OLIVERA BATAJIĆ SRETENOVIĆ
University of Arts in Belgrade, Faculty of Applied Arts, Belgrade, Serbia
olivera.batajic@fpu.bg.ac.rs
KAKO ZVUČI SLOVO: O ŽIVOTU I RADU IVANA BOLDIŽARA
THE SOUND OF THE LETTER: ABOUT THE LIFE AND WORK OF IVAN BOLDIŽAR
Journal 16/2020 (Museum of Applied Art), pages 38-47
Article category: original scientific paper
UDC:
76.071.1:929 Болдижар И.
655.26(497.11)
Abstract (original language):
Tipografija je oblast koja je u današnjim istraživanjima pomalo zanemarena, što je slučaj i sa tipografima i dizajnerima pisama. Rad Ivana Boldižara čini deo srpske tipografske istorije koja utiče na današnje tipografe i dizajnere pisma. Ovo istraživanje njegovog dela obuhvatilo je u osnovnim crtama razvoj rada u oblasti dizajna pisma, od početaka njegovog stvaralaštva do kraja života, sa posebnim akcentom na rekonstrukciju ćiriličnih pisama, a potom i njihovom daljem razvoju i osavremenjavanju. Prateći Boldižarov opus možemo dobiti jasnu sliku o stanju tipografije u našoj zemlji, ali i o važnim uticajima poznatih tipografa i tipografskih manifestacija tog vremena. Na tada aktuelnoj sceni Boldižar je bio poznat kao promoter ćirilice, za šta je u našoj zemlji dobio i brojna priznanja, a na inostranim konferencijama je priznat kao stručnjak. Kako je autorski opus Ivana Boldižara postajao bogatiji, tako se i polje njegovog delovanja širilo i, zahvaljujući tome, imamo mnogo primera upotrebe tipografije i kaligrafije u oblasti vizuelnih komunikacija, poput plakata, korica knjiga, znakova i slično. Rad Ivana Boldižara treba da bude zapamćen pre svega zbog misije zaštite kulturnog nasleđa, što u domenu pisma podrazumeva i očuvanje nacionalnog pisma. Ovaj rad predstavlja pokušaj da se deo bogatog opusa ovog autora zabeleži i sačuva od zaborava.
Key words: (original language)
Ivan Boldižar, istorija, kaligrafija, pismo, tipografija
Summary:
Typography makes the basis for every work in the field of graphic communications. How the message will be conveyed depends on the quality of the typographic letter, as well as on the author's knowledge of making a good typographic composition. As we live in the country whose national heritage is based on the specifics of the Cyrillic alphabet, which is not so widespread in the world, it is very important that we nurture and develop the field of typography. First of all, I think that we should invest in the education of the new generations of future designers of typographic letters, and then, in the generations of those who are trained to properly and functionally determine the text's typographic composition, and harmoniously combine the text and the image. Serbian history of typography is not so long, but it has certainly given rise to several world famous names in this field. Among those names is the name of Ivan Boldižar, who promoted the Cyrillic alphabet and dedicated his entire life to the development and design of it, dealing with both reconstruction of the existing and design of the original typefaces. These typefaces have later found wide application. Unfortunately, there is very little literature dealing with the topic of Serbian or Yugoslav typography. Therefore, this research is mostly based on the conversations held with the surviving protagonists of those times, and on reviewing documentary footage found in the archive of the artist's family. This text is an attempt to contribute to the creation of literature on an important, but insufficiently researched filed – Serbian typography.
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