Loading ...
Sorry, an error occurred while loading the content.

fonts, letterpress configuration

Expand Messages
  • typetom@aol.com
    I am not sure what is meant by this phrase. Anyone care to explain in a few words? Is this a
    Message 1 of 4 , Jan 8, 2002
    • 0 Attachment
      << fonts that do not require letterpress configuration >>
      I am not sure what is meant by this phrase. Anyone care to explain in a few
      words? Is this a reference to ink-spread caused by impression? or the
      necessary opening of counters in smaller point sizes? or some other
      configuration issue??
      Tom

      Tom Parson
      Now It's Up To You Publications
      157 S. Logan, Denver CO 80209
      (303) 777-8951
      http://members.aol.com/typetom
    • bielerpr
      Hi Tom Well, essentially you want to have the printed piece look like it was printed with metal. Maybe. But most digital fonts need a slight weight reduction
      Message 2 of 4 , Jan 8, 2002
      • 0 Attachment
        Hi Tom

        Well, essentially you want to have the printed piece look like it was
        printed with metal. Maybe. But most digital fonts need a slight
        weight reduction to accomplish this, to counteract ink spread,
        provide an even color to the letterform as well as the page, etc.
        More importantly to hold to the original design of the digital face
        which can quickly have problems with ink gain and increased
        impression. These are problems digital faces do not often encounter,
        especially since, except for a great rarity, no one designs faces for
        us, the letterpess folk.

        Used straight out of the can the results are not often good. But some
        faces do perform well, eg the Lanston Type Co issue, dfTYPE's Rialto
        (actually designed for letterpress), some of the Monotype Typography
        revivals, HTF Didot, etc, and that is why we are trying to draw up a
        list.

        A more important problem is optical ranging. I will invariably alter
        fonts so that I do have an optical sizing effect. Often as many as
        four to six variances dependent upon the sizes I will need in the
        finished piece. This is usually accomplished in a font-editing
        program but there are also some built-in ways to do this, multiple
        master fonts, possibly open type fonts, built-in sizing such as with
        Justin Howes' Founder's Caslon, etc.

        Of course we are not yet talking about printing or printing techniques.
        But perhaps we should one of these days.

        Both dfTYPE and H W Caslon Co Ltd (Howes) are members here, and would
        probably welcome inquiries.

        Sort of the short quick response here.

        All best

        Gerald


        --- In PPLetterpress@y..., typetom@a... wrote:
        > << fonts that do not require letterpress configuration >>
        > I am not sure what is meant by this phrase. Anyone care to explain in a few
        > words? Is this a reference to ink-spread caused by impression? or the
        > necessary opening of counters in smaller point sizes? or some other
        > configuration issue??
        > Tom
        >
        > Tom Parson
        > Now It's Up To You Publications
        > 157 S. Logan, Denver CO 80209
        > (303) 777-8951
        > http://members.aol.com/typetom
      • typetom@aol.com
        Message 3 of 4 , Jan 8, 2002
        • 0 Attachment
          << most digital fonts need a slight weight reduction ..., to counteract ink
          spread, provide an even color to the letterform as well as the page, etc....
          to hold to the original design of the digital face >>

          Pretty much what I thought you were refering to with the term "letterpress
          configuration." In practice, mostly, I tend to work with what is given. If
          the digital typeface prints slightly heavier with letterpress, that's what I
          plan for in the page design. A type design can be quirky or out of balance in
          many ways. Maybe fontographer and editing capabilities of the computer now
          allow us to meddle with such things (in ways that the old compositor could
          not, short of the kinds of tricks Bruce Rogers became known for). But mostly
          I live with it, and try to fit the quirks and design weaknesses into the
          typographic decisions -- or I just don't use that font for that situation.

          Sure, multiple masters, optical sizing, the wonderful recent work with
          Caslon, are the right way to go. A discussion of what makes some digital
          fonts work better than others also makes good sense. But I'd hate to dismiss
          the fonts and choices we have in front of us -- as if good work can only be
          done with perfectly designed fonts. Seems to me the job of the printer always
          involves working with necessary compromises. In metal type, the printer
          devised letter-spacing to make caps aesthetically pleasing. While he might
          have demanded more kerned letters (or more ligatures and logo-types) from the
          type designer instead, I think perhaps the letter-spaced setting was a worthy
          solution. Conservatively, I am troubled by over-lapped letters (or such
          things as letter-spaced italics) now occurring just because the computer
          makes them easily possible.

          A bunch of complex issues, I guess. In practice, I'd back off the polymer
          exposure time if possible and watch the inking very carefully, be aware of
          the distortions that can occur, but never decide I can't make good printing
          and creative design just because I am given a limitation to start. On the
          other hand, maybe you're of a mind to do the William Morris trick, and just
          change the whole danged pallette! Press on, press on!
          Tom

          Tom Parson
          Now It's Up To You Publications
          157 S. Logan, Denver CO 80209
          (303) 777-8951
          http://members.aol.com/typetom
        • David Glover
          If it is not too much trouble...what kind of tricks did Bruce Rogers use? I m not looking for a complete list...just a few examples. ... From:
          Message 4 of 4 , Jan 9, 2002
          • 0 Attachment
            If it is not too much trouble...what kind of tricks did Bruce Rogers use?
            I'm not looking for a complete list...just a few examples.

            ----- Original Message -----
            From: <typetom@...>
            To: <PPLetterpress@yahoogroups.com>
            Sent: Tuesday, January 08, 2002 10:48 PM
            Subject: [PPLetterpress] Re: fonts, letterpress configuration



            > Pretty much what I thought you were refering to with the term "letterpress
            > configuration." In practice, mostly, I tend to work with what is given. If
            > the digital typeface prints slightly heavier with letterpress, that's what
            I
            > plan for in the page design. A type design can be quirky or out of balance
            in
            > many ways. Maybe fontographer and editing capabilities of the computer now
            > allow us to meddle with such things (in ways that the old compositor could
            > not, short of the kinds of tricks Bruce Rogers became known for). But
            mostly
            > I live with it, and try to fit the quirks and design weaknesses into the
            > typographic decisions -- or I just don't use that font for that situation.
            >
          Your message has been successfully submitted and would be delivered to recipients shortly.