou to opravdu jednoduch, ale

pro laiky, kte nechtj za programy platit,

posta.[pk]

CRYATE OR I CREATE Allan Murray,

a programmer from New Zealand, cameup with an interesting set of tools. His

set called CR8 contains not only an

application intended for creating designs

of plastic cards, but also a simple tool for

designing TrueType fonts and a hinting

application (in beta version so far). The

tools are truly simple, but sufficient for

amateurs who do not want to pay for

the apps.[pk]

www.cr8.netfirms.com

RECYKLACE NPAD Nejen u ns se neustle e problm ukradenho designu.Poet npad je omezen a proto se nelze divit, e se zkladn

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