FYI There is a downloadable PDF of the Rialto specimen book here in Files ... Gerald Lange http://BielerPress.blogspot.com http://TypeRoad.blogspot.com ...Message 1 of 44 , Jul 11, 2005View SourceFYI
There is a downloadable PDF of the Rialto specimen book here in Files
> Reference materials > Rialto-26922.pdfGerald Lange
>claimed to be
> Monotype's newly digitised Bembo is called "Bembo Book" and is
> a true letterpress fount look-alike.will be
> I didn't try the fount yet, but it is my guess no much differences
> found with the already existing one, that offset the investment of a newtext-faces
> version. However, if you do not have the old one (with the Expert Set
> indeed), I'd recommend you to buy a license for the new version, already
> because of it's OpenType format. Sure, Bembo is one of the finest
> and of outstanding beauty in in letterpress. I truly hope thecombination of
> digital Bembo Book an PP (photopolymers) will achieve the quality of itshttp://www.druckschriften.de/Typo-Top-100/Schriften/Fischbachpresse/fischbac
> metal predecessor.
> Another fount to be recommended and especially designed for use in PP
> letterpress is "df Rialto Pressa"; there is a type specimen here in the
Ludwig I think I have found something... I had previously not read the final chapter, The Colorado Project, on Mandel s work in the Southall book. MandelMessage 44 of 44 , Jul 26, 2005View SourceLudwig
I think I have found something...
I had previously not read the final chapter, "The Colorado Project,"
on Mandel's work in the Southall book. Mandel used the term "cutout"
for ink trap and "finial" for thorn. The note regarding the problem of
scale and size with PostScript is of interest as is his suggestion
that these additions need to be sacrified during printing "leaving
behind the real intended shape of the character." Southall does spend
a bit more time with this.
> > In this regard I have another question. Discussing ink traps, it is
> > claimed that in the old days such skilled punch cutters / font
> designers as
> > e.g. J.M. Fleischmann deliberately changed the form of their glyphs
> on the
> > punches, precisely because of ink gain matters. Is that so? Did you
> > metal punches that prove this? And if that be the case, what exactly
> > punch cutters took into account? Did they write down their
> experiences so as
> > to hand over their knowledge to progeny?
> > As soon as I have cleaned up my messy documentation folders and
> found the df
> > paper, I'll inform you.
> > Kind regards
> > Ludwig