TED2014
Matthew Carter: My life in typefaces
Metju Karter (Matthew Carter): Moj život u pismima
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Pogledajte knjigu, časopis ili ekran i sasvim je verovatno da ćete naleteti na neki oblik tipografije koji je dizajnirao Metju Karter. U ovom simpatičnom govoru, tvorac pisama kao što su Verdana, Džordžija i Bel Sentenial (koji je stvoren za upotrebu u telefonskim imenicima - ako ih se sećate) nas vodi kroz karijeru koja ide do poslednjeg piksela 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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Pismo je nešto što konzumiramo
00:14
in enormous quantities.
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u ogromnim količinama.
00:16
In much of the world,
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U većem delu sveta
00:17
it's completely inescapable.
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je potpuno neizbežno.
00:19
But few consumers are concerned to know
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Ali malo korisnika se brine o tome
00:22
where a particular typeface came from
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odakle je pojedino pismo došlo,
00:24
or when or who designed it,
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ili kada ili ko ga je dizajnirao,
00:27
if, indeed, there was any human agency involved
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ako je u njegovom stvaranju zaista bio
00:30
in its creation, if it didn't just sort of materialize
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uključen ljudski faktor, ako se nije samo
00:33
out of the software ether.
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materijalizovalo iz etra softvera.
00:37
But I do have to be concerned with those things.
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Ali ja moram da brinem oko ovih stvari.
00:40
It's my job.
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To mi je posao.
00:42
I'm one of the tiny handful of people
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Jedan sam od šačice ljudi
00:44
who gets badly bent out of shape
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koji se strašno iznervira
00:46
by the bad spacing of the T and the E
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lošim razmakom između T i E
00:49
that you see there.
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koji ovde vidite.
00:50
I've got to take that slide off.
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Moram da sklonim ovaj slajd.
00:52
I can't stand it. Nor can Chris.
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Ne mogu da ga podnesem. A ni Kris.
00:54
There. Good.
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Tako. Dobro.
00:56
So my talk is about the connection
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Moj govor je o vezi
00:57
between technology and design of type.
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između tehnologije i dizajna slova.
01:01
The technology has changed
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Tehnologija se promenila
01:03
a number of times since I started work:
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nekoliko puta otkad sam počeo da radim:
01:06
photo, digital, desktop, screen, web.
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foto, digitalno, desktop,
monitor, internet.
monitor, internet.
01:11
I've had to survive those changes and try
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Morao sam da preživim
te promene i
te promene i
01:13
to understand their implications for what I do
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pokušam da razumem njihov uticaj
na ono što radim
na ono što radim
01:15
for design.
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kroz dizajn.
01:17
This slide is about the effect of tools on form.
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Ovaj slajd je o uticaju
alata na oblik.
alata na oblik.
01:22
The two letters, the two K's,
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Dva slova, dva K,
01:25
the one on your left, my right, is modern,
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ovo vama levo, meni desno, je moderno,
01:28
made on a computer.
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napravljeno na računaru.
01:30
All straight lines are dead straight.
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Sve prave linije su potpuno prave.
01:32
The curves have that kind of
mathematical smoothness
mathematical smoothness
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Krivine imaju matematičku uglađenost
01:34
that the Bézier formula imposes.
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koju nameće Bezijeova formula.
01:38
On the right, ancient Gothic,
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Desno, staro prelomljeno pismo,
01:41
cut in the resistant material of steel by hand.
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sečeno rukom
u otpornom materijalu - čeliku.
u otpornom materijalu - čeliku.
01:45
None of the straight lines are actually straight.
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Nijedna od pravih linija
nije zapravo prava.
nije zapravo prava.
01:47
The curves are kind of subtle.
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Krivine su nekako suptilne.
01:49
It has that spark of life from the human hand
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Ima onu iskru života
nastalu ljudskom rukom
nastalu ljudskom rukom
01:54
that the machine or the program
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koju mašina ili program
01:56
can never capture.
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nikada ne mogu uhvatiti.
01:58
What a contrast.
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Kakva razlika.
02:00
Well, I tell a lie.
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Dobro, slagao sam.
02:02
A lie at TED. I'm really sorry.
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Lažem na TED-u. Stvarno mi je žao.
02:05
Both of these were made on a computer,
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Oba su napravljena na računaru,
02:07
same software, same Bézier curves,
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isti softver, iste Bezijeove krive,
02:09
same font format.
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isti format fonta.
02:11
The one on your left
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Ovo na vašoj levoj strani
02:13
was made by Zuzana Licko at Emigre,
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napravila je Zuzana Ličko na 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, ipak slova su različita.
02:20
The letters are different
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Slova su različita jer su
02:22
because the designers are different.
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i dizajneri različiti.
02:23
That's all. Zuzana wanted hers to look like that.
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To je sve. Zuzana je želela
da njeno izgleda tako.
da njeno izgleda tako.
02:26
I wanted mine to look like that. End of story.
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Ja sam želeo da moje izgleda ovako.
Kraj priče.
Kraj priče.
02:30
Type is very adaptable.
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Slova su vrlo prilagodljiva.
02:32
Unlike a fine art, such as sculpture or architecture,
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Za razliku od visoke umetnosti,
poput vajsrstva ili arhitekture,
poput vajsrstva ili arhitekture,
02:35
type hides its methods.
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tipografija krije svoje metode.
02:39
I think of myself as an industrial designer.
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Sebe smatram industrijskim dizajnerom.
02:41
The thing I design is manufactured,
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Ono što dizajniram se proizvodi
02:43
and it has a function:
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i ima svrhu:
02:45
to be read, to convey meaning.
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da se čita, da prenese značenje.
02:47
But there is a bit more to it than that.
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Ali tu ima još nečeg.
02:48
There's the sort of aesthetic element.
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Postoji i određeni element estetike.
02:50
What makes these two letters different
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Šta to ova slova čini nečim više
02:53
from different interpretations by different designers?
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od različitih interpretacija
različitih dizajnera?
različitih dizajnera?
02:56
What gives the work of some designers
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Šta to radu nekih dizajnera daje
02:58
sort of characteristic personal style,
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poseban lični stil,
03:01
as you might find in the work of a fashion designer,
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kakav bi mogli da vidite
kod modnih dizajnera,
kod modnih dizajnera,
03:03
an automobile designer, whatever?
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dizajnera automobila, i tome slično?
03:06
There have been some cases, I admit,
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Priznajem da sam u određenim
03:08
where I as a designer
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slučajevima kao dizajner
03:09
did feel the influence of technology.
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osetio uticaj tehnologije.
03:12
This is from the mid-'60s,
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Ovo potiče iz sredine 60-ih,
03:15
the change from metal type to photo,
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prelaz od livenih slova ka foto-slaganju,
03:18
hot to cold.
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od toplog ka hladnom.
03:19
This brought some benefits
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To je donelo
03:21
but also one particular drawback:
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određene prednosti,
ali i jedan nedostatak:
ali i jedan nedostatak:
03:24
a spacing system that only provided
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sistem razmaka sa samo
03:27
18 discrete units for letters
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18 pojedinačnih jedinica
03:31
to be accommodated on.
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na koje se smeštaju slova.
03:33
I was asked at this time to design
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U to vreme su tražili da dizajniram
03:35
a series of condensed sans serif types
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niz zbijenih bezserifnih pisama
03:38
with as many different variants as possible
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sa što više varijanti
03:41
within this 18-unit box.
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u okviru ovih 18 jedinica.
03:45
Quickly looking at the arithmetic,
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Nakon brzog proračuna
03:46
I realized I could only actually make three
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sam shvatio da mogu da napravim
03:50
of related design. Here you see them.
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samo tri srodna dizajna. Tu ih i vidite.
03:53
In Helvetica Compressed, Extra Compressed,
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Ovaj sistem me je zaista sputao
03:56
and Ultra Compressed, this rigid 18-unit system
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dok sam pravio zbijenu, ekstra zbijenu
04:00
really boxed me in.
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i ultra zbijenu Helvetiku.
04:01
It kind of determined the proportions
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Unapred je odredio
04:03
of the design.
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srazmere gotovog dizajna.
04:05
Here are the typefaces, at least the lower cases.
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Ovo su ta pisma; bar mala slova.
04:09
So do you look at these and say,
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Onda ovo vidite i kažete:
04:12
"Poor Matthew, he had to submit to a problem,
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,,Jadni Metju, naleteo je na problem,
04:15
and by God it shows in the results."
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i rezultati to pokazuju.''
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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Da danas radim istu stvar,
04:22
instead of having 18 spacing units,
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umesto 18 jedinica razmaka
04:25
I would have 1,000.
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imao bih 1.000.
04:28
Clearly I could make more variants,
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Očito bih mogao
da sastavim više varijanti,
da sastavim više varijanti,
04:31
but would these three members
of the family be better?
of the family be better?
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ali da li bi postojeće bile bolje?
04:35
It's hard to say without actually doing it,
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Teško je reći ako se ne uradi,
04:37
but they would not be better in the proportion
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ali sigurno ne bi bile bolje
04:39
of 1,000 to 18, I can tell you that.
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kao što je 1.000 više od 18.
04:42
My instinct tells you that any improvement
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Predosećam da bi poboljšanja
04:44
would be rather slight, because they were designed
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bila neznatna, jer su pisma dizajnirana
04:47
as functions of the system they were designed to fit,
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u odnosu na sistem u kom se koriste,
04:50
and as I said, type is very adaptable.
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i, kao što već rekoh,
slova su prilagodljiva.
slova su prilagodljiva.
04:52
It does hide its methods.
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Zaista kriju svoje metode.
04:55
All industrial designers work within constraints.
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Svi industrijski dizajneri
rade naspram ograničenja.
rade naspram ograničenja.
04:58
This is not fine art.
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Nije kao kod visoke umetnosti.
05:00
The question is, does a constraint
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Pitanje je, da li ograničenja
05:02
force a compromise?
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nameću kompromis?
05:05
By accepting a constraint,
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Da li spuštamo standard
05:07
are you working to a lower standard?
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ako prihvatamo ograničenja?
05:09
I don't believe so, and I've always been encouraged
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Smatram da nije tako, i uvek me
05:11
by something that Charles Eames said.
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ohrabruju reči Čarlsa Imsa.
05:13
He said he was conscious of working
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Rekao je da pristaje
05:15
within constraints,
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na ograničenja,
05:16
but not of making compromises.
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ali ne na kompromis.
05:19
The distinction between a constraint
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Razlika između ograničenja
05:21
and a compromise is obviously very subtle,
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i kompromisa je mala,
05:24
but it's very central to my attitude to work.
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ali predstavlja ključni deo
mog stava prema radu.
mog stava prema radu.
05:29
Remember this reading experience?
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Sećate se kad ste ovo čitali?
05:32
The phone book. I'll hold the slide
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Telefonski imenik. Ostaviću
05:34
so you can enjoy the nostalgia.
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ovaj slajd da se malo prisetite.
05:38
This is from the mid-'70s early trials
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Ovo su rane probe Bel Sentenial
05:41
of Bell Centennial typeface I designed
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pisma koje sam sredinom 70-ih dizajnirao
05:44
for the U.S. phone books,
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za američke telefonske imenike
05:45
and it was my first experience of digital type,
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i tu sam se prvi put susreo
sa digitalnim slovima,
sa digitalnim slovima,
05:49
and quite a baptism.
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pravo vatreno krštenje.
05:53
Designed for the phone books, as I said,
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Kao što rekoh, dizajnirano
05:55
to be printed at tiny size on newsprint
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za imenike, da se sitno štampa
na novinskom papiru
na novinskom papiru
05:58
on very high-speed rotary presses
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veoma brzim rotacionim mašinama,
06:00
with ink that was kerosene and lampblack.
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sa mastilom od kerozina i čađi.
06:03
This is not a hospitable environment
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Vrlo loši uslovi
06:07
for a typographic designer.
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za dizajn pisma.
06:10
So the challenge for me was to design type
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Moj posao je bio da dizajniram
06:12
that performed as well as possible
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pismo koje bi dobro podnelo
06:13
in these very adverse production conditions.
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ove nepovoljne uslove proizvodnje.
06:18
As I say, we were in the infancy of digital type.
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Već sam rekao da je to bio
početak digitalnih slova.
početak digitalnih slova.
06:21
I had to draw every character by hand
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Svako slovo sam morao ručno da crtam
06:24
on quadrille graph paper --
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na milimetarskoj hartiji -
06:26
there were four weights of Bell Centennial —
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Bel Sentenial je imao četiri reza -
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,
zatim da programiram za tastaturu liniju
zatim da programiram za tastaturu liniju
06:31
for the keyboard.
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po liniju rastera.
06:32
It took two years, but I learned a lot.
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Trebalo mi je dve godine,
ali sam dosta naučio.
ali sam dosta naučio.
06:36
These letters look as though they've been chewed
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Slova izgledaju kao da ih je
06:38
by the dog or something or other,
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izgrizao pas ili nešto slično,
06:39
but the missing pixels at the intersections
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ali pikseli nedostaju
06:41
of strokes or in the crotches
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na ukrštanju linija i prevojima
06:43
are the result of my studying the effects
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jer sam morao da nadomestim
06:46
of ink spread on cheap paper
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efekat razlivanja mastila
06:49
and reacting, revising the font accordingly.
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po jeftinom papiru.
06:53
These strange artifacts are designed to compensate
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Te nepravilnosti su tu kako bi ublažile
06:56
for the undesirable effects of scale
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nepovoljan uticaj veličine slova
06:59
and production process.
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i procesa proizvodnje.
07:01
At the outset, AT&T had wanted
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U AT&T su na samom početku
07:04
to set the phone books in Helvetica,
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želeli imenike da ispišu Helvetikom,
07:07
but as my friend Erik Spiekermann said
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ali u filmu o Helvetici, ako ste
07:09
in the Helvetica movie, if you've seen that,
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ga gledali, moj prijatelj
Erik Spikerman kaže
Erik Spikerman kaže
07:11
the letters in Helvetica were designed to be
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kako su slova tog pisma dizajnirana
07:13
as similar to one another as possible.
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da budu što sličnija jedno drugom.
07:16
This is not the recipe for legibility at small size.
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Tu nema čitljivosti pri malim veličinama.
07:19
It looks very elegant up on a slide.
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Na slajdu deluje vrlo elegantno.
07:22
I had to disambiguate these forms
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Kod Bel Sentenial sam morao
07:24
of the figures as much as possible in Bell Centennial
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da učinim oblike slova što različitijim
07:27
by sort of opening the shapes up, as you can see
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tako što sam ih nekako otvorio,
07:29
in the bottom part of that slide.
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kao što se vidi na dnu slajda.
07:32
So now we're on to the mid-'80s,
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Sad smo stigli do sredine 80-ih,
07:35
the early days of digital outline fonts,
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početak ere digitalnih,
07:38
vector technology.
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vektorskih fontova.
07:40
There was an issue at that time
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U to vreme je postojao problem
07:42
with the size of the fonts,
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sa veličinom fontova,
07:44
the amount of data that was required to find
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prostorom u memoriji koji je potreban
07:47
and store a font in computer memory.
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da bi se čuvali i pretraživali.
07:52
It limited the number of fonts you could get
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To je ograničavalo broj fontova
07:53
on your typesetting system at any one time.
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koje možete čuvati na sistemu za slaganje.
07:56
I did an analysis of the data,
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Analizirao sam podatke i utvrdio
08:00
and found that a typical serif face
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da je za uobičajeno serifno pismo
08:03
you see on the left
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koje vidite levo
08:04
needed nearly twice as much data
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potrebno skoro dva puta više prostora
08:06
as a sans serif in the middle
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nego za bezserifno u sredini,
08:09
because of all the points required
185
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zbog tačaka potrebnih kako bi
08:11
to define the elegantly curved serif brackets.
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se uobličile elegantne krivine serifa.
08:16
The numbers at the bottom of the slide, by the way,
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Usput, brojevi na dnu slajda
08:19
they represent the amount of data
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predstavljaju količinu prostora
08:21
needed to store each of the fonts.
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potrebnu za čuvanje fontova.
08:24
So the sans serif, in the middle,
190
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2166
Vidimo da je bezserifni, u sredini,
08:27
sans the serifs, was much more economical,
191
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2964
bez serifa, mnogo ekonomičniji,
08:30
81 to 151.
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81 prema 151.
08:32
"Aha," I thought. "The engineers have a problem.
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Pomislio sam:
,,Ah, inženjeri su u problemu.
,,Ah, inženjeri su u problemu.
08:35
Designer to the rescue."
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2235
Dizajneri će rešiti.''
08:38
I made a serif type, you can see it on the right,
195
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2347
Napravio sam serifno pismo,
to sa desne strane,
to sa desne strane,
08:40
without curved serifs.
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bez krivina na serifima.
08:42
I made them polygonal, out
of straight line segments,
of straight line segments,
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Bili su poligonalni,
sastavljeni od pravih linija,
sastavljeni od pravih linija,
08:44
chamfered brackets.
198
512915
1983
zarubljenih ivica
08:46
And look, as economical in data as a sans serif.
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4368
A vidite da i štedi prostor
poput bezserifnog.
poput bezserifnog.
08:51
We call it Charter, on the right.
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To desno smo nazvali Čarter.
08:53
So I went to the head of engineering
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1970
Uzeo sam proračune i otišao
08:55
with my numbers, and I said proudly,
202
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2458
kod glavnog inženjera i ponosno rekao:
08:57
"I have solved your problem."
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525993
2128
,,Rešio sam problem.''
09:00
"Oh," he said. "What problem?"
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3713
Pitao me je: ,,Koji problem?''
09:03
And I said, "Well, you know, the problem
205
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Rekoh: ,,Znate, problem
09:05
of the huge data you require
for serif fonts and so on."
for serif fonts and so on."
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3417
sa prevelikim serifnim fontovima
i tako dalje.''
i tako dalje.''
09:08
"Oh," he said. "We solved that problem last week.
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3547
,,A to. To smo rešili prošle nedelje.
09:12
We wrote a compaction routine that reduces
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Napisali smo program koji smanjuje
09:14
the size of all fonts by an order of magnitude.
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veličinu svih fontova po redu veličine.
09:17
You can have as many fonts on your system
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545180
1988
Sad možete da ih imate
09:19
as you like."
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koliko god želite.''
09:20
"Well, thank you for letting me know," I said.
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,,Hvala što ste me obavestili'', rekoh.
09:23
Foiled again.
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Opet neuspeh.
09:24
I was left with a design solution
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2045
Sad sam imao rešenje
09:27
for a nonexistent technical problem.
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4473
za tehnički problem koji više ne postoji.
09:31
But here is where the story sort
of gets interesting for me.
of gets interesting for me.
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Ali tu meni priča postaje zanimljiva.
09:33
I didn't just throw my design away
217
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Nisam ga samo
09:36
in a fit of pique.
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bacio u ljutnji.
09:37
I persevered.
219
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1737
Istrajao sam.
09:39
What had started as a technical exercise
220
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2168
I ono što je u početku
bila vežba iz tehnike
bila vežba iz tehnike
09:41
became an aesthetic exercise, really.
221
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3264
je preraslo u vežbu iz estetike.
09:45
In other words, I had come to like this typeface.
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Drugim rečima, zavoleo sam to pismo.
09:48
Forget its origins. Screw that.
223
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2319
Zaboravite kako je nastalo.
09:50
I liked the design for its own sake.
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Dizajn mi se sviđao zbog samog sebe.
09:52
The simplified forms of Charter
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Jednostavan oblik je Čarteru
09:55
gave it a sort of plain-spoken quality
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2083
dao određeni skroman karakter
09:57
and unfussy spareness
227
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1551
i nenametljivu ogoljenost,
09:58
that sort of pleased me.
228
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2490
što mi je prijalo.
10:01
You know, at times of technical innovation,
229
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2553
Za vreme inovacija u tehnici,
10:04
designers want to be influenced
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dizajneri žele da na njih utiče
10:05
by what's in the air.
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1736
ono što se dešava.
10:07
We want to respond. We want to be pushed
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2231
Želimo da odgovorimo. Želimo da nas
10:09
into exploring something new.
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teraju da istražujemo.
10:12
So Charter is a sort of parable for me, really.
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Na neki način, Čarter je oslikao mene.
10:15
In the end, there was no hard and fast causal link
235
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3790
Na kraju nije bilo
očite uzročno-posledične
očite uzročno-posledične
10:19
between the technology and the design of Charter.
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3193
veze između tehnologije i dizajna Čartera.
10:22
I had really misunderstood the technology.
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3762
Potpuno sam pogrešno razumeo tehnologiju.
10:26
The technology did suggest something to me,
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3328
Ona mi jeste nešto nagovestila,
10:29
but it did not force my hand,
239
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2117
ali me ni na šta nije prisilila,
10:32
and I think this happens very often.
240
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2717
i čini mi se da se to često dešava.
10:34
You know, engineers are very smart,
241
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2626
Inženjeri su veoma pametni,
10:37
and despite occasional frustrations
242
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1556
i pored povremenog nerviranja,
10:38
because I'm less smart,
243
626926
1527
jer nisam toliko pametan,
10:40
I've always enjoyed working with them
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uvek uživam da sarađujem sa njima
10:42
and learning from them.
245
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2078
i učim od njih.
10:44
Apropos, in the mid-'90s,
246
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2342
S tim u vezi, sredinom 90-ih
10:46
I started talking to Microsoft
247
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sam razgovarao sa Majkrosoftom
10:49
about screen fonts.
248
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o fontovima za ekrane.
10:51
Up to that point, all the fonts on screen
249
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Do tada su fontovi na ekranima
10:54
had been adapted from previously existing
250
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bili samo prilagođeni
10:56
printing fonts, of course.
251
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fontovi za štampu.
10:59
But Microsoft foresaw correctly
252
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Ali u Majkrosoftu su tačno predvideli
11:01
the movement, the stampede
253
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2150
pokret, juriš ka
11:03
towards electronic communication,
254
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2787
elektronskoj komunikaciji,
11:06
to reading and writing onscreen
255
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2030
ka čitanju i pisanju na ekranima,
11:08
with the printed output as being sort of secondary
256
656700
3133
gde bi štampa bila
11:11
in importance.
257
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2223
u drugom planu.
11:14
So the priorities were just tipping at that point.
258
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3579
U tom trenutku su prioriteti
tek počeli da se menjaju.
tek počeli da se menjaju.
11:17
They wanted a small core set of fonts
259
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2194
Želeli su manji početni paket fontova
11:19
that were not adapted but designed for the screen
260
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3305
koji nisu adaptirani,
već dizajnirani za ekrane,
već dizajnirani za ekrane,
11:23
to face up to the problems of screen,
261
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2573
koji bi izašli na kraj
11:25
which were their coarse resolution displays.
262
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3842
sa niskom rezolucijom prikaza.
11:29
I said to Microsoft, a typeface designed
263
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3531
Rekao sam im da pisma koja se dizajniraju
11:33
for a particular technology
264
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1569
za potrebe tehnologije
11:34
is a self-obsoleting typeface.
265
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3375
brzo zastare.
11:38
I've designed too many faces in the past
266
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2094
Već sam dizajnirao dosta pisama
11:40
that were intended to mitigate technical problems.
267
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3579
koja su trebala da uklone
tehničke probleme.
tehničke probleme.
11:43
Thanks to the engineers, the
technical problems went away.
technical problems went away.
268
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Tehnički problemi bi nestali
zahvaljujući inženjerima,
zahvaljujući inženjerima,
11:46
So did my typeface.
269
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2489
a sa njima i pisma.
11:49
It was only a stopgap.
270
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3131
Bila su samo zakrpe.
11:52
Microsoft came back to say that
271
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1541
Majkrosoft mi je odgovorio
11:53
affordable computer monitors
272
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1630
da će se pristupačni monitori
11:55
with better resolutions
273
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1197
sa boljom rezolucijom
11:56
were at least a decade away.
274
704520
2596
pojaviti tek za deset godina.
11:59
So I thought, well, a decade, that's not bad,
275
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2654
Pomislio sam, čitava decenija nije loša,
12:01
that's more than a stopgap.
276
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2412
ipak je više od zakrpe.
12:04
So I was persuaded, I was convinced,
277
712182
2001
Tako su me ubedili
12:06
and we went to work on what became Verdana
278
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2322
i počeli smo da radimo na Verdani
12:08
and Georgia,
279
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1672
i Džordžiji
12:10
for the first time working not on paper
280
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2340
i prvi put nismo radili na papiru
12:12
but directly onto the screen from the pixel up.
281
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3960
već sa samim pikselima,
direktno na ekranu.
direktno na ekranu.
12:16
At that time, screens were binary.
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3853
Ekrani su tada bili binarni.
12:20
The pixel was either on or it was off.
283
728330
3040
Pikseli su bili uključeni ili isključeni.
12:23
Here you see the outline of a letter,
284
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2855
Ovde se vidi 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
u tankoj crnoj liniji,
12:30
which is how it is stored in memory,
287
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2876
u memoriji se čuva kao kontura,
12:33
superimposed on the bitmap,
288
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1670
postavljen preko bitmape,
12:35
which is the grey area,
289
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2148
u sivoj boji,
12:37
which is how it's displayed on the screen.
290
745187
1837
koja predstavlja prikaz na ekranu.
12:39
The bitmap is rasterized from the outline.
291
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3146
Bitmapa se rasterizuje od konture.
12:42
Here in a cap H, which is all straight lines,
292
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2241
Kod velikog H su sve linije prave,
12:44
the two are in almost perfect sync
293
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2088
i ove dve su skoro potpuno uspravne
12:46
on the Cartesian grid.
294
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4368
po Dekartovom koordinatnom sistemu.
12:50
Not so with an O.
295
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3126
Kod O nije tako.
12:53
This looks more like bricklaying
than type design,
than type design,
296
761993
2727
Ovo više liči na zidanje
nego dizajn slova,
nego dizajn slova,
12:56
but believe me, this is a good bitmap O,
297
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2901
ali mi verujte da je ovo dobro bitmapno O,
12:59
for the simple reason that it's symmetrical
298
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2015
jer je simetrično
13:01
in both x and y axes.
299
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2480
prema x i y osi.
13:04
In a binary bitmap, you actually can't ask
300
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2858
Kod binarnih bitmapa
13:06
for more than that.
301
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1720
bolje od toga i ne može.
13:08
I would sometimes make, I don't know,
302
776694
2404
Povremeno bih za zahtevnija slova
13:11
three or four different versions of a difficult letter
303
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2356
napravio tri ili četiri verzije,
13:13
like a lowercase A,
304
781454
1506
na primer za malo A,
13:14
and then stand back to choose which was the best.
305
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3540
zatim se udaljio da vidim
koja je najbolja.
koja je najbolja.
13:18
Well, there was no best,
306
786500
2095
Nije bilo najbolje,
13:20
so the designer's judgment comes in
307
788595
2425
pa dizajner mora
13:23
in trying to decide
308
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1389
da odluči
13:24
which is the least bad.
309
792409
3041
koja je najmanje loša.
13:27
Is that a compromise?
310
795450
2450
Da li je to kompromis?
13:29
Not to me, if you are working
311
797900
1546
Mislim da nije, ukoliko radite
13:31
at the highest standard the technology will allow,
312
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3087
na najbolji način
koji tehnologija dopušta,
koji tehnologija dopušta,
13:34
although that standard may be
313
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2209
iako je on možda
13:36
well short of the ideal.
314
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2479
daleko od idealnog.
13:39
You may be able to see on this slide
315
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1591
Na ovom slajdu se vide
13:40
two different bitmap fonts there.
316
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2162
dva različita bitmapna fonta.
13:42
The "a" in the upper one, I think,
317
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1696
Čini mi se da je malo A u gornjem
13:44
is better than the "a" in the lower one,
318
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1913
bolje od malog A u donjem,
13:46
but it still ain't great.
319
814583
2576
ali opet nije odlično.
13:49
You can maybe see the effect better
320
817159
1907
Možda se bolje vidi
13:51
if it's reduced. Well, maybe not.
321
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3376
ako se smanji. Možda i ne.
13:54
So I'm a pragmatist, not an idealist,
322
822442
2396
Znači da sam pragmatičan, a ne idealista,
13:56
out of necessity.
323
824838
1503
iz potrebe.
13:58
For a certain kind of temperament,
324
826341
1929
Za ljude određene ćudi
14:00
there is a certain kind of satisfaction
325
828270
1700
je zadovoljstvo uraditi
14:01
in doing something that cannot be perfect
326
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3638
nešto ne savršeno,
14:05
but can still be done to the best of your ability.
327
833608
3869
već najbolje što se može.
14:09
Here's the lowercase H from Georgia Italic.
328
837477
4857
Ovo je malo H iz italik Džordžije.
14:14
The bitmap looks jagged and rough.
329
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2273
Izgleda iskrzano i grubo.
14:16
It is jagged and rough.
330
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1859
I jeste iskrzano i grubo.
14:18
But I discovered, by experiment,
331
846466
1996
Ali sam eksperimentom utvrdio
14:20
that there is an optimum slant
332
848462
3217
da za italike na ekranu
14:23
for an italic on a screen
333
851679
1946
postoji optimalan nagib
14:25
so the strokes break well
334
853625
2332
kod kog se potezi pravilno prelamaju
14:27
at the pixel boundaries.
335
855957
2483
na granicama piksela.
14:30
Look in this example how, rough as it is,
336
858440
2781
Na ovom primeru se vidi da se
14:33
how the left and right legs
337
861221
2050
leva i desna nožica prelamaju
14:35
actually break at the same level.
338
863271
1949
na istoj visini, uprkos gruboći.
14:37
That's a victory. That's good, right there.
339
865220
3520
To je pogodak. To je dobro.
14:40
And of course, at the lower depths,
340
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3178
A na nižim rezolucijama
14:43
you don't get much choice.
341
871918
1923
ni nemate izbora.
14:45
This is an S, in case you were wondering.
342
873841
5045
To je S, za slučaj da niste sigurni.
14:50
Well, it's been 18 years now
343
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2154
Prošlo je već 18 godina
14:53
since Verdana and Georgia were released.
344
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2650
od kako su Verdana i Džordžija
objavljene.
objavljene.
14:55
Microsoft were absolutely right,
345
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2090
Majkrosoft je bio u pravu,
14:57
it took a good 10 years,
346
885780
2414
zaista je trebalo 10 godina,
15:00
but screen displays now do have
347
888194
2280
ali ekrani sada imaju
15:02
improved spatial resolution,
348
890474
2453
visoku prostornu
15:04
and very much improved photometric resolution
349
892927
3472
i odličnu fotometrijsku rezoluciju,
15:08
thanks to anti-aliasing and so on.
350
896399
3154
zahvaljujući omekšavanju ivica
i tome slično.
i tome slično.
15:11
So now that their mission is accomplished,
351
899553
3697
Sad kad su u tome uspeli,
15:15
has that meant the demise
352
903250
1730
da li je došao kraj
15:16
of the screen fonts that I designed
353
904980
1880
fontovima koje sam dizajnirao
15:18
for coarser displays back then?
354
906860
2651
za ekrane niskih rezolucija?
15:21
Will they outlive the now-obsolete screens
355
909511
3395
Da li će nadživeti ekrane
15:24
and the flood of new web fonts
356
912906
2172
koji su zastareli i navalu
15:27
coming on to the market?
357
915078
1503
novih fontova za internet?
15:28
Or have they established their own
358
916581
1860
Ili su zauzeli sopstveno
15:30
sort of evolutionary niche
359
918441
2238
mesto u evoluciji,
15:32
that is independent of technology?
360
920679
3737
koje ne zavisi od tehnologije?
15:36
In other words, have they been absorbed
361
924416
1671
Drugim rečima, da li su postali
15:38
into the typographic mainstream?
362
926087
3313
deo mejnstrima tipografije?
15:41
I'm not sure, but they've had a good run so far.
363
929400
3658
Nisam siguran,
ali do sad im je dobro išlo.
ali do sad im je dobro išlo.
15:45
Hey, 18 is a good age for anything
364
933058
2495
Osamnaest godina je sasvim dobro,
15:47
with present-day rates of attrition,
365
935553
2151
s obzirom na današnji vek proizvoda,
15:49
so I'm not complaining.
366
937704
1914
tako da ne mogu da se požalim.
15:51
Thank you.
367
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2839
Hvala vam.
15:54
(Applause)
368
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2177
(Aplauz)
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