Harri Petteri Granholm wrote:
> Matthew Carter's Verdana is by far the best screen font I've
> seen so far. It's very readable at 11 & 12 point and not
> impossible to use even at 6 point size.
Sorry to be a party pooper, but there's a distiction that has
to be made here. It might be obvious, but here it goes:
What you're seeing is not an accurate representation of the outline
font that Carter made, and not even a rasterization of it: it's a
hand-crafted bitmap which has little to do with the outline font,
except that it doesn't have serifs. In fact, chances are the
bitmaps weren't even done by Carter, since it's such a menial
task unrelated to creating outline fonts.
The bitmap fonts in Verdana are not magical. The reason they seem
highly legible is because they're very wide: you need to go down to
7 pt to beat the tightness of the Times New Roman bitmaps; when you
do that, it becomes less legible than Times. Similarly, you need to
go down to 8 pt to match the width of Arial/Helvetica; same problem.
If you can afford to have your text take up more space, you can
also afford to increase the size of Times, or anything else, to
make it read better.
Ergo (hello, Gary): the Verdana bitmaps are qualitatively
equal to any other font's carefully crafted bitmaps.
Harris, David wrote:
> Btw, there's a vast quantity of pseudo-babble about this font at that
> that site, worth a giggle if nothing else -- here's a taste: "In its
> proportions and stroke weight, the Verdana family resembles sans
> serifs such as Frutiger, and Johnston's typeface for the London
> Underground. But to label Verdana a humanist face is to ignore the
> successful fusion of form and function Carter has achieved. This
> isn't merely a revival of classical elegance and savoir faire; this
> is type designed for the medium of screen."
Funny. This could only refer to the outlines, which is what you
see only when you print. "Screen"!? My finial! Pseudo-babble is very
apt, and makes perfect sense when you consider Microsoft's MO.
There's no humanism or classical elegance in what you see on
As an aside:
I have incredible respect for M. Carter. Every time I see a sample
of Bell Centennial (which doesn't happen often enough), I get
hrant h papazian