At 1:45 PM -0400 8/27/01, William Adams wrote:
Not quite -- I was thinking it could be a condensed version of Optima, but the C and the L are definitely different than those in Optima. Plus, Optima has much more flare than the W L and A demonstrate here.
>One such is Warren Chappell's Lydian.
As I said, fonts that I can stand to look at...
At 1:59 PM -0400 8/27/01, Cheryl Addington wrote:
>I think you should design such a thick/thin/sans font, and name it, naturally, ParmaSan
The idea behind these kind of fonts seems interesting to me, but I really wonder why they are all so ugly. Is it because they all are imitating the style of old-fashioned lettering done with a flat lettering pen (which I never liked in the first place) or is it something fundamental about the contrast between straight line and the differences in weights?