Matthew Carter: My life in typefaces

Prevoditelj: Krešimir Kerek Recezent: Ivan Stamenković

Type is something we consume

Tipografija je nešto što koristimo

in enormous quantities.

u ogromnim količinama.

In much of the world,

U većini svijeta

it's completely inescapable.

je potpuno neizbježna.

But few consumers are concerned to know

Svejedno, samo se nekolicina korisnika zanima pitanjem

where a particular typeface came from

odakle dolazi određeni oblik pisma

or when or who designed it,

i kada i tko ga je stvorio

if, indeed, there was any human agency involved

ako je u njegov nastanak uopće upletena ljudska ruka

in its creation, if it didn't just sort of materialize

i ako se nije, na neki način, samo od sebe pojavio

out of the software ether.

iz softverskog etera.

But I do have to be concerned with those things.

No ja se tim stvarima moram baviti.

It's my job.

Jer mi je to posao.

I'm one of the tiny handful of people

Jedan sam od vrlo malenog broja onih ljudi

who gets badly bent out of shape

koji se jako uzrujaju

by the bad spacing of the T and the E

zbog lošeg razmaka među slovima T i E

that you see there.

kakav vidite ovdje.

I've got to take that slide off.

Moram skloniti ovaj slajd.

I can't stand it. Nor can Chris.

Jer ga ne mogu gledati. Kao ni Chris.

There. Good.

Evo, sad je dobro.

So my talk is about the connection

Dakle, u mojem govoru radi se o povezanosti

between technology and design of type.

tehnologije i oblikovanja pisama.

The technology has changed

Tehnologija se promijenila

a number of times since I started work:

nekoliko puta otkad sam počeo raditi:

photo, digital, desktop, screen, web.

foto, digitalija, stolna računala, zasloni, web.

I've had to survive those changes and try

Morao sam preživjeti te promjene i pokušati

to understand their implications for what I do

razumjeti njihov utjecaj na ono što radim

for design.

u svijetu dizajna.

This slide is about the effect of tools on form.

Ovaj slajd prikazuje utjecaj alata na oblik.

The two letters, the two K's,

Dva slova K,

the one on your left, my right, is modern,

ovo vama slijeva, meni zdesna, je suvremeno

made on a computer.

i oblikovano je na računalu.

All straight lines are dead straight.

Sve ravne linije potpuno su ravne.

The curves have that kind of mathematical smoothness

Krivulje imaju onu vrstu matematičke uglađenosti

that the Bézier formula imposes.

kakvu definira Bézierova formula.

On the right, ancient Gothic,

Zdesna je stari Gothic

cut in the resistant material of steel by hand.

izrezan rukom u otpornom čeliku.

None of the straight lines are actually straight.

Nijedna ravna linija nije uistinu ravna.

The curves are kind of subtle.

Krivulje su dosta suptilne.

It has that spark of life from the human hand

Ona posjeduje onu iskru života koja dolazi od ljudske ruke,

that the machine or the program

kakvu stroj ili program

can never capture.

nikada neće moći doseći.

What a contrast.

Kakav kontrast.

Well, I tell a lie.

E pa, sad vam lažem.

A lie at TED. I'm really sorry.

Lažem na TED-u. Zaista mi je žao.

Both of these were made on a computer,

Oba su oblikovana na računalu.

same software, same Bézier curves,

Isti je softver, iste su Bézierove krivulje,

same font format.

isti je format fonta.

The one on your left

Ovo vama slijeva

was made by Zuzana Licko at Emigre,

oblikovala je Zuzana Licko u Emigreu,

and I did the other one.

a ja sam napravio drugo.

The tool is the same, yet the letters are different.

Alat je isti, a slova su drukčija.

The letters are different

Slova su drukčija

because the designers are different.

jer su dizajneri drukčiji.

That's all. Zuzana wanted hers to look like that.

I to je sve. Zuzana je htjela da njeno izgleda baš tako.

I wanted mine to look like that. End of story.

Ja sam htio da moje izgleda ovako. Kraj priče.

Type is very adaptable.

Tipografija je vrlo prilagodljiva.

Unlike a fine art, such as sculpture or architecture,

Za razliku od lijepih umjetnosti poput kiparstva ili arhitekture,

type hides its methods.

tipografija ne otkriva svoje metode.

I think of myself as an industrial designer.

O sebi razmišljam kao o produkt-dizajneru.

The thing I design is manufactured,

Ono što ja oblikujem, proizvodi se

and it has a function:

i ima funkciju:

to be read, to convey meaning.

da se čita i prenosi značenje.

But there is a bit more to it than that.

Ima toga još.

There's the sort of aesthetic element.

Prisutan je i svojevrstan estetski element.

What makes these two letters different

Što je to što ova dva slova čini različitima

from different interpretations by different designers?

u različitim interpretacijama različitih dizajnera?

What gives the work of some designers

Što je to što radu pojedinih dizajnera

sort of characteristic personal style,

daje karakterističan, osobni stil,

as you might find in the work of a fashion designer,

kakav možete vidjeti kod dizajnera odjeće

an automobile designer, whatever?

ili recimo automobila?

There have been some cases, I admit,

Moram priznati da je bilo slučajeva

where I as a designer

kada sam kao dizajner

did feel the influence of technology.

itekako osjetio utjecaj tehnologije.

This is from the mid-'60s,

Ovo je primjer iz sredine 60-ih,

the change from metal type to photo,

prelazak s metalnih slova na fotoslog,

hot to cold.

s vrućeg na hladno.

This brought some benefits

To je donijelo određene benefite,

but also one particular drawback:

ali i jedan bitan nedostatak:

a spacing system that only provided

prostorni sustav koji je nudio samo

18 discrete units for letters

18 diskretnih jedinica

za smještaj slova.

to be accommodated on.

I was asked at this time to design

U to vrijeme od mene su zatražili da oblikujem

a series of condensed sans serif types

seriju sans serif suženih pisama

with as many different variants as possible

u što više različitih varijanti,

within this 18-unit box.

poštujući okvir ovih 18 jedinica.

Quickly looking at the arithmetic,

Malo brze aritmetike

I realized I could only actually make three

i shvatio sam da mogu izraditi samo tri

of related design. Here you see them.

srodne varijante. Evo ih.

In Helvetica Compressed, Extra Compressed,

Kod Helvetice Compressed, Extra Compressed

and Ultra Compressed, this rigid 18-unit system

i Ultra Compressed, ovaj me je rigidni 18-jedinični sustav

really boxed me in.

zbilja ograničio.

It kind of determined the proportions

Na neki način odredio je proporcije

of the design.

konačnog proizvoda.

Here are the typefaces, at least the lower cases.

Ovo su ta pisma, zapravo, njihova mala slova.

So do you look at these and say,

Kažete li dok ih gledate:

"Poor Matthew, he had to submit to a problem,

"Jadni Matthew, morao se potčiniti problemu

and by God it shows in the results."

i to se, ruku na srce, vidi po rezultatima"?

I hope not.

Nadam se da nije tako.

If I were doing this same job today,

Kad bih danas radio taj isti posao,

instead of having 18 spacing units,

umjesto 18 prostornih jedinica

I would have 1,000.

na raspolaganju bih imao 1.000.

Clearly I could make more variants,

Razumljivo, načinio bih više varijanti,

but would these three members of the family be better?

ali bi li ove tri iz te obitelji tada ispale bolje?

It's hard to say without actually doing it,

Teško je to sada reći ovako bez da se zaista i učini,

but they would not be better in the proportion

ali ne bi bile bolje u omjeru od

of 1,000 to 18, I can tell you that.

1.000 naprema 18, u to sam siguran.

My instinct tells you that any improvement

Osjećaj mi govori da bi bilo kakvo poboljšanje

would be rather slight, because they were designed

vjerojatno bilo neznatno, stoga što su oblikovane

as functions of the system they were designed to fit,

kao funkcije sustava u koji su se trebale uklopiti.

and as I said, type is very adaptable.

Kako sam rekao, tipografija je vrlo prilagodljiva.

It does hide its methods.

I ne otkriva metode.

All industrial designers work within constraints.

Svi produkt-dizajneri rade unutar traženih okvira.

This is not fine art.

A to nije lijepa umjetnost.

The question is, does a constraint

Sad je pitanje, nameću li

force a compromise?

okviri kompromis?

By accepting a constraint,

Prihvaćajući okvire,

are you working to a lower standard?

radite li po nižim standardima?

I don't believe so, and I've always been encouraged

Ne mislim tako i uvijek me je poticalo

by something that Charles Eames said.

nešto što je rekao Charles Eames.

He said he was conscious of working

Rekao je da je svjestan

within constraints,

rada u okvirima

but not of making compromises.

ali nesvjestan kompromisa.

The distinction between a constraint

Razlika između okvira

and a compromise is obviously very subtle,

i kompromisa je očito vrlo fina,

but it's very central to my attitude to work.

ali je ključna za moj stav prema radu.

Remember this reading experience?

Sjećate se ovog čitalačkog iskustva?

The phone book. I'll hold the slide

Telefonski imenik. Ostavit ću vam slajd

so you can enjoy the nostalgia.

kako biste mogli uživati u nostalgiji.

This is from the mid-'70s early trials

Ovo je iz ranih pokusa sredinom 70-ih

of Bell Centennial typeface I designed

za font Bell Centennial koji sam dizuajnirao

for the U.S. phone books,

za telefonske imenike u Sjedinjenim Državama.

and it was my first experience of digital type,

Bilo je to moje prvo iskustvo s digitalnom tipografijom

and quite a baptism.

i poprilično vatreno krštenje.

Designed for the phone books, as I said,

Oblikovano je za, kako rekoh, telefonske imenike,

to be printed at tiny size on newsprint

za tisak u sitnim veličinama na roto-papiru

on very high-speed rotary presses

na vrlo brzim roto-presama

with ink that was kerosene and lampblack.

bojom koja je načinjena iz kerozina i čađi.

This is not a hospitable environment

To baš i nije gostoljubivo okružje

for a typographic designer.

za tipografa.

So the challenge for me was to design type

Izazov za mene bilo je oblikovanje pisma

that performed as well as possible

koje bi se ponašalo čim bolje

in these very adverse production conditions.

u tim vrlo nepovoljnim produkcijskim uvjetima.

As I say, we were in the infancy of digital type.

Kako sam rekao, nalazili smo se u ranom djetinjstvu digitalne tipografije.

I had to draw every character by hand

Svaki znak sam morao nacrtati ručno

on quadrille graph paper --

na kvadratićastom papiru --

there were four weights of Bell Centennial —

Bell Centennial imao je četiri debljine --

pixel by pixel, then encode them raster line by raster line

piksel po piksel i onda kodiranje rastersku liniju po rastersku liniju

za tipkovnicu,

for the keyboard.

It took two years, but I learned a lot.

Trebalo mi je dvije godine, ali puno sam naučio.

These letters look as though they've been chewed

Ta slova izgledaju kao da ih je prožvakao

by the dog or something or other,

pas ili nešto drugo ili treće,

but the missing pixels at the intersections

ali pikseli koji nedostaju na sjecištima

of strokes or in the crotches

i račvanjima linija

are the result of my studying the effects

rezultat su mojeg istraživanja

of ink spread on cheap paper

razlijevanja tinte na jeftinom papiru

and reacting, revising the font accordingly.

i onoga što sam u skladu s time poduzeo kod oblikovanja fonta.

These strange artifacts are designed to compensate

Ti neobični artefakti načinjeni su kako bi kompenzirali

for the undesirable effects of scale

neželjene efekte veličine slova

and production process.

i proizvodnog procesa.

At the outset, AT&T had wanted

Prvobitno su u AT&T-u željeli

to set the phone books in Helvetica,

telefonske imenike složene u Helvetici,

but as my friend Erik Spiekermann said

ali kao što je moj prijatelj Erik Spiekermann rekao

in the Helvetica movie, if you've seen that,

u filmu "Helvetica", ako ste ga gledali,

the letters in Helvetica were designed to be

slova Helvetice oblikovana su kako bi bila

as similar to one another as possible.

što sličnija jedno drugome.

This is not the recipe for legibility at small size.

To baš i nije recept za čitkost pri malim veličinama.

It looks very elegant up on a slide.

Na slajdu to izgleda vrlo elegantno.

I had to disambiguate these forms

Te sam forme morao učiniti što jasnijima

of the figures as much as possible in Bell Centennial

kod Bell Centenniala

by sort of opening the shapes up, as you can see

svojevrsnim otvaranjem likova, kao što vidite

in the bottom part of that slide.

u donjem dijelu slajda.

So now we're on to the mid-'80s,

Dakle, idemo u srednje 80-te,

the early days of digital outline fonts,

na iskon fontova digitalnih obrisa i

vector technology.

vektorske tehnologije.

There was an issue at that time

U to vrijeme postojao je problem

with the size of the fonts,

s veličinom fontova, to jest

the amount of data that was required to find

količinom podataka potrebnom za pronalazak

and store a font in computer memory.

i pohranu fonta u memoriji računala.

It limited the number of fonts you could get

To je ograničavalo broj fontova koji ste u nekom vremenu

on your typesetting system at any one time.

mogli pohraniti na svom sustavu za tipografski slog.

I did an analysis of the data,

Analizirao sam podatke

and found that a typical serif face

i zaključio da tipično serifno pismo

you see on the left

kakvo vidite slijeva

needed nearly twice as much data

traži skoro dvostruku količinu podataka

as a sans serif in the middle

u odnosu na sans serifno u sredini i to

because of all the points required

zahvaljujući svim točkama potrebnim

to define the elegantly curved serif brackets.

da bi se odredila elegantno zakrivljena uporišta serifa.

The numbers at the bottom of the slide, by the way,

Uzgred rečeno, brojevi pri dnu slajda

they represent the amount of data

predstavljaju količinu podataka

needed to store each of the fonts.

potrebnu da bi se pohranio svaki od fontova.

So the sans serif, in the middle,

Tako je sans serif u sredini,

sans the serifs, was much more economical,

sans (bez) serifa, bio puno ekonomičniji.

81 to 151.

81 naprema 151.

"Aha," I thought. "The engineers have a problem.

"Aha", pomislio sam, "inženjeri imaju problem.

Designer to the rescue."

Dizajner stiže upomoć."

I made a serif type, you can see it on the right,

Načinio sam serifno pismo, vidite ga zdesna,

without curved serifs.

bez zakrivljenih serifa.

I made them polygonal, out of straight line segments,

Učinio sam ih poligonalnima, od ravnih linijskih segmenata

chamfered brackets.

i skošenih uporišta.

And look, as economical in data as a sans serif.

I evo - po pitanju količine podataka ekonomično je kao i sans serif.

We call it Charter, on the right.

Nazvali smo ga Charter, ovaj zdesna.

So I went to the head of engineering

Tako sam sa svojim brojevima

with my numbers, and I said proudly,

otišao do glavnog inženjera i ponosno rekao:

"I have solved your problem."

"Riješio sam vam problem."

"Oh," he said. "What problem?"

"O," reče on meni, "a koji problem?"

And I said, "Well, you know, the problem

A ja ću: "Pa znate, problem

of the huge data you require for serif fonts and so on."

ogromne količine podataka potrebne za serifne fontove i tako dalje."

"Oh," he said. "We solved that problem last week.

"O," reče on, "taj smo problem riješili prošli tjedan.

We wrote a compaction routine that reduces

Napisali smo racionalizacijski protokol koji smanjuje

the size of all fonts by an order of magnitude.

zapreminu svih fontova po redu veličine,

You can have as many fonts on your system

tako da na svom sustavu od sada

as you like."

možete imati koliko god fontova hoćete."

"Well, thank you for letting me know," I said.

"Pa hvala što ste me obavijestili", rekao sam.

Foiled again.

Opet osujećen.

I was left with a design solution

Ostavili su me s dizajnerskim rješenjem

for a nonexistent technical problem.

za nepostojeći tehnički problem.

But here is where the story sort of gets interesting for me.

No tu za mene priča postaje interesantna.

I didn't just throw my design away

Svoj rad nisam bacio

in a fit of pique.

u napadaju ljutnje.

I persevered.

Sačuvao sam ga.

What had started as a technical exercise

Ono što je počelo kao tehnička vježba

became an aesthetic exercise, really.

zaista je postalo estetska vježba.

In other words, I had come to like this typeface.

Drugim riječima, zavolio sam to pismo.

Forget its origins. Screw that.

Zaboravi kako je nastalo, nema veze.

I liked the design for its own sake.

Volio sam dizajn radi dizajna.

The simplified forms of Charter

Charterove pojednostavljene forme

gave it a sort of plain-spoken quality

dale su mu određenu izravnost

and unfussy spareness

i skromnu štedljivost

that sort of pleased me.

koja mi je godila.

You know, at times of technical innovation,

Znate, u trenucima tehničkih inovacija

designers want to be influenced

dizajneri jednostavno žele da na njih utječe

by what's in the air.

ono što je u zraku.

We want to respond. We want to be pushed

Želimo odgovarati na izazove, želimo poticaj

into exploring something new.

na istraživanje novoga.

So Charter is a sort of parable for me, really.

Evo, Charter je za mene nekakva parabola.

In the end, there was no hard and fast causal link

Na kraju krajeva, nije tu bilo čvrste i izravne uzročno-posljedične veze

between the technology and the design of Charter.

između tehnologije i oblikovanja Chartera.

I had really misunderstood the technology.

Zbilja sam krivo protumačio tehnologiju.

The technology did suggest something to me,

Ona mi jest nešto sugerirala,

but it did not force my hand,

ali mi nije ruku natjerala na posao.

and I think this happens very often.

i mislim da se to događa vrlo često.

You know, engineers are very smart,

Znate, inženjeri su vrlo domišljati

and despite occasional frustrations

i unatoč povremenim frustracijama

because I'm less smart,

zbog svoje nešto manje domišljatosti,

I've always enjoyed working with them

uvijek sam s njima uživao raditi

and learning from them.

i učiti od njih.

Apropos, in the mid-'90s,

Apropos, sredinom 90-ih

I started talking to Microsoft

s Microsoftom sam počeo razgovarati

about screen fonts.

o zaslonskim fontovima.

Up to that point, all the fonts on screen

Do tog trenutka svi fontovi na zaslonima

had been adapted from previously existing

bili su prilagođeni već postojeći

printing fonts, of course.

fontovi za tisak.

But Microsoft foresaw correctly

No Microsoft je ispravno predvidio

the movement, the stampede

pokret, dapače stampedo,

towards electronic communication,

prema elektroničkoj komunikaciji,

to reading and writing onscreen

čitanju i pisanju na zaslonima,

with the printed output as being sort of secondary

s tiskanim izlazom informacija

in importance.

kao sekundarnim po važnosti.

So the priorities were just tipping at that point.

Prioriteti su se tada tek počinjali nazirati.

They wanted a small core set of fonts

Željeli su malu osnovnu garnituru fontova

that were not adapted but designed for the screen

koji ne bi bili prilagođeni, nego namjenski oblikovani za zaslon,

to face up to the problems of screen,

kako bi se suočili s problemima koji proizlaze iz prirode zaslona

which were their coarse resolution displays.

i njihove grube razlučivosti prikaza.

I said to Microsoft, a typeface designed

Microsoftu sam rekao da je pismo oblikovano

for a particular technology

samo za određenu tehnologiju

is a self-obsoleting typeface.

pismo koje samo sebe zastarjeva i čini izlišnim.

I've designed too many faces in the past

U prošlosti sam oblikovao puno pisama

that were intended to mitigate technical problems.

namijenjenih ublažavanju tehničkih problema.

Thanks to the engineers, the technical problems went away.

Zahvaljujući inženjerima, tehnički problemi su otišli.

So did my typeface.

Pa su tako otišla i moja pisma.

It was only a stopgap.

Bilo je to samo krpanje.

Microsoft came back to say that

Microsoft je odgovorio da

affordable computer monitors

su cjenovno povoljni računalni monitori

with better resolutions

boljih razlučivosti

were at least a decade away.

od nas udaljeni još najmanje desetljeće.

So I thought, well, a decade, that's not bad,

Tada sam pomislio, pa desetljeće, nije to loše,

that's more than a stopgap.

to je više od krpanja.

So I was persuaded, I was convinced,

Tako da su me natjerali, uvjerili,

and we went to work on what became Verdana

i bacili smo se na posao koji će uroditi Verdanom

and Georgia,

i Georgiom,

for the first time working not on paper

po prvi put radeći ne na papiru,

but directly onto the screen from the pixel up.

nego direktno na zaslonu, od prvog piksela.

At that time, screens were binary.

U to vrijeme zasloni su bili binarni.

The pixel was either on or it was off.

Piksel je bio ili uključen ili isključen.

Here you see the outline of a letter,

Ovdje vidite obris slova,

the cap H,

velikog H,

which is the thin black line, the contour,

tanku crnu liniju, konturu,

which is how it is stored in memory,

ono što se pohranjuje u memoriji,

superimposed on the bitmap,

stavljenu preko bitmape,

which is the grey area,

to je ovo sivo područje,

which is how it's displayed on the screen.

što pak predstavlja ono što se prikazuje na zaslonu.

The bitmap is rasterized from the outline.

Bitmapa se rasterizira iz obrisa.

Here in a cap H, which is all straight lines,

Ovdje kod velikog H, koje je posve u ravnim linijama,

the two are in almost perfect sync

obris i bitmapa su skoro u savršenoj podudarnosti

on the Cartesian grid.

na kartezijskoj mreži.

Not so with an O.

To nije slučaj s O.

This looks more like bricklaying than type design,

Ovo više liči na zidanje opekom, nego na oblikovanje pisma,

but believe me, this is a good bitmap O,

ali, vjerujte, ovo je korektno bitmapirano O

for the simple reason that it's symmetrical

iz jednostavnog razloga što je simetrično

in both x and y axes.

i po osi x i po osi y.

In a binary bitmap, you actually can't ask

Od binarne bitmape zapravo ne možete

for more than that.

tražiti više.

I would sometimes make, I don't know,

Katkad bih načinio, ne znam,

three or four different versions of a difficult letter

tri ili četiri različite verzije kompliciranog slova

like a lowercase A,

kao što je malo A,

and then stand back to choose which was the best.

i onda bih stao i birao koja je najbolja.

Well, there was no best,

E pa, najboljeg nije bilo,

so the designer's judgment comes in

tako da se dizajnerova procjena

in trying to decide

svodila na pokušaj odluke

which is the least bad.

koja je najmanje loša.

Is that a compromise?

Je li to kompromis?

Not to me, if you are working

Što se mene tiče, nije ako radite

at the highest standard the technology will allow,

po najvišem standardu koji tehnologija omogućava,

although that standard may be

bez obzira što taj standard može biti

well short of the ideal.

itekako daleko od idealnog.

You may be able to see on this slide

Na ovom slajdu vjerojatno uočavate

two different bitmap fonts there.

dva različita bitmap-fonta.

The "a" in the upper one, I think,

"a" u gornjem je, mislim,

is better than the "a" in the lower one,

bolje nego "a" u donjem,

but it still ain't great.

pa ipak nije odlično.

You can maybe see the effect better

Ishod možda bolje možete uočiti

if it's reduced. Well, maybe not.

ako to smanjimo. Dobro, možda i ne.

So I'm a pragmatist, not an idealist,

Dakle, ja sam pragmatičar, a ne idealist,

out of necessity.

i to radi potrebe.

For a certain kind of temperament,

Za određenu vrstu temperamenta

there is a certain kind of satisfaction

postoji određena vrsta zadovoljstva

in doing something that cannot be perfect

radom na nečemu što ne može biti savršeno,

but can still be done to the best of your ability.

ali svejedno može biti napravljeno najbolje što možemo.

Here's the lowercase H from Georgia Italic.

Ovo je malo H iz Georgie Italic.

The bitmap looks jagged and rough.

Bitmapa izgleda nazubljeno i grubo.

It is jagged and rough.

I jest nazubljena i gruba.

But I discovered, by experiment,

Međutim, eksperimentalno sam utvrdio

that there is an optimum slant

da postoji optimalan kut

for an italic on a screen

za zaslonski italik

so the strokes break well

pod kojim se linije lijepo "lome"

at the pixel boundaries.

na spoju piksela.

Look in this example how, rough as it is,

Na ovom primjeru, kako god grub da jest, pogledajte

how the left and right legs

kako se lijeva i desna noga

actually break at the same level.

zapravo lome na istoj razini.

That's a victory. That's good, right there.

To je pobjeda. To je dobro, baš tako.

And of course, at the lower depths,

Naravno, na manjim razlučivostima

you don't get much choice.

nemate puno izbora.

This is an S, in case you were wondering.

Za slučaj da ste se zapitali, ovo je S.

Well, it's been 18 years now

Eto, prošlo je 18 godina

since Verdana and Georgia were released.

otkad su objavljene Verdana i Georgia.

Microsoft were absolutely right,

Microsoft je apsolutno bio u pravu:

it took a good 10 years,

bilo je potrebno dobrih 10 godina,

but screen displays now do have

a zasloni sada imaju

improved spatial resolution,

poboljšanu prostornu razlučivost

and very much improved photometric resolution

i jako poboljšanu fotometrijsku razlučivost

thanks to anti-aliasing and so on.

zahvaljujući anti-aliasingu i drugim stvarima.

So now that their mission is accomplished,

I sada kad je njihova misija izvršena,

has that meant the demise

znači li to odlazak

of the screen fonts that I designed

zaslonskih fontova koje sam oblikovao

for coarser displays back then?

za ondašnje grublje zaslone?

Will they outlive the now-obsolete screens

Hoće li oni nadživjeti te zastarjele zaslone

and the flood of new web fonts

i nadiranje novih fontova za web

coming on to the market?

koji dolaze na tržište?

Or have they established their own

Ili su stvorili vlastitu

sort of evolutionary niche

vrstu evolucijske niše

that is independent of technology?

neovisne o tehnologiji?

In other words, have they been absorbed

Drugim riječima, jesu li utopljeni

into the typographic mainstream?

u tipografski mainstream?

I'm not sure, but they've had a good run so far.

Nisam siguran, ali za sada im je dobro išlo.

Hey, 18 is a good age for anything

O, 18 godina je lijepo trajanje bilo čega

with present-day rates of attrition,

uzevši u obzir današnji intenzitet "trošenja",

so I'm not complaining.

tako da se ne žalim.

Thank you.

Hvala!

(Applause)

(Pljesak)