I, for one, am quite curious to see what he thinks after all these
opinions. Absolutely fascinating discussion.
This talk of adapting manuscripts brings me to a tangential situation.
The Czech typographer Oldrich Menhart adapted his own handwriting to create
his Manuscript face, one of the most beautiful and enduring from this
region in the 20th century. Fine Print had an article featuring it and
other faces from Czechoslovakia in the mid-80s, and it was one of the
reasons I resettled to Prague. I've finally adapted Manuscript to Type 1,
but the problems I face now are quite different than kerning pairs.
After the 1989 Velvet Revolution, Ceska Typografie, the state printing
house/type foundry, which apparently held the rights to Menhart's faces,
has broken into component pieces and the type division seems to have faded
away entirely. No contacts can be found.
My question to the group is this: what are the precedents for adapting
faces from firms that have since gone out of business? Who owns the rights?
Do they revert to the relatives of the typographer? And, as we see with
those cheapo type CDs, a tweak here and there, and a new name and
PostScript ID, and you have an entirely new face.
I don't want to go that route, as I would love to include as much
biographical detail about Menhart and his work as possible, but I would
like this face to see the light of day.
I'm beginning to think that a type-savvy attorney could have a field day
working out questions like this and the famous Espresso Dilemma. Anybody
have a cousin in the business? Is there a lawyer in the house?
Prague Digital Arts
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