> It seems to be most common in books published from (you guessed)
>> How can this glyph be common in DTP if it is not in any fonts?
> Good grief...I've seen DTP users roll their own, using a variety
of software to mangle characters they didn't like the look of. It's
fairly easy to take the quote and mirror-image is and stuff it back
into the font file.
> But from other correspondance, I am now more of the opinion that
this transgression is done by people using phototypesetters,
working from computer-prepared text. How on earth they manage to
mangle it I don't know. It was easy to slip when you had to load
mats into the frame by hand, because you could get them the wrong
way round. It ought to be impossible now to do accidentally, but I
still see it. I'm going to start collecting them, so anyone who
comes across reversed quotes please send me the reference.
25 de marzo de 1996.
In 1909, American Type Founders Company released a Morris Benton's
Bodoni with the mirrored opening quotation marks (PP 99, instead of
66 99) commented by Magnus Alm. You can find some of the
characters, including those glyphs, in Lawson & Agner's book
"Printing Types," (1990, page 106). No doubt, it was some good
years before the invention of the phototypesetters.
There are some other typefaces with the same criterion applied on
them. Some examples are: Futura, Novarese, Stymie, Benguiat,
Bauhaus, Avant Garde, Aster, and Antique Olive, as they are shown
in "A Portfolio of text & Display Type," by Compugraphic (USA,
1980). You can see just the same also in the Warren Chappell's
The existance of that different glyph is a fact, no matter if the
teachers used to tell stories about 66's and 99's. There are a lot
of different quotation marks, depending on the language. Even among
countries that share the same language, as USA and England (well,
almost the same language), you can find different quotation marks.
Moreover. Anybody familiarized with calligraphy will find difficult
to draw the 66 quotation marks. It is natural to do the hard part
of the stroke at the beginning of the trace, from left to right and
downward. My raw conclusion is that the 66 design came after the PP
one. If you let me make another guess, I would say that the PP - 99
design comes from Italy, where the typographic style we use now a
days comes from.
Magnus and I have been exchanging information about this since last
year. Any participation will be very much appreciated.
Jorge de Buen
[log in to unmask]