TIPOGRAFSKA PISMA/TYPEFACES

A MUZEJ PRIMEWENE UMETNOSTI BEOGRAD

The Museum of Applied Art Belgrade

8–29. septembar 2005.September 8–29, 2005

SALON MUZEJA PRIMEWENE UMETNOSTISalon of the Museum of Applied Art

Olivera Stojadinovi}

Words & LettersRe~i i slova

Olivera Stojadinovi}

Rastko, 2005

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Olivera Stojadinovi}, a mid generationartist, is known to our artistic public byher fruitful work in graphic design. Thishas been confirmed by the rewards shereceived both in the country andabroad. Her art achievements and hercreativity show that in the area ofcalligraphy and typography there is apersonality who will extendconsiderable influence on restorationand further successful development ofthese branches of the applied art.

Our artists engaged in doing types,even those most famous ones, neglectedtypography, either consciously or not,on the account of calligraphy and viceversa. This resulted from the lack ofunderstanding the importance ofmutual relations between the two fieldsof work. Olivera Stojadinovi} is amongthe first to achieve fine results both incalligraphy and typography. She issuccessful in her pedagogical work aswell as in the artistic one. Shedeveloped her own way of work makingher fruitful artist and good lecturer.

Olivera Stojadinovi} succeeded infinding authentic expression withinnumerous limitations existing in theprocess of writing and drawing letters.In time her handwriting became moreand more free and spontaneous. This“psychomotor improvisation” as oncecalled by Paul Clee, developed from

Stjepan Fileki

Inspirativni znaci

Stjepan Fileki

Inspirative Characters

Olivera Stojadinovi}, umetnik sredwegeneracije, poznata je našoj umetni~koj javnostipo plodnom delovawu na poqu grafike, o ~emugovore priznawa dobijena u našoj zemqi iinostranstvu. Wena likovna ostvarewa inesumwiva kreativnost ukazuju da se u oblastinaše kaligrafije i tipografije pojavilali~nost koja }e zna~ajno uticati na obnovu idaqi uspešan razvoj ovih grana primeweneumetnosti.

Naši umetnici koji se bave pismom, ~ak i oninajpoznatiji, svesno ili nesvesno su ignorisalitipografiju zarad kaligrafije i obratno, što jeposledica neshvatawa zna~aja uzajamnosti ovihdveju oblasti. Olivera Stojadinovi} je me|uprvima koja posti`e lepe rezultate kako ukaligrafiji tako i u tipografiji, a podjednako jeuspešna i u pedagoškom i umetni~kom delovawu.Izgradila je sopstveni na~in rada koji je ~iniplodnim umetnikom i dobrim nastavnikom.

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hand movements and gestures as directart trace. Strict structures oftypographic and calligraphic shapes arethe basis on which the movement runsfree resulting in a kind of choreographicexpression. Her whole proceeding canbe described as writing from inside, akind of meditative calligraphy. They aredirect poetic-artistic reflexes.

The feature distinguishing her fromthe artists whose work is also guided byinner impulse is her capability to putunder strict control psychomotorimprovisation, a control defined by thetypes' shapes and above all guidelinesgoverning typefaces design.

Prosperous combination of intuitiveand rational capabilities is most concisedescription of her artistic potential.

Olivera Stojadinovi} uspela je da na|eautenti~an izraz u okviru brojnih ograni~ewakoji postoje u procesu ispisivawa i crtawa slova.Wen rukopis je vremenom postajao sve slobodnijii spontaniji. Ta „psihomotori~kaimprovizacija”, kako ju je jednom nazvao PaulKle, nastala je iz pokreta ruke i gestike kaoneposredan likovni trag. Stroge strukturetipografskih i kaligrafskih oblika su osnovana kojoj potez slobodno te~e, iz ~ega se ra|a nekavrsta koreografskog zapisa. Ceo wen prosedemogao bi se okarakterisati kao zapisivaweiznutra, svojevrsna meditativna kaligrafija. Tosu neposredni poetsko-likovni refleksi.

Osobina koja je izdvaja od umetnika ~ijimradom tako|e upravqaju unutarwi porivi je wenasposobnost da psihomotori~ke improvizacijestavi pod strogu kontrolu uslovqenu oblicimaslova i, pre svega, zakonitostima projektovawatipografskog pisma.

Sre}an spoj sposobnosti intuitivnog iracionalnog je najsa`etiji opis wenogumetni~kog potencijala.

i

Imaginethat you have before you a

flagon of wine. You may choose yourown favorite vintage for this imaginary

demonstration, so that it be a deep shimmeringcrimson in your colour. You have two goblets before

you. One is of solid gold, wrought in the most exquisitepatterns. The other is of crystal-clear glass, thin as a

bubble, and as transparent. Pour and drink; and according toyour choice of goblet, I shall know whether or not you are a

connoisseur of wine. For if you have no feelings about wine one wayor the other, you will want the sensation of drinking the stuff out ofa vessel that may have cost thousands of pounds; but if you are amember of that vanishing tribe, the amateurs of fine vintages, youwill choose the crystal, because everything about it is calculated toreveal rather than to hide the beautiful thing which it was meant tocontain. Bear with me in this long-winded and fragrant metaphor;for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is a long, thin stemthat obviates fingerprints on the bowl. Why? Because no cloudmust come between you eyes and the fiery heart of the liquid.

Are not the margins on book pages similarly meant toobviate the necessity of the type-page? Again: the

glass is colourless or at the most only faintlytinged in the bowl, because the connoisseur

judges wine partly by its colour andis impatient of anything

that alters it.

iRastko, 2001

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abvgd|e`zijklqmnwoprst}ufhc~xš TQabvgd|e`zijklqmnwoprst}ufhc~xš

abcdefghijklmnopqrstuvwxyzvbfgasertgfhyjuknmbmjufgtytydgvbvbvcbnopk

Rastko, 2002

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Jedno tipografsko pismo ne mo`e lako da zaslu`i„ITC” prefiks. Izbor novih priloga za zbirkuITC* pisama zasnovan je na kombinaciji estetike ipragmatizma. Tipografsko pismo mora, najpre, dadeluje pokreta~ki — mora vizuelno da privla~igrafi~kog dizajnera. Mora biti i osobeno — da seizdvaja iz mnoštva drugih pisama. Kona~no,pismo mora da bude prilagodqivo — da omogu}irešavawe raznolikih problema grafi~kekomunikacije. Najboqa tipografska pismauspešno zadovoqavaju sve ove zahteve. Umetniku jerelativno lako da nacrta pismo koje se izdvaja oddrugih, ali ako ono nema široku primenuvrednost mu se umawuje. Ako pismo nijeprivla~no, grafi~ki dizajneri ga ne}e koristiti.Ako pismo ima široku primenu, ali se ni po~emu ne izdvaja, dizajneri }e nastaviti da koristeoblike koje ve} imaju.

It’s not easy for a typeface to earn the“ITC” prefix. The selection of newadditions to the ITC* typeface library isbased on a combination of aestheticsand pragmatism. First, a typeface mustbe engaging – it must be visuallyappealing to graphic designers. It mustalso be distinctive – to stand out fromthe crowd of other typefaces. Finally, thetypeface must be versatile – to enable itto solve a variety of graphiccommunications problems. The besttypefaces are a successful melding ofthese criteria. It’s relatively easy for adesigner to draw a typeface that standsout from the crowd, but its value isdiminished if it cannot be put to gooduse in a wide range of applications. If atypeface is unattractive, graphicdesigners will tend not to use it. If atypeface has broad functionality but isnot distinctive, designers will continueto use the designs they always have.

The ITC typeface library is a resourcethat has been built over 35 years. It is acombination of strictly display designsand faces that can be used in a widerange of sizes. The first designs werereleased when most independenttypeface designers had turned theirback on the craft. ITC was formed whenthe pirating of typeface designs wasrampant. Typesetting, at the time, wasdone by photographic technology andall anyone had to do to copy a font was

Alen Hejli

Nova pismaza uglednu kolekciju

Allan Haley New Faces for anEstablished Library

*International Typeface Corporation, USA

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Tipografska zbirka ITC stvarana je više od 35godina. Sastoji se iz pisama koja slu`eiskqu~ivo za prikazivawe u uve}awu i pisamakoja se mogu koristiti u širokom rasponuveli~ina. Prva izdawa pojavila su se u trenutkukada je ve}ina umetnika, koji su se samostalnobavili oblikovawem tipografskih pisama,napustila ovaj posao. ITC je nastao u dobaplagirawa tipografskih oblika. U to vreme zaslog se koristila fotografska tehnologija isvako je mogao da iskopira font jednostavnimreprodukovawem originala. Ako bi neko pismo zafotoslog postalo popularno bilo je skoro sasvimsigurno da }e ga drugi distributeri fontovaiskopirati i prodati pod druga~ijim imenom.Uzrok piraterije je le`ao u nepostojawuuzajamnog licencirawa tipografskih pisama.Distributeri fontova, bilo da se radilo ovelikim slovolivnicama ili malimsnabdeva~ima, odbijali su da drugima dajulicence za svoja tipografska pisma. Nezavisnidizajneri tipografskih pisama, i tada kao idanas, zavisili su od autorskih honorara koji subili nadoknada za wihov rad. Suo~eni sastvarnoš}u u kojoj je wihov prihod odtipografskih pisama bio krajwe nesiguran,po~eli su da tra`e druge poslove.

Aron Berns (Aaron Burns), jedan od trojiceosniva~a ITC-a i spiritus movens kompanije,shvatio je tokom godina da ovakva situacijanikome ne pogoduje — ni dizajnerimatipografskih pisama, niti grafi~kimdizajnerima, korisnicima wihovih pisama.Bernsova ideja je bila da ITC podstakne stvarawenovih tipografskih pisama, isplati umetnicimapošten honorar i — što je najva`nije — dâlicencu za tipografska pisma svakoj kompaniji

make reproduction of the original. If aphototype typeface became popular itwas almost assuredly destined to becopied by other font providers and soldunder a different name. The reason forall this piracy was that there was nocross licensing of typeface designs.Font providers, whether large foundriesor small suppliers, refused to licensetheir typeface designs to others.Independent typeface designers, thenas now, relied on royalties ascompensation for their work. Facedwith the reality that their livelihoodfrom the design of typefaces was sovulnerable, they began to look for otherforms of work.

Aaron Burns, one of the threefounders of ITC and the company’sdriving force for many years, realizedthat this situation served no one – notthe typeface design community, or thegraphic communicators that used theirtypefaces. Burns’ idea for ITC was toencourage new typeface design, paytypeface designers a fair royalty and –most important – license the designs toany company that agreed to simple andequitable terms. Burns also knew thathe had to provide the best typefaces ifhis plan was to succeed. Early on, heorganized a review board to determinewhat typefaces went into the ITClibrary. The various members of theboard would provide a wealth oftypographic knowledge and experience,in addition to several points of view ontypographic style and usage. Over theyears, the review board varied in sizeand in frequency of meeting but its

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koja pristane na jednostavne i pravi~ne uslove.Berns je tako|e znao da mora da obezbedi najboqatipografska pisma, ako `eli da wegov plan uspe.Ve} tada je sastavio komisiju za recenziju koja jetrebalo da odlu~uje o tome koja pisma }e u}i uITC kolekciju. Razli~iti ~lanovi komisijetrebalo je da pored razlike u gledištima koja seti~u tipografskih stilova i na~ina primene,obezbede i bogatstvo tipografskog znawa iiskustva. Vremenom se broj ~lanova i u~estalostsastanaka komisije mewao, ali su ciqevi biliuvek isti: da se ITC kolekciji dodaju privla~napisma izuzetnih kvaliteta.

Iako svako novo izdawe nije donosilo ifinansijski uspeh, a neka su tokom godina izašlaiz mode, ITC kolekcija danas nudi izbornajuspešnijih i veoma cewenih savremenihtipografskih pisama.

I pored toga što godišwe ITC dobija stotineprojekata, samo mali broj wih bude izabran zakolekciju. Komisija za izbor tipografskihpisama nema nikakvu obavezu da odobri bilo kojidizajn i nikada nema pritisaka da se neko novotipografsko pismo pusti u opticaj kako bi seispunili marketinški ili promotivni planovi.Komisija se sastaje tri do ~etiri puta godišweda pregleda prijavqena tipografska pisma ipreporu~i ona koja bi trebalo da se pridodajukolekciji. Svaka prijava se pa`qivo razmatra, adugotrajne diskusije nisu ništa neobi~no. Svakidizajn se procewuje prema sopstvenimvrednostima, nezavisno od toga ko je autor.Projekti ~uvenih i uspešnih dizajnera mogubiti odbijeni jednako kao i radovi po~etnika.

Komisija ITC-a prvi put je videla nacrtepisama Olivere Stojadinovi} po~etkom 2000.godine. U novembru iste godine wena tipografska

goals were always the same: to add facesto the ITC library that rich in value andwide in appeal.

While not every new release was afinancial success, and some have fadedfrom style over the years, the ITCtypeface library is one of today’s mostsuccessful and well-respected typefaceofferings.

Even though ITC receives hundredsof submissions a year, only a handfulare selected to be part of the ITCTypeface library. The ITC TypefaceReview Board is under no obligation tochoose any designs and there is neverpressure put on the board to release anew design to meet a marketing orpromotional schedule. The board meetsthree to four times a year to reviewtypeface submissions and makerecommendations for additions to theITC type library. Each submission iscarefully considered and lengthydiscussions among the board membersare not uncommon. Each design is alsoconsidered on it’s own merit – not bywho submitted it. Designs fromestablished and successful typefacedesigners can be declined as easily asthose from a first time designer.

The ITC Review Board first sawdesigns from Olivera Stojadinovic earlyin 2000. By November of that year, hertypefaces Aspera and Rastko werereleased into the ITC typeface library.These were followed by Hedera, a yearlater, and the Resavska family in 2004.Soon, the Anima family will also beadded to the ITC library. Each of Ms.Stojadinovic’s designs, to varying

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pisma Aspera i Rastko uvrštena su u ITCkolekciju. Godinu dana kasnije sledi ih Hedera, a2004. i familija Resavska. Uskoro }e se familijaAnima tako|e pridru`iti ITC kolekciji. Svapisma Olivere Stojadinovi} su, u razli~itojmeri, pod uticajem wenih kaligrafskih radova. UResavskoj je ovaj efekat suptilno prikriven, dokje kod Aspere, Hedere i Rastka to `ivo i jasnoiskazana energija. Sva wena pisma uspešnoispuwavaju ITC-ov zahtev da budu privla~na,osobena i prilagodqiva. Resavska je lepo i lako~itqivo pismo koje se izvrsno ponaša urazli~itim veli~inama. Hedera je rusti~na, aipak elegantna. Aspera je `iva i spontana. Rastkokomunicira prefiwenim ritmom. Anima je~arobna, provokativna i prijatna za ~itawe.

Svako tipografsko pismo OlivereStojadinovi} predstavqa istinsko oli~ewegracioznosti i lepote u slu`bi ~italaca.

degrees, are influenced by hercalligraphic lettering. In Resavska, theeffect is a subtle undercurrent; while inAspera, Hedera, and Rastko it is a livelyand readily apparent energy. All of herdesigns elegantly fulfill ITC’s criteria ofbeing engaging, distinctive andversatile. Resavska is a beautiful andeasy to read design that performsexceptionally at a variety of sizes.Hedera is rough-hewn, yet elegant.Aspera is a lively and spontaneous.Rastko communicates with a sensitiverhythm. Anima is charming, provocativeand a delight to read.

All of Olivera Stojadinovic’s typefacesare a lesson in grace, pulchritude andservice to readers.

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Rastko, 2001

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Umetnost kaligrafije je osobena

disciplina likovnog izra`avawa.

Po svojoj prirodi najbli`a kwizi i

kwi`evnosti, a po suštini još

bli`a muzici. Kaligraf se poput

muzi~ara bavi komponovawem slovnih

tonova, svrstavaju}i ih u skladan

odnos, upotrebqavaju}i svetle i

tamne zvuke wihovih duktusa,

prilago|avaju}i ih `eqenom ritmu.

Re~ je o ritmu koji se ne izra`ava

samo vizuelno, nego i vremenski, s

obzirom da radwa ~itawa traje.

Kaligraf je blizak muzi~aru jer se

bavi disciplinom koja zahteva

uve`bavawe i odr`avawe

stvarala~ke kondicije. Taj

vrhunski manuelni rad odr`ava se

visokom samodisciplinom i

upornoš}u rada, poput stalnog

muzicirawa instrumentalnog

soliste.

Rastko, 2001 Rastko, 2005

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Aspera, 2001–2004

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Izlo`ba ~ija je tema tipografsko pismonesvakida{wa je pojava i svojevrstan izazov. Utom poslu posebnu te{ko}u predstavqaozna~avawe tipografskog pisma kao izlo`benogeksponata.

Specifi~nost tipografije kao grafi~kediscipline ogleda se u odnosima izme|uelemenata i celine. U osnovi pokretnog sloga jeslovo. Da li }e skup slova slo`en u tekstudelovati harmoni~no ne zavisi samo od uspe{nogoblikovawa pojedina~nih slova, ve} i od wihoveme|usobne uskla|enosti, ritma, gustine sloga,~itqivosti i ukupnog estetskog dejstva. Skupdobro oblikovanih slova ne mora da izgledadobro u slogu, kao {to postoji mogu}nost da slovakoja izdvojena nemaju posebne odlike, daju celinunove, neo~ekivane lepote.

An exhibition whose subject is typefaceis unusual event and a challenge of itskind. In doing this it is speciallydifficult to denote typeface as anexhibit.

Typography, as a graphic discipline, isdenoted by the relations betweenelements and a entirety. The basis oftext layout is a letter. But whether theletters making a text would lookharmonious does not depend only upona successful shaping of individualletters but also upon their mutualcoordination, rhythm, type matterdensity, legibility and entire estheticeffect. A group of well shaped lettersneed not look well in layout. On theother hand there is also a possibilitythat letters which individually do nothave a particular characteristics,produce an entirety of a new,unexpected beauty.

Nowadays, typeface is used in a formof electronic entry. Unlike metal typeswhich could not be reviewed in textuntil completely shaped, cast, puttogether and printed, computertechnology enables numerous trials andadjustments before final decision ismade. An entry defining typeface isopen for testing and changes as manytimes as the author considers necessary.

Programmed entry of a digital font hasa form of a complicated combination ofnumbers and commands which areentered as a long sequence of ones and

Olivera Stojadinovi}

Tipografsko pismokao eksponat

Olivera Stojadinovi}

Typeface as an Exhibit

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Danas se tipografsko pismo koristi u oblikuelektronskog zapisa. Za razliku od metalnogsloga koji nije mogao da se sagleda u tekstu prenego {to se u potpunosti oblikuje, izlije, slo`ii od{tampa, ra~unarska tehnologija pru`amogu}nost mnogobrojnih proba i pode{avawa prekona~ne odluke. Zapis u kome je pismodefinisano otvoren je za provere i promene,onoliko puta koliko autor smatra da je potrebno.

Programski zapis digitalnog fonta, datoteka,ima oblik komplikovane kombinacije brojeva ikomandi, koji se u krajwoj instanci o~itavaju kaoduga~ak niz jedinica i nula. Ra~unar je medijumneophodan za wegovo de{ifrovawe. Slova sejavqaju kao slika na ekranu, a {tampani oblik jederivat izveden iz elektronskog originala.

Da bi se napravilo digitalno tipografskopismo, sledi se odre|eni postupak. Kreirawepo~iwe crtawem skica, kojima prethodi zamisaoumetnika: mawe ili vi{e definisana ideja okrajwem ishodu. U potrazi za savr{enstvomumetnik interveni{e nad nacrtima slova pomo}uprogramskih alata koji su mu na raspolagawu.Vreme ~ini esenciju materijalizacije koddigitalne tipografije.

Tipografsko pismo se sagledava primeweno uslogu ili kompoziciji. Osobinama pismapridru`uju se i vizuelni kvaliteti prezentacije.Autor, tehnika, dimenzije, podaci su koji seodnose na delo u kome je kori{}eno tipografskopismo. Izlo`eno, ono izmi~e katalogizaciji.

Kao tonovi u muzici, tako i slova dobijajusmisao tek u kompoziciji. Pismo je instrument,a tipograf kompozitor i izvo|a~ od ~ijegsenzibiliteta zavisi da li }e rezultat bitiumetni~ko delo ili ne.

zeroes. The computer is necessary for itsdecoding. The letters appear as an imageon a monitor and printed form is derivedfrom electronic original.

To make digital typeface it isnecessary to follow a defined procedure.Design starts with making drawingspreceded by the artist's conception: moreor less defined idea of what should be thefinal result. In search for perfection anartist will make corrections in the draftdesign using available program tools. Indigital typography time is essential formaterialization.

Typeface is seen as applied in layoutor composition. Presentation's visualqualities add to characteristics of thetypeface. The data such as author,techniques, dimensions refer to thepiece of work in which typeface is used.Once exhibited it evades being listedinto catalogue.

Like tones in music, the letters aswell acquire their meaning incomposition. Typeface is an instrumentand typographer is both a composer anda performer whose sensibilitydetermines whether result produced isgoing to be the piece of art or not.

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Horizontalna kompozicija, Aspera, 2001–2005

18

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Aspera, 2001

19

Nihil tum absurde dici potest, quod non dicaturab aliquo philosophorum

Per aspera ad astra

Nulla dies sine linea

Exitus acta probat

Sic transit gloria mundi

Omnia mea mecum porto

Verum est, quod est

Vanitas vanitatum et omnia vanitas

Pax vobiscum

Novum et ad hunc diem non auditum

Cum grano salis

Cogito ergo sumQuod licet Iovi non licet bovi

Quis, quid, ubi, quibus auxsiliis, cur, quomodo, quando?

Quosque tandem, o Catilina, abutere patientia nostra!

Nihil agenti dies longus estLupus in fabula

Fiat lux!Margaritas ante porcos

Aspera, 2001

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Aspera

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Deus ex machina

Sic transit gloria mundi

Nomen est omenCogito ergo sum

Lupus in fabulaCum grano salis

Exitus acta probat

O, tempora, o, mores!

Margaritas ante porcos

Nulla dies sine linea

Ad infinitum

Quod erat demonstrandum

Mundus sensibilisBarba non facit philosophum

Aspera, 2001

]irilica, Prospero, 2003v

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Plavo-zeleno, Resavska, 2005

specifi~nost tipografije kao grafdiscipline ogleda se u odnosima izmelemenata i celine osnovni elementpokretnog sloga je slovo pri oblikovtipografskog pisma crtaju se pojedislova koja svako za sebe predstavqajuestetsku celinu da li }e skup slovaslo`en u tekstu delovati harmoni~nzavisi samo od uspe{nog oblikovawave} i od wihove me|usobne uskla|enritma gustine sloga ~itqivosti i ukestetskog dejstva skup dobro oblikovslova ne mora da izgleda dobro u slo{to postoji mogu}nost da slova kojaizdvojena nemaju posebne odlike daju

specifi~nost tipografije kao grafi~ke discipline ogledaodnosima izme|u elemenata i celine osnovni element pokresloga je slovo pri oblikovawu tipografskog pisma crtaju sepojedina~na slova, koja, svako za sebe, predstavqaju estetskucelinu da li }e skup slova slo`en u tekstu delovati harmonne zavisi samo od uspe{nog oblikovawa slova, ve} i od wihome|usobne uskla|enosti, ritma, gustine sloga, ~itqivosti iukupnog estetskog dejstva skup dobro oblikovanih slova ne mizgleda dobro u slogu, kao {to postoji mogu}nost da slova kojizdvojena nemaju posebne odlike, daju celinu nove, neo~ekivlepote danas se tipografsko pismo koristi u obliku elektrozapisa. Za razliku od metalnog sloga koji nije mogao da se sau tekstu pre nego se u potpunosti oblikuje, izlije, slo`i iod{tampa, ra~unarska tehnologija pru`a mogu}nost mnogobr

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specifi~nost tipografije kao grafi~ke discipline ogleda seu odnosima izme|u elemenata i celine osnovni elementpokretnog sloga je slovo pri oblikovawu tipografskog pismacrtaju se pojedina~na slova, koja, svako za sebe, predstavqajuestetsku celinu da li }e skup slova slo`en u tekstu delovatiharmoni~no ne zavisi samo od uspe{nog oblikovawa slova, ve}i od wihove me|usobne uskla|enosti, ritma, gustine sloga,~itqivosti i ukupnog estetskog dejstva skup dobro oblikovanihslova ne mora da izgleda dobro u slogu, kao {to postojimogu}nost da slova koja izdvojena nemaju posebne odlike, dajucelinu nove, neo~ekivane lepote danas se tipografsko pismokoristi u obliku elektronskog zapisa. Za razliku od metalnogsloga koji nije mogao da se sagleda u tekstu pre nego se upotpunosti oblikuje, izlije, slo`i i od{tampa, ra~unarska

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vi{i su od velikih slova.

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lagano je povijen,

{to doprinosi dinamici

i kaligrafskom utisku.

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ali sasvim ~itqiva

i u malim veli~inama.

Serifi i zavr{eci su

geometrijski oblikovani.

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humanisti~kom duhu.

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potezi su razli~itih debqina.

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su blago pro{ireni.

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isko{avawem uspravnog oblika.

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kombinovawa serifnog

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ovo pismo upotrebqivim

kako za slagawe teksta tako

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The proportions of typeface

are classical. Ascent is

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swayed which makes light

left slant, providing dynamic

impression and introducing

calligraphic qualities.

There is no great

contrast between strokes.

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geometrically shaped.

Letters are oblong and

economic in layout.

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with diferentiated strokes

and widened endings. Italics are

“true”, not just slanted romans.

The range of weights and

possibility of combining

serif and sans serif fonts make

this family versatile and suitable

for different purposes both

as text and display face.

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33

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35

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38

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39

Diplomirala je na Odseku grafike Fakultetaprimewenih umetnosti 1985. na predmetimaPismo i Grafika. Bavi se kaligrafijom,projektovawem pisma, opremom kwige i grafikom.Magistrirala je 2001. iz oblasti tipografskogpisma. ^lan je ULUS-a i ULUPUDS-a. Predajeoblikovawe pisma kao vanredni profesor na FPU.

Od 2000. sara|uje sa korporacijom ITC(International Typeface Corporation) iz SAD. ITCje otkupio prava na distribuciju tri tipografskapisma pod nazivima ITC Aspera, ITC Rastko i ITCHedera. Familija ITC Resavska nalazi se uprodaji od septembra 2004.

U januaru 2001, na me|unarodnom konkursuudru`ewa TDC (Type Directors Club) iz Wujorka,dobila je priznawe Certificate of Excellence in TypeDesign za pismo ITC Aspera.

Olivera Stojadinovi} graduated at theDepartment of Graphics, Faculty of theApplied Arts, in 1985, her subjectsbeing Calligraphy & Typeface Designand Art Printmaking. She occupiesherself with the calligraphy, typefacedesign, books design and printmaking.She acquired masters degree in 2001 inthe area of typefaces. She is member ofULUS and ULUPUDS and teachestypeface design as associated professorat the Faculty of the Applied Arts (FPU).

As off 2000 she has been cooperatingwith USA based International TypefaceCorporation (ITC). ITC purchasedcopyrights to distribute typefaces calledITC Aspera, ITC Rastko and ITC Hedera.The ITC Resavska has been at the marketas off September 2004.

In January 2001 Type Directors Club(TDC), which organized internationalcompetition, rewarded her with theCertificate of Excellence in Type Design forthe ITC Aspera.

Olivera Stojadinovi} had twelveindividual exhibitions in the countryand abroad and participated in thegroup exhibitions in Argentina,Belgium, Canada, Bulgaria, France,Norway, Austria, etc.

In 1998 and 2004 she had exhibitionsin the Austrian Museum of Letters inPetenbach. She also contributed to theexhibition of Serbian calligraphy

Olivera Stojadinovi}

Olivera Stojadinovi}

40

Izlagala je samostalno na dvanaest izlo`biu zemqi i inostranstvu, a na grupnim izlo`bamau Argentini, Belgiji, Kanadi, Bugarskoj,Francuskoj, Norveškoj, Austriji, itd.

U austrijskom Muzeju pisma u Petenbahuizlagala je 1998. i 2004. U~estvovala je i naizlo`bi srpske kaligrafije koja je tokomnekoliko godina prikazivana na univerzitetimaširom Kanade i SAD.

Me|u nagradama i priznawima izdvajaju senagrade na Me|unarodnom sajmu kwiga,specijalna nagrada na me|unarodnoj izlo`biSvet ekslibrisa, nagrade za tipografiju najugoslovenskom konkursu za najboqi grafi~kidizajn Grifon i plaketa ULUPUDS-a za projekattipografskog pisma na Majskoj izlo`bi.

Anga`ovana je na projektima vezanim za}irili~ka pisma. Svoja originalna pisma izvodiparalelno u }irilici i latinici. Poslenekoliko tipografskih pisama inspirisanihkaligrafijom, wen rad je usmeren na kwi`na isanserifna pisma. Ova tipografska pisma sudigitalizovana i koriste se na ra~unarima.

circulating the Canadian and USuniversities for several years.

Among the rewards she has receivedthe most prominent are those won atthe International Book Fair, SpecialAward at the international exhibitionThe World of Exlibris, Award fortypography at the Yugoslavcompetition for the best graphicdesign Grifon and ULUPUDS plaque fortypeface design at May exhibition.

She has been involved in projectsrelated to Cyrillic types. Her originaltypefaces are done both as Cyrillic andLatin character sets. After severaltypefaces inspired by calligraphy herwork has turned in the direction ofbook and sans serif types. Thesetypefaces are digitized and are used atthe computers.

41

SAMOSTALNE IZLO@BE:

1986. Ispred i iza ogledala, grafike, Galerija NUBS, Beograd

1990. Neformalno, crte`i, kola`i, grafike, Grafi~ki kolektiv,Beograd

Grafike, galerija Helia-D, Ba~ka Palanka

Crte`i i kola`i, Dom omladine, Sremska Mitrovica

1992. Crte`i (sa Slavkom Milenkovi}em i PredragomMarkovi}em), galerija CD, Beograd

1998. 4 Schriftmaster aus Belgrad (sa S. Filekijem, \. @ivkovi}emi @. Raja~i}em), Schrift-und Heimatmuseum „Bartlhaus”,Pettenbach, Austria

2001. ^etiri skripta i jedno kwi`no pismo, Grafi~ki kolektiv,Beograd

2002. Nova tipografska pisma, Narodna biblioteka, Beograd;Narodna biblioteka, U`ice; Gradska biblioteka, Vršac;Narodna biblioteka, Ariqe

2004. Kalligraphische Druckschriften, Schrift-und Heimatmuseum„Bartlhaus”, Pettenbach, Austria

42

GRUPNE IZLO@BE U ZEMQI

1984. II bijenale jugoslovenske studentske grafike, Galerija Studentski grad, Beograd1985. Majska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, Beograd1986. ^lanovi ’86 – ULUS, Galerija Studentski grad, Beograd

Grafika Beogradskog kruga, Galerija Grafi~ki kolektiv, BeogradCrte` i mala plastika, Umetni~ki paviqon „Cvijeta Zuzori}”, BeogradIzlo`ba Fonda mladih, Galerija ULUS, BeogradOktobarski salon Vra~ara, Narodna biblioteka Srbije, Beograd

1987. Grafika Beogradskog kruga, Galerija Grafi~ki kolektiv, BeogradProle}na izlo`ba ULUS-a, Umetni~ki paviqon „Cvijeta Zuzori}”, BeogradEx libris, Galerija Grafi~ki kolektiv, Beograd

1988. Izlo`ba korisnika fonda mladih, Galerija ULUS, BeogradMajska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, Beograd

1989. @ena – inspiracija likovnog umetnika, Prodajna galerija, BeogradMajska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, BeogradNova Evropa, Muzej revolucije, ZagrebI bijenale grafike u Srbiji, Galerija ULUS, Beograd

1990. @ena – inspiracija likovnog umetnika, Prodajna galerija, BeogradMajska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, Beograd7. trijenale jugoslovenske grafike, Galerija savremene jugoslovenske grafike, BitoqOktobarski salon, Umetni~ki paviqon „Cvijeta Zuzori}”, Beograd

1991. Majska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, BeogradIzlo`ba male grafike, Galerija Grafi~ki kolektiv, Beograd

1992. Crte` i mala plastika, Umetni~ki paviqon „Cvijeta Zuzori}”, BeogradProle}na izlo`ba ULUS-a, Umetni~ki paviqon „Cvijeta Zuzori}”, BeogradMajska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, BeogradIzlo`ba dobitnika nagrade „Beta i Rista Vukanovi}”, Muzi~ka galerija Zadu`bine

I. M. Kolarca, Beograd2. bijenale grafike Beograd ’92, Umetni~ki paviqon „Cvijeta Zuzori}”, BeogradOktobarski salon Srbije, „Linogravura”, Galerija Grafi~ki kolektiv, Beograd

1993. Beogradski kaligrafi, Galerija Grafi~ki kolektiv, BeogradOktobarski salon, Muzej „25. maj”, Beograd

1994. Majska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, BeogradTre}e bijenale grafike Beograd ’94, Umetni~ki paviqon „Cvijeta Zuzori}”, BeogradDruga me|unarodna izlo`ba male grafike, Galerija Grafi~ki kolektiv, Beograd

1995. Me|unarodna izlo`ba Svet ekslibrisa – Autori ekslibrisa, Muzej primewene umetnosti,Beograd

Svet ekslibrisa – Jugoslovenski ekslibris, Etnografski muzej, BeogradIzlo`ba male grafike, Galerija Grafi~ki kolektiv, Beograd

43

1996. @inou u ~ast, Narodni muzej, BeogradMajska izlo`ba grafike Beogradskog kruga, Galerija Grafi~ki kolektiv, BeogradGrifon, konkurs za najboqi grafi~ki dizajn u 1994. i 1995. godini, Galerija Grafi~ki

kolektiv, Beograd1998. Grifon, drugi jugoslovenski konkurs za najboqi grafi~ki dizajn, Galerija Grafi~ki

kolektiv, BeogradIzbor ’98, grafike iz „Fonda mladih” 1972-1992, Umetni~ki paviqon „Cvijeta Zuzori}”,

BeogradIzlo`ba male grafike, Galerija Grafi~ki kolektiv, Beograd

1999. 50 godina FPU, Umetni~ki paviqon „Cvijeta Zuzori}”, BeogradIzlo`ba male grafike, Galerija Grafi~ki kolektiv, Beograd

2000. Grifon, tre}i jugoslovenski konkurs za najboqi grafi~ki dizajn, Galerija Grafi~kikolektiv, Beograd

Izlo`ba male grafike, Galerija Grafi~ki kolektiv, Beograd2001. 50 godina pisma u Srbiji, prate}a izlo`ba 41. Zlatnog pera Beograda, Galerija „Progres”,

BeogradOktobarski salon, Galerija Kulturnog centra, Beograd„U me|uvremenu”, izlo`ba grafike ULUS-a, Galerija ULUS, Beograd

2002. Grifon, ~etvrti jugoslovenski konkurs za najboqi grafi~ki dizajn, Galerija Grafi~kikolektiv, Beograd

Izlo`ba likovne kolonije „Mina Vukomanovi} Karaxi}”, Savinac 2001, Muzejrudni~ko-takovskog kraja, Gorwi Milanovac

2004. Grifon 2004, peti konkurs za najboqi grafi~ki dizajn, Galerija Grafi~ki kolektiv, Beograd

2005. Majska izlo`ba ULUPUDS-a, Muzej 25. maj, Beograd

GRUPNE IZLO@BE U INOSTRANSTVU

1988. Jugoslavija-grabado, Galeria Altos de Sarmiento, Buenos Aires, Argentina1991. Izlo`ba malog formata, Musée du Petit Format, Couvin, Belgique1993. Me|unarodno bijenale grafike, City Art Gallery, Varna, Bugarska1994. Tribute to the Cyrillic Alphabet, Robarts Library, Universitet of Toronto, Toronto, Canada1996. International Print Exhibition Miniature 8, Gamlebyen Gallery, Fridrikstaad, Norway1997. ^etvrto svetsko trijenale grafike malog formata, Allée du Parc Carre Four Europe,

Chamalier, FranceMe|unarodno trijenale grafike, Umetni~ka galerija, Bitoq, Makedonija

1999. Nachrichten aus Jugoslawien Aktuelle Druckgraphik, Die Kleine Gallerie, Wien, Austria2001. TDC2 Type Contest, Parsons School of Design, New York; Fashion Institute of Technology, New York2002. TDC2 Type Contest, Lowe Lintas Partners, Bowater House, London

44

BIBLIOGRAFIJA

1. S. Vule{evi}, A. Grubor, Ispred i iza ogledala, Kwi`evna re~, Beograd, 1986.

2. D. Kr{i}, Pink opaque, Start magazin, Zagreb, 7. jul. 1990.

3. S. Fileki, Katalog izlo`be Neformalno, Grafi~ki kolektiv, Beograd, 25. jun. 1990.

4. D. \oki}, Iz ogledala nas gleda onaj drugi, Katalog izlo`be Ispred i iza ogledala, GalerijaHelia-D, Ba~ka Palanka, 4. jul 1990.

5. M. Aprilski, Srpski „tajms”!, Novosti, Beograd, 3. decembar 1995.

6. ITC Aspera, Itc Fonts, www.itcfonts.com/fonts/detail.asp?nCo=AFMT&sku=ITC2618

7. ITC Rastko, Itc Fonts, www.itcfonts.com/fonts/detail.asp?nCo=AFMT&sku=ITC2619

8. News, TDC2 2001 Results: ITC Aspera, Type Directors Club, www.tdc.org/news/2001Results

9. J. D. Berry, The Envelope, Please, John D. Berry takes a look at the newly announced winners of theType Directors Club, creativepro.com – dot-font, www.creativepro.com/story/feature/11421.html, 1.februar 2001.

10. Q. Jelisavac, Olivera Stojadinovi}, Grafi~ki kolektiv, Blic, Beograd, 15. mart 2001.

11. M. \., Kroz galerije, Pejza`na stawa, Politika, Beograd, 16. mart 2001.

12. M. Radoj~i}, Umetnost pisma, Politika, Beograd, 21. mart 2001.

13. V. Laki}evi}-Pavi}evi}, Pismo u Srbiji 1950–2001, Umetnost lepog pisawa, Politika,Beograd, 28. april 2001.

14. ITC Hedera, Itc Fonts,www.itcfonts.com/fonts/detail.asp?sid=1565CGSQB5QS8MWDQW981245GQ5R0K65&sku=ITC2626

15. I. Matijevi}, Internet i }irilica, Danas, Beograd, 12. februar 2002.

16. D. Radovi}, Sumrak srpskog pisma, Politika, Beograd, 12. februar 2002.

17. Featured Designer: Olivera Stojadinovic, U&lc Online, Issue 29.1.1 Summer/Fall 2003,www.itcfonts.com/ulc/article.asp?nCo=AFMT&sec=ulc&issue=29.1.1&art=stojadinovic

18. Dr. O. Premstaller, Olivera Stojadinovic, Katalog izlo`be, Schriftkunstmuseum »Bartlhaus«,Pettenbach, Austria, 26. jun 2004.

19. What’s hot from ITC, September 2004, ITC Resavska, Itc Fonts,www.itcfonts.com/fonts/whatsnew_fonts.asp?nCo=AFMT&newrel=sep_04&disp=resavska

45

NAGRADE

1985. Nagrada fonda „Beta i Rista Vukanovi}” za grafiku, Fakultet primewenih umetnosti,Beograd

1986. Nagrada za grafiku na izlo`bi novoprimqenih ~lanova ULUS-a, Beograd

1987. Grafika meseca aprila, Galerija Grafi~ki kolektiv, Beograd

1990. Otkupna nagrada „Jugoeksporta”, Oktobarski salon, Beograd

1992. Otkupna nagrada „Kvadre”, Majska izlo`ba grafike, Grafi~ki kolektiv, Beograd

1994. Prva nagrada na konkursu za najboqe umetni~ki i tehni~ki opremqene kwige, 39.me|unarodni sajam kwiga, Beograd

1995. Specijalna nagrada na me|unarodnoj izlo`bi „Svet ekslibrisa”, Beograd

Druga nagrada na konkursu za najboqe umetni~ki i tehni~ki opremqene kwige, 40.me|unarodni sajam kwiga, Beograd

Tre}a nagrada na konkursu za najboqe umetni~ki i tehni~ki opremqene kwige, 40.me|unarodni sajam kwiga, Beograd

Otkupna nagrada „Kvadre”, Izlo`ba male grafike, Grafi~ki kolektiv, Beograd

1996. Specijalno priznawe za tipografiju na konkursu „Grifon” za najboqi grafi~ki dizajn u1994. i 1995. godini, Grafi~ki kolektiv, Beograd

1998. Prva nagrada na konkursu za najboqe umetni~ki i tehni~ki opremqene kwige, 43.me|unarodni sajam kwiga, Beograd

2000. Nagrada za tipografiju na konkursu „Grifon” za najboqi grafi~ki dizajn u 1998–1999,Grafi~ki kolektiv, Beograd

2001. Godišwa nagrada TDC (Type Directors Club) za tipografsko pismo ITC Aspera, New York

2004. Priznawe za rad u kategoriji Tipografsko pismo za pismo Resavska, 5. konkurs „Grifon2004”, Grafi~ki kolektiv, Beograd

2005. Plaketa ULUPUDS-a za projekat tipografskog pisma Resavska, 37. Majska izlo`ba, Muzej„25. maj”, Beograd

46

1. Zeleno-plavo (talasi), 2005Pismo: ResavskaDimenzije: 12 tabli 45 × 63 cm

2. Imagine, 2005Pismo: AnimaDimenzije: 12 tabli 45 × 63 cm

3. Instalacija, 2005Pismo: ResavskaDimenzije: 30 plo~ica 20 × 30 cm

4. Varijacije u boji, 2005Pismo: RastkoDimenzije: 12 tabli 45 × 100 cm

5. Tondo, 2005Pismo: AsperaDimenzije: 180 × 180 cm

6. ]irilica, 2005Pismo: ProsperoDimenzije: 10 tabli 63 × 45 cm

7. Horizontalna kompozicija, 2005Pismo: AsperaDimenzije: 45 × 120 cm

8. Crveno-crno (tipografija), 2005Pismo: ResavskaDimenzije: 3 table 45 × 63 cm

9. Prostorna kompozicija, 2001Pismo: Aspera i RastkoDimenzije: 4 okvira 44 × 33 × 4,5 cm

10. O, 2005Pismo: RastkoDimenzije: 90 × 90 cm

11. Q, 2005Pismo: RastkoDimenzije: 45 × 90 cm

12. Vertikalna kompozicija, 2005Pismo: RastkoDimenzije: 320 × 180 cm

13. Aspera, 2001–2004Prezentacija pismaDimenzije: 4 table 70 × 100 cm

14. Rastko, 2001–2005Prezentacija pismaDimenzije: 5 tabli 70 × 100 cm

15. Prospero i Miranda, 2001Prezentacija pismaDimenzije: 2 table 70 × 100 cm

16. Resavska, 2004–2005Prezentacija pismaDimenzije: 3 table 70 × 100 cm

17. Anima, 2001Prezentacija pismaDimenzije: 2 table 70 × 100 cm

K AT A L O G

Izlo`ena su tipografska pisma:Aspera (ITC Aspera, 2001); Rastko (ITC Rastko, 2001), Prospero (ITC Hedera, 2002), Miranda (2001),

Resavska (ITC Resavska, 2004), Anima (2001–2005).Svi radovi su izvedeni u tehnici digitalne {tampe.

Salon Muzeja primewene umetnosti

Katalog izlo`beOlivera Stojadinovi}Re~i i slovaTipografska pisma8 – 29. septembar 2005.

Izdava~Muzej primewene umetnostiBeograd, Vuka Karaxi}a 18 mpu@yubc.netwww.mpu.org.yuZa izdava~aIvanka Zori}, direktor Muzeja

Kustos izlo`beMarijana Petrovi} Rai}, vi{i kustos

Autori tekstovaprof. Stjepan FilekiAlen Hejli, direktor, ITCOlivera Stojadinovi}

Redakcijamr Qiqana Mileti}-Abramovi}, muzejski savetnikmr Milica Kri`anac, kustosJelena Pera}, kustosmr Milica Cuki}, vi{i kustos

Sekretar redakcijeAndrijana Risti}, kustos-bibliotekar

LektorKatarina Stanojevi}

Prevodilacmr Vesna Jankovi}

Grafi~ko oblikovawe Olivera Stojadinovi}

Stru~ni saradniciOlivera Bataji}Ilija Kne`evi}Slavko Milenkovi}

Urednik katalogaMarijana Petrovi} Rai}, vi{i kustos

Postavka izlo`beOlivera Stojadinovi}

Odnosi s javnoš}umr Milica Cuki}, vi{i kustos

ŠtampaArtprint, Novi Sad

Tira`800

Sva prava zadr`ana

ISBN 86-7415-0950-0

Salon of the Museum of Applied Art

Exhibition CatalogueOlivera Stojadinovi}Words & LettersTypefacesSeptember 8 – 29, 2005

PublisherMuseum of Applied ArtBelgrade, Vuka Karad`i}a 18 mpu@yubc.netwww.mpu.org.yuFor the Publisher:Ivanka Zori}, Museum DirectorCurator of the ExhibitionMarijana Petrovi} Rai}, Senior CuratorTexts byProfessor Stjepan FilekiAllan Haley, Director of Words & Letters, ITCOlivera Stojadinovi}Editorial BoardLjiljana Mileti}-Abramovi}, M.A., Museum CounselorMilica Kri`anac, M.A., CuratorJelena Pera}, CuratorMilica Cuki}, M.A., Senior CuratorEditorial Office SecretaryAndrijana Risti}, Curator-LibrarianProofreadingKatarina Stanojevi}TranslatorVesna Jankovi}, M.A.Graphic DesignOlivera Stojadinovi}Professional AssistanceOlivera Bataji}Ilija Kne`evi}Slavko Milenkovi}Catalogue EditorMarijana Petrovi} Rai}, Senior CuratorExibition DesignOlivera Stojadinovi}Public RelationsMilica Cuki}, M.A., Senior CuratorPrinted byArtprint, Novi SadPrint Run800All rights reservedISBN 86-7415-0950-0

CIP – Katalogizacija u publikacijiNarodna biblioteka Srbije, Beograd

766: 929 Stojanovi} D. (083.824)766:655 (497.11) "20" (083.824)

STOJADINOVI], OliveraOlivera Stojadinovi}: re~i i slova: tipografska pisma : Salon Muzeja

primewene umetnosti, 8–29. septembar 2005. = Olivera Stojadinovi}: words &letters: typefaces: Salon of the Museum of Applied Art, September 8–29, 2005 /[kustos izlo`be Marijana Petrovi} Rai}; autori tekstova Stjepan Fileki,Alen Hejli, Olivera Stojadinovi}; prevodilac Vesna Jankovi}]. – Beograd:Muzej primewene umetnosti, 2005 (Novi Sad: Artprint). – 46 str. : ilustr.;22 × 22 cm

Uporedo srp. i engl. tekst. – Tira` 800. – Olivera Stojadinovi}: str. 39–40.– Izlo`be: str. 41–43. Bibliografija: str. 44.

ISBN 86-7415-0950-0

a) Stojadinovi}, Olivera (1953– ) – Izlo`beni katalozi

COBISS.SR-ID 124845324