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typografe. grafck design .vizuln komunikace

typography. graphic design.visual communication

TYPO.20

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

International Holdings.

ANTALIS s. r. o.Ofce Park Nov Butovice

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

e-mail:antalis@antalis.czwww.antalis.cz

Partnei asopisu / Partners o magazine

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

systm a zazen pro produkn digitln tisk.

DataLin Thnolog spol. s r. o.Drahobejlova 6, 190 00 Praha 9, esk republikatel.: +420 284 811 400, ax: +420 284 811 409

e-mail: obchod@dataline.czwww.dataline.cz

partner

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

a pro elektronickou distribuci a archivaci dokument.

Specializovan kolc stedisko aplikac Adobe.

AMOS Softwar, spol. s r. o.Patokova 61, 169 00 Praha 6, esk republikatel.: +420 284 011 211, ax: +420 284 011 212

e-mail: obchod@amsot.czwww.amsoft.cz

Oc umouje svm zkaznkminn a eektivn zpracovn dokument

nabdkou prbn inovovanchprodukt pro sprvu a tisk dokument

pro proesionln prosted.

grafck nvrhy, DTP, scan, osvitvelkoormtov a digitln tiskprodej ont URW++ a Adobe

Stdio Marvil, s.r.o.Jen 29, 120 00 Praha 2

tel.: 224 941 955, ax: 224 941 145marvil@marvil.czwww.marvil.cz

ADOBE AUTHORIZED SERVICE PROVIDER

O-sk rpblika, s.r.o.Hanusova 18, 140 21 Praha 4

tel.: +420 244 010 111, ax: +420 244 010 190e-mail: ino@oce.cz, http://www.oce.cz

http://shop.oce.cz

Univerzln tiskrna a grafck studio.Tisk katalog a asopis V1, V2, V3,

automatick vsek.

OMIKRON Praha, spol. s r. o.Doudova 22, 147 00 Pr aha 4

tel.: 261 218 30910, ax: 261 227 946

vroba: U Elektry 650, Praha 9 Hloubtne-mail: omikron@omikron.cz

www.omikron.cz

DTP, redigitalizace flm, osvit CtP, archov i rotanosetov tisk na strojch Heidelberg, vazby V1 a V2

Tiskrna Praha

Podbradsk 540, 190 00 Praha 9 Vysoanytel.: 225 277 111, ax: 225 277 249, e-mail: obchod@praha.reproprint.cz

Tiskrna Zdvi763 12 Zdveice 48, Zlnsk kraj

tel.: 577 687 111, ax: 577 687 112, www.reproprint.cz

Steovick psmolijna je vrobcem kvalitnchOpenType ont s jedenctiletou tradic.

Krom slavnch klasickch textovch psemz evropsk historie nabz tak dleit pvodn

dla eskch psma 20. a 21. stolet.

Frantiek torm

plova 23, 162 00 Praha 6 CZmail@stormtype.comwww.stormtype.com

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

ppravy, tisku, dokonujcho zpracovn

Vydavatelstv Svt tisku, spol. s r. o.Hollarovo nmst 11, 130 00 Praha 3, esk republika

tel.: 271 737 788, 271 733 554, fax: 272 736 252e-mail: redakce@svettisku.cz; inzerce@svettisku.cz

http://www.svettisku.cz

Pvodn psma, korportn psma,psma na objednvku.

SuITcASe TyPe FOuNDRySobslavsk 27130 00 Praha 3

tel.: +420 775 066 498mail@suitcasetype.comwww.suitcasetype.com

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

kolen grafckch pracovnk

Stdio LAceRTAChvalova 11

130 00 Praha 3tel.: 603 746 009sazba@sazba.czwww.sazba.cz

Lokalizace psem plnho kerningu v

Konverze potaovType 1 a TrueTy

Generovn OpenTyppodporovanch

Ds

imkova 18, ontservi

www.typo.c

partner / partner

partner / partnerpartner / partner

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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

TYpotypografe. grafck design. vizuln komunikacetypography.graphic design.visual communication

www.magtp.cdaate puber

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

adrea addreHollarovo nmst 11, 130 00 Praha 3

tel./phone: +420 271 737 788

ax: +420 272 736 252pedpat ubcrpt

predplatne@matypo.czsub@matypo.cz

maaerka redakce edtra fce maagerLinda Kudrnovsk (linda@matypo.cz)

erce adertgMartin Jamrich (martin@matypo.cz)

redakce edtrredakce@matypo.cz, pr@matypo.czFilip Blaek (lip@matypo.cz)Pavel Koika (catt@matypo.cz)Jakub Kr (jakub@matypo.cz)Pavel Zelenka (pavel@matypo.cz)

grafka degJana Vahalkov (jana@marvil.cz)

pre-preStudio Marvil (.marvil.cz)

tkprtREALTISK 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.)

prgramtware

Adobe InDesin

, Adobe Photoshop

, Adobe Acrobat

, ScenicSot ColorCentral

, ScenicSot Preps

Vydvn povoleno Ministerstvem kultury R pod slem MK R E 13984, ISSN 1214-0716. Nzvy produkt a jmen rem zmiovanch v maaznu

mohou bt chrnny ochrannmi znmkami. Pebrn jakchkoliv daj z maaznu je povoleno pouze s psemnm souhlasem vydavatele.

Materials rom this maazine must not be copied or urther published ithout the consent o the editors.

LEN ICOgRADA DESIgN MEDIA NETwORK.A MEMBER OF ICOgRADA DESIgN MEDIA NETwORK TYpo.ediT

TYpo.T

Pavel Koikaetup a pd tpgrafe aeb tre (ee) pacc Rg ad a tpgrap r a rt tr (t ) tpew

TYpo.a

Filip BlaekKtabat Duba

TYpo

David Bartoeemet ta tpgEemet te tpgrapc w

TYpo.phenom

Martina MareovMarked b

TYpo.TYp

Jan Solpera, Frantiek tormAre

TYpo.b

Ven teni,lto je na krku, ei a Moravci vyrej k rybnkm, a vjimkou nejsou ani raci.Nkte se sjeli na Bienle alinrad letos tematicky zamenm na remn identitu,reklamn raku a plakt. Vystavena bude zhruba desetina pihlench prac;cel polovina prac z celkovch jedenadvaceti eskch zstupc pochz z peraoraniztor, porotc a jejich kole. Psnmu vkusu vbrov komise tak nakonecvyhovly prce nap. Petra Babka (pedsedy vbrov komise), Adama Machka(lena vbrov komise), Luka Kubka (lena studia Side 2 porotce Karla Halounaa mstopedsedy oranizanho vboru Tome Machka),Alee Najbrta (pedsedy oranizanho vboru) a Petratpna (Najbrtova koley ze studia). gratulujeme!Co na tom, e provinn rybnk-bahk zapch, komitpou a slunko se schovv za mraky. Hlavn kdy seplavci dobe vykoupou a sami sob ochotn namaouzda repelentem.[redakce]

Dear readers,The summer is knocking at our door, Czechs and Moravians set out to enjoy the sun and swimponds, and graphic designers are no exception. Some o them gathered at the Brno Biennial

years topic was corporate identity, design or advertising, and poster. However, only a tenth othe submitted designs has made it through to the fnal exhibition. Besides, hal o the twenty oexhibited works was created by the organisers, judges, or their colleagues. The tough requiremo the scrupulous selection committee were thus ulflled by, or example, Petr Babk (membeselection committee), Ludk Kubk (member o Side 2 studio owned by judge Karel Haloun and

vice-chairman o the organising committee Tom Machek), Ale Najbrt (chairman o the orgacommittee) and Petr tpn, a colleague rom his studio, and others. Congratulations!Who cares that the provincial pond is muddy and smells a bit, the mosquitoes sting, and sun issomewhere in the clouds. Only i the lie guards have a good swim, aterwards eagerly rubbingothers shoulders with repellent.[the editors]

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Pouvaj se, pokud chcete naznait adminis-trativn dokument nebo vytvoit stroh styl. e

je o neproporcionlnch, tzv. monospace psmech.Dovedete si pedstavit, e byste modelov administra-tivn dokument pedvdli jinak? A napadlo vs nkdy,odkdy tu vlastn jejich pedchdci, psma psachostroje, jsou?Klasick run sazba se vyvjela njakch pt set let

bez vraznch zmn. Pvodn devn litery pouze na-

hradily kovov, technologicky odolnj. Tak se asem

oddlila role tiskae (tiskne dokumenty) a tvrce psma(vytv litery). Psma se vytvela v psmolijnch, litery

vytveli designi a konenou podobu jim dvali rytci.

Velikosti znak se postupem asu standardizovaly,i kdy se vtinou mezi psmolijnami liily. Zatmcovky liter byly dan, jejich ky se stanovovaly podletoho, jak prostor litera potebovala. Nejir litery(vtinou M a W) mly vtinou ku stejnou jakovku (odtud tverk).

monotype story

Prmyslov revoluce koncem 19. stolet zashla i ty-pografi. Pvodn ptlan lisy byly nahrazeny eek-tivnjmi, je pracovaly na parn pohon, a objevil serotan tisk, kter nahrval vznikajcmu novinovmuprmyslu.

Rovn tvorba psma prochzela zmnami. Dve sevechny velikosti psem vytvely zvl: zvl serylo 12bodov psmo (tehdy se mu tak pochopitelnnekalo), zvl 24bodov. Kad velikost mla svjindividuln vzhled, dnes nazvan optick velikostpsma. Pokud se tehdej 12bodob psmo zvt navelikost 24bodovho, bude opticky robustnj.Dan postup byl nron, vyadoval invenci tvrce. Ado roku 1885 jin, snadnj zpsob neexistoval. Tohoroku si nechal Lion Boyd Benton patentovat pantogra-

vzestupy a pdy typografie

aneb historie (nejen) psacch stroj

Dopis me bt jenom obyejnm prostednkem, nebo me bt poslem, kter vyzauje

dstojnost, presti a stabilitu. Howard Kettler, tvrce psma Courier

A letter can be just an ordinary messenger, or it can be the courier which radiates dignity,

prestige and stability. Howard Kettler, author o Courier typeace

Risings and falls of typographyor a short history of (not only) typewriters

fck zazen, kterm se zautomatizovalo dvj ob-tn obkreslovn liter pro ryt. Navc se pantograemdaly nejen snadno vytvet rzn velikosti znak, aletak znaky mnit do ky. lo o velk pnos prmys-lovmu rozvoji, ale typografck kvalita znak speutrpla. Znaky pi zvtovn nemnily svou optickouvku, zstvaly stle stejn, jen proporn zvten.Dal zmna vak byla za dvemi. Roku 1887 si nechalTolbert Lanston patentovat stroj na mechanickousazbu. Zkladem byla klvesnice vytvejc peroro-

vanou psku, ta vstupovala do stroje, kde se podlezznamu vytvela sazba. Pvodn stroj jet pra-coval se studenmi literami. Kdy Lanston sehnalvhodnho fnannho partnera, zaloil frmu LanstonMonotype Machine Company, kter zaala pracovatna uveden svho prvnho komernho mechanickhoszecho stroje. Abychom byli spravedliv, ve stejndob pracovala na mechanickm szecm stroji takfrma Mergenthaler Linotype, kter svj prvn strojinstalovala roku 1886 v novinch New York Tribune.Aby se maximln zjednoduila tvorba psma pro novstroje, vytvoil se systm dlen znak do kovchskupin. tverk byl rozdlen na 18 dlk a vechnyznaky byly pizpsobeny tak, aby jejich ka byla n-sobkem 1/18 tverku. Dky tomu musely bt nkterznaky mrn zeny a jin mrn rozeny, aby se

novmu systmu pizpsobily.A protoe s novm systmem se dalo pomrn snadnospotat, jak rozsah bude sazba mt, daly se pedemvyslit nklady na tisk. Pesn v duchu prmyslovrevoluce.Zatmco ekonomickm zjmm zmny prospvaly,typografe nadle trpla: znaky se musely kovpizpsobit technickmu pokroku. Ale nebyla to jenmonotypov sazba, kter znamenala pro psmo vraz-nou degeneraci, byly to rovn psac stroje.

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TexT.pavelkoikaFoTo.anTonnkr TYpo.Th

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typewriter story

Paradoxn ovem je, e prvn psac stroje, tedy spejejich prototypy, uvaovaly o pouit proporcionlnhopsma. Teprve kdy se ukzalo jeho pouit neprak-tick, pistoupilo se na maximln zjednoduen prces psmem.Patent na psac stroj zskal Henry Mill ji v roce 1714,ale trvalo dalch tm sto let, ne se prvn psac strojobjevil na veejnosti. A dalch padest, ne zaal pi-pomnat to, co si pod tmto pojmem pedstavme dnes.

Tento psac stroj si pak nechal patentovat ChristopherLatham Sholes roku 1886. Se svmi spolenky, Car-losem Gliddenem a Samuelem W. Soulm, pracovalina vvoji psacho stroje dva roky. Ale protoe tuili, esami nemaj na jeho vrobu kapacitu, dohodli se nan se znmm vrobcem zbran a icch stroj, frmouRemington Arms Company.Prvn model piel na trh roku 1873 a dn velk ko-mern spch nezaznamenal. Trh jet nebyl na tentotyp vrobk pipraven. Navc pvodn model trpljednou nectnost zasekvaly se mu pi psan klvesy.Problm vyeil dal ze spolenk frmy JamesDensmore. Rozhodl se rozdlit klvesy tak, aby nesou-sedily klvesy znak, kter jsou v anglick abecedasto vedle sebe. Vytvoil tak klasickou klvesniciQWERTY.

Sholes ovem ji ztratil trplivost svj produkt propa-govat, proto prodal prva Densmorovi za pomrnsmnch 30 000 dolar. Pesto se prvn model prod-val pod znakou Sholes & Glidden Type-Writer. A-koli prvn model proel u veejnosti tm bez povim-nut, ji druh zaznamenal pomrn znan spch.Mon proto, e pouval narozdl od modelu prvnhoi minuskov znaky. Ty byly na typech yzicky umstnypod verzlkami a k jejich dosaen se pouvalo posu-nut cel klaviatury nahoru. Z anglickho slova posun(shit) tedy vznikla klvesa Shit.Ale to ji byly na trhu i modely dalch frem. Reming-ton asem ztratil pevahu ve prospch jinch frem,teba frmy Underwood, kter zavedla vraznou ino-vaci: pi psan byl szen text vidt u stroj Reming-ton byl text pekryt pskou.

keyboard story

Kolem klvesnice psacch stroj a jejich rozloen setraduje spousta mt a legend, ze kterch je jenomzlomek pravda.Dnes znm a pouvan rozloen klves psacchstroj upravil James Densmore. Snail se vzdlitdvojice znak, kter jsou v anglickch slovech astovedle sebe. Bohuel u v t dob podlehl marketingo-vmu mmen: aby demonstroval vhody klvesnice,umstil vechny znaky slova typewriter do horn ady,m svj princip oddlen znak lehce popel.Lta se tradovalo, e QWERTY klvesnice zpomalujepsan. S lep klvesnic by se pr psan jet zrychlilo.Roku 1936 si nechal August Dvorak, proesor Univer-sity o Washington, patentovat Dvorakovu zjednodu-

enou klvesnici. Jeho rozloen klves dajn mloposkytovat rychlej psan, sniovat navu a zlepovatuen. To potvrdily i vzkumy americkho nmonictvabhem II. svtov vlky, kter ji chtlo vyut ke svmelm. Pro se tedy Dvorakova klvesnice neprosa-dila?Ppad QWERTY se dostal i do ekonomickch uebnic

jako ukzka toho, e se star, ale hor systm vti-

nou komern prosad nad mladm, i kdy lepm (dal-

mi ppady jsou DOS vs. Mac OS nebo VHS vs. Beta).

They come in handy once you ant to evoke theeel o an administrative document, o to makeyour style stern and strict. we are speakin omonospace typeaces. Can you imaine ho elseould you reproduce a bureaucratic paper? Andhave you ever thouht about the predecessor omonospace type, the various typeriter onts, andhere they come rom?Traditional typesettin by hand had around vehundreds o years to develop, and its evolutionent ithout radical chanes. Oriinal ooden

type as replaced by metal, more durable one.Also, the roles o a printmaker (ho prints books)and a type desiner (ho desins the lettershapes) sloly drited apart. Type as produced in

type oundries, desined by desiners and madeby punch cutters.The sizes o characters ere, ith time, standar-dised, althouh these did dier rom one oundry

to another. while the letter heiht as xed, theidth as derived rom the space needed by theindividual character. The idest letter orms (usu-ally M and w) had square shapes, and dened anm-square.

Mtpe trIndustrialisation at the end o 19th centuryinfuenced typoraphy as ell. Oriinal manualprintin presses ere replaced by more ecient,steam-poered ones. Rollin press appeared,supportin the emerin nes industry.The evolution o type accelerated. Initially, all typesizes ere cut separately: the 12pt and the 24ptere made individually (and, o course, their sizeas not set in points). Each size had its individualappearance, hich is no refected in the opticalsize o type. I you enlared a 12pt cut rom that

time to the size o 24 points, it as optically morerobust than an oriinal 24pt cut.The described procedure as rather demandin,and the punch cutter had to be creative. Until1885, no other, easier process as available.In 1885, Linn Boyd Benton invented a mechani-cal punch-cuttin device, hich automated thedicult process hen letterorms ere copiedby hand beore they could be cut. The device notonly alloed to chane the sizes o characters, butit also permitted to chane the character idth.

Technoloically, the device helped the develop-ment o industrial printin. Hoever, the qualityo the characters themselves suered, because

the lyphs ere not enlared optically, only theirproportions ere chaned.Anyho, urther improvements ere to comesoon. In 1887, Tolbert Lanston as ranteda patent or a sinle-metal type mechanicalcomposition system. The core element o thesystem consisted o a keyboard hich produceda perorated paper strip. This perorated strip thenentered a machine, here the actual metal typeas composed accordin to the instructions on

the strip. The oriinal machine utilised cold stripso metal. when Lanston ound a suitable nancialpartner, he ounded the Lanston Monotype Ma-chine Company. Here, they started to ork on thecreation o a rst commercial t ypesettin machine.

To be air, e have to say that at the same time,the Merenthaller Linotype company also orkedon an automatic typesettin machine, installin itsrst device in 1886 in the Ne York Tribune pressrooms.To simpliy the composition o type or these nedevices, a system o dividin characters into setso the same idth as devised. M-square asdivided into 18 points, and all characters ereadjusted so as to t a multiple o 1/18th o an m-square. Thanks to this measure, some characters

had to be slihtly narroed and others idso as to t into this ne system.And because the ne system alloed to c

the nal volume o the text, it also alloedcalculate the cost o the printin in advancSomethin very much in tune ith the spirindustrialisation.while the chanes ere avourable cost-

typoraphy continued to suer: the charahad to adjust their idth to suit the prore

technoloy. It asnt the monospace settin

hich brouht alon the deterioration o tyas also the typeriters.

Tpewrter trIt is rather paradoxical that the rst prototy

typeriters considered to utilise proportiotype. Only hen its use turned out not to bpractical, the maximum possible simplica

type manipulation came alon.The rst typeriter machine as patentedHenry Mill as early as in 1714, but it took a100 years until the rst typeriter appearepublic. And only in urther 50 years, it start

to resemble the thin as e kno it today.modern typeriter as patented by ChriLatham Sholes in 1886. with his associateglidden and Samuel w. Soul, he orkeddevelopment or to years. Because they didnt have the resources to manuacture

their on, they areed to cooperate ith amanuacturer o arms and sein machineReminton Arms Company.First model o t yperiter as introduced tomarket in 1873, but it didnt have much cocial success. The market asnt yet ready

type o commodity. Besides, the rst modone sinicant fa the keys tended to edurin ritin.The problem as solved by one o the comassociates, James Densmore. He decidedbute the characters in a ay that the lettercommonly stand beside each other in Enould be distributed evenly ithout touchother. Thus, he created the classical keybolayout QwERTY.Meanhile, Sholes lost the patience and dant to promote his product any more, so

his patent to Densmore or a rather ridiculsum o 30 thousand dollars. Despite o tharst model as sold as Sholes & gliddenwriter. Althouh this rst make as prettyunnoticed by public, already the second mas a success, possibly due to the act thaits predecessor, it utilised both upper and case. The loer case as physically belloupper case, and to reach it, the user had thole keyboard ith upper case. This is Shit key has its oriinAt the time, models made by other compaappeared. Reminton later lost its domina

the market to companies such as Underhich introduced a sinicant innovation could be seen durin ritin. Reminton t

ters had the text covered ith a ribbon.

Kebard trKeyboard layout is rapped in a thick shrourban leends, o hich only a raction is bon truth.The layout o typeriter keyboards as ekno and use it today as desined by JaDensmore. He tried to position the charachich commonly appear next to each othelish ar apart on the keyboard. Unortunaave ay to a marketin lure and to demo

the advantae o his keyboard, he placed

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characters o the ord typeriter in the top roo letters, thus slihtly denyin his on principleo character distribution.For years, an urban leend said that the QwERTYkeyboard slos don typin. Alleedly, the speedo typin ould increase ith a better keyboard.In 1936, proessor Auust Dvorak o the Univer-sity o washinton led a patent or Dvorakssimplied keyboard. His distribution o keys as

to allo aster typin, cut don tiredness, andimprove the learnin process. This as testied ina research lead by the U.S. Marine Corps. durin

the Second world war, hich anted to employDvoraks keyboard. why, then, did Dvorakskeyboard layout never took o, and the QwERTYlayout survived?The QwERTY case is recorded in a number oeconomy textbooks as an example hen a lesssuitable, but older model survives and surpassesits youner and better competitor (as other exam-ples o this principle, the DOS vs. Mac OS, or VHSvs. Beta are usually quoted).The problem as addressed by Stan Lieboitz,proessor o the University o Texas. while theabsurdity o the DOS and VHS examples as ap-parent immediately, the Dvorak keyboard as andoten still is believed to be better, althouh unsuc-

cessul. Lieboitz beun searchin or respapers provin the technoloical dominanDvoraks keyboard, but, to his surprise, heable to nd a sinle one (ith the exceptioo an oriinal paper ritten by Dvoraks tehich had closer to a marketin brochure

to a serious scientic ork). Stranest abhole matter as that he asnt able to nacclaimed research by the U.S. Marine Coany public library, bein the source o inoor all the scientists to ollo. Accordin toresearch, the cost o transerrin to the Dvkeyboard rom QwERTY as to return in

ten days! Instead o the U.S. Marine Corpshe discovered a study conducted by AustPost. In the rst stae, it did not prove anyts o the Dvoraks layout. Ater surpassincholoical barriers to perormance improvit did prove sliht benets o Dvoraks keyHoever, the tested roups ere compos

the harm o QwERTY keyboard, so in actresearch did not prove anythin.And hy should be the QwERTY layout sInitially, the rst models o typeriters hadrent layout, each manuacturer had his oexample Hammond, Caliraph, or UnderAlso, rom the early days o typeriters, co

Na problematiku se zamil Stan Liebowitz, proesorUniversity o Texas. Zatmco nesmyslnost pklad DOSa VHS byla zejm na prvn pohled, u klvesnice Dvo-rak se soudilo a asto jet soud, e se neprosadila,pestoe byla lep. Liebowitz zaal hledat vdeckprce potvrzujc technologickou dominanci Dvorakovyklvesnice, a pekvapen nic nenael (krom pvodnprce Dvorakova tmu, ta vak mnohem vc pipom-nala marketingovou pruku ne vdeckou prci).Nejdivnj bylo, e se v dn znm veejn knihovnnedailo zskat vzkum americkho nmonictva, nakter se vichni ostatn vdci odkazovali. Podle nj sedajn nklady na peuen z klasick klvesnice naklvesnici Dvorak vrt za deset dn po peuen! Mstostudie americkho nmonictva objevil Liebowitz stu-dii australsk poty. V prvn zi neprokazovala dnvhody klvesnice Dvorak. Po odstrann psycholo-gickch barir pro zlepen vkonu se jist vhodyDvorakovy klvesnice prokzaly. Avak testovanskupiny byly vytvoeny znan v neprospch klvesniceQWERTY, take ve skutenosti byly neprkazn.A pro by vlastn mla bt klvesnice QWERTY takpatn? Na zatku produkce psacch stroj existo-valo vc rznch rozloen klvesnice, kad z vrobc

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in speed typin ere oranised. One o thesetook place on the 25th o July 1888 in Cincinnati,and its inner as Frank Mcgurrin ith a Remin-

ton machine, thus QwERTY layout. It seems thatthe classic keyboard has proven its qualitiesin alloin speedy typin. Hoever, only a emonths later, other contest as ithout doubton by Thomas Osborne ith a Caliraph layout.Althouh he on several urther contests, theQwERTY keyboard as sloly takin over themarket. In the end, all manuacturers adopted this

layout.At last, Lieboitz ound a copy o the U.S. MarineCorps. study in the attic o the Dvorak Internatio-nal oundation, or, in other ords, in the attic oa armers house in Vermont. The tested roupsere, aain, composed stronly in avour o Dvo-raks keyboard, no tests o transerrin the otheray (rom Dvoraks to QwERTY) ere carried out,etc. Lieboitz led a query about the author o thestudy to ANSI, certain standardisation institution in

the U.S., and hat a surprise the study as con-ducted by Lieut. Com. Auust Dvorak! Is anyonestill in doubt as to hy the study hich serves asa source o inormation or all urther researchersspeaks so stronly in avour o Dvoraks keyboardlayout?Later studies conducted in the 1970s didnt prove

the benets o Dvoraks layout so conclusively.For example, a research conducted by western

Electric said that ater 104 hours o retrainin,riters typed aster by 2,6% than ith the oriinalQwERTY keyboard. Another research by OreonState University pretty much conrmed theseresults ater 100 hours o retrainin, the speedo typin as at 97,6% o the oriinal value. Bothstudies thus recommend to invest into trainin on

the classic QwERTY keyboard.Lieboitz thus proved alse the classic assump-

tion o path dependence (the rst player in themarket decides about urther direction, even i heis orse than his successors). As it turns out, emiht not have the best keyboard possible, but i tslayout does not matter that much, because peopleare adaptable.

Ad wat abut tpgrap ad tpe?The type o rst typeriter models as an inspi-

ration or the desin o America n Typeriter ont,desined by Joel Kaden and Tony Stan in 1974 orITC. It as based entirely on the oriinal type, ith

the exception o &, $, R and e characters. And,unlike the oriinal, the ont as proportional, notmonospace.Ho to desin a proper monospace ont, anyay?I the letter i is to be o the same idth as an m,one o the idths has to be either visually scaleddon or up. The usual technique is to ive up

the proportion o 1:1 in avour o, say, 3:5. Then,the ide characters are slihtly narroed, an thenarro ones are visually idened. This is achie-ved via extremely stron seris, as one may ellobserve on the example o Courier.Its author Hoard Kettler oriinally desined it orIBM typeriters as early as in 1950s. Thanks to itsood leibility, the ace has proven itsel useul,althouh raphic desiners tend to dislike it inan output, it oten stands in stead o a missinont. Its electronic version as made by AdrianFrutier.

Te tr ptcmptInitially in photocomposition, aces desined ormechanical printin presses ere redran andutilised. It as as late as in 1962 hen a rst type-ace desined specically or photocompositionas desined. It as Apollo by Adrian Frutier,

and, to years later, Albertina by Chris BrThe oriinal technoloy permitted to utilisle lm matrix ith the ace or most sizeslare titlin sizes needed special lm, becextreme sizes displayed the fa o opticain the edes o letters ere blurred.This problem as solved by a photocompmachine Diiset in 1965, here the imaecreated via CRT, and the aces ere comin diital orm. The oundations o compu

typoraphy ere laid, althouh it took ma

o urther trials beore it reached the stateit is today.Nevertheless, typoraphy as still a tool ahands o selected e. Althouh the equipas accessible, it as still r ather expensiv

took another years beore personal compith raphic UI arrived. Only then, typoraas liberalised and popularised. Once ona PC, PaeMaker, Ventura or XPress, it a

to do many thins hich previously took deven months.

Frm ctruct t dectructDiital onts ere perect. They did not inhfas o hot metal castin or phototypesetas easy to enlare and modiy characterNo onder that some desiners ere sooup ith typoraphy so perect, and they b

testin the ne technoloies. The sterility

tal typoraphy, here all aces looked tooas an eyesore to them.The pioneers o purely diital typoraphy as mir (1984), FontShop (1991), and laeven smaller companies, such as T26, HoIndustries, garae onts or Thirstype, did respect the typoraphic rules, and they treverythin you possibly could ith the lettFuse project launched in 1991 by Neville Band Jon wozencrot as described by its as a lanuae research project. They at

to create typeaces out o sounds, or to asthem roles accordin to the social contexhas recently became a part o the collectiVictoria and Albert Museum in London.Trixie typeace, created by LettError, that iEric Van Blockland and Just Van Rossum FontShop typeoundry, could easily be a p

a similar collection. Trixie is a ood exampa ace here its authors anted to suppreoriinal, smooth orms, evokin the eel oThe name o the ace as inspired by Beagnther, ho lent the authors her typeriauthors then created the diitalised ace

type.Other companies produced their on varon the theme o eroded monospace typenone o these is as amous as Trixie. Theralso many versions o such onts availablebut their quality las behind a bit o couras lon as e may speak o quality in a tyhich as intentionally deormed.All onts imitatin the un-perect monospahave one sinicant fa all characters hsame aults. To same A characters are

the same, includin the deects. Texts setaces are thus monotonous, evokin an imsion dierent rom the restless texts set btyperiter.

CcuIn the last one hundred o years, typorapa lon ay. Hoever, it is more and more rent that i a man nds a perect tool, he or imperection. Ater a period o imperehe turns back to purity. So there is nothiunder the sun[translation: Olga Neumanov

(nap. Hammond, Caligraph nebo Underwood) ml svvlastn.Od prvopotk psacch stroj se podaly soutev rychlosti psan. Jednu z nich, kter se konala 25. er-vence 1888 v Cincinnati, vyhrl jist Frank McGurrinna stroji Remington s klvesnic QWERTY. Klasickklvesnice tedy zd se prokzala, e poskytuje dosta-tek monost pro rychl psan. Ale jen o pr mscpozdji se konaly jin soute, ve nich na cel e vy-hrl Thomas Osborne s klvesnic Caligraph. A vyhrl

jet nkolik sout, pesto se klvesnice QWERTYprosazovala stle vc. A nakonec vichni ostatn v-robci na klvesnici QWERTY peli.Kopii studie pro americk nmonictvo Liebowitznakonec nalezl na pd nadace Dvorak International,tedy ve skutenosti v podkrov armskho domu veVermontu. Testovac skupiny byly opt vrazn ovliv-nny ve prospch Dvorakovy klvesnice, neprovdlyse testy opanho pechodu (z klvesnice Dvorak naQWERTY) apod. Dotazem na americk standardizaninstitut ANSI se Liebowitz dozvdl, e studii vytveljist nadpor. August Dvorak! Pekvapuje potom n-koho, e ve studii, na kterou se vichni autoi odvol-vaj, jsou vsledky tak vrazn ve prospch Dvorakovyklvesnice?Podle pozdjch studi ze 70. let ji vhody klves-

nice Dvorak nevyznvaj tak vrazn. Napklad studieWestern Electric zjistila, e po 104 hodinch peuo-vn psali psai o 2,6 % rychleji ne dve na klvesniciQWERTY. A dal studie Oregon State University tovcemn potvrdila po 100 hodinch peuen bylypsai na 97,6 % pvodn rychlosti. Ob studie tak do-poruuj penze investovat sp do zlepovn rychlostina klvesnicch QWERTY.Liebowitz svm vzkumem dokzal, e klasick pedpo-klad path dependence (prvn hr na trhu zsadnuruje smr, i kdy je vrazn hor ne konkurenti,kte pijdou po nm) je myln. Jak se ukazuje, monnemme pln nejlep klvesnici, ale na jejm skute-nm rozmstn zase tak moc nezle, protoe lidjsou pizpsobiv.

a kde je typografe a psmo?Z psma prvnch psacch stroj vychzel i nvrh psmaAmerican Typewriter, kter upravili Joel Kaden a TonyStan v roce 1974 pro ITC. Nvrh vychzel z originlnhopsma s vjimkou liter &, $, R a e. Psmo bylo na rozdlod tehdejch psacch stroj proporcionln.Jak taky na sprvn neproporcionln psmo? Pokudm mt litera i stejnou ku jako m, mus bt jednaka vizuln zmenena nebo zvtena. Vtinou seopout pomr vky a ky 1:1 a vol se praktitj,napklad 3:5 potom se ir znaky mrn zuuja zk znaky se vizuln roziuj. Toho se dosahujeextrmn vraznmi patkami, co je velmi dobe vidtu psma Courier.Jeho autor, Howard Kettler, ho navrhl pvodn propsac stroje IBM ji v 50. letech minulho stolet. Dky

vrazn itelnosti je psmo dobe pouiteln, a hografci nemaj rdi, protoe na vstupu asto symbo-lizuje chybjc psmo. Potaovou variantu psmaCourier pekreslil Adrian Frutiger.

pbh otosazbyPro otosazbu se zpotku pekreslovala psma na-vren pro mechanick szec stroje, tedy upravenpvodn psma. Teprve roku 1962 bylo navreno prvnpsmo pmo pro otosazbu. Bylo jm Apollo od Adriana

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StOut (ScrathedOut 1992 Pierre di Sciullo or FUSE 5)u ostuvabcdefghijklmnOpqrstuvw

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MoonBase Alpha(MoonBase Alpha 1992 Cornell Windlin or FUSE 3)

(regular) abcdefghijklmnopqrstuvwxyzabcdefghijklmnopqrstuv

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Frutigera. O dva roky pozdji pibyla Albertina odChrise Branda.Vzhledem k pvodn technologii staila jedna flmovmatrice s psmem pro vtinu velikost. Pouze provelk nadpisov velikosti byly poteba zvltn flmy,protoe pi extrmnm zvten se projevila nevhodaoptickho zvtovn neostr okraje psem.To odstranila a sazba na otoszecm stroji Digisetv roce 1965, ve kterm se obraz vytvel obrazovkovouelektronkou (CRT) a psma v nm byla uloena v digi-

tln komprimovan podob. Byl poloen zklad po-taov typografe, i kdy do jej souasn podobyzbvala jet spousta let pokus.Ale typografe byla stle v rukch jen urit skupinylid, protoe zazen byla sice relativn dostupn, alezrove pomrn nkladn. Teprve s pchodem osob-nch pota s grafckm rozhranm dolo k vraznliberalizaci a odelitnn typografe. S osobnm po-taem a PageMakerem, Venturou nebo XPressem bylomon dlat snadno a rychle spoustu vc, kter dvezabraly dny a tdny prce.

od konstrukce k dekonstrukci

Digitalizovan psma byla dokonal. Nemla nectnosti

hork sazby ani otosazby, znaky bylo mon libovoln

zvtovat a dlat s nimi doslova cokoli. Proto nen divu,

e nkte grafci se pomrn rychle ist typografenabaili a zaali zkouet, co nov technologie umo-

uje. Sterilita digitln typografe kdy vechna psma

vypadala naprosto dokonale jim byla trnem v oku.

Pioni ist digitln typografe, migr (1984), Font-Shop (1991) a pozdji i men frmy jako T26, HouseIndustries, Garage Fonts nebo Thirstype, nepovaovalitypografck pravidla za dan a zkoueli, co vechnolze s psmem provst.Projekt Fuse odstartovan roku 1991 Nevillem Brodyma Jonem Wozencrotem autoi charakterizovali jakoprojekt jazykovho vzkumu. Zkoueli vytvet psmaze zvuk nebo jim piazovat role podle socilnho kon-textu. V souasnosti se Fuse stal soust stl sbrkylondnskho muzea Victoria and Albert.Psmo Trixie, kter LettError, tedy Eric Van Blockland

a Just Van Rossum, vytvoili pro psmolijnu FontShop,by klidn mohlo bt soust podobn kolekce. Trixieje pkladem psma, ve kterm chtli tvrci potlait p-vodn hladk tvary a vytvoit dojem umlho strnut.Nzev pochz ze jmna Beatrix Gnther, kter auto-rm zapjila psac stroj, z otisk jeho liter digitalizo-van psmo pochz.I dal frmy vytvely sv variace na tma erodovanpsmo psacho stroje, ale dn se neproslavilo takjako prv Trixie. Existuje rovn spousta variant po-dobnch psem zdarma, ta vak nedosahuj takovchkvalit tedy pokud se d u zmrn deormovanhopsma o kvalit hovoitPsma napodobujc litery psacho stroje nicmn majjednu nectnost: vechny znaky jsou pokozen stejn.Dva stejn znaky A maj chyby na stejnch mstech,co vede k monotnnmu dojmuz text, vzdlenmu od neklidnjch text poze-nch skuten psacm strojem.

zvr

Typografe prola za poslednch vce ne sto let velkmskokem. Pesto se vc a vc ukazuje, e pokud maj liddokonal nstroje, tou po nedokonalosti. Po obdobnedokonalosti zase utkaj k istot. Tedy: nic novhopod sluncem

Asov osA / TiME sCAlE1454 gutenberova bible / gutenbers Bible1814 objev pry / invention o steam enine1868 objev rotanho stroje / invention o a rollin press1873 prvn komern verze Sholesova psacho stroje Reminton I / rst commercial version o

typeriter Reminton I1885 objev pantorau a usnadnn tvorby liter / invention o pantoraph, simplication o lyp

process1889 zaloena rma Linotype / Linotype comp. as ounded1908 kernin na strojch Monotype / kernin in Monotype machines1944 prvn otoszec stroj / rst photocomposition system

1965 otoszec stroj Diiset s CRT obrazovkou a diitalizovanmi psmy / photocomposition deDiiset ith a CRT screen and diitalised aces1971 Seaco 1600, prvn kivkov psma / Seaco 1600, rst vector aces1977 Xerox 9700, elektrorack tiskrna pouvajc diitln psma / Xerox 9700, electro-raph

room utilisin diital onts1982 warnock a geshke odchzej z Xeroxu a zakldaj Adobe Systems / warnock and geshke

Xerox, oundin Adobe Systems1984 Apple Macintosh, HP LaserJet / Apple Macitosh, HP LaserJet1985 Adobe PostScript, Aldus PaeMaker / Adobe PostScript, Aldus PaeMaker1991 Trixie / Trixie1995 Adobe a Microsot ohlauj OpenType / Adobe and Microsot announce OpenType1999 Adobe InDesin jako prvn aplikace podporujc OpenType / Adobe InDesin, rst applica

the support o OpenType

oDKAzy / linKs01 Dvorak Internationalhttp://.extremespin.com/dvorak/dvorakint/02 Popularizovan verze Liebowitzovy studie / Popularised version o Liebowitzs study

http://reason.com/9606/Fe.QwERTY.shtml

03 Base Monospacehttp://.emire.com/EFeature.php?di=8004 Howard Kettler http://.raphos.or/courier.html05 FF Trixie http://.letterror.com/oundry/trixie/index.html06 Skript Flipper pro FF Kosmik / Skript Flipper or FF Kosmik

http://.letterror.com/code/old/fipper/index.html07 Historie psacch stroj jako strom / A tree o typewriter history

http://.precision-dynamics.com.au/typeriters/history.html08 Historie Monotypehttp://.monotypeimain.com/aboutus/timeline.aspx09 Typografe devadestch let / 1990s typography

http://.creativebehavior.com/index.php?PID=7710 Historie psacch stroj / Typewriter history

http://.mytyperiter.com/eneric.html?pid=2111 Psma psacho stroje zdarma / Free monospace ontshttp://oldtype.8m.com/onts.h12 http://.vintaetype.com/

PsMA PsACho sTRojE / MonosPACE FonTsITC American Typeriter (ITC, Joel Kaden, Tony Stan, 1974), proporcionln / proportional

Courier (IBM, Hoard Kettler, 1956) tak / also Courier 10 Pitch (Bitstream), Courier Ne (MonTyperiter (Monotype Imain)FF Elementa (FontFont, Mindauas Strockis, 1998)Ice Ae (URw++)John Doe (Fonthead, Ethan Paul Dunham, 1995)Letter gothic (Linotype, Robert Roberson) tak Typeriter gothic (Monotype Imain)Lucida Sans Typeriter (Elsner+Flake, Charles Bielo, Kris Holmes)Lucida Typeriter (Elsner+Flake, Kris Holmes, 1994)FF Nexus Typeriter (FontFont, Martin Majoor, 2004)Nimbus Monospace (URw++)Pica 10 Pitch (Bitstream)Prestie Elite (IBM, Hoard Kettler, Clayton Smith, 1953) tak / also Prestie 12 Pitch (BitstreamTyperiter Elite (Monotype Imain)LTC Reminton Typerite (Lanston Type Company, Frederic w. goudy kurziva)Static ITC (ITC, galapaos)Techno Script EF (Elsner+Flake)FF Trixie (LettError, FontFont, Erik Van Blokland, 1991)P22 Typeriter (IHOF, Richard Keler, 2001)URw Typeriter (URw++)

Linotype Typo American (Linotype, Mark Stanczyk, 1999)Typeka (T-26, Ilan Ronen, 1997)

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Od 5. do 8. dubna 2006 probhla v Dubaji veSpojench arabskch emirtech konerence Kita-

bat vnovan arabsk kaligrafi a typografi. Konerenci

uspodalo oddlen vizuln komunikace Americkuniverzity v Dubaji spolen s frmou Linotype a na-dac Khatt (Centrum pro arabskou typografi v Am-sterdamu) a za podpory Mezinrodn typografckorganizace AypI. Na konerenci pijelo pes ticetpednejcch nejen z Blzkho Vchodu, ale tak z Ho-landska, urecka, rnu i Spojench stt. Po obsahova technick strnce byla konerence pipravena zname-nit. Pednky mly vysokou rove a organiztormse podailo pokrt irok spektrum problm spojenchs tvorbou a uvnm arabskho psma. Podali tak vrnobraz o stavu a smovn arabsk kaligrafe a typografena potku jednadvactho stolet.Kampus Americk univerzity v Dubaji, kde konerence

probhla, se nachz uprosted obrovskho runho sta-venit asi ticet kilometr od centra. Proto jsem pedhotelem blzko univerzity, avak bez monosti jakho-koli proitku spovajcho teba v prost prochzce, dalpednost bydlen v centru msta s kavrnami, stnkys jdlem a erstvm ovocem, trhy s koenm i poseze-nm na nbe ztoky. to volby jsem nelitoval, anikdy jsem kad rno pes hodinu dojdl k univerzitmstskm autobusem. Mj hotel byl v ulici, kde se pro-dvaly pouze baterie do koupelen a svteln majky proautomobily, avak na runm nmst vzdlenm prkrok bylo hned nkolik stnk s bjenou a levnouawarmou, navc otevench po celou noc. Kad den

jsem cestou z hotelu k univerzit jel po rozkopanm

bulvru Jumeira (oko Evropana pobavily npisy BinLadin Group na buldozerech) a s hrzou jsem sledovalob billboardy prezentujc vize developer o luxusnm(ale zcela neosobnm) ivot v unifkovanch klimati-

zovanch ghettech novch pmstskch tvrt, kterdoprovzely slogany typu Nov hlavn msto byznysunebo Nejprestinj kilometr tveren na planet.

Uvdomoval jsem si radost z toho, e ijeme v relativnchud zemi, kter se v edou, nezajmavou a sterilnbetonovou dungli promuje nem tempem. Protinm se Dubaj rozlz gepardm tempem tam, kde pednkolika msci byla jet tich pou. S vjimkou po-mrn malho a pky pstupnho centra kolem ztoky

je Dubaj mstem, kde chodec je ten posledn, na kohose bere ohled. Bez automobilu se nelze dostat nikam,a tak mstem po osmiproudch bulvrech pomalu po-pojdj nekonen kolony automobil a nkolika kilo-metrov podveern cesta taxkem z centra na placenoupl me trvat pes hodinu.Nesoulad mezi sluncem rozplenou poutn krajinoua obrovskmi luxusnmi nkupnmi stedisky, mno-

hahvzdikovmi hotely, blytivmi mrakodrapy idokonce lyaskm stediskem se skutenm vlekem bylobrovsk. I samotn univerzita pipomnala se svmirdoby antickmi sloupy v mramorovm lobby spetyhvzdikov hotel ne kolu. Le nepiletl jsemdo Emirt kvli bizarn architektue, ale za typograf,a v tomto ohledu jsem byl nadmru spokojen. Na pdiuse vystdali Reza Abedini, Huda Smitshuijzen AbiFars,arek Atrissi, Johannes Bergerhausen, Nadine Chahine,agelsir Hassan, Brody Neuenschwander, Fawzi Rahal,Nabil Sawat, Mamoun Sakkal, Bruno Steinert, GerardUnger a ada dalch zajmavch osobnost, sobotnworkshopy vedli mj. Aida Sakkal, Adam wardocha Mohamed Zakaryia. Obohatily m pednky sa-

motn i diskuse o pestvkch, bhem skvlch hostin,kdy se stoly doslova prohbaly pod mnostvm nejrz-njch arabskch jdel, nebo bhem slavnostn veeena lodi. Na zvr konerence jsme k veeru nasedli do

TexT.FilipblaekTYpo.acTion

Raut u pleitosti slavnostnho vyhlen soute Linotype. Linotype AardCeremony raut.

Na bulvru Jumeira. On the Jumeira Street.a v centru Dubaje. A creek in the Dubai donton.

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KitabatDubaj 2006

From the 5th until the 8th o April, 2006, a Kitabatconerence took place in Dubai, UAE. It as dedi-cated to Arabic calliraphy and typoraphy, andoranised by the Department o Visual Communi-cation at the American University in Dubai toeth-er ith Linotype gmbH and the Khatt oundation(a Centre or Arabic Typoraphy in Amsterdam).It as also supported by the international ATypIoranisation. Over thirty speakers arrived, not onlyrom the Middle East, but also rom Netherlands,Turkey, Iran, and the United States. Content andoranisation-ise, the conerence as prepared

meticulously. The talks ere proessional andthe oranisers manaed to cover a ide rane oproblems connected ith the desin and usaeo the Arab script. The conerence thus oereda true picture o the state and direction o Arabiccalliraphy and typoraphy at the beinnin o21st century.The conerence took place in the campus o theAmerican University in Dubai, hich lies in themidst o a busy buildin site located about thirtykilometres aay rom the Cit y centre. This is hyI ave up stayin in a hotel hich as close to theuniversity, but didnt oer even the pleasures oa simple alk. Instead, I ound accommodationin the centre o the ton ith all its cas, oodstalls, vendors o resh ruit and ve, marketsith spices or places to sit on the sea ront, ithlovely vies o the Dubai bay. I did not reret my

choice, althouh I had to commute each morninor over an hour ith the city shuttle. My hotel liedon a street hich abounded ith shops sellinater taps and automobile atch lihts (and noth-in else). Nevertheless, in a short distance there

as a busy square hich had a number osellin delicious and cheap shaarma, anere even open throuhout the niht. EveI passed throuh the Jumeira boulevard, aunder construction, here European eyesat the vie o Bin Ladin group bulldozers here, in horror, I couldnt overlook enormbillboards presentin the visions o develointroducin you to the luxurious, yet soullelie in unied, air-conditioned hettos o nsuburban dellins. All accompanied by such as The Ne Capital o Business, or T

Prestiious Square Kilometre on Planet. Sthis, I realised the joy o livin in a relativecountry, chanin into such ray, unintereand sterile junle o concrete at a slo paCompared to our country, Dubai is spread

the speed o a cheetah, and ne suburbsup here you could nd a quiet desert onmonths ao. with the exception o a relatsmall centre around the bay hich you cacover by alk, Dubai is a city here a pedis the last one to be noticed, let alone be cor. without a car, you cannot et anyhe

the city is streaked ith eiht-lane boulevjammed ith endless convoys o automoband a late aternoon cab drive rom the ce

the beach (ith paid entrance) miht takean hour.The discrepancy beteen the bakin-hot

and the iant shoppin centres, luxuriousshiny skyscrapers and even a ski area itski lit as immense. with its ake greek cin the marble lobby, even the university msembled a our-star hotel than a place o l

ternnch aut a odjeli smrem k Omnu prohnt se popsench dunch. Zpad slunce v pouti byl skutennezapomenuteln.

Jedinm zklamnm tak bylo publikum. Pednkovsl byl sice velmi pohodln, ale kapacitou znan pe-dimenzovan i vech 350 astnk se v nm snadnoztratilo; nkte pednejc dokonce mluvili k pouhmdvma tuctm divk. Nemohl jsem si nevzpomenoutna loskou konerenci ypo.Graphic.Beirut, ktermon nemla takovou i a kvalitu pednek, ale vy-znaovala se mnohem pteltj, neormlnj a tvo-ivj atmosrou, k emu mon pispval i akt, ehistorick budova auly Libanonsk americk univerzityle v samm srdci Bejrtu a ne uprosted rozestavnchmrakodrap, rozkopanch silnic a obrovskch parko-vi. Vm tomu, e se zprva o kvalit pspvk roza pt ronk navtv mnohem vce student, desig-

nr a pedagog nejen z Blzkho Vchodu.Podvejme se na tmata, o kterch mluvili nejen ped-nejc, ale o kterch se diskutovalo i mimo ofcilnprogram.

Problm prvn:

kaligrafie versus typografie

Bn arabsk psmo uvan pro sazbu knih, asopisa novin m sice kaligrafck zklad v psmu nasch, alezrove vychz z extrmn zjednoduen verze, kterousi kdysi vynutila technologie knihtisku. Souasn tvrcipsma stoj ped otzkou, nakolik maj pi sv prci vy-chzet z tradin kaligrafe, kter obsahuje adu ligatura ozdobnch tvar a kterou je teoreticky mon v po-

taovch ontech obstojn imitovat. (Nkter ontydokonce umouj plynule mnit mru sloitosti psmavypnnm a zapnnm ozdobnch tvar, kompliko-vanch ligatur apod.) Dalo by se ct, e v souasnosti

Brody Neuenschwander.Americk univerzita v Dubaji. American University in Dubai.Dm ejka Saeeda Al Maktoum. Sheikh Saeed Al Maktoum House.

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probh boj o budouc podobu arabskho psma: jestlise bude ubrat cestou vychzejc z kaligrafck tradice,nebo se vyd smrem k zjednoduen, kter s sebou sicenese ztrtu historick kontinuity, ale pin nespornvhody v mnohem vy itelnosti, co zpstupujearabskm psmem psan texty nejen dtem ve kolch,ale napklad i cizincm.

Problm druh:

nedostatek kvalitnch font

Nkte enci lamentovali nad nedostatkem kvalitntechnicky i esteticky pipravench textovch ont.akov psma sice existuj, jsou vak z nejrznjchdvod nedostupn. Kupkladu onty, kter pedstavilMamoun Sakkal, ct kaligrafckou tradici a technicky

jsou velmi dobe pevedeny do ormtu Openype,nen ale mon je jednodue zakoupit. Naproti tomusotwarov spolenost Diwan, kterou na konerencizastupoval jej technick editel Adil Allawi, kvalitnpsma nabz komern, le vyaduj proprietrn sa-zec aplikace. Dal slibn psma, z nich nkter byla

prezentovna na konerenci, zatm nejsou technickydokonena. Absence kvalitnch arabskch ont vedlankolik astnk konerence k sepsn petice spole-nosti Microsot, aby do novch Windows zaadila novarabsk onty, kter by nejen zvily kvalitu bnchtiskovin, ale zejmna napomohly itelnosti webovchstrnek. Stvajc onty dostupn v operanm systmuMS Windows jsou toti pro zobrazovn arabskhopsma na webu nevhodn.Soust konerence bylo i slavnostn vyhlen v-sledk soute na arabsk psmo, kterou podalaspolenost Linotype. o se odehrlo na Pevnostnmostrov uprosted umle vybudovanho historickhomsta Madinat Jumeirah. (Skvl dojem z bohathorautu, posezen s vhledem na promujc se barevnnasvcen hotelu Burj Al Arab, pjemn spolenostiu mho stolu a proesionln obsluhy trochu kazil akt,e ve kolem ns postrdalo autenticitu. Kamennkvdry pevnosti a balvany na ostrov byly z betonu,dokonce i trva byla z plastu.) Autoi vtznch ontzde pevzali hodnotn ceny za nvrhy novch psem,

1. msto v kategorii textov psmaHurr, autor Sultan Maktari (Jemen)Text Cateory 1st PrizeHurr by Sultan Maktari (Yemen)

2. msto v kategorii textov psmaMidan, autor Al Mohtara Assaoudi (Libanon)Text Cateory 2nd PrizeMidan by Al Mohtara Assaoudi (Lebanon)

1. msto v kategorii titulkov psmaIsra, autor Almamoun Ahmed (Sdn)Display Cateory 1st prizeIsra by Almamoun Ahmed (Sudan)

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TYpo.ac

kter budou douejme v nejbli dob dotaena ado podoby unknch ont a budou v prodeji u frmyLinotype. Jak pi zvrenm proslovu slbil jej editelBruno Steinert, po spnm prvnm ronku soutebude pt rok vyhlen druh. Je tedy patrn, e zjemo tvorbu arabskch potaovch psem se zvyuje a enabdka se bude pomalu zlepovat.

Problm tet: technologick limity

radin arabsk psmo pedstavuje vysoce sloitkomplexn systm. Pi pevdn nkterch psem dovektorov podoby tak nen mon navrhnout tyi verzekadho znaku (pro znak stojc na zatku, uprosted,na konci slova i samostatn), ale od nkterch znak

je teba nakreslit mnoho dalch variant, kter reagujna promnu znaku v zvislosti na tvaru psmene, vedlekterho se nachzej. Jako zejm jedin, univerzlna vem dostupn een se jev ormt Openype. Pes-toe ne vechny aplikace zatm dokou vhod tohotoormtu pln vyut, je velmi pravdpodobn, e searabsk opentypov psma stanou brzy skutenm stan-

2. msto v kategorii kaligrafck psmaFiras, autor Abbas Al Baghdadi (Irk)Calliraphy Cateory 2nd PrizeFiras by Abbas Al Bahdadi (Iraq)

2. msto v kategorii titulkov psmaNahia, autor Sultan Maktari (Jemen)Display Cateory 2nd prizeNahia by Sultan Maktari (Yemen)

1. msto v kategorii kaligrafck psmaHakim Ghazali, autor Hakim Ghazali (Maroko/Francie)Calliraphy Cateory 1st PrizeHakim ghazali by Hakim ghazali (Morocco/France)

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TYpo.acTion

Ukzky t psem Nadine Chahine dokazuj, e lze vytvoit takov onty, v nich je arabsk i latinsk prvek v naprost rovnovze.Samples o Nadine Chahines three t ypeaces testiy the possibility o creatin onts here A rabic and Latin elements live in a entire harmony.

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Hoever, I did not visit the Emirates to see itsbizarre architecture. My main motivation as

typoraphy and in this respect, I as more thansatised. The speakers appearin on stae includ-ed Reza Abedini, Huda Smitshuijzen, AbiFars,Tarek Atrissi, Johannes Bererhausen, NadineChahine, Taelsir Hassan, Brody Neuenschan-der, Fazi Rahal, Nabil Saat, Mamoun Sakkal,Bruno Steinert, gerard Uner and a number oother interestin ures, Saturday orkshopsere supervised, amon others, by Aida Sakkal,Adam Tardoch and Mohamed Zakaryia. I eltinspired not only by the talks, but also by the dis-cussions in beteen, durin onderul snacks, or,better to say, durin easts hen the tables couldhardly bear the eiht o all the Arab delicacies,or at the ala dinner on the boat. Toards the endo the conerence, e mounted a couple o jeepsand ent ridin across sand dunes in the desert.The sunset in the desert as truly unorettable.The only disappointment as thus the audience.The lecture hall as very comortable, but much

too lare in capacity even all 350 participants othe conerence ere easily lost there, let alone thesituations hen some lecturers spoke to mere todozens o people.I couldnt avoid the comparison ith last years

conerence, Typo.graphic.Beirut, hich miht nothave had such ide scope and quality o talks,but hose atmosphere as much more riendly,inormal, and creative. It is quite likely that thisas aided by the act that the historical SheikhZayed hall o Lebanese American University liesin the very heart o Beirut and not in the midst ohal-built skyscrapers, roads under construction,and vast car parks. I believe that the messaeabout the hih proessional quality o talks illspread, and the next years conerence ill beattended by many more students, desiners andlecturers, not only rom the Middle East.Let us overvie the topics covered by the speak-ers and also discussed outside o the ocialproram:

Problem number one:

calligraphy versus typographyCommon Arab script utilised or settin obooks, nespapers and maazines is based on

the calliraphic naskh script, hoever, on itscrudely simplied version tted or the needs obook printin technoloy (hotmetal constraints).Present type desiners ace the dicult decisionhether to root their ork in traditional callira-phy hich contains a number o liatures anddecorative elements, and hich, in theory, maybe suitably simulated in electronic orm. (Some

onts even enable the user to radually mcharacters by enablin or disablin eaturas decorative elements, complicated liatetc.) It may be said that at present, e ita strule or the uture orm o Arab scripshall see hether it ill ollo the path roo

the calliraphic traditions, or hether it simplication, hich, on one hand, means

the continuity o tradition, but, on the othebrins the indisputable benet o improveibility, thus makin the texts ritten in Araaccessible not only to children in schoolsexample, also to oreiners.

Problem number two:lack o well-designed ontsSome speakers lamented about the lack obuilt and yet aesthetic text onts. Such ondo exist, but they are inaccessible or varireasons. For example the onts presentedMamoun Sakkal respect calliraphic tradiand are very ell transered into the Openormat, but it isnt easy to purchase them.other hand, the sotare company Dian sented by their technoloy manaer Adil Adoes oer ell desined onts commercia

they require proprietary layout application

promisin typeaces presented at the conare not yet technically ready. The lack o quality Arabic onts led some participantsconerence to le a petition to Microsot, din the inclusion o ne Arabic onts in thedition o windos, not only improvin tho common printed materials, but, in the place, improvin the clarity o internet conThe present onts included in the MS winOS are unt or displayin Arabic on screeThe conerence also sa the announcem

the inner o a competition or an Arabic oranised by Linotype. The ceremony tooon the Fort Island in the centre o an arthistorical ton Madinat Jumeirah. (My impsions evoked by an opulent dinner, by seaith the vie o a colourul illumination o Al Arabic hotel, and by a pleasant compan

table attended by proessional aiters espoiled by the complete lack o authentichere around us. The stone blocks o theand the buttresses ere made o concreteeven the rass as made out o plastic.) Ao the innin desins ere rearded itable prizes or the desins o ne onts, shall hope, ill be soon nished to be unand ill be sold by Linotype. As its directoSteinert promised, the successul rst rou

the competition shall be olloed by a sec

dardem, pestoe nkter proprietrn systmy jakoteba upraven arabsk verze programu QuarkXPress,Ready, Set, Go! nebo Al-Nashir al-Sahaf spolenostiDiwan, i technologe Decoype vyvinut TomasemMilem mon nabzej sofstikovanj een. V sou-asn dob je vyuit psem ve ormtu Openype s-ten limitovno neplnou podporou vech jeho mo-nch vlastnost ze strany aplikac, nicmn univerzalitaa plnovan podpora tohoto ormtu v dalch aplika-cch dv nadji na globln spch prv tomuto e-en. Systmy jako Decoype pak budou uvny tehdy,kdy bude poteba skuten dokonal sazba imitujcarabskou kaligrafi. V bnm kancelskm prosted,pi sazb novin a asopis, v reklamnm prmyslu jevak Openype ideln.

Problm tvrt: vyznaovn

Latinka umouje vyznaovat v textu mnoha zpsoby,nejastji rznmi kombinacemi kurzivy, pltunhopsma, malch kapitlek nebo verzlek. Arabsk psmo

je v tomto ohledu odkzno pouze na zmnu duktu,a to jet v omezen me, nebo nkter sloitj znakypestvaj bt ve velmi tunch ezech iteln. Bohuel

jen nepatrn poet ont obsahuje nkolik ez odstup-ovanch od tenkho po siln, jak je to bn v latin-kovch abecedch. Skuten kurziva neexistuje a umlenaklonn psmo je povaovno za estetick nevar. Nasouasnch typograech tedy zstv nalezen njakhoeen, kter by vyznaovn v textech szench arab-skmi psmy umonilo, mon nalezenm vhodnchkombinac rznch styl.

Problm pt: arabtina versus latinka

Velk problm pro designry pracujc s arabtinoua latinkou zrove je vzjemn vztah tchto odlinchtyp psma. Arabsk psmo nezn dlen na minuskya verzlky a nem ani stedn vku psma. Proto jevelmi obtn tato psma kombinovat, ani by jednoz nich utrplo. Praxe je bohuel takov, e arabsk n-pis na budov, dopravn znace i billboardu je vedlelatinky mnohem mn vrazn a he iteln. Existujeada pokus piblit arabsk psma existujcm latinko-vm psmm, jak ve svm pspvku ukzal na arabsk

Capheight

X-line

Descenderline

Baseline

X-height

I n s a n m e d i u m

Descender

X-hieght

Baseline

Psmo Insan Ihsana Hammouriho je pkladem nsilnho latinizovn arabskho psma. Reklamn prmysl vak tento typ ont vyhledvTypeace Insan by Ihsan Hammouri is an example o orced latinization o an Arabic type. Hoever advertisin industry seeks or such onts

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TYpo.acTion

Nadine Chahine a Bruno Steinert (Linotype) oznamujvtze soute.Nadine Chahine and Bruno Steinert (Linotype) announcincontest inners.

Gerard Unger bhem pednky.gerard Uner ivin a lecture.

Ukzka rozpracovanho textovho psma pro sazbulatinky a arabtiny. Autorem psma je Titus Nemeth;v souasnosti studuje typografi na uni verzitv ReadinguA previe o a text typeace in proress or settin Latinand Arabic. Author o the ont is Titus Nemeth, a student atthe Typeace Desin course at the University o Readin.

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next year. It is apparent that interest in electronicArabic onts is on the rise, and that their supplyill improve accordinly.

Problem number three: limits o technologyThe traditional Arab script is hihly complex.when tracin certain letters, it does not suce todesin our versions o each character (or thosepositioned at the beinnin, in the middle or at

the end o the ord, or or stand-alone use). Some

characters require a number o other versionsdependin on the chanes o the letter due tovaryin shape o the neihbourin character. TheOpenType ormat seems to be the only universalsolution accessible to all. Althouh not all ap-plications are yet able to take ull advantae oall the merits o this ormat, it is most likely thatArabic OpenType aces ill soon become a truestandard, despite the act that some proprietarysystems, such as the Arabic version o QuarkX-Press, Ready, Set, go!, or Al-Nashir al-Saha byDian comp. may oer a more sophisticatedsolution. At present, the usae o OpenType acesis still limited by incomplete application supporto all its eatures, but its universality and plannedsupport o this ormat in applications hich arebein developed raises hopes or lobal successo this very solution. Systems such as DecoType

ill then be utilised only in special cases, ora truly perect layout imitation o Arab calliraphy.For common oce environment, or nespaper

typesettin and or advertisin industry, OpenTypeis an ideal solution.

Problem number our: highlightingLatin script permits to hihliht a text in variousays, most oten throuh combinations o italics,semibold, small caps or caps. In this respect,

the Arab script can only employ the eiht othe ace, and even this is restricted, becausecertain characters are illeible in heavier cuts.Unortunately, only a raction o the onts availablecontains more eihts, counter to the standard inLatin onts. Proper italics does not exist, and tiltin

the letters is considered to abuse the letterorms.Typoraphers o today thus need to nd a solution

hich ould enable hihlihtin in texts set inArab script, possibly throuh developin certaincombinations o styles.

Problem number fve: Arabic versus LatinA reat problem or desiners ho ork ithboth Arab and Latin scripts is to nd an accordbeteen the to very dierent scripts. Arab scriptdoes not kno the dierence beteen upperand loer case, and it does not have an x-heiht.This is hy it is rather dicult to combine the to

ithout harmin one or the other. Unortuin reality, sins in Arab script on buildinssins or billboards are much less leible a

than those in Latin script. Many have attemto desin Arabic onts close to the moderones, as e could see, or example, in theJordanian typorapher Ihsan Hamouri on Helvetica. Hoever, most o these attemporcibly Latinise the Arab script, and resulin most cases, aesthetically poor. Other, p

more ortunate path leads via deep undero the principles o both scripts. It is necesrespect the smooth, horizontal character oon one hand, and the verticality and ramo Latin. Also, it doesnt help to orce Arab

take on seris or other eatures alien to it; it is necessary to oer onts o the same cand eiht. This may be achieved by jointin o Latin and Arabic onts: ood exampsuch eorts are yet-unnished aces by NaChahine, Peter Biak, or Titus Nemeth.

Problem number six: educationMany speakers complained about the enpoor knolede o the history o Arab callhich more or less constitutes the basis opresent Arab type. Arab typoraphy is a yeld. At Middle Eastern universities, it is ta

as part o raphic desin derees only sinthe beinnin o 1990s. As a result, the puis little aare o desin and typoraphy. Tdisplayed, or example, in the enerally poappearance o most public sinae (advements, sinboards, billboards), but also published books and periodicals. And thishy one complete section o the conerendedicated to education. The discussion by Huda AbiFars, and other participants

Yasmine Taan, Petr van Blokland, Leland Peter Biak and Zeina Maasri.Many talks had the optimistic air o a bettecomin. Hoever, it ill probably take mayears beore a youn eneration o ell-edcated typoraphers and calliraphers robeore sotare piracy presently restrainininvestments into development o ne app

or onts ill diminish, and beore technolosolutions permittin the faless creation terchane o Arabic, Persian or other Arabdocuments ill come into practice. I belieis events such as the Kitabat conerence aid the speedin up o this process. And mit ill also be our maazine contributin it

the course o this year, e ill dedicate onplete issue to present Arab t yporaphy. wpromised to be supplied ith articles by simportant authors.[translation: Olga Neuman

helvetice jordnsk typogra Ihsan Hamouri; vtinatchto snah ale jen nsiln latinizuje arabsk psmoa vede k vsledkm esteticky neastnm. Jin a zejmnadjnj cesta vychz z pochopen princip oboutyp psma. Je teba respektovat na jedn stran hori-zontalitu a plynulost arabtiny, na stran druh verti-kalitu a segmentaci latinky, nesnait se za kadou cenuvnutit arabskmu psmu cizorod prvky jako seriy,ale nabzet psma o stejnm duktu a charakteru. oholze doshnout teba tm, e arabsk a latinsk psmo jenavrhovno spolen: dobrm pkladem tto snahy

jsou dosud nedokonen psma Nadine Chahine, PeteraBiaka i ituse Nemetha.

Problm est: vzdlvn

Mnoz pednejc si posteskli nad veobecn nzkouznalost historie arabsk kaligrafe, ze kter vce i mnvychzej vechna souasn psma. Arabsk typografe

je obor mlad, na univerzitch na Blzkm Vchod sev rmci oboru grafck design vyuuje teprve od po-tku 90. let. Dsledkem je zejmna nzk povdomveejnosti o designu a typografi, kter se projevujekupkladu velmi nzkou rovn jak npis ve veejnmprostoru, tedy nejrznjch reklam, vvsnch tta pouta, ale tak vtiny vydvanch knih a periodik.Problematice vzdlvn se proto vnoval cel panel,kter vedla Huda AbiFars a zastnili se ho dle Yas-mine aan, Petr van Blokland, Leland Hill, Peter Biaka Zeina Maasri.

Akoli byl z mnoha pspvk ctit urit optimismus,e se zan blskat na lep asy, bude zejm trvat jetmnoho let, ne vyroste a uplatnn najde mlad gene-race vzdlanch typogra a kaligra, ne se sn mrasotwarovho pirtstv, kter brn investicm do vvojenovch aplikac nebo novch ont, a ne se zavedoudo praxe technologick een umoujc bezprobl-movou tvorbu a vmnu dokument psanch arab-skm psmem, a to nejen v arabtin, ale tak pertina dalch jazycch pouvajcch arabsk psmo. Vm,e prv akce, jako byla konerence Kitabat, pomohoutyto procesy urychlit. A mon pispje svou trokoui n asopis: jet letos vnujeme cel slo souasnarabsk typografi lnky nm pislbilo hned nkolikvznamnch autor.

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Zdnliv prost metaora, ale nkolik pod-statnch odkaz me zstat nepeneseno,

tedy bez porozumn. Pokusm se penst

souadnice Bringhurstovy metaory na svtjinho druhu, svt novovk vdy, technicksvt vtiny text. Nsledujc text je vlastnobhajobou dleitosti tch nkolika zapo-menutch odkaz Bringhurstovy metaoryo souinu slova, smyslu, ten.

V pojednn komponovanm na hranicibsn v prze, lozockho trakttu a ty-

porack perormance rozkld Robert Brin-hurst texturu vztah slova, ei, smyslu rozu-mn. Ze zpsobu skladby jeho textu se ovemd rozpoznat provzanost vc jet dalekopodstatnj. Pekvapiv se za tmto trkemtextu otevr pomrn zeteln obraz struktury

svta, z kterho je metaora vzata a mimo njnedv ani jako metaora vlastn smysl. Os-nova, na kterou Brinhurst svoji metaoru ve,je skuten osnovou jeho obrazu svta, tudosnovou jeho typorackho i bsnickho dla.Typora i bsnk jako by se obraceli k tmusvtu, nechvali skrze sv vci zahldnoutt svt. Kolik je takto bsnivch typora?A jeden by se pidal, zapla Herms, e mlo.Kde je ale ten skuten dvod, pro s Brin-hurstem nesouhlasit, hjit emeslo a za umnpokldat emesln nejpreciznj? Jestli nkdezat, pro ne rozdlem mezi textem-svtema krajinou-svtem?Zkladn rozdl mezi tenm textu a tenmokolnho svta nen tk zahldnout, sta se

ke ten posadit nkam k oknu. Dvat se dokrajiny, st ji a zrove poilhvat po knize,npisu, map nikdy nezvldneme provstrozumn vhled do obojho svta zrove.Zaostujeme nejen svj zrak, ale pedevmsvou mysl na sdlen jednoho, nebo druhhoprostoru, zrove si clonme jednm vjememdruh, textem krajinu a krajinou text. Tady sevnucuje srovnn dvoj zkuenosti, zkuenostiz pozorovn okol a zkuenosti nabyt tenm.emu z oboj zkuenosti dv ten pednosta co upozauje, nen te dleit, mnohemspe jde o to, uvdomit si volbu samu a pitroe tst i jej dvody.Propast zejc mezi tm, co lovk peetl a cozail, se i pes svoji nepopiratelnou hloubku

asto zd bt neobyejn zk. Oboj nako-nec setrvv v rezervoru pamti a tu a tamse a nebezpen prolne. Nejen maickmrealistm, ale i lidem nedvivm k pbhuje pesto jasn, e jeden a t pohyb, ktermklademe do ohniska naeho zraku text mstookolnho svta, je zrove pohybem podstat-nho pechodu takkajc z jednoho svta dojinho. Tento pechod se v naem kulturnmprostoru stal bhem stalet zcela samozejmm

a jeho samozejmost se zesiluje kadou dalvlnou textualizace okolnho svta-krajiny. Kra-jina, mstsk i venkovsk, je u dvno popsna

nejen na mapch, ale zaplavena texty a znakyna ukazatelch, billboardech, vvsnch ttechi na zdech.Pi zrodu vtiny instituc zpadn kulturystla ramotnost a textualizace jako otzka,nikoli akt od Parmenida po Holana najdemezjevnou nedvru i odpor tm vt, e psmos jeho rkami, stednky, vykinky a tekamijev se mi jako prvn bacily nepamti pod drob-nohledem boha Theutha (Holan, Lemurie).Nepamti siln skoro jako zapomnn mimojin na to, co oddluje obraz a vzor, umlcea emeslnka. Jeden rozdl urme podle dru-hho: pouh emeslnk obvykle nehled irkontext pro svj vrobek na zakzku; umlecvak a Brinhurst svm nrokem neaspiruje

na nic menho nem jinou volbu, ne klstsvj vtvor co obraz vedle vc, obraz odvo-zen z tho nhledu, kterm nahl vci okol-nho svta. Typora, kter si to uvdom, kladevlastn obrazy znak a tm vlastn vznamyznak ped zraky ten ne jenom jako vysvt-livky k vcem, popisky a nvody, ale jako vrazcharakteru zprvy jako obrazu struktury svhosvta. Na prvn pohled pekvapiv Brinhurs-tova pedstava o vazb umn vbec a hudby,resp. bsnictv s typora, je svzna s tm, ese oboj provozuje jako poisis, jako exemplumpravho lidskho dla, a jak zejmo z ped-chozho, nen dnes bn. Akoli m siln z-zem u v antice, ned se ci, e je veobecnsrozumiteln. Zjednoduen eeno lo o to,

zda si ve zaznamenvat, pst, xovat, nebopamatovat, co, jak vme, nejen nen jedno, aleasto ani dvoj.Mnoha zpsoby si pomhme k pochopenplastick a mnohoznan skutenosti rozdle-nm svta na zkuenosti vedv. Dlme to sestejnou samozejmost, jako se pop kiujea muslim klan, snad i ze stejnho dvodu.Sebe i druh tm orientujeme a jsme orien-tovni v duchovnch prostorch, patmetam a tam, protoe vci jsou takov a takov.Sama nae e jako pojmov ltka texturaje utkna ze dvojic uzlovch protiklad, dobraa zla, pravdy a li, muskho a enskho atd.,a okolo nich se v kruzch vzdlenjch i bli-ch pohybuj synonyma. Protichdn pnut

dvou sil, vytvejcch svj vlastn prostor, svt.Dvoj e ve smyslu rozdlen duchovnho odmaterilnho (svta), dobrho a zlho, vlastnhoa cizho atd.Vedle toho si povimnme, jak u od zkladnkoly mme jasno v tom, e svt, kter vidme,ctme, slyme, chutnme, jeho se dotkme,je msi sloenm. Elementy tohoto svtase nm kdysi pokusili vyloit jako tabulkupomrn neetnch prvk, a kdo mohl, od

Mendlejeva jet dl pochopil i nco mloo vysoce abstraktnch konstrukcch strukturyonch atom. To mlo se hrub eeno kryje

s povdomm, e atomy u pro ns dvnonejsou, jak nzev hls, nedliteln, jejich stivak dosud maj v obecnm mnn charakterneho undamentlnho. Nakonec je tm naevidn svta stle spjato s dvojic protikladneho (atomu) a nieho (przdnoty). Przd-nota je nutn, akoli neuchopiteln, protoejej neptomnost by vedla ke splynut atom,slit skutenosti. Atomy myslm to nejmen,na je mono, v konceptu bnho vzdln,rozloit ve, co vnmme jako reln. Atomyjako nejmen stice inme odpovdnmi zanejsubtilnj skutenosti, jakmi jsou tebaemoce a mylenky, kdy je zdaile pevdmena hormonln pochody a mikrobunnsynapse.

Co m to ve spolenho se svtem textunebo typora? Velmi mnoho natolik, nakolikse podailo tomuto konceptu reality vniknoutdo povdom nebo podvdom nkterch typo-ra, a tm je odkzat naas nebo navky doopozice k poisis, umn, bsnictv a hudb.Odtud se rod emeslnost a technika tam, kdekdysi kvetla poisis. Jinak eeno: psmenaa znaky, nebo snad body a kivky, mohou btve stejnm smyslu elementy svta typoraejako jsou atomy elementy svta smysl. Je-litomu tak, potom se przdnota podkladu stvmlc przdnotou. Protiklad neho a nieho,psma a podkladu, vak nen prostm aktem,jakkoli zdomcnl, le pomrn rozporuplnouteori.

Rozloen svta smysl na elementy atom, ajakkoli malch, a meziprostoru przdnoty vedev typorai nutn k pedstav zanedbatelnostimlcho podkladu, przdnoty, ale vedle tohovrh dosti zvltn svtlo na samotn sesku-pen element a jejich vztahy. V tomto svtle seve sloen jev jako pouze doasn spojenelement, kter spolu nekomunikuj, jenom seshlukuj a rozdluj dlem podle svho vnit-nho uspodn, tj. z nutnosti, dlem zvltnnhodou, kter jim dopeje se potkat. Takovtyporae spov ve skldn atomickchznak na mlc podklad podle nutnch, ne-mnnch pravidel, kter jsou pouze odvozenaz vlastnost znak. Je ovem zejmo, e piskutenm ten se dje nco pln jinho

ne rozborka a sborka znak, kvalita sazbysnad nen miteln tm, jak rychlou rozborkua sborku umouje.Brinhurst nezavd svm drazem na sou-in, resp. interakci nic nepirozenho v oblastidnen prodovdy. Teori relativity padlavtina pedsudk o absolutnosti atom, protozkusme pomyslet na elementy typorae po-einsteinovsk, relativn typorae, typoraetradin poisis.

Elementy sveta typografeZachytit smysl slov nen tot jako chytat jemn vlnky, kter slovo zpsob jako kapka dotykem na hladin ocenu rozumn, jde o to zachytitsouin slov, kapek, hladiny a kruh vlnn. To ve vlastnm smyslu znamen poslouchat, v tom spov i ten. (Robert Bringhurst)

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Seemingly simple metaphor, but certain key reer-ences might not come across, and thus couldremain without being understood. I will attempt to

transer the coordinates o Bringhursts metaphorto a dierent world, the world o modern science,the world o most texts. In act, the ollowing essayattempts to be a deence o the importance o

those ew lost reerences o Bringhursts meta-phor on the coefcient o word, meaning, reading.

In his essay leanin across the borders o a poeticstory, philosophical tractate, and typoraphic per-ormance, Robert Brinhurst analyses the ne textureo relations beteen ords, lanuae, and senseo understandin. Hoever, in the ay his essay iscomposed, one may detect a cohesion o thinsmuch more essential. Surprisinly, this ramentquite clearly unolds the structure o the orld romhich this metaphor comes, and outside o hich itloses its sense as a metaphor. The texture to hichBrinhurst ties his metaphor is truly the texture o

the imae o his orld, and thus also the texture ohis typoraphy and poetry. As i the typorapher andpoet both reerred to the same orld throuh theirork, both oered a limpse o it this ay. Ho manysuch poetic typoraphers could be out there? Andone ould join their, thank Hermes, sparse ranks. Buthere lies the true reason to disaree ith Brin-hurst, to deend the crat, and to consider the mostprecise crat to be an art? I e shall bein, hy notith the dierence beteen the text-orld and thelandscape-orld?The elementary dierence beteen readin a textand readin the surroundin orld isnt dicult

to rasp. To sit ith a book at a indo ill suce.when e look outside, read the landscape, and, at

the same time, e squint at the book, at a sin, ata map e are never able to enter both orlds atonce. we ocus not only our eyes, but, more impor-

tantly, our mind on the inormation contained in onespace or the other. At the same time, one impressionis shaded by the other, text by the landscape and

the landscape by the text. Here, a comparison o toexperiences comes to mind the experience ainedrom perceivin your surroundins, and the oneained throuh readin. which o these to a readerpreers and hich he doesnt isnt so important no.Much more important is to realise the possibility ochoice itsel, and, i e are lucky, the reasons or it.The apin ore beteen ones readin and his lieoten seems to be unusually narro, albeit deep. In

the end, both remain in the reservoir o memory, and,occasionally, they mere almost danerously. Notonly the maic realists, but even people ho do not

trust stories kno that exactly the same movementith hich e put the text in ocus, thus replacin

the outside orld, is, at the same time, a movementhich carries us across the border rom one orld toanother. Over centuries, this crossin has becomenatural to our cultural space, and its sel-evidencestrenthens ith each ave o textualisation o thesurroundin orld-lanscape. Both the city and therural landscapes ere lon ao described on mapsand fooded ith sinae on sin-posts, billboards,sinboards and alls.Most institutions o the western culture ere bornith the question o literacy and textualisation, notith its act. From Parmenides to Holan, e may trace

apparent distrust and antaonism, hich ros asritin ith its commas, semi-colons, exclamationmarks and ull stops seems to me to be the rst

erms o non-memory, all under the microscope oTheuth (Holan, Lemurie). Non-memory almost asstron as oblivion o the division beteen an imaeand its ideal. One dierence may be dened throuh

the other mere cratsman usually doesnt searchor broader context o his product made to order;artist, hoever and Brinhurst is no less than one,

taken his aspirations has no other choice than tolay ork as an imae side by side ith thins, imaederived rom the same source rom hich sprinshis vie o the surroundin orld. Typorapher horealises this act lays his on imaes o sins, and

thus his on meanins o sins in ront o the eyes othe reader, not just as notes to thins, captions anddirections, but as an expression o the character o

the messae, as the imae o the structure o his onorld. At a rst lance, Brinhursts surprisin ideao bonds beteen eneral art and music or beteenpoetry and typoraphy relates to the act that both

come into existence as poisis, as a moral o truehuman ork. It turns out that this idea is not at allcommon today. Althouh it is stronly rooted in ourculture since the Romans, it cannot be said that it isbroadly intelliible. To put it simply, the dilemma liesbeteen notin don everythin, ritin and thusxin it, or rememberin, hich, as e kno, isnt

the same, and oten, it isnt either just to dierentthins.we have many ays to help ourselves understand

the plastic and ambiuous reality, namely throuhdividin the orld o our experience in to. wedo this as naturally as an orthodox monk crosseshimsel, or as a Muslim bos don, and, possibly, or

the same reason. This ay, e uide ourselves andothers and e are uided throuh spiritual orlds,e belon there and there, because thins are suchand such. Our lanuae itsel, as the texture o our

notions, is oven o counter-pairs o ood and evil,truth and lie, male and emale, etc., and around thesenotions, synonyms move in close and distant circles.To counterpart orces that orm their on space,

the orld. To realms, in terms o a division beteenthe spiritual and the material (orld), ood and evil,amiliar and straneAlso, let us note ho, since our early elementaryschool days, e are certain that the orld hiche see, sense, hear, taste, and hich e touch, iscomposed o various elements. Lon ao, they tried

to present us ith the elements o this orld in theorm o a table o relatively e elements, and hocould, ent beyond Mendeleyev to rasp a little o

the abstract structure o those atoms.This little amount o knolede rouhly overlaps ith

the notion that or us, atoms have lon ao ceasedto be indivisible, hoever, their parts are still, ineneral opinion, somehat undamental. In the end,our vision o this orld is derived rom the contrast osomethin (atom) and nothin (void). The void is nec-essary, albeit impossible to rasp, since its absenceould lead to the usion o atoms, usion o reality. Byatoms, I mean the smallest elements hich one may,in the rameork o standard knolede, reach bydissectin all that e perceive as real. Atoms, bein

the smallest existin elements, are, in our vie, re-sponsible or the most subtle acts, such as emotionsand thouhts, hen e succeed in transormin

them into the processes o hormones and micro--cellular synapses.But hat has all this to do ith the orld o the text,

or ith typoraphy? A lot, as much as this concept oreality succeeded in breakin into the conscious orunconscious o some typoraphers, thus roundin

them orever in the opposition to poisis, art, poetryand music. This is the source o orkmanlike, techni-cal approach hich has invaded the realm o poisis.In other ords: letters and sins, or maybe pointsand traces orm the typoraphic orld in the sameay as atoms orm the orld o senses. I it is so, thenvoid o the base layer becomes a silent void. Hoeveramiliar this may seem, the contrast o somethin andnothin, o ritin and the base on hich it is beinritten, cannot be taken as a hard act. Instead, it isa complicated theory.In typoraphy, the dissection o the orld o senses

to the elements o atoms, hoever small, and totheir void interspace leads to the necessary idea oneliible, silent and empty base, but it also casts anunusual liht on the roups o elements themselves,

and on their mutual relations. In this liht, everythincomposed seems to be a temporary arranemento elements hich do not communicate ith eachother, ormin and dissolvin mere random roups,partly due to their inner nature, that is, as a result onecessity, and partly by chance hich permits them

to meet their gemini. Such typoraphy is realisedthrouh layin atomic characters on a silent base ac-cordin to necessary, xed rules, derived solely rom

the attributes o sins. Hoever, it is apparent thattrue readin is completely dierent to ramentationand composition o sins, and surely the quality o

the layout isnt derived directly rom the speed o theabove process it permits.For the present orld o natural science, Brinhurstsstress on coecient, or, better to say, on interaction,isnt a revolution. Einsteins theory o relativity hasuprooted most preconceptions about the absolute

character o atoms, so let us, in turn, consider theelements o post-einsteinian, relative typoraphy. The

traditional one poisis.[translation: Olga Neumanov]

Elements of the typographic world

TexT.davidbarTo TYpo.an

To catch the meaning o the words is not to catch the ripples that they cause; it is to catch their interaction. This is what it means to listen;this is what it means to read. (Robert Bringhurst)

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STENCIL (Wikipedia)Stencil je karikatura, slo, psmeno, ilustrace, typorack symbol nebo jakkoliv jin tvar i obrazec ve orm ablony(ta me bt vyrobena z papru, kartnu, kovu nebo jinho materilu). Stencil je uvn pro tvorbu obraz s ostrmiokraji. Vyrb se pomoc barvy, kter je nanesena pes vyznut prostor ablony, a zanech tak na podkladu obraz

odpovdajcho tvaru. Stencil me mt jednu nebo vce barevnch vrstev, nanench pomoc rznch technoloi.Podobn techniky vyuv i stotisk a mimeorae. ablony, z nich je titna strnka pomoc mimeorae, se nkdytak k stencily. Tyto dv techniky asto vyuvaj vce ablon pro vcebarevn tisk na jedin podklad.Stencil je technika populrn v rati, protoe pomoc ablon a spreje lze dan obraz vyrobit rychle a jednodue.Tyto vlastnosti jsou dleit zejmna pro ra