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At 1:45 PM -0400 8/27/01, William Adams wrote:
>Optima

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?

--Randal