[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:10.58,0:00:11.78,Default,,0000,0000,0000,,Hello
Dialogue: 0,0:00:12.95,0:00:16.84,Default,,0000,0000,0000,,Type, signs and letters are \Neverywhere around us.
Dialogue: 0,0:00:17.11,0:00:21.36,Default,,0000,0000,0000,,From the first moment we wake up and\Nlook at our watch
Dialogue: 0,0:00:21.36,0:00:24.80,Default,,0000,0000,0000,,to the last moment of the day when \Nwe read books or magazines
Dialogue: 0,0:00:24.80,0:00:26.56,Default,,0000,0000,0000,,we are surrounded by letters.
Dialogue: 0,0:00:27.02,0:00:29.67,Default,,0000,0000,0000,,According to a research from 2004
Dialogue: 0,0:00:29.67,0:00:32.59,Default,,0000,0000,0000,,we are confronted with \N5,000 messages a day
Dialogue: 0,0:00:32.59,0:00:37.09,Default,,0000,0000,0000,,that is a message every 12 seconds, \Nin some form or another,
Dialogue: 0,0:00:37.09,0:00:40.17,Default,,0000,0000,0000,,digital or analogue.
Dialogue: 0,0:00:40.89,0:00:48.50,Default,,0000,0000,0000,,All these message have some \Nemotional impact upon us.
Dialogue: 0,0:00:48.50,0:00:54.61,Default,,0000,0000,0000,,All these letter had to be designed,\Nand this is what this talk is about.
Dialogue: 0,0:00:57.54,0:01:06.82,Default,,0000,0000,0000,,People, or homo sapiens, have been using\Nspeech for over 80,000 years.
Dialogue: 0,0:01:08.04,0:01:11.34,Default,,0000,0000,0000,,The history of written messages is only\Na tiny fraction of history of language.
Dialogue: 0,0:01:11.34,0:01:14.87,Default,,0000,0000,0000,,The oldest written records \Nare about 5,000 old.
Dialogue: 0,0:01:14.87,0:01:17.79,Default,,0000,0000,0000,,So it is clear that writing is not really \Nnecessary for human communication.
Dialogue: 0,0:01:17.89,0:01:20.09,Default,,0000,0000,0000,,We can live perfectly fine without type.
Dialogue: 0,0:01:20.41,0:01:26.30,Default,,0000,0000,0000,,Type can materialise language. \NIt allows communication across time.
Dialogue: 0,0:01:26.30,0:01:30.02,Default,,0000,0000,0000,,Writing allows incredible advantages \Nto human communication.
Dialogue: 0,0:01:31.95,0:01:35.17,Default,,0000,0000,0000,,Type works very similarly to human voice.
Dialogue: 0,0:01:35.17,0:01:39.02,Default,,0000,0000,0000,,Just like some voices can communicate \Nmore effectively than others,
Dialogue: 0,0:01:39.02,0:01:44.23,Default,,0000,0000,0000,,some typefaces, too, can communicate \Nsome messages better than other type.
Dialogue: 0,0:01:45.36,0:01:53.84,Default,,0000,0000,0000,,We can recognise human voices even \Nwhen distorted by a bad phone line.
Dialogue: 0,0:01:54.94,0:01:59.32,Default,,0000,0000,0000,,Type has the same identification value.
Dialogue: 0,0:01:59.32,0:02:03.61,Default,,0000,0000,0000,,Type identifies content, \Nand fills it with emotion.
Dialogue: 0,0:02:03.61,0:02:06.82,Default,,0000,0000,0000,,I'm one of of those \Npeople who design type.
Dialogue: 0,0:02:06.82,0:02:11.43,Default,,0000,0000,0000,,Today's age is more complex than \Nanytime before, therefore
Dialogue: 0,0:02:11.43,0:02:14.07,Default,,0000,0000,0000,,type reflects requirements \Nof the time we live in.
Dialogue: 0,0:02:14.07,0:02:17.24,Default,,0000,0000,0000,,This is one of the reasons why \Nnew typefaces are still designed.
Dialogue: 0,0:02:17.24,0:02:23.81,Default,,0000,0000,0000,,For example, messages today \Nare more hierarchical, so type designers
Dialogue: 0,0:02:23.81,0:02:27.99,Default,,0000,0000,0000,,design typefaces that allow \Nworking with complex content.
Dialogue: 0,0:02:29.85,0:02:35.38,Default,,0000,0000,0000,,When I talk about type, I don't \Nonly mean Latin writing script.
Dialogue: 0,0:02:35.38,0:02:40.54,Default,,0000,0000,0000,,Typefaces which I design support \Nover 250 languages,
Dialogue: 0,0:02:40.54,0:02:46.18,Default,,0000,0000,0000,,in various writing scripts.
Dialogue: 0,0:02:47.74,0:02:52.10,Default,,0000,0000,0000,,The truth is that there are \Nalready many typefaces.
Dialogue: 0,0:02:52.10,0:02:55.93,Default,,0000,0000,0000,,So it is only natural to ask \Nwhy designing a new one.
Dialogue: 0,0:02:55.93,0:02:57.85,Default,,0000,0000,0000,,One of the answers can be this one:
Dialogue: 0,0:02:57.85,0:03:03.90,Default,,0000,0000,0000,,If you look at offerings of \Ncommercial type foundries,
Dialogue: 0,0:03:03.90,0:03:09.28,Default,,0000,0000,0000,,we'll find over 150,000 \Nvarious fonts for sale.
Dialogue: 0,0:03:09.57,0:03:11.97,Default,,0000,0000,0000,,There is a difference between \Na font and a typeface, but that is
Dialogue: 0,0:03:11.97,0:03:13.25,Default,,0000,0000,0000,,outside of the scope of this talk.
Dialogue: 0,0:03:13.97,0:03:17.94,Default,,0000,0000,0000,,Majority of this huge number \Nof existing fonts were designed
Dialogue: 0,0:03:17.94,0:03:22.54,Default,,0000,0000,0000,,for headline use, and are not \Nsuitable for using in small sizes.
Dialogue: 0,0:03:22.54,0:03:28.54,Default,,0000,0000,0000,,If we were to find a single font \Nthat works well in small sizes,
Dialogue: 0,0:03:28.54,0:03:35.14,Default,,0000,0000,0000,,we are left with only \N20% of the fonts.
Dialogue: 0,0:03:37.12,0:03:41.48,Default,,0000,0000,0000,,If we apply another selection criterium, \Nand look for a font that works
Dialogue: 0,0:03:41.48,0:03:45.01,Default,,0000,0000,0000,,equally well on computer \Nscreen as on paper,
Dialogue: 0,0:03:45.01,0:03:49.35,Default,,0000,0000,0000,,because most of the fonts were designed \Nfor printing press, and reading on screen
Dialogue: 0,0:03:49.35,0:03:53.51,Default,,0000,0000,0000,,is a relatively new phenomenon.
Dialogue: 0,0:03:53.51,0:03:56.36,Default,,0000,0000,0000,,So if we look for those fonts, we are \Nleft with a tiny portion of what was
Dialogue: 0,0:03:56.36,0:03:58.66,Default,,0000,0000,0000,,previously a huge list of fonts.
Dialogue: 0,0:03:58.66,0:04:02.81,Default,,0000,0000,0000,,And if we say that we need to set type \Nin multiple languages, say in Russian
Dialogue: 0,0:04:02.81,0:04:06.21,Default,,0000,0000,0000,,Greek, or Arabic, we are left with \None or two fonts that we can choose from.
Dialogue: 0,0:04:06.94,0:04:09.65,Default,,0000,0000,0000,,And if someone else is using and claiming \Nthe same font already, and we look for
Dialogue: 0,0:04:09.65,0:04:13.09,Default,,0000,0000,0000,,a unique typeface, there may \Nbe nothing to choose from.
Dialogue: 0,0:04:13.42,0:04:16.93,Default,,0000,0000,0000,,This is the reason why new typefaces are\Nbeing constantly designed.
Dialogue: 0,0:04:16.93,0:04:22.43,Default,,0000,0000,0000,,And new typefaces will continue \Nbeing designed, because they
Dialogue: 0,0:04:22.43,0:04:28.97,Default,,0000,0000,0000,,continue reflecting the period we live in.
Dialogue: 0,0:04:28.97,0:04:34.96,Default,,0000,0000,0000,,My work is usually very functional. \NI decide on different criteria —
Dialogue: 0,0:04:34.96,0:04:41.67,Default,,0000,0000,0000,,legibility, economy of type setting, and \Neventually also emotional character of
Dialogue: 0,0:04:41.67,0:04:44.69,Default,,0000,0000,0000,,the typeface that effects the reader.
Dialogue: 0,0:04:44.69,0:04:50.62,Default,,0000,0000,0000,,After all testing, trying all languages, \Nand output in different media,
Dialogue: 0,0:04:50.62,0:04:55.15,Default,,0000,0000,0000,,the typeface will be ready for use.
Dialogue: 0,0:04:57.79,0:05:00.90,Default,,0000,0000,0000,,There are very few people who make their \Nliving with type design.
Dialogue: 0,0:05:00.90,0:05:05.55,Default,,0000,0000,0000,,I estimate there may \Nbe 200 to 300 such people.
Dialogue: 0,0:05:05.55,0:05:08.44,Default,,0000,0000,0000,,Here, in Slovakia, \Nit is exactly two people.
Dialogue: 0,0:05:08.44,0:05:13.15,Default,,0000,0000,0000,,Those two: Ján Filípek, and Ondrej Jób,\Nwho happened to be my students
Dialogue: 0,0:05:13.15,0:05:16.86,Default,,0000,0000,0000,,in The Hague (NL), \Nand they design type for living.
Dialogue: 0,0:05:17.62,0:05:20.74,Default,,0000,0000,0000,,This diagram explains why there are so\Nfew people designing type seriously.
Dialogue: 0,0:05:20.74,0:05:26.64,Default,,0000,0000,0000,,To make a typeface, one needs knowledge\Nof three very different disciplines,
Dialogue: 0,0:05:26.64,0:05:29.65,Default,,0000,0000,0000,,that can't be acquired in one place.
Dialogue: 0,0:05:29.65,0:05:35.39,Default,,0000,0000,0000,,You need to know how language works,\Nbasic knowledge of linguistics, which
Dialogue: 0,0:05:35.39,0:05:38.45,Default,,0000,0000,0000,,is studied as a separate study field.
Dialogue: 0,0:05:38.85,0:05:45.99,Default,,0000,0000,0000,,Type is dependent on technology.\NTechnology renders all type.
Dialogue: 0,0:05:45.99,0:05:51.45,Default,,0000,0000,0000,,Type is processed by printing or light,\Nso type designer needs to know
Dialogue: 0,0:05:51.45,0:05:57.28,Default,,0000,0000,0000,,about type rendering and \Npossibly programming.
Dialogue: 0,0:06:01.52,0:06:07.13,Default,,0000,0000,0000,,And there is a field of design,\Nwhich is again studied separately.
Dialogue: 0,0:06:08.45,0:06:12.60,Default,,0000,0000,0000,,Because one studies linguistics, \Ntechnology and design in different schools
Dialogue: 0,0:06:12.60,0:06:16.71,Default,,0000,0000,0000,,there are few people who practice\Ntype design.
Dialogue: 0,0:06:16.71,0:06:23.47,Default,,0000,0000,0000,,Good typefaces use knowledge of all\Nthree fields.
Dialogue: 0,0:06:26.05,0:06:29.87,Default,,0000,0000,0000,,There are about 7,000 \Nlanguages in the world.
Dialogue: 0,0:06:30.13,0:06:34.63,Default,,0000,0000,0000,,In India there are over 400 languages.
Dialogue: 0,0:06:35.88,0:06:38.80,Default,,0000,0000,0000,,There are estimates that \Nby the end of the century,
Dialogue: 0,0:06:38.80,0:06:42.41,Default,,0000,0000,0000,,80% of those languages\Nwill disappear. It took millennia to
Dialogue: 0,0:06:42.41,0:06:48.92,Default,,0000,0000,0000,,develop those languages,and \Nonly decades for them to go extinct.
Dialogue: 0,0:06:48.92,0:06:52.03,Default,,0000,0000,0000,,There are various reasons for \Ndisappearance of languages.
Dialogue: 0,0:06:52.03,0:06:56.43,Default,,0000,0000,0000,,One of them is that English is very \Npopular, and erases differences
Dialogue: 0,0:06:56.43,0:07:00.90,Default,,0000,0000,0000,,between regions and casts.
Dialogue: 0,0:07:00.90,0:07:07.13,Default,,0000,0000,0000,,However, a loss of language \Nis similar to loss of biodiversity.
Dialogue: 0,0:07:07.13,0:07:11.53,Default,,0000,0000,0000,,With a loss of language we \Nlose access to information
Dialogue: 0,0:07:11.53,0:07:16.21,Default,,0000,0000,0000,,available only in \Nthat particular language.
Dialogue: 0,0:07:18.38,0:07:23.35,Default,,0000,0000,0000,,India is incredibly multicultural \Nand multilingual
Dialogue: 0,0:07:23.35,0:07:34.61,Default,,0000,0000,0000,,This is a typical sign, a combination\Nof 6 different languages and scripts.
Dialogue: 0,0:07:35.27,0:07:40.65,Default,,0000,0000,0000,,I co-founded the Indian Type Foundry,\Nand part of our work was research into
Dialogue: 0,0:07:40.65,0:07:43.72,Default,,0000,0000,0000,,regional languages. This is a major script
Dialogue: 0,0:07:43.72,0:07:47.39,Default,,0000,0000,0000,,the Devanagari, used to write \Nthe Hindi language.
Dialogue: 0,0:07:47.39,0:07:51.07,Default,,0000,0000,0000,,Our research hasn't started looking\Nat other typefaces,
Dialogue: 0,0:07:51.07,0:07:53.32,Default,,0000,0000,0000,,instead, we would look at the base.
Dialogue: 0,0:07:53.32,0:08:00.00,Default,,0000,0000,0000,,The most primary way to record \Ninformation is handwriting.
Dialogue: 0,0:08:00.00,0:08:12.21,Default,,0000,0000,0000,,We would observe regional, cultural\Ndifferences how people write.
Dialogue: 0,0:08:12.22,0:08:26.65,Default,,0000,0000,0000,,This foundation work allowed us to\Nmake typefaces for regional languages,
Dialogue: 0,0:08:26.65,0:08:30.87,Default,,0000,0000,0000,,covering needs of the local speakers.
Dialogue: 0,0:08:31.14,0:08:36.16,Default,,0000,0000,0000,,In India you can encounter languages \Nthat have no digital fonts.
Dialogue: 0,0:08:36.16,0:08:39.72,Default,,0000,0000,0000,,Designing a typeface for those languages\Nallows publishing books,
Dialogue: 0,0:08:39.72,0:08:42.66,Default,,0000,0000,0000,,and possibly even preservation\Nof those languages.
Dialogue: 0,0:08:43.70,0:08:49.90,Default,,0000,0000,0000,,What is interesting about type\Ndesign is that
Dialogue: 0,0:08:49.92,0:08:53.76,Default,,0000,0000,0000,,a typeface is not really a product.\NIt is more of a semi-product.
Dialogue: 0,0:08:53.77,0:08:58.37,Default,,0000,0000,0000,,A typeface is not ready until \Nsomeone uses it.
Dialogue: 0,0:08:58.37,0:09:02.57,Default,,0000,0000,0000,,Without usage a typeface is as \Nuseful as a book that no one reads.
Dialogue: 0,0:09:02.57,0:09:07.47,Default,,0000,0000,0000,,The use finalises the typeface, \Ngives it personal character.
Dialogue: 0,0:09:07.47,0:09:12.19,Default,,0000,0000,0000,,I collect examples of my typefaces in use,
Dialogue: 0,0:09:12.19,0:09:16.73,Default,,0000,0000,0000,,because I can learn from them, \Nand can surprise me.
Dialogue: 0,0:09:16.73,0:09:20.39,Default,,0000,0000,0000,,Here are same samples of just \None typeface — Fedra Sans,
Dialogue: 0,0:09:20.39,0:09:24.04,Default,,0000,0000,0000,,the typeface which is used in \Nthe logo of this city.
Dialogue: 0,0:09:24.04,0:09:28.39,Default,,0000,0000,0000,,European Union parliament is using it, \Nbecause it covers all EU languages.
Dialogue: 0,0:09:32.38,0:09:37.80,Default,,0000,0000,0000,,Perhaps less expected \Nuse is in the Bibles.
Dialogue: 0,0:09:37.93,0:09:44.19,Default,,0000,0000,0000,,World Bible Translation Center is\Nusing Fedra in most of their editions.
Dialogue: 0,0:09:44.32,0:09:50.17,Default,,0000,0000,0000,,And finally, the same typeface is used\Non the flyers of Greek terrorist group
Dialogue: 0,0:09:50.27,0:09:53.18,Default,,0000,0000,0000,,responsible for bombing of embassies.
Dialogue: 0,0:09:53.72,0:09:59.19,Default,,0000,0000,0000,,How on earth, one can decide \Nthat one typeface expresses
Dialogue: 0,0:09:59.19,0:10:02.93,Default,,0000,0000,0000,,content on these three diverse messages,
Dialogue: 0,0:10:02.93,0:10:07.32,Default,,0000,0000,0000,,from governmental, to biblical \Nto terrorist pamphlets.
Dialogue: 0,0:10:07.32,0:10:11.15,Default,,0000,0000,0000,,Each user probably chose this typeface \Nfrom many others, believing that
Dialogue: 0,0:10:11.15,0:10:13.88,Default,,0000,0000,0000,,it fits them the best.
Dialogue: 0,0:10:13.88,0:10:21.95,Default,,0000,0000,0000,,It is interesting to consider what \Nlinks those different users.
Dialogue: 0,0:10:25.71,0:10:30.46,Default,,0000,0000,0000,,Here is one example of a recent typeface\NI designed — called Karloff.
Dialogue: 0,0:10:30.82,0:10:41.27,Default,,0000,0000,0000,,While the forms of Karloff are \Nvery conventional, building on
Dialogue: 0,0:10:41.27,0:10:46.22,Default,,0000,0000,0000,,work of Italian printer \NGiambattista Bodoni.
Dialogue: 0,0:10:46.22,0:10:51.66,Default,,0000,0000,0000,,These forms are considered very attractive
Dialogue: 0,0:10:51.66,0:10:55.28,Default,,0000,0000,0000,,often used in fashion industry.
Dialogue: 0,0:10:55.28,0:11:00.30,Default,,0000,0000,0000,,High contrast between \Nthe thick and thin strokes
Dialogue: 0,0:11:00.66,0:11:04.22,Default,,0000,0000,0000,,A few decades after Bodoni, \Nthese forms of letters
Dialogue: 0,0:11:04.22,0:11:07.24,Default,,0000,0000,0000,,were used to catch attention of readers\Nby making something
Dialogue: 0,0:11:07.24,0:11:08.88,Default,,0000,0000,0000,,deliberately ugly.
Dialogue: 0,0:11:08.88,0:11:12.14,Default,,0000,0000,0000,,I became interested in finding out
Dialogue: 0,0:11:12.15,0:11:15.62,Default,,0000,0000,0000,,whether it is possible to connect \Nbeauty with ugliness.
Dialogue: 0,0:11:16.34,0:11:20.91,Default,,0000,0000,0000,,Typeface Karloff tries to do both.
Dialogue: 0,0:11:21.08,0:11:24.68,Default,,0000,0000,0000,,One construction of the letters,\Ncan be modified by changing
Dialogue: 0,0:11:24.68,0:11:26.33,Default,,0000,0000,0000,,contrast between the thick and thin.
Dialogue: 0,0:11:26.33,0:11:29.44,Default,,0000,0000,0000,,It mathematically shifts the black areas \Nof letters from one side to another.
Dialogue: 0,0:11:29.44,0:11:33.50,Default,,0000,0000,0000,,And it is possible to continuously \Nshift between the
Dialogue: 0,0:11:33.50,0:11:35.76,Default,,0000,0000,0000,,beauty and ugliness.
Dialogue: 0,0:11:35.76,0:11:41.98,Default,,0000,0000,0000,,One version if pretty,\Nthe other repulsive,
Dialogue: 0,0:11:41.98,0:11:46.12,Default,,0000,0000,0000,,and it is possible to \Ninterpolate between them
Dialogue: 0,0:11:46.12,0:11:50.30,Default,,0000,0000,0000,,And exactly in the middle is\Na neutral version,
Dialogue: 0,0:11:50.30,0:11:57.99,Default,,0000,0000,0000,,a type that looks just like \Ntypewriter's letters.
Dialogue: 0,0:12:03.77,0:12:09.28,Default,,0000,0000,0000,,If we look closely at \Nbooks published today.
Dialogue: 0,0:12:09.28,0:12:12.50,Default,,0000,0000,0000,,We can find out that even books \Nprinted in 2014, use typefaces
Dialogue: 0,0:12:12.50,0:12:21.03,Default,,0000,0000,0000,,that are relatively old, \Ndesigned decades or centuries ago.
Dialogue: 0,0:12:21.03,0:12:27.65,Default,,0000,0000,0000,,It is caused by the fact that typefaces\Nhave a potential to outlive
Dialogue: 0,0:12:27.65,0:12:29.72,Default,,0000,0000,0000,,their makers.
Dialogue: 0,0:12:29.72,0:12:36.58,Default,,0000,0000,0000,,The forms of letters are archetypal,\Nchanging slowly.
Dialogue: 0,0:12:37.06,0:12:41.23,Default,,0000,0000,0000,,There are many jobs whose results \Nare visible for a long time
Dialogue: 0,0:12:41.23,0:12:44.63,Default,,0000,0000,0000,,Type design is one of those, and its \Nresults may stay around for
Dialogue: 0,0:12:44.63,0:12:47.18,Default,,0000,0000,0000,,a very long time.
Dialogue: 0,0:12:50.65,0:12:56.50,Default,,0000,0000,0000,,I'll end this talk with a detail\Nof a poster that hangs in my office.
Dialogue: 0,0:12:56.50,0:13:00.77,Default,,0000,0000,0000,,It is a calendar I designed. \NEach line represents a day.
Dialogue: 0,0:13:01.00,0:13:10.05,Default,,0000,0000,0000,,This is a calendar of 21st century,\Nwith all its days.
Dialogue: 0,0:13:10.05,0:13:14.17,Default,,0000,0000,0000,,Every day I come to the office, \NI cross a day, to see where I am.
Dialogue: 0,0:13:14.17,0:13:19.58,Default,,0000,0000,0000,,If you look at this calendar, \Nyou will see days far in the future.
Dialogue: 0,0:13:19.58,0:13:23.40,Default,,0000,0000,0000,,I have no idea if I will live this long.
Dialogue: 0,0:13:23.40,0:13:27.33,Default,,0000,0000,0000,,But if I do my work well, \Nand get a bit lucky,
Dialogue: 0,0:13:27.33,0:13:28.72,Default,,0000,0000,0000,,my work can outlive me.