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RE: [PPLetterpress] Favourite fonts for Photopolymer printing

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  • Ludwig M. Solzen
    Caryl Monotype s newly digitised Bembo is called Bembo Book and is claimed to be a true letterpress fount look-alike.
    Message 1 of 44 , Jul 11, 2005
      Caryl

      Monotype's newly digitised Bembo is called "Bembo Book" and is claimed to be
      a true letterpress fount look-alike.
      http://www.fonts.com/findfonts/detail.htm?pid=420687

      I didn't try the fount yet, but it is my guess no much differences will be
      found with the already existing one, that offset the investment of a new
      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 text-faces
      and of outstanding beauty in in letterpress. I truly hope the combination of
      digital Bembo Book an PP (photopolymers) will achieve the quality of its
      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
      archives.
      http://www.druckschriften.de/Typo-Top-100/Schriften/Fischbachpresse/fischbac
      hpresse.html

      Ludwig
    • Gerald Lange
      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. Mandel
      Message 44 of 44 , Jul 26, 2005
        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. 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.

        Gerald


        >
        > >
        > > In this regard I have another question. Discussing ink traps, it is
        > often
        > > 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
        > found
        > > metal punches that prove this? And if that be the case, what exactly
        > those
        > > 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
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