Lindsay Rollo <[log in to unmask]> wrote:
> First, the discussion point is TYPEFACES, not fonts.
gunnar swanson <[log in to unmask]> replied:
> Language, like typographic standards, is dynamic. Fifteen years ago you
> would have been absolutely right. Fifteen years from now you might clearly
> be a pedantic old fart refusing to recognize reality. Like it or not, the
> current vernacular probably is "font" meaning what you and I both prefer
> to call "typeface."
and Cyan Cernwnos <[log in to unmask]> chimed in:
> My font of choice would be a 25 pounder, good hard ATF metal,
> no pi, 12 point, in a case about chest high, in a well lighted
> part of the shop. I have been made very sensitive to the
> terminology having once been reprimanded by a graphics instructor
> for confusing žstyleÓ with žtypeface.Ó Font once carried with it
> specific reference to size and quantity of letters, but who now
> runs out of digital letters?
In the digital realm, the only "fonts" approaching the original sense are
bitmaps, which are essentially fixed in size by their structure. Most type
companies refer to "font software" or "font programs" when discussing the
code which generates those bitmaps. The confusion between typeface (a
design) and font (an embodiment of that design) is understandable, given
that fonts are the form people use. I find it interesting to consider this
confusion between a concept and the container for that concept. We live in
a world where form is mistaken all too often for substance.
> Digital type imitating metal type imitating handwriting is DEAD.
> Do any typefaces work directly with strokes? Am I wrong?
There are typefaces instantiated as stroke-based fonts. The only ones I
know of in current use, however, are for Arabic and Japanese - unless you
stretch the definition a little and include metafont fonts, although those
aren't very commonly used either, at least in their native form.
Getting back to the original topic, I have had occasion to read books set
in typefaces which annoyed me endlessly. I really wanted to read the
material, but silently cursed the book designer with every turn of the
page. In two cases, they changed my opinion about the faces themselves.
These were Optima (even Zapf barely pulls it off in his well-leaded
settings) and Perpetua (excellent for titling, but I don't think Gill
really understood text; those high-waisted lowercase curves are especially
That ought to generate some comments!
- David Lemon
Mix Zapf with Veljovic and get quirky Beziers!