An extract from the introduction to Manul typograck.

In this catalogue you will nd a whole range of type faces beginning from those which have been designed for books through the ones designed for magazines and newspapers to display and decorative type faces. The recommendations for use of these type faces are not, naturally, mandatory; they should serve only as guidelines for less experienced designers. In the case of most book type faces, designs which can be used to create emphasis in the text are available from the range of styles only and their names are not included in the menu. Magazine and display type faces comprising four designs are presented together on a single page. Samples of jobbing type faces and ornaments are shown only in the Summary printed on page 130 ff. After this section (from page 136 onwards), there are text pages of selected display type faces which can be used for shorter texts as well. In the last section you will nd full comments on the individual type faces. Different type faces require different forms of presentation. There are multifunctional alphabets which can be viewed from various angles and used in various types of text but there are also single-purpose jobbing type faces in the case of which it is sufcient if they are shown in a sample alphabet only. A page presenting a body type in twenty different sizes looks cramped and confusing. However, if the same type face is shown in a book lay-out with proper margins, it looks different it has now space enough to breathe. Thanks to a different angle of view it has acquired a different character... Back to the roots is a tendency which characterizes a large part of our production inspired by the Renaissance, Baroque and Neo-classical periods. Our catalogue includes a group of Baroque type families which have been digitized for the rst time in the world and whose shape is almost intact. Storm Type Foundry was founded in Prague in 1993 with the aim to restore the values of classical typography for the benet of digital technologies. We started by drawing alphabets which could be used in book printing, then we proceeded to alphabets for lm- and photosetting and nowadays, in the era of computers, we use the experience we have gained to make digital type faces more human. Our current TypoKatalog contains over 230 original PostScript and TrueType fonts for the Mac or the PC. When digitizing original Czech type face we cooperate with experienced Czech designers Otakar Karlas, Jan Solpera and Josef Tfa. We are convinced that such teamwork is a guarantee of the permanence of the artistic value of our type faces.

Aichel Every type face which was originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelen Hora) is surprisingly well usable also in minor graphic works. The proportions and colour (tonal value) of the upper-case letters derive freely from Mediaeval and apart from this they paraphrase, as was required in the order, the morphology of the Baroque Gothic. The lower-case letters seem to ring with gambolling melodies in their details and behave like immature counterparts of the upper-case letters. To combine monumentality with playfulness and gravity with ease means to arrive at a magnanimously balanced whole. That is why such type face can be used not only for casting in bronze or chiselling in stone, but also for childrens books, magazine headings and invitation cards. I would, however, be apprehensive about using it for setting longer texts in which considerable amount of artistry tends to be cumbersome. Alcoholica The source of inspiration for this design is immediately apparent in its name. It is suitable for texts of drunkards and dubious persons. Likewise it is cut out for posters for theatre pieces by contemporary dramatists. It has been issued in three designs only. Antique Ancienne, Moderne & Regent The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute Transitional, as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This transition was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a transition from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of bookprinting, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing ofce or a booksellers shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punchcutter John Handy. It became the custom that one type founder supplied type to multiple printing ofces, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy

AaEeGg RrSsVw 123&

to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difculties. Imagination and variety of shapes, which so far have been reserved only to the ne arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the rst time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the aps and in the imprint lines. Bold upper-case letters in the rst line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque titlepage could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book a typographical manual. Among these manuals the one published by Fournier stands out also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words Baroque typography deserves anything else but the attribute transitional. In the rst half of the 18th century, besides persons whose names are prominent and wellknown up to the present, as was Baskerville or Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our rm principle. Does it mean,

therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is childs play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a xed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in todays modern type designers nihilism. Bahnhof Poster type faces from the twenties and thirties are enjoying a new wave of popularity. The summary, even rather hard principle of the sign is required for a view from a distance. The information appearing on the poster must be readable even from the opposite pavement. And, as is often the case with monumental type faces, these type faces are legible even in small sizes. The name Bahnhof suggests the hypothetical use of the type face on railway station buildings. By overlapping the designs Outline and Solid, a twocolour effect can be achieved. Biblon (new not on TypoKatalog 2 CD) Originally intended for printing of the Bible. Has a slightly narrower look, but the reader does not perceive it as a compact type face. Released in 8 designs, including small capitals. Clichee Has a subtle Art-Nouveau avour, inspired by the sans-serif type faces (Grotesks) of the period, of which possibly hundreds of designs were cast under such melodious-sounding names as are for example Grotesk Roland, Grotesk Astra, Art Nouveau Light, etc.... Belongs to the same blood group as Bertholds Block. It is suitable for setting of occasional brochures, leaets and annual reports. Cobra A cross between a Roman type face and a slug, a type face with blurred letters, inspired by a tropical snake remotely contained in the letter g. Or a mere attempt to come up, at all costs, with something new and original. This type face has a truly avant-garde solution of the enclosed forms; these create horizontal connecting lines which help to hold the line together. It is interesting that Cobra looks good in any size, which cannot be said at all about the majority of respectably-looking letters. This type face is very suitable for

posters where its dynamics and softness stand out in large sizes, as well as for small experimental books for bibliophiles where it surprises us with its commendable legibility. Compur Is the name of the most famous photographic shutter of all time. This is a reconstruction of a type face which served for describing various devices, using the technique of monolinear engraving. With its soft forms, stringency of signs and period accent it ranks among the display alphabets offering the widest use in magazines, on posters and for description of devices. It comes right in small sizes and in inscriptions arranged in a circle. Dynamo Grotesk Has altogether 60 designs, because it was originally produced as a Multiple Master type face. The entire big family is grouped into eighteen independent, smaller, four-design families, of which the user may choose, for example, only two or three which suit him as regards colour and width. The somewhat confusing use of abbreviations to designate the individual designs is, nevertheless, simpler than giving them numbers or full names. The abbreviations denoting weights are as follows: L Light, R Regular, D Demi; and those denoting widths are: XC Extra Condensed, C Condensed, M Semi Condensed, E Extended, XE Extra Extended. Sans-serif type faces, except for good old Gill, are not provided with genuine italics; instead of italics there are electronically slanted designs. In all italics of the Dynamo Grotesk family, however, the design of lower-case letters markedly differs from that of upright lower-case letters. The warm character of Dynamo derives from early sans-serif type faces, those which appeared before Helvetica. Ever since Helvetica was created until the present day, only cold sans-serif alphabets have been drawn which exclude use in longer texts. The x-height is not too large it is identical with that of the Roman type face Jannon Text. The basic design (designated with R) is gradually becoming a classic body type. The complete installation of all designs of Dynamo Grotesk is the professional choice of the designer of the most demanding magazine. Excelsior Script Is inspired by lithographically produced scripts. It is softer and simpler than, for example, engraved Splendid Script, because its designer used pens and lithographic needles. The graver for steel is held in a quite different way and this has an inuence on the shape of the letter. Similar type faces were in use from Neo-Classicism until the beginning of Art Nouveau, when they were pushed aside by a completely different view of festive typography. It has, in contradistinction to other scripts, slightly narrowed letters, which signies a distinctive elegance without wasting space on the line. For practical reasons it was not possible to encircle the bottle with too long a label. It is, therefore, a suitable type face for labels. Its body and extended designs cover a wide range of sizes.

Aa Aa

Farao If a text is set in a good Egyptienne, we can observe a kind of sparkle in the lines. Egyptiennes are cheerful type faces, possibly due to the fact that they developed simultaneously with sans-serif faces. The design principle of a sign from the rst half of the 19th century does not have such rm and long-established roots as for example, the Renaissance Roman type face; it is, therefore, much more prone to mistakes which are symptoms of a decline. We know of Egyptiennes with uneven colour, with letters falling backwards (this often happens in the case of S), and also with slightly bizarre modelling of details. In the course of time, however, it was realized that such things could be quite pleasant and inspiring. After a century and a half we nd that Egyptiennes could be a useful tool which could give life to the uniform computer typography. The bequest of the decadent typography is the following: Let us not be like a machine, let us not be afraid of doing things in a slapdash way. If monolinear sans-serif type faces palpably lack serifs, then Egyptiennes literally have them in excess. It is not uncommon for the serif itself to be darker than the stroke it stems from. The forms of many twisted letters resemble the gesture of a juggler: others, rectangularly static ones, the prole of a rail or a steel girder things which, in their time, were new and were unawares observed by the rst creators of Egyptiennes. These type faces are ideal for circus posters and programmes for theatre performances, just as for printing on cement sacks. The Egyptienne Farao is soundly imperfect, in which it differs from the cold current Egyptiennes. It has been released in three designs. Genre The ofcial terseness and grey of Neo-Classical type faces will stand out when we narrow them. The consistently vertical shading of the letters suppresses ones desire for eccentricity, just like tea with bromine. It would, however, be wrong to consider Bodoni as the originator of this vertically shaded trend in type face production. In his Manual we can also nd type faces with a slanted axis of shade, picturesque italics and a number of normal, more human type faces. It remains a mystery why his name is connected only with one of his many works. Genres basic design is fairly light in colour, which is why it looks good in illustrated magazines and short texts and directly calls for graphically striking, contrasting headings. It shows off beautifully next to photographs, on diplomas and on printed materials connected with a persons death. Ideal Gothic At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and nished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of openwork cast-iron products or the

bent iron of the decorative little railings in a Prague park. The so-called hidden and, furthermore, curved serifs complete the inconspicuous charm of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a magazine, a brochure or an annual report, in short whenever illustrations dominate. It is not by accident that the basic design of Ideal Gothic has such a light tonal value it competes neither with ne pencil sketches, nor with sentimental landscapes. It is very suitable for business cards and corporate identity graphics. Jannon The engraver Jean Jannon ranks among the signicant representatives of French typography of the rst half of the 17th century. He was born in 1580, apparently in Switzerland. He trained as punch-cutter in Paris. From 1610 he worked in the printing ofce of the Calvinist Academy in Sedan, where he was awarded the title Imprimeur de son Excellence et de lAcademie Sdanoise. He began working on his own alphabet in 1615, so that he would not have to order type for his printing ofce from Paris, Holland and Germany, which at that time was rather difcult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamonds type faces. As late as the start of the 20th century Jannons type face was mistakenly called Garamond, because it looked like that type face at rst sight. Jannons Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannons italics rank among the most successful italics of all time they are brilliantly cut and elegant. Jannon Text has proportions which have been adjusted for small sizes. The family Text Medium OSF (with newly released small capitals) is a wise choice for every designer of ction books. Lexicon Is a typical newspaper, dictionary and magazine type face. It is also very suitable for childrens books and posters. The large x-height, condensed shapes and darker colour of the basic design guarantee its legibility already in small sizes and even in morning twilight. The line is bitten into the surface by the marked slippers of the letters. The lower- case letters have attened upper and lower limbs, just like in letterpress. Their bellies are quite round and their knees are lightened by slight incisions. The type face is rather archaic in expression and its italics are dynamically amboyant. The juicy design of the alphabet is achieved by strengthening the elements of variety, sometimes even in exaggerated form. When reading newspapers, we are interested in the surface of things, in their, as far as possible, unbiased description. We forage for arid facts which do not require our spiritual or emotional participation. That is why the type face must be neither dull nor expressive, but absolutely huckstering. For seen from the other side if we are publishers, we sell

information, or else merchandise just like any other. The type face is its packaging, its outer form which here has all manner of functions except for the aesthetic one. The apparent proportional disharmony between the upper-case and lower-case letters is a question of habit. The view that the upper-case and lower-case letters must have the same width proportions is prejudice. On the contrary the history of type faces enlightens us on the fact that the two alphabets did not have much in common. To prove this it is sufcient to look briey at their forms we will nd out that only 8 out of 26 pairs of letters resemble each other and, moreover, the ones which do are less frequent in the text. The bold design does not need serifs, because the upright nial of the wide stroke already sits well on the surface. Moreover, the sans-serif bold design better sets off the basic, more picturesque design. Both sets of italics have non-aligning gures, so that in a small number of designs we have everything that is required of a dependable type face which is not exactly intended for the setting of poetry. The design called Headline has sharp edges in place of hidden serifs and is darker, which predetermines it for use in headlines. The complementary SC & OSF will be welcomed when we design headings, by-lines and captions to illustrations. An original newspaper type face must also create an impression of uninterchangeability of the typographical appearance of the periodical, but not to the detriment of legibility and technical reliability, even when printing on bad quality paper. Under such conditions there is nothing worse than a banal type face of fragile strokes. A newspaper type face should be original and uninterchangeable in order that the subscribers might feel a certain snugness in the pages. An original type face also extricates the printed matter from the omnipresent graphic anonymity and endows it with a more intimate character. Mediaeval In printing terminology means a kind of Roman type face of Renaissance origin with strengthened round shapes; it has nothing to do with the Middle Ages. It follows up the well-tried proportions of Jannon Text. Mediaeval has a robust skeleton covered in soft esh and its italics still show the Renaissance dynamics. It is suitable for the setting of very long texts, since it does not contain any sharp points, hairstrokes or other disruptive elements. The darkness of the basic design is 14% of grey, which is frequently regarded as an ideally balanced tonal value of the setting, reducing eye fatigue to a minimum. Its moderate weight encompasses elements of variety and its shading seems to follow a halfmoon rolling in the direction of reading. This rhythm considerably speeds up the perception of the text. Mediaeval has, in addition, been adapted for use in architecture; two memorial plaques on the Old Town Hall in Prague are a proof of this. The inner radius corresponds in details to the arched form of the serifs and makes the production of three-dimensional letters on CNC milling machines easier. It is a sculptors type face. Modell This type, composed only of horizontal and vertical strokes, has been inspired by techno culture. It is appropriate for various posters and invitation cards for house-parties. It is quite illegible, therefore I would recommend combining it with some normal type face.

Monarchia The Monarchia family, consisting of three designs, is a transcription of Frhling of the German type designer Rudolf Koch, enriched by a bold and text design. The lowercase letter a had in the original an italic-like, single-counter form, but in the end preference was given to a richer form, originally contained only in the diphthong . The type is intended for text setting, but its reading requires certain exercise. Mramor Arose (about 1988) through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters and picturesque italics. The text designs are suitable only for the printing of shorter texts, because the artistic singularity of the type face soon makes the reader tired. Altogether, Mramor has 14 designs. Each of them is appropriate for posters. The upper-case letters used in a simple inscription have absolute mastery of the entire area of the page, whereas the arabesques of the lower-case italics play an uncommon decorative accord in it. Were we to look deeper into the nooks of this alphabet, we would behold orally modelled serifs and stems with a very delicate entasis; the curves seem to follow on the one hand the merging of palm trunks, on the other a succession of rugged ridges. The overall expression of Mramor is vertical. It is a tranquil, contemplative and intimate type face. It is not suitable for inscriptions which are supposed to shout out of the surface. However, in large areas the nakedness of the letters results in a strange, wistful tone. Negro Is a very bold display alphabet having a slightly aggressive expression. That is why it is suitable for book covers, posters and headlines in magazines. It is only very vaguely inspired by Latin of the type foundry Stephenson Blake, which evokes a similar period atmosphere. Ornaments 1 + 2 Two separate PI- Fonts. The rst set includes heraldic gures, leaves, decorative endings, the second offers various skull forms, weather signs, borders and many more... Pentagramme Or a ve-pointed star, is a symbol of the microcosm, i.e. of man. A type face locked into its proportions has, therefore, a lot to do with cabbala. But a geometrical dogma usually is not a good guide when deciding on proportions in typography. It is better to rely on ones sense and experience. All emotions nish when we start using a ruler and a compass. The Pentagramme type face thus remains a mere experiment. It is, therefore, surprising, that it has already been used with success for the setting of literary magazines and advertizing brochures. It combines the qualities of both book and display type faces. Its weight is barely perceptible; in smaller sizes it appears almost monolinear. The ascenders are very long, thus recalling Renaissance proportions. Apart from the above-mentioned cabbalistic writings it is also suitable for obscure shorter texts of all kinds. A longer book, however, should be rather set in some other type face.

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Preissig The majority of Vojtch Preissigs type faces have been, from their very creation, subject to controversial evaluations which might perhaps ll more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensied the authors creative effort even more. He had been devoting thought to his Roman type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissigs Roman, Menharts gural (and also Rikas Faireld) and Tfas Roman represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modication for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissigs design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissigs Roman came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissigs Roman consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissigs Roman. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissigs model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his chopping-off of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissigs Roman is suitable not only for art books and festive prints, but also for poetry and shorter texts. This type family is released in 12 designs and is supplemented with Preissigs original ornaments. Preissig 1918 was cut by the author in linoleum for purposes of teaching poster design. These warm upper-case letters enrich our palette of expression in magazine and advertising graphics.

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Regent This modernized rustic Baroque Roman face paraphrases freely its model from the rst half of the 18th century. As far as the historical origin of this type face is concerned, the same applies here as in the case of the Baroque type faces described above. The shape of the letters has been cleared from all unevenness and softness, but has retained its lively expression. It is deliberately rather cooler than the reverently digitalized Baroque Roman type faces, since it was necessary to adjust it with regard to the visual experience of the contemporary reader. In addition, it has bold designs and aligning gures, which also considerably extends the range of its application. It is an entirely reliable text type face for the most demanding extensive works. Thanks to its calm expression and excellent legibility it is widely used when printing series of professional literature. Regula Is a Baroque alphabet taken over from a historical model including the latters inaccuracies and uneven letter edges. It reminds one of the character of letterpress, but if we were to be consistent, the letters which repeat themselves should also differ from each other, which is not possible in the case of digital setting. It is named after the secular monastic order Regula Pragensis, in honour of the inspiration which emanates from every moment spent in the presence of the members of this order with a glass of some good beverage. Agreeable distraction experienced when working with Regula will please every tired computer graphic artist. The type face looks best in text, in sizes from 11 to 20 points the model used for digitalization was in the size of todays about 17 points. Regula has a rather narrow range of application. It does not take kindly to enlargement to poster sizes and for a long text in a small size it is preferable to use Regent. Nevertheless, it will certainly nd its own niche in graphic studios, advertisements and illustrated magazines. Rondka Is a sentimental reminder for those who have not forgotten what is a pen with a broad, at nib. Digitalized from a brochure of letter patterns for teachers and clerks, published between the world wars, it is most appropriate for books of folk songs. Serapion Another variation on the Renaissance-Baroque Roman face, it extends the selection of text type faces. In comparison with Jannon, the contrast within the letters has been enhanced. The dynamic elements of the Renaissance Roman face have been strengthened in a way which is illustrated best in the letters a, b and s. These letters contain, in condensed form, the principle of this type face in round shapes the dark stroke invariably has a round nial at one end and a sharp one at the other. Another typical feature is the lower-case g; the upper part of this letter consists of two geometrically exact circles, the inner of which, a negative one, is immersed down on the right, upright to the direction of the lower loop and the upright knob. The vertical strokes slightly splay out upwards. Some details of the upper-case letters may seem to be too daring, but they are less apparent in the text sizes. It has to be admitted that typographers tend to draw letters in exaggerated

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sizes, as a result of which they stick to details. Serapion Italic are italics inspired partly by the Renaissance Cancelleresca. This is obvious from the drop-shaped nials of its lowercase descenders. The type face is suitable for illustrated books, art posters and short texts. It has a rather ugly name after St. Serapion. Splendid Quartett The traditional division of a type-face family into four designs pertains to every body type. However, jobbing typography calls for a richer tonal scale. Its purpose is to decorate, to represent and to please. Splendid Quartet is an example of a combination of heterogeneous sources of inspiration into a single harmonious formation. An American-style script is accompanied by a subtle English-type Roman type face with a bold design. The whole is reinforced with a Germanic Grotesk. The designs as such do not surpass the signicance of their models, but the real charm of this family consists in the sensitive interplay of perfect, even though antagonistic shapes. Pure elegance, renement and gracefulness radiate from this quartet of type faces. The basic design is a paraphrase of Didot, but it is also inspired by Modern, a type face of English provenance. The details of the serifs, however, are not rounded, but left in a coarser, more interesting engraved form. The semi-bold sans-serif type face resembling Akzidenz Grotesk works in contrast, similarly as the bold designs of Lexicon. Splendid Script functions in this case as italics, having the same x-height of lower-case letters as the basic design. The script was freely transcribed from the pattern-book of the New York Type Foundry from 1882, paying regard to numerous other sources of that period. This resulted in a blend of balanced typographical avours, as if a connoisseur smoker had blended together some ne tobacco. It is by far the most tting material for graphic design of festive printed materials and an ideal supplement to engravings and etchings. Tenebra Is an example of a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols. The widespread forms of the letters allows for the use of the old German manner of writing of the Umlaut when, in place of two dots above the letter, there is a reduced E. In our case it is inserted in the open letters. This concerns only the decorative upper-case letters in the position of the lower case. The upper-case letters of the basic design are a monumental alphabet without any embellishments, having a classic, two-dotted Umlaut. Tenebra Shaded and Old Face decorate, but do not rene. Traktoretka Even relatively useless type faces can enliven a poster, cover or advertisement. Interchanging of various sizes of this type face on a large area is quite effective. The individual letters are not graphically that valuable, but combined with other type faces they can create a vivid contrast. Traktoretka can be used for headlines in combination with text set in almost every body type.

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Tyfa ITC, Tyfa Text Designed by Josef Tfa in 1959, digitalized by Frantiek torm in 1996. This Roman and Italic are well-known perhaps to all Czech graphic artists and typographers ever since their release. Although this type face in some details is under the sway of the period of its rise, its importance is timeless, in contradistinction to other famous types dating from the turn of the sixties which were found, after some time, to be trite. The italics live their own life, only their upper-case letters have the same expression as the basic design. Thin and fragile, they work excellently, emphasizing certain parts in the text by their perfect contrast of expression. When seen from a distance they are a little bit darker than the Roman face. Tyfa Roman was released in 1960 by Grafotechna in Prague for hot setting. Later on, Berthold produced letter matrices rulers for Staromat devices, used for manual photosetting of display alphabets. In the eighties it was available on dry transfers of Transotype and today it is offered also by ITC. The meticulously executed designs of the individual letters in the 400 point size are arranged into a set of signs on a cardboard of about B2 in size. The yellowed paper reveals retouches by white paint on the ink. Blue lines mark the baseline, the capital line, the ascender and descender lines and the central verticals of the letters. With regard to the format of the at scanner, the designs had to be reduced, with the use of a camera, to the format A4, i.e. to the upper-case letter height of about 30 mm. These were then scanned in 600 dpi resolution and read as a bitmap template to the FontStudio programme. The newly created bold type faces derive from Tyfa's designs of the letters a, n, p, the darkness of which was increased further, approximately by 3%, to enhance their emphasizing function. The text designs have hairstrokes thickened by one third; the contrast between thin and thick strokes has been modied, in order to improve legibility, in sizes under 12 points. We have used electronic interpolation to produce the semi-bold designs. Josef Tyfa himself recommends to choose a somewhat darker design than the basic one for printing of books. Zeppelin A type face lighter than air, if it is possible to express something like this by typographic means. But the name does not make a difference. This mosquito-like Grotesk appropriately complements the jobbing steel-engravers scripts Splendid and Excelsior, and is, therefore, suitable for designing letterheads and graphic materials for personal representation. Medium and Black weights have been added recently to improve the range of application of this type face.

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Solpera (new not on TypoKatalog2 CD) This type face lls one of the gaps between the world of Roman alphabets and that of linear alphabets. The rst to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptors use, as a type face for three-dimensional inscriptions. Their width proportions reect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions. The type face was later complemented with a set of lower-case letters and elaborated into further designs. Its clear, concise letter forms end with small serifs which not only make the type face more rened, but above all anchor the individual letter signs visually to the horizontal of the text line. The austere construction of the majority of the letters is balanced by the more exuberant, humanizing forms of the most frequently used letters a; e. (The three variants of the lower-case e enable to create rhythmically differentiated texts.) The letters in which a straight stroke is connected with an arch are designed in two ways. That means that the letters n, h, m and the group of letters b, d, p, q are conceived in a different way. Thus an interesting tension is created in the structure of the text, which, however, does not endanger legibility. The economizing, slightly narrowed design of this type face predetermines its use for the setting of usual texts. In larger sizes, however, it produces a rather serious, even solemn, impression.

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