TED2014
Matthew Carter: My life in typefaces
Matthew Carter: Moj život s pismima
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Uzmete li neku knjigu, magazin ili zaslon, najvjerojatnije ćete naići na tipografiju koju je oblikovao Matthew Carter. Čovjek koji stoji iza pisama poput Verdane, Georgie i Bell Centenniala (oblikovanih posebno za telefonske imenike - sjećate ih se?), zavrtjet će nas u ovom šarmantnom govoru kroz svoju karijeru koncentriranu na svaki piksel svakog slova u fontu.
Matthew Carter - Type designer
Even if you don’t recognize his name, chances are you’ve seen Matthew Carter’s work -- his type designs include some of the world’s most familiar digital typefaces. Full bio
Even if you don’t recognize his name, chances are you’ve seen Matthew Carter’s work -- his type designs include some of the world’s most familiar digital typefaces. Full bio
Double-click the English transcript below to play the video.
00:12
Type is something we consume
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Tipografija je nešto što koristimo
00:14
in enormous quantities.
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u ogromnim količinama.
00:16
In much of the world,
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U većini svijeta
00:17
it's completely inescapable.
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je potpuno neizbježna.
00:19
But few consumers are concerned to know
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Svejedno, samo se nekolicina korisnika
zanima pitanjem
zanima pitanjem
00:22
where a particular typeface came from
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odakle dolazi određeni oblik pisma
00:24
or when or who designed it,
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i kada i tko ga je stvorio
00:27
if, indeed, there was any human agency involved
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ako je u njegov nastanak uopće
upletena ljudska ruka
upletena ljudska ruka
00:30
in its creation, if it didn't just sort of materialize
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i ako se nije, na neki način,
samo od sebe pojavio
samo od sebe pojavio
00:33
out of the software ether.
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iz softverskog etera.
00:37
But I do have to be concerned with those things.
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No ja se tim stvarima moram baviti.
00:40
It's my job.
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Jer mi je to posao.
00:42
I'm one of the tiny handful of people
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Jedan sam od vrlo malenog broja onih ljudi
00:44
who gets badly bent out of shape
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koji se jako uzrujaju
00:46
by the bad spacing of the T and the E
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zbog lošeg razmaka među slovima T i E
00:49
that you see there.
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kakav vidite ovdje.
00:50
I've got to take that slide off.
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Moram skloniti ovaj slajd.
00:52
I can't stand it. Nor can Chris.
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Jer ga ne mogu gledati. Kao ni Chris.
00:54
There. Good.
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Evo, sad je dobro.
00:56
So my talk is about the connection
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Dakle, u mojem govoru radi se o povezanosti
00:57
between technology and design of type.
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tehnologije i oblikovanja pisama.
01:01
The technology has changed
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Tehnologija se promijenila
01:03
a number of times since I started work:
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nekoliko puta otkad sam počeo raditi:
01:06
photo, digital, desktop, screen, web.
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foto, digitalija, stolna računala, zasloni, web.
01:11
I've had to survive those changes and try
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Morao sam preživjeti te promjene i pokušati
01:13
to understand their implications for what I do
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razumjeti njihov utjecaj na ono što radim
01:15
for design.
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u svijetu dizajna.
01:17
This slide is about the effect of tools on form.
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Ovaj slajd prikazuje utjecaj alata na oblik.
01:22
The two letters, the two K's,
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Dva slova K,
01:25
the one on your left, my right, is modern,
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ovo vama slijeva, meni zdesna, je suvremeno
01:28
made on a computer.
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i oblikovano je na računalu.
01:30
All straight lines are dead straight.
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Sve ravne linije potpuno su ravne.
01:32
The curves have that kind of
mathematical smoothness
mathematical smoothness
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Krivulje imaju onu vrstu
matematičke uglađenosti
matematičke uglađenosti
01:34
that the Bézier formula imposes.
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kakvu definira Bézierova formula.
01:38
On the right, ancient Gothic,
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Zdesna je stari Gothic
01:41
cut in the resistant material of steel by hand.
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izrezan rukom u otpornom čeliku.
01:45
None of the straight lines are actually straight.
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Nijedna ravna linija
nije uistinu ravna.
nije uistinu ravna.
01:47
The curves are kind of subtle.
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Krivulje su dosta suptilne.
01:49
It has that spark of life from the human hand
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Ona posjeduje onu iskru života
koja dolazi od ljudske ruke,
koja dolazi od ljudske ruke,
01:54
that the machine or the program
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kakvu stroj ili program
01:56
can never capture.
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nikada neće moći doseći.
01:58
What a contrast.
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Kakav kontrast.
02:00
Well, I tell a lie.
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E pa, sad vam lažem.
02:02
A lie at TED. I'm really sorry.
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Lažem na TED-u. Zaista mi je žao.
02:05
Both of these were made on a computer,
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Oba su oblikovana na računalu.
02:07
same software, same Bézier curves,
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Isti je softver, iste su Bézierove krivulje,
02:09
same font format.
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isti je format fonta.
02:11
The one on your left
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Ovo vama slijeva
02:13
was made by Zuzana Licko at Emigre,
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oblikovala je Zuzana Licko u Emigreu,
02:16
and I did the other one.
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a ja sam napravio drugo.
02:17
The tool is the same, yet the letters are different.
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Alat je isti, a slova su drukčija.
02:20
The letters are different
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Slova su drukčija
02:22
because the designers are different.
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jer su dizajneri drukčiji.
02:23
That's all. Zuzana wanted hers to look like that.
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I to je sve. Zuzana je htjela da njeno
izgleda baš tako.
izgleda baš tako.
02:26
I wanted mine to look like that. End of story.
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Ja sam htio da moje izgleda ovako. Kraj priče.
02:30
Type is very adaptable.
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Tipografija je vrlo prilagodljiva.
02:32
Unlike a fine art, such as sculpture or architecture,
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Za razliku od lijepih umjetnosti
poput kiparstva ili arhitekture,
poput kiparstva ili arhitekture,
02:35
type hides its methods.
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tipografija ne otkriva svoje metode.
02:39
I think of myself as an industrial designer.
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O sebi razmišljam kao o
produkt-dizajneru.
produkt-dizajneru.
02:41
The thing I design is manufactured,
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Ono što ja oblikujem, proizvodi se
02:43
and it has a function:
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i ima funkciju:
02:45
to be read, to convey meaning.
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da se čita i prenosi značenje.
02:47
But there is a bit more to it than that.
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Ima toga još.
02:48
There's the sort of aesthetic element.
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Prisutan je i svojevrstan estetski element.
02:50
What makes these two letters different
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Što je to što ova dva slova čini različitima
02:53
from different interpretations by different designers?
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u različitim interpretacijama različitih dizajnera?
02:56
What gives the work of some designers
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Što je to što radu pojedinih dizajnera
02:58
sort of characteristic personal style,
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daje karakterističan, osobni stil,
03:01
as you might find in the work of a fashion designer,
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kakav možete vidjeti
kod dizajnera odjeće
kod dizajnera odjeće
03:03
an automobile designer, whatever?
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ili recimo automobila?
03:06
There have been some cases, I admit,
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Moram priznati da je bilo slučajeva
03:08
where I as a designer
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kada sam kao dizajner
03:09
did feel the influence of technology.
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itekako osjetio utjecaj tehnologije.
03:12
This is from the mid-'60s,
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Ovo je primjer iz sredine 60-ih,
03:15
the change from metal type to photo,
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prelazak s metalnih slova na fotoslog,
03:18
hot to cold.
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s vrućeg na hladno.
03:19
This brought some benefits
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To je donijelo određene benefite,
03:21
but also one particular drawback:
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ali i jedan bitan nedostatak:
03:24
a spacing system that only provided
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prostorni sustav koji je nudio samo
03:27
18 discrete units for letters
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18 diskretnih jedinica
za smještaj slova.
03:31
to be accommodated on.
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03:33
I was asked at this time to design
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U to vrijeme od mene su zatražili da oblikujem
03:35
a series of condensed sans serif types
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seriju sans serif suženih pisama
03:38
with as many different variants as possible
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u što više različitih varijanti,
03:41
within this 18-unit box.
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poštujući okvir ovih 18 jedinica.
03:45
Quickly looking at the arithmetic,
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Malo brze aritmetike
03:46
I realized I could only actually make three
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i shvatio sam da mogu
izraditi samo tri
izraditi samo tri
03:50
of related design. Here you see them.
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srodne varijante. Evo ih.
03:53
In Helvetica Compressed, Extra Compressed,
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Kod Helvetice Compressed, Extra Compressed
03:56
and Ultra Compressed, this rigid 18-unit system
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i Ultra Compressed, ovaj me je rigidni
18-jedinični sustav
18-jedinični sustav
04:00
really boxed me in.
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zbilja ograničio.
04:01
It kind of determined the proportions
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Na neki način odredio je proporcije
04:03
of the design.
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konačnog proizvoda.
04:05
Here are the typefaces, at least the lower cases.
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Ovo su ta pisma,
zapravo, njihova mala slova.
zapravo, njihova mala slova.
04:09
So do you look at these and say,
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Kažete li dok ih gledate:
04:12
"Poor Matthew, he had to submit to a problem,
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"Jadni Matthew, morao se
potčiniti problemu
potčiniti problemu
04:15
and by God it shows in the results."
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i to se, ruku na srce, vidi po rezultatima"?
04:19
I hope not.
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Nadam se da nije tako.
04:20
If I were doing this same job today,
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Kad bih danas radio taj isti posao,
04:22
instead of having 18 spacing units,
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umjesto 18 prostornih jedinica
04:25
I would have 1,000.
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na raspolaganju bih imao 1.000.
04:28
Clearly I could make more variants,
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Razumljivo, načinio bih više varijanti,
04:31
but would these three members
of the family be better?
of the family be better?
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ali bi li ove tri iz te obitelji
tada ispale bolje?
tada ispale bolje?
04:35
It's hard to say without actually doing it,
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Teško je to sada reći ovako
bez da se zaista i učini,
bez da se zaista i učini,
04:37
but they would not be better in the proportion
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ali ne bi bile bolje u omjeru od
04:39
of 1,000 to 18, I can tell you that.
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1.000 naprema 18, u to sam siguran.
04:42
My instinct tells you that any improvement
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Osjećaj mi govori
da bi bilo kakvo poboljšanje
da bi bilo kakvo poboljšanje
04:44
would be rather slight, because they were designed
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vjerojatno bilo neznatno,
stoga što su oblikovane
stoga što su oblikovane
04:47
as functions of the system they were designed to fit,
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kao funkcije sustava
u koji su se trebale uklopiti.
u koji su se trebale uklopiti.
04:50
and as I said, type is very adaptable.
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Kako sam rekao,
tipografija je vrlo prilagodljiva.
tipografija je vrlo prilagodljiva.
04:52
It does hide its methods.
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I ne otkriva metode.
04:55
All industrial designers work within constraints.
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Svi produkt-dizajneri rade
unutar traženih okvira.
unutar traženih okvira.
04:58
This is not fine art.
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A to nije lijepa umjetnost.
05:00
The question is, does a constraint
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Sad je pitanje, nameću li
05:02
force a compromise?
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okviri kompromis?
05:05
By accepting a constraint,
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Prihvaćajući okvire,
05:07
are you working to a lower standard?
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radite li po nižim standardima?
05:09
I don't believe so, and I've always been encouraged
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Ne mislim tako i uvijek
me je poticalo
me je poticalo
05:11
by something that Charles Eames said.
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nešto što je rekao Charles Eames.
05:13
He said he was conscious of working
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Rekao je da je svjestan
05:15
within constraints,
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rada u okvirima
05:16
but not of making compromises.
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ali nesvjestan kompromisa.
05:19
The distinction between a constraint
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Razlika između okvira
05:21
and a compromise is obviously very subtle,
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i kompromisa je očito vrlo fina,
05:24
but it's very central to my attitude to work.
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ali je ključna za moj stav prema radu.
05:29
Remember this reading experience?
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Sjećate se ovog čitalačkog iskustva?
05:32
The phone book. I'll hold the slide
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Telefonski imenik. Ostavit ću vam slajd
05:34
so you can enjoy the nostalgia.
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kako biste mogli uživati u nostalgiji.
05:38
This is from the mid-'70s early trials
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Ovo je iz ranih pokusa sredinom 70-ih
05:41
of Bell Centennial typeface I designed
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za font Bell Centennial koji sam dizuajnirao
05:44
for the U.S. phone books,
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za telefonske imenike u Sjedinjenim Državama.
05:45
and it was my first experience of digital type,
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Bilo je to moje prvo iskustvo
s digitalnom tipografijom
s digitalnom tipografijom
05:49
and quite a baptism.
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i poprilično vatreno krštenje.
05:53
Designed for the phone books, as I said,
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Oblikovano je za, kako rekoh,
telefonske imenike,
telefonske imenike,
05:55
to be printed at tiny size on newsprint
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za tisak u sitnim veličinama na roto-papiru
05:58
on very high-speed rotary presses
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na vrlo brzim roto-presama
06:00
with ink that was kerosene and lampblack.
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bojom koja je načinjena iz
kerozina i čađi.
kerozina i čađi.
06:03
This is not a hospitable environment
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To baš i nije gostoljubivo okružje
06:07
for a typographic designer.
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za tipografa.
06:10
So the challenge for me was to design type
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Izazov za mene bilo je oblikovanje pisma
06:12
that performed as well as possible
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koje bi se ponašalo čim bolje
06:13
in these very adverse production conditions.
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u tim vrlo nepovoljnim produkcijskim uvjetima.
06:18
As I say, we were in the infancy of digital type.
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Kako sam rekao, nalazili smo se
u ranom djetinjstvu digitalne tipografije.
u ranom djetinjstvu digitalne tipografije.
06:21
I had to draw every character by hand
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Svaki znak sam morao nacrtati ručno
06:24
on quadrille graph paper --
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na kvadratićastom papiru --
06:26
there were four weights of Bell Centennial —
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Bell Centennial imao je četiri debljine --
06:28
pixel by pixel, then encode
them raster line by raster line
them raster line by raster line
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piksel po piksel i onda kodiranje rastersku liniju po rastersku liniju
za tipkovnicu,
06:31
for the keyboard.
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06:32
It took two years, but I learned a lot.
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Trebalo mi je dvije godine,
ali puno sam naučio.
ali puno sam naučio.
06:36
These letters look as though they've been chewed
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Ta slova izgledaju kao da ih je prožvakao
06:38
by the dog or something or other,
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pas ili nešto drugo ili treće,
06:39
but the missing pixels at the intersections
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ali pikseli koji nedostaju na sjecištima
06:41
of strokes or in the crotches
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i račvanjima linija
06:43
are the result of my studying the effects
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rezultat su mojeg istraživanja
06:46
of ink spread on cheap paper
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razlijevanja tinte na jeftinom papiru
06:49
and reacting, revising the font accordingly.
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i onoga što sam u skladu s time poduzeo
kod oblikovanja fonta.
kod oblikovanja fonta.
06:53
These strange artifacts are designed to compensate
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Ti neobični artefakti načinjeni su
kako bi kompenzirali
kako bi kompenzirali
06:56
for the undesirable effects of scale
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neželjene efekte veličine slova
06:59
and production process.
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i proizvodnog procesa.
07:01
At the outset, AT&T had wanted
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Prvobitno su u AT&T-u željeli
07:04
to set the phone books in Helvetica,
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telefonske imenike složene u Helvetici,
07:07
but as my friend Erik Spiekermann said
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ali kao što je moj prijatelj
Erik Spiekermann rekao
Erik Spiekermann rekao
07:09
in the Helvetica movie, if you've seen that,
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u filmu "Helvetica", ako ste ga gledali,
07:11
the letters in Helvetica were designed to be
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slova Helvetice oblikovana su
kako bi bila
kako bi bila
07:13
as similar to one another as possible.
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što sličnija jedno drugome.
07:16
This is not the recipe for legibility at small size.
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To baš i nije recept za čitkost
pri malim veličinama.
pri malim veličinama.
07:19
It looks very elegant up on a slide.
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Na slajdu to izgleda vrlo elegantno.
07:22
I had to disambiguate these forms
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Te sam forme morao učiniti što jasnijima
07:24
of the figures as much as possible in Bell Centennial
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kod Bell Centenniala
07:27
by sort of opening the shapes up, as you can see
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svojevrsnim otvaranjem likova,
kao što vidite
kao što vidite
07:29
in the bottom part of that slide.
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u donjem dijelu slajda.
07:32
So now we're on to the mid-'80s,
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Dakle, idemo u srednje 80-te,
07:35
the early days of digital outline fonts,
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na iskon fontova digitalnih obrisa i
07:38
vector technology.
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vektorske tehnologije.
07:40
There was an issue at that time
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U to vrijeme postojao je problem
07:42
with the size of the fonts,
175
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1856
s veličinom fontova, to jest
07:44
the amount of data that was required to find
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2884
količinom podataka potrebnom za pronalazak
07:47
and store a font in computer memory.
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i pohranu fonta u memoriji računala.
07:52
It limited the number of fonts you could get
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To je ograničavalo broj fontova
koji ste u nekom vremenu
koji ste u nekom vremenu
07:53
on your typesetting system at any one time.
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mogli pohraniti na svom sustavu za tipografski slog.
07:56
I did an analysis of the data,
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Analizirao sam podatke
08:00
and found that a typical serif face
181
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2524
i zaključio da tipično serifno pismo
08:03
you see on the left
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kakvo vidite slijeva
08:04
needed nearly twice as much data
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2016
traži skoro dvostruku količinu podataka
08:06
as a sans serif in the middle
184
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2536
u odnosu na sans serifno u sredini i to
08:09
because of all the points required
185
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2062
zahvaljujući svim točkama potrebnim
08:11
to define the elegantly curved serif brackets.
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da bi se odredila elegantno zakrivljena uporišta serifa.
08:16
The numbers at the bottom of the slide, by the way,
187
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3434
Uzgred rečeno, brojevi pri dnu slajda
08:19
they represent the amount of data
188
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1702
predstavljaju količinu podataka
08:21
needed to store each of the fonts.
189
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3805
potrebnu da bi se pohranio svaki od fontova.
08:24
So the sans serif, in the middle,
190
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2166
Tako je sans serif u sredini,
08:27
sans the serifs, was much more economical,
191
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2964
sans (bez) serifa, bio puno ekonomičniji.
08:30
81 to 151.
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2199
81 naprema 151.
08:32
"Aha," I thought. "The engineers have a problem.
193
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3657
"Aha", pomislio sam, "inženjeri imaju problem.
08:35
Designer to the rescue."
194
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2235
Dizajner stiže upomoć."
08:38
I made a serif type, you can see it on the right,
195
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2347
Načinio sam serifno pismo, vidite ga zdesna,
08:40
without curved serifs.
196
508552
1947
bez zakrivljenih serifa.
08:42
I made them polygonal, out
of straight line segments,
of straight line segments,
197
510499
2416
Učinio sam ih poligonalnima,
od ravnih linijskih segmenata
od ravnih linijskih segmenata
08:44
chamfered brackets.
198
512915
1983
i skošenih uporišta.
08:46
And look, as economical in data as a sans serif.
199
514898
4368
I evo - po pitanju količine podataka
ekonomično je kao i sans serif.
ekonomično je kao i sans serif.
08:51
We call it Charter, on the right.
200
519266
2299
Nazvali smo ga Charter, ovaj zdesna.
08:53
So I went to the head of engineering
201
521565
1970
Tako sam sa svojim brojevima
08:55
with my numbers, and I said proudly,
202
523535
2458
otišao do glavnog inženjera i ponosno rekao:
08:57
"I have solved your problem."
203
525993
2128
"Riješio sam vam problem."
09:00
"Oh," he said. "What problem?"
204
528121
3713
"O," reče on meni, "a koji problem?"
09:03
And I said, "Well, you know, the problem
205
531834
1646
A ja ću: "Pa znate, problem
09:05
of the huge data you require
for serif fonts and so on."
for serif fonts and so on."
206
533480
3417
ogromne količine podataka potrebne
za serifne fontove i tako dalje."
za serifne fontove i tako dalje."
09:08
"Oh," he said. "We solved that problem last week.
207
536897
3547
"O," reče on, "taj smo problem riješili prošli tjedan.
09:12
We wrote a compaction routine that reduces
208
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2156
Napisali smo racionalizacijski protokol koji smanjuje
09:14
the size of all fonts by an order of magnitude.
209
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2580
zapreminu svih fontova po redu veličine,
09:17
You can have as many fonts on your system
210
545180
1988
tako da na svom sustavu od sada
09:19
as you like."
211
547168
1558
možete imati koliko god fontova hoćete."
09:20
"Well, thank you for letting me know," I said.
212
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2614
"Pa hvala što ste me obavijestili", rekao sam.
09:23
Foiled again.
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1630
Opet osujećen.
09:24
I was left with a design solution
214
552970
2045
Ostavili su me s dizajnerskim rješenjem
09:27
for a nonexistent technical problem.
215
555015
4473
za nepostojeći tehnički problem.
09:31
But here is where the story sort
of gets interesting for me.
of gets interesting for me.
216
559488
2469
No tu za mene priča postaje interesantna.
09:33
I didn't just throw my design away
217
561957
2595
Svoj rad nisam bacio
09:36
in a fit of pique.
218
564552
1401
u napadaju ljutnje.
09:37
I persevered.
219
565953
1737
Sačuvao sam ga.
09:39
What had started as a technical exercise
220
567690
2168
Ono što je počelo kao tehnička vježba
09:41
became an aesthetic exercise, really.
221
569858
3264
zaista je postalo estetska vježba.
09:45
In other words, I had come to like this typeface.
222
573122
3049
Drugim riječima, zavolio sam to pismo.
09:48
Forget its origins. Screw that.
223
576171
2319
Zaboravi kako je nastalo, nema veze.
09:50
I liked the design for its own sake.
224
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2490
Volio sam dizajn radi dizajna.
09:52
The simplified forms of Charter
225
580980
2383
Charterove pojednostavljene forme
09:55
gave it a sort of plain-spoken quality
226
583363
2083
dale su mu određenu izravnost
09:57
and unfussy spareness
227
585446
1551
i skromnu štedljivost
09:58
that sort of pleased me.
228
586997
2490
koja mi je godila.
10:01
You know, at times of technical innovation,
229
589487
2553
Znate, u trenucima tehničkih inovacija
10:04
designers want to be influenced
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1520
dizajneri jednostavno žele da na njih utječe
10:05
by what's in the air.
231
593560
1736
ono što je u zraku.
10:07
We want to respond. We want to be pushed
232
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2231
Želimo odgovarati na izazove, želimo poticaj
10:09
into exploring something new.
233
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3411
na istraživanje novoga.
10:12
So Charter is a sort of parable for me, really.
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2899
Evo, Charter je za mene nekakva parabola.
10:15
In the end, there was no hard and fast causal link
235
603837
3790
Na kraju krajeva, nije tu bilo čvrste i
izravne uzročno-posljedične veze
izravne uzročno-posljedične veze
10:19
between the technology and the design of Charter.
236
607627
3193
između tehnologije i oblikovanja Chartera.
10:22
I had really misunderstood the technology.
237
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3762
Zbilja sam krivo protumačio tehnologiju.
10:26
The technology did suggest something to me,
238
614582
3328
Ona mi jest nešto sugerirala,
10:29
but it did not force my hand,
239
617910
2117
ali mi nije ruku natjerala na posao.
10:32
and I think this happens very often.
240
620027
2717
i mislim da se to događa vrlo često.
10:34
You know, engineers are very smart,
241
622744
2626
Znate, inženjeri su vrlo domišljati
10:37
and despite occasional frustrations
242
625370
1556
i unatoč povremenim frustracijama
10:38
because I'm less smart,
243
626926
1527
zbog svoje nešto manje domišljatosti,
10:40
I've always enjoyed working with them
244
628453
1727
uvijek sam s njima uživao raditi
10:42
and learning from them.
245
630180
2078
i učiti od njih.
10:44
Apropos, in the mid-'90s,
246
632258
2342
Apropos, sredinom 90-ih
10:46
I started talking to Microsoft
247
634600
2691
s Microsoftom sam počeo razgovarati
10:49
about screen fonts.
248
637291
2388
o zaslonskim fontovima.
10:51
Up to that point, all the fonts on screen
249
639679
2421
Do tog trenutka svi fontovi na zaslonima
10:54
had been adapted from previously existing
250
642100
2753
bili su prilagođeni već postojeći
10:56
printing fonts, of course.
251
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2377
fontovi za tisak.
10:59
But Microsoft foresaw correctly
252
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2503
No Microsoft je ispravno predvidio
11:01
the movement, the stampede
253
649733
2150
pokret, dapače stampedo,
11:03
towards electronic communication,
254
651883
2787
prema elektroničkoj komunikaciji,
11:06
to reading and writing onscreen
255
654670
2030
čitanju i pisanju na zaslonima,
11:08
with the printed output as being sort of secondary
256
656700
3133
s tiskanim izlazom informacija
11:11
in importance.
257
659833
2223
kao sekundarnim po važnosti.
11:14
So the priorities were just tipping at that point.
258
662056
3579
Prioriteti su se tada tek počinjali nazirati.
11:17
They wanted a small core set of fonts
259
665635
2194
Željeli su malu osnovnu garnituru fontova
11:19
that were not adapted but designed for the screen
260
667829
3305
koji ne bi bili prilagođeni, nego
namjenski oblikovani za zaslon,
namjenski oblikovani za zaslon,
11:23
to face up to the problems of screen,
261
671134
2573
kako bi se suočili s problemima koji
proizlaze iz prirode zaslona
proizlaze iz prirode zaslona
11:25
which were their coarse resolution displays.
262
673707
3842
i njihove grube razlučivosti prikaza.
11:29
I said to Microsoft, a typeface designed
263
677549
3531
Microsoftu sam rekao da je pismo oblikovano
11:33
for a particular technology
264
681080
1569
samo za određenu tehnologiju
11:34
is a self-obsoleting typeface.
265
682649
3375
pismo koje samo sebe zastarjeva i čini izlišnim.
11:38
I've designed too many faces in the past
266
686024
2094
U prošlosti sam oblikovao puno pisama
11:40
that were intended to mitigate technical problems.
267
688118
3579
namijenjenih ublažavanju tehničkih problema.
11:43
Thanks to the engineers, the
technical problems went away.
technical problems went away.
268
691697
2835
Zahvaljujući inženjerima,
tehnički problemi su otišli.
tehnički problemi su otišli.
11:46
So did my typeface.
269
694532
2489
Pa su tako otišla i moja pisma.
11:49
It was only a stopgap.
270
697021
3131
Bilo je to samo krpanje.
11:52
Microsoft came back to say that
271
700152
1541
Microsoft je odgovorio da
11:53
affordable computer monitors
272
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1630
su cjenovno povoljni računalni monitori
11:55
with better resolutions
273
703323
1197
boljih razlučivosti
11:56
were at least a decade away.
274
704520
2596
od nas udaljeni još najmanje desetljeće.
11:59
So I thought, well, a decade, that's not bad,
275
707116
2654
Tada sam pomislio, pa desetljeće, nije to loše,
12:01
that's more than a stopgap.
276
709770
2412
to je više od krpanja.
12:04
So I was persuaded, I was convinced,
277
712182
2001
Tako da su me natjerali, uvjerili,
12:06
and we went to work on what became Verdana
278
714183
2322
i bacili smo se na posao koji će uroditi Verdanom
12:08
and Georgia,
279
716505
1672
i Georgiom,
12:10
for the first time working not on paper
280
718177
2340
po prvi put radeći ne na papiru,
12:12
but directly onto the screen from the pixel up.
281
720517
3960
nego direktno na zaslonu, od prvog piksela.
12:16
At that time, screens were binary.
282
724477
3853
U to vrijeme zasloni su bili binarni.
12:20
The pixel was either on or it was off.
283
728330
3040
Piksel je bio ili uključen ili isključen.
12:23
Here you see the outline of a letter,
284
731370
2855
Ovdje vidite obris slova,
12:26
the cap H,
285
734225
1467
velikog H,
12:27
which is the thin black line, the contour,
286
735692
2801
tanku crnu liniju, konturu,
12:30
which is how it is stored in memory,
287
738493
2876
ono što se pohranjuje u memoriji,
12:33
superimposed on the bitmap,
288
741369
1670
stavljenu preko bitmape,
12:35
which is the grey area,
289
743039
2148
to je ovo sivo područje,
12:37
which is how it's displayed on the screen.
290
745187
1837
što pak predstavlja ono što se prikazuje na zaslonu.
12:39
The bitmap is rasterized from the outline.
291
747024
3146
Bitmapa se rasterizira iz obrisa.
12:42
Here in a cap H, which is all straight lines,
292
750170
2241
Ovdje kod velikog H, koje je posve u ravnim linijama,
12:44
the two are in almost perfect sync
293
752411
2088
obris i bitmapa su skoro u savršenoj podudarnosti
12:46
on the Cartesian grid.
294
754499
4368
na kartezijskoj mreži.
12:50
Not so with an O.
295
758867
3126
To nije slučaj s O.
12:53
This looks more like bricklaying
than type design,
than type design,
296
761993
2727
Ovo više liči na zidanje opekom,
nego na oblikovanje pisma,
nego na oblikovanje pisma,
12:56
but believe me, this is a good bitmap O,
297
764720
2901
ali, vjerujte, ovo je korektno bitmapirano O
12:59
for the simple reason that it's symmetrical
298
767621
2015
iz jednostavnog razloga što je simetrično
13:01
in both x and y axes.
299
769636
2480
i po osi x i po osi y.
13:04
In a binary bitmap, you actually can't ask
300
772116
2858
Od binarne bitmape zapravo ne možete
13:06
for more than that.
301
774974
1720
tražiti više.
13:08
I would sometimes make, I don't know,
302
776694
2404
Katkad bih načinio, ne znam,
13:11
three or four different versions of a difficult letter
303
779098
2356
tri ili četiri različite verzije kompliciranog slova
13:13
like a lowercase A,
304
781454
1506
kao što je malo A,
13:14
and then stand back to choose which was the best.
305
782960
3540
i onda bih stao i birao koja je najbolja.
13:18
Well, there was no best,
306
786500
2095
E pa, najboljeg nije bilo,
13:20
so the designer's judgment comes in
307
788595
2425
tako da se dizajnerova procjena
13:23
in trying to decide
308
791020
1389
svodila na pokušaj odluke
13:24
which is the least bad.
309
792409
3041
koja je najmanje loša.
13:27
Is that a compromise?
310
795450
2450
Je li to kompromis?
13:29
Not to me, if you are working
311
797900
1546
Što se mene tiče, nije ako radite
13:31
at the highest standard the technology will allow,
312
799446
3087
po najvišem standardu koji tehnologija omogućava,
13:34
although that standard may be
313
802533
2209
bez obzira što taj standard može biti
13:36
well short of the ideal.
314
804742
2479
itekako daleko od idealnog.
13:39
You may be able to see on this slide
315
807221
1591
Na ovom slajdu vjerojatno uočavate
13:40
two different bitmap fonts there.
316
808812
2162
dva različita bitmap-fonta.
13:42
The "a" in the upper one, I think,
317
810974
1696
"a" u gornjem je, mislim,
13:44
is better than the "a" in the lower one,
318
812670
1913
bolje nego "a" u donjem,
13:46
but it still ain't great.
319
814583
2576
pa ipak nije odlično.
13:49
You can maybe see the effect better
320
817159
1907
Ishod možda bolje možete uočiti
13:51
if it's reduced. Well, maybe not.
321
819066
3376
ako to smanjimo. Dobro, možda i ne.
13:54
So I'm a pragmatist, not an idealist,
322
822442
2396
Dakle, ja sam pragmatičar, a ne idealist,
13:56
out of necessity.
323
824838
1503
i to radi potrebe.
13:58
For a certain kind of temperament,
324
826341
1929
Za određenu vrstu temperamenta
14:00
there is a certain kind of satisfaction
325
828270
1700
postoji određena vrsta zadovoljstva
14:01
in doing something that cannot be perfect
326
829970
3638
radom na nečemu što ne može biti savršeno,
14:05
but can still be done to the best of your ability.
327
833608
3869
ali svejedno može biti napravljeno najbolje što možemo.
14:09
Here's the lowercase H from Georgia Italic.
328
837477
4857
Ovo je malo H iz Georgie Italic.
14:14
The bitmap looks jagged and rough.
329
842334
2273
Bitmapa izgleda nazubljeno i grubo.
14:16
It is jagged and rough.
330
844607
1859
I jest nazubljena i gruba.
14:18
But I discovered, by experiment,
331
846466
1996
Međutim, eksperimentalno sam utvrdio
14:20
that there is an optimum slant
332
848462
3217
da postoji optimalan kut
14:23
for an italic on a screen
333
851679
1946
za zaslonski italik
14:25
so the strokes break well
334
853625
2332
pod kojim se linije lijepo "lome"
14:27
at the pixel boundaries.
335
855957
2483
na spoju piksela.
14:30
Look in this example how, rough as it is,
336
858440
2781
Na ovom primjeru, kako god grub da jest, pogledajte
14:33
how the left and right legs
337
861221
2050
kako se lijeva i desna noga
14:35
actually break at the same level.
338
863271
1949
zapravo lome na istoj razini.
14:37
That's a victory. That's good, right there.
339
865220
3520
To je pobjeda. To je dobro, baš tako.
14:40
And of course, at the lower depths,
340
868740
3178
Naravno, na manjim razlučivostima
14:43
you don't get much choice.
341
871918
1923
nemate puno izbora.
14:45
This is an S, in case you were wondering.
342
873841
5045
Za slučaj da ste se zapitali, ovo je S.
14:50
Well, it's been 18 years now
343
878886
2154
Eto, prošlo je 18 godina
14:53
since Verdana and Georgia were released.
344
881040
2650
otkad su objavljene Verdana i Georgia.
14:55
Microsoft were absolutely right,
345
883690
2090
Microsoft je apsolutno bio u pravu:
14:57
it took a good 10 years,
346
885780
2414
bilo je potrebno dobrih 10 godina,
15:00
but screen displays now do have
347
888194
2280
a zasloni sada imaju
15:02
improved spatial resolution,
348
890474
2453
poboljšanu prostornu razlučivost
15:04
and very much improved photometric resolution
349
892927
3472
i jako poboljšanu fotometrijsku razlučivost
15:08
thanks to anti-aliasing and so on.
350
896399
3154
zahvaljujući anti-aliasingu i drugim stvarima.
15:11
So now that their mission is accomplished,
351
899553
3697
I sada kad je njihova misija izvršena,
15:15
has that meant the demise
352
903250
1730
znači li to odlazak
15:16
of the screen fonts that I designed
353
904980
1880
zaslonskih fontova koje sam oblikovao
15:18
for coarser displays back then?
354
906860
2651
za ondašnje grublje zaslone?
15:21
Will they outlive the now-obsolete screens
355
909511
3395
Hoće li oni nadživjeti te zastarjele zaslone
15:24
and the flood of new web fonts
356
912906
2172
i nadiranje novih fontova za web
15:27
coming on to the market?
357
915078
1503
koji dolaze na tržište?
15:28
Or have they established their own
358
916581
1860
Ili su stvorili vlastitu
15:30
sort of evolutionary niche
359
918441
2238
vrstu evolucijske niše
15:32
that is independent of technology?
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neovisne o tehnologiji?
15:36
In other words, have they been absorbed
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Drugim riječima, jesu li utopljeni
15:38
into the typographic mainstream?
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u tipografski mainstream?
15:41
I'm not sure, but they've had a good run so far.
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Nisam siguran, ali za sada im je dobro išlo.
15:45
Hey, 18 is a good age for anything
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O, 18 godina je lijepo trajanje bilo čega
15:47
with present-day rates of attrition,
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uzevši u obzir današnji intenzitet "trošenja",
15:49
so I'm not complaining.
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tako da se ne žalim.
15:51
Thank you.
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Hvala!
(Pljesak)
15:54
(Applause)
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Reviewed by Ivan Stamenkovic
ABOUT THE SPEAKER
Matthew Carter - Type designerEven if you don’t recognize his name, chances are you’ve seen Matthew Carter’s work -- his type designs include some of the world’s most familiar digital typefaces.
Why you should listen
MacArthur Fellow Matthew Carter started his career as a punchcutter, a print artisan who physically carves each letter into metal. He had already designed several legendary typefaces (in 1975, he created Bell Centennial for use in phone books) when he stepped into the digital design ring. As part of a project undertaken for Microsoft, Carter created early and successful examples of screen type emphasizing clarity and ease of long-term viewing, including the familiar Verdana, Galliard and Georgia. A recent work is MS Sitka, a family of digital fonts that are built to be readable at many sizes in print and onscreen.
Print and online publications such as Sports Illustrated, Newsweek, Wired and the Washington Post have all commissioned Carter fonts, leading Microsoft's typography blog to call him "the person who shapes the way we read about the world."
Carter is a principal of Carter & Cone Type Inc., a Cambridge, Massachusetts-based company specializing in designing and producing original typefaces. As he says: "A typeface is a beautiful collection of letters, not a collection of beautiful letters."
Matthew Carter | Speaker | TED.com