{"id":742,"date":"2017-08-14T16:11:11","date_gmt":"2017-08-14T14:11:11","guid":{"rendered":"https:\/\/www.lavmi.cz\/blog\/?p=742"},"modified":"2017-08-15T17:27:33","modified_gmt":"2017-08-15T15:27:33","slug":"sila-znaku","status":"publish","type":"post","link":"https:\/\/www.lavmi.cz\/blog\/sila-znaku","title":{"rendered":"S\u00edla znaku"},"content":{"rendered":"

Abyste mohli \u010d\u00edst tyto \u0159\u00e1dky, bylo nezbytn\u00e9 za sebe \u0159adit a seskupovat litery, p\u00edsmena, fonty, nebo-li glyfy tak, aby vznikala slova a v\u011bty. Zapome\u0148te pro jednou na obsah, a zam\u011b\u0159te se na to, jak vlastn\u011b toto p\u00edsmo vypad\u00e1. Ale po\u010dkejte s\u00a0t\u00edm, pros\u00edm, a\u017e po p\u0159e\u010dten\u00ed rozhovoru s\u00a0Tom\u00e1\u0161em Brousilem, Radkem Sidunem a Petrou Do\u010dekalovou, kte\u0159\u00ed tvo\u0159\u00ed Suitcase\/Briefcase Type Foundry \u2013 typografick\u00e9 studio, kter\u00e9 vzniklo p\u0159ed \u010dtrn\u00e1cti lety. Budou u rozhovoru v\u0161ichni \u2013 takhle toti\u017e pracuj\u00ed.<\/p>\n

\u00a0<\/strong><\/p>\n

\u010c\u00edm se v\u016fbec zab\u00fdv\u00e1 typografick<\/strong>\u00e9 <\/strong>studio? <\/strong><\/p>\n

Tom\u00e1\u0161: <\/strong>P\u0159edev\u0161\u00edm p\u00edsmem, bu\u010f jeho tvorbou, nebo jeho pou\u017eit\u00edm. V \u010cesk\u00e9 republice m\u00e1me n\u011bkolik p\u00edsmolijen…<\/p>\n

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Pardon. Co je to p\u00ed<\/strong>smolijna?<\/strong><\/p>\n

Tom\u00e1\u0161:<\/strong> P\u00edsmolijna je pr\u00e1v\u011b studio, kter\u00e9 vytv\u00e1\u0159\u00ed r\u016fzn\u00e9 druhy p\u00edsma, zab\u00fdv\u00e1 se tvorbou typografick\u00e9ho nebo kaligrafick\u00e9ho p\u00edsma.
\nOdpov\u00edd\u00e1 Tom\u00e1\u0161 Brousil, kter\u00fd v\u00a0roce 2003 zalo\u017eil Suitcase Type Foundry dnes nab\u00edzej\u00edc\u00ed p\u0159es 200 \u0159ez\u016f p\u016fvodn\u00edch p\u00edsem. \u00da\u010dastnil se mezin\u00e1rodn\u00edch v\u00fdstav a\u00a0projekt\u016f zam\u011b\u0159en\u00fdch na p\u00edsmo. V\u00a0roce 2008 obdr\u017eel za p\u00edsmo Gloriola Certificate of Excelence in Type Design od newyorsk\u00e9ho Type Directors Club a\u00a0hlavn\u00ed cenu v\u00a0kategorii tvorba p\u00edsma na Bien\u00e1le grafick\u00e9ho designu v\u00a0Brn\u011b. Od roku 2008 je odborn\u00fdm asistentem na UMPRUM v\u00a0Ateli\u00e9ru p\u00edsma a typografie.<\/p>\n

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Zleva: Tom\u00e1\u0161 Brousil, Petra Do\u010dekalov\u00e1, Radek Sidun<\/h5>\n

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M\u00e1 va\u0161e studio n\u011bjak<\/strong>\u00e9 <\/strong>specifick<\/strong>\u00e9 <\/strong>zam\u011b\u0159en\u00ed? Li\u0161\u00ed se n\u011b\u010d\u00edm od ostatn\u00edch typografick\u00fd<\/strong>ch ateli<\/strong>\u00e9<\/strong>r\u016f? <\/strong><\/p>\n

Petra:<\/strong> Na\u0161e pr\u00e1ce se d\u011bl\u00ed do dvou hlavn\u00edch lini\u00ed. Tom\u00e1\u0161ova Suitcase Type Foundry se zam\u011b\u0159uje na design a na digitalizaci p\u00edsem pro profesion\u00e1ln\u00ed pou\u017eit\u00ed, kde\u017eto nab\u00eddka p\u00edsem Briefcase je sp\u00ed\u0161 experiment\u00e1ln\u00ed z\u00e1le\u017eitost orientuj\u00edc\u00ed se na sb\u011br raritn\u00edch p\u00edsem r\u016fzn\u00fdch autor\u016f. Jde nap\u0159\u00edklad o designy historick\u00fdch p\u00edsem nebo o sou\u010dasn\u00e9 experimenty.
\nTak popsala strukturu a misi studia, Petra Do\u010dekalov\u00e1, kter\u00e1 vystudovala UMPRUM, v\u00a0roce 2013 se stala \u010dlenkou t\u00fdmu Briefcase. Za svou diplomovou pr\u00e1ci o \u010deskoslovensk\u00e9m p\u00edsmomal\u00ed\u0159stv\u00ed z\u00edskala Certificate of Typographic Excellence 2017, cenu ud\u011blovanou Type Directors Clubem a Award of Excellence 2017 v\u00a0sout\u011b\u017ei Communication Arts Typography Annual.<\/p>\n

Radek:<\/strong> To \u010d\u00edm jsou ty dv\u011b p\u00edsmolijny zaj\u00edmav\u00e9 je fakt, \u017ee d\u00edky nim je spektrum \u010dinnost\u00ed \u00fapln\u011b kompletn\u00ed \u2013 od samotn\u00e9ho v\u00fdvoje a designu p\u00edsem a\u017e po distribuci a p\u0159\u00edm\u00fd prodej.
\nDod\u00e1v\u00e1 spoluzakladatel studia Radek Sidun, kter\u00fd je rovn\u011b\u017e typograf a pedagog UMPRUM. Je dr\u017eitelem \u0159ady ocen\u011bn\u00ed, \u010dlenem redak\u010dn\u00ed rady \u010dasopisu Komfort a sv\u011btov\u011b vyhled\u00e1van\u00fdm konzultantem na p\u00edsmo, zejm\u00e9na diakritiky p\u00edsma.<\/p>\n

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A pro<\/strong>\u010d jste se v\u016fbec za\u010dali zab\u00fdvat p\u00ed<\/strong>smem, <\/strong>\u010d\u00edm v\u00e1s uhranulo?<\/strong><\/p>\n

Tom\u00e1\u0161: <\/strong> K\u00a0tvorb\u011b p\u00edsma se \u010dlov\u011bk v\u011bt\u0161inou dostane p\u0159es grafick\u00fd design. P\u00edsmo je jedn\u00edm ze stavebn\u00edch prvk\u016f grafick\u00e9ho designu. Je fascinuj\u00edc\u00ed vstoupit do sv\u011bta znak\u016f a sna\u017eit se je n\u011bjak\u00fdm zp\u016fsobem modifikovat a vytv\u00e1\u0159et. Pozd\u011bji se z\u00a0toho samoz\u0159ejm\u011b stane v\u00e1\u0161e\u0148 a \u010dlov\u011bk za\u010dne vyr\u00e1b\u011bt p\u00edsma nejen pro sebe, ale i pro to, aby je pou\u017e\u00edvali jin\u00ed… a postupn\u011b se dost\u00e1v\u00e1 k\u00a0zak\u00e1zk\u00e1m, kdy vytv\u00e1\u0159\u00ed p\u00edsma opravdu na m\u00edru, t\u0159eba pro n\u011bjak\u00e9 v\u011bt\u0161\u00ed firmy.<\/p>\n

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D\u00e1 se mluvit o obchodn\u00edm boomu typografie?<\/strong><\/p>\n

Tom\u00e1\u0161: <\/strong>Jist\u011b. M\u00e1 to spojitost s\u00a0 dostupnost\u00ed n\u00e1stroj\u016f. D\u0159\u00edv byla p\u00edsmolijna obrovsk\u00e1 fabrika, s\u00a0des\u00edtkami, stovkami, zam\u011bstnanc\u016f. Jedna sada p\u00edsma v\u00e1\u017eila n\u011bkolik set kilogram\u016f a jej\u00ed v\u00fdroba trvala i n\u011bkolik let. Dneska je v\u0161echno\u00a0digit\u00e1ln\u00ed, mnohem jednodu\u0161\u0161\u00ed, tak\u017ee do toho pole vstupuje spousta lid\u00ed, kte\u0159\u00ed by se o tvorbu font\u016f d\u0159\u00edv v\u016fbec nepokusili.<\/p>\n

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A zab\u00fdv\u00e1te se jenom latinkou?<\/strong><\/p>\n

Tom\u00e1\u0161:<\/strong> Nejen, d\u011bl\u00e1me i alfabetu, \u0159eck\u00e9 p\u00edsmo, azbuku…<\/p>\n

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Je n<\/strong>\u011bco na na\u0161\u00ed, \u010desk<\/strong>\u00e9<\/strong>, abeced<\/strong>\u011b zvl\u00e1\u0161tn\u00ed? Vybo\u010duje n\u011b\u010d\u00edm? <\/strong><\/p>\n

Tom\u00e1\u0161:<\/strong> Nap\u0159\u00edklad diakritick\u00fdmi znam\u00e9nky. V \u010de\u0161tin\u011b m\u00e1me unik\u00e1tn\u00ed znaky, kter\u00e9 v\u00a0jin\u00fdch jazyc\u00edch neexistuj\u00ed, a spoust\u011b ne\u010desk\u00fdm p\u00edsmov\u00fdm design\u00e9r\u016fm to d\u011bl\u00e1 velk\u00e9 probl\u00e9my. Vytv\u00e1\u0159ej\u00ed sazbu, kter\u00e1 je velmi neklidn\u00e1, akcenty um\u00eds\u0165uj\u00ed nespr\u00e1vn\u011b, v\u00a0jin\u00e9 velikosti, neadekv\u00e1tn\u011b v\u016f\u010di p\u00edsmu. Kdy\u017e se na n\u00e1s obr\u00e1t\u00ed o radu, tak se s\u00a0t\u00edm potom docela tr\u00e1p\u00edme.<\/p>\n

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P\u0159ed dv\u011bma lety jste vydali publikaci Typo 9010, kter\u00e1 je cel\u00e1 v\u011bnovan\u00e1 p\u00edsmu. Co se v\u00a0n\u00ed do\u010dteme? <\/strong><\/p>\n

Petra: <\/strong>Cht\u011bli jsme si ud\u011blat p\u0159ehled o tom, kdo se od n\u00e1stupu digitalizace a po\u010d\u00edta\u010d\u016f u n\u00e1s p\u00edsmem zab\u00fdval. Zn\u00e1me spoustu zahrani\u010dn\u00edch design\u00e9r\u016f, v\u00edme, jak siln\u00e1 tradice je v\u00a0N\u011bmecku, nebo v\u00a0jin\u00fdch zem\u00edch a cht\u011bli jsme zmapovat v\u00fdvoj p\u00edsma v\u00a0\u010cesk\u00e9 Republice za posledn\u00edch dvacet let. Zaj\u00edmala n\u00e1s tedy tradice ateli\u00e9ru p\u00edsma na UMPRUM, \u00e9ra profesora Jan Solpery \u00b9<\/a> a v\u016fbec cel\u00e1 situace, kter\u00e1 p\u0159i\u0161la s\u00a0nov\u00fdmi technologiemi. Sna\u017eili jsme se b\u00fdt kompletn\u00ed. Mysl\u00edm, \u017ee ta kn\u00ed\u017eka je hotov\u00e1, ale ur\u010dit\u011b by se dalo pokra\u010dovat dal\u0161\u00edm vyd\u00e1n\u00edm, t\u0159eba ka\u017ed\u00fdch p\u011bt let.<\/p>\n

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Jak<\/strong>\u00e9 <\/strong>m\u00e1 vlastn\u011b \u010desk\u00e1 typografie postaven\u00ed ve sv\u011bt\u011b? <\/strong><\/p>\n

Tom\u00e1\u0161: <\/strong>My m\u00e1me pom\u011brn\u011b kr\u00e1tkou tradici p\u00edsmotvorby, a proto i ur\u010dit\u00e1 specifika.<\/p>\n

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Od kdy se vlastn\u011b datuje zrod \u010desk<\/strong>\u00e9 <\/strong>typografie?<\/strong><\/p>\n

Tom\u00e1\u0161: <\/strong>Prakticky \u2013 vznikem republiky. Tehdy se v\u00fdtvarn\u00edci sna\u017eili p\u0159izp\u016fsobit diakritick\u00e1 znam\u00e9nka, aby se mohla pou\u017e\u00edvat n\u011bmeck\u00e1 nebo anglick\u00e1 p\u00edsma, a pak samoz\u0159ejm\u011b za\u010dala n\u011bjak\u00e1 snaha o vlastn\u00ed, n\u00e1rodn\u00ed, styl. Nejsme zat\u011b\u017ek\u00e1ni dlouhou tradic\u00ed, v\u0161emi t\u011bmi \u201eCaslony\u201c nebo \u201eBaskervilly\u201c, kter\u00e9 by n\u00e1m ur\u010dovaly charakter, tak\u017ee je to po\u0159\u00e1d n\u011bjak\u00e9 hled\u00e1n\u00ed a hran\u00ed si s\u00a0r\u016fzn\u00fdmi formami. U n\u00e1s je dost jin\u00fd pohled na tvorbu p\u00edsma, ne\u017e v\u00a0jin\u00fdch zem\u00edch, kde je ta tradice del\u0161\u00ed.<\/p>\n

Radek: <\/strong>Roli hr\u00e1l i fakt, \u017ee za komunist\u016f byl velice slo\u017eit\u00fd p\u0159\u00edstup k zahrani\u010dn\u00edm\u00a0p\u00edsmov\u00fdm n\u00e1vrh\u016fm, proto\u017ee byly drah\u00e9 a poch\u00e1zely od velk\u00fdch distributor\u016f. Tak\u017ee tady vznikl v podstat\u011b lok\u00e1ln\u00ed, \u0159ekn\u011bme, v\u00fdchodn\u00ed byznys. Museli jsme si p\u00edsma tvo\u0159it sami. T\u00edm p\u00e1dem se tradice typografie v\u00a0tom cel\u00e9m obdob\u00ed udr\u017eela a dnes m\u00e1me v\u00a0\u010dem pokra\u010dovat.<\/p>\n

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Co je te\u010f aktu\u00e1ln\u011b p\u0159<\/strong>ed v<\/strong>\u00e1mi?\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong><\/p>\n

Tom\u00e1\u0161: <\/strong>M\u00e1me rozd\u011blan\u00fdch spoustu dal\u0161\u00edch p\u00edsem, kter\u00e1 chceme je\u0161t\u011b letos vydat. \u010cekaj\u00ed n\u00e1s p\u0159edn\u00e1\u0161ky na typografick\u00e9 konferenci v\u00a0Americe. A jeliko\u017e s\u00a0Radkem u\u010d\u00edme na \u0161kole, tak n\u00e1s \u010dek\u00e1 p\u0159\u00edprava dal\u0161\u00edho semestru.<\/p>\n

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Kdy\u017e dostanete do ruky kn\u00ed\u017eku, \u010dtete, nebo se d\u00edv\u00e1te jenom na p\u00edsmo?<\/strong><\/p>\n

Tom\u00e1\u0161: <\/strong>Nejd\u0159\u00edv se pod\u00edv\u00e1me se do tir\u00e1\u017ee, kdo ji d\u011blal.<\/p>\n

Radek: <\/strong>Pak se dlouho d\u00edv\u00e1me na sazbu a \u010dasto se na\u0161tveme, \u017ee nen\u00ed dob\u0159e upraven\u00e1. Bohu\u017eel \u0159emeslo upad\u00e1 nap\u0159\u00ed\u010d cel\u00fdm spektrem, nejen v\u00a0typografii.<\/p>\n

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\u00b9<\/a> v\u00fdznamn\u00fd \u010desk\u00fd grafick\u00fd design\u00e9r, typograf a pedagog, autor p\u00edsma \u010desk\u00fdch bankovek<\/p>\n

\n

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Bude v\u00e1s zaj\u00edmat<\/p>\n

Ve zmi\u0148ovan\u00e9m Ateli\u00e9ru p\u00edsma prof. Soplery na UMPRUM studovala i design\u00e9rka Lavmi Babeta Ondrov\u00e1. Pokud nepo\u010d\u00edt\u00e1me tapety, jeji\u017e design tvo\u0159\u00ed p\u0159\u00edmo p\u00edsmo, m\u016f\u017ee pozorn\u011bj\u0161\u00ed div\u00e1k odhalit Babetinu typografickou minulost ze zp\u016fsobu tvorby jednotliv\u00fdch Lavmi design\u016f: v\u0161echny jsou jednoduch\u00e9 a vizu\u00e1ln\u011b siln\u00e9. Tento princip zna\u010dku Lavmi zjednodu\u0161en\u011b charakterizuje. Ve zmi\u0148ovan\u00e9 knize TYPO 90 tak\u00e9 najdete n\u011bkolik Babetin\u00fdch autorsk\u00fdch font\u016f.<\/p>\n

Jana<\/p>\n

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Jana N\u00e1vratov\u00e1 \/ text. editorka Lavmi<\/p>\n

Foto \/ Emma Ondrov\u00e1<\/p>\n","protected":false},"excerpt":{"rendered":"

Abyste mohli \u010d\u00edst tyto \u0159\u00e1dky, bylo nezbytn\u00e9 za sebe \u0159adit a seskupovat litery, p\u00edsmena, fonty, nebo-li glyfy tak, aby vznikala slova a v\u011bty. Zapome\u0148te pro jednou na obsah, a zam\u011b\u0159te se na to, jak vlastn\u011b toto p\u00edsmo vypad\u00e1. Ale po\u010dkejte s\u00a0t\u00edm, pros\u00edm, a\u017e po p\u0159e\u010dten\u00ed rozhovoru s\u00a0Tom\u00e1\u0161em Brousilem, Radkem Sidunem a Petrou Do\u010dekalovou, kte\u0159\u00ed tvo\u0159\u00ed […]<\/p>\n","protected":false},"author":6,"featured_media":750,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-742","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-jinde"],"_links":{"self":[{"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/posts\/742"}],"collection":[{"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/comments?post=742"}],"version-history":[{"count":20,"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/posts\/742\/revisions"}],"predecessor-version":[{"id":790,"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/posts\/742\/revisions\/790"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/media\/750"}],"wp:attachment":[{"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/media?parent=742"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/categories?post=742"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lavmi.cz\/blog\/wp-json\/wp\/v2\/tags?post=742"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}