At the beginning of the development of the new visual style for the modern Czech glass company Bomma, the idea was to make the minuscule “b” only with the simplest of shapes. Now some see a glass blow rod with a glass on its side, a shapeless lump of glass, turning into a design with exhalation. The contrast between the thin line and the bolder circle and the tension that develops in the place where the two shapes are almost touching refers to the fragility of glass products – especially the technologically extraordinary, large round chandeliers from Bommas’s home at Světlá nad Sázavou. And it disobediently renounces typographic customs in the entire alphabet, which arose on the basis of these assumptions.

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