Re: Favourite fonts for Photopolymer printing
Out of curiousity I ran a quick comparison of the Rialto letters you
mentioned and others similar in construction (in a page-layout
program) and there is no anomaly in the font. In any well constructed
typeface there SHOULD be variance (in x-height) between different
shaped forms (a lowercase o for instance, might often extend a bit
above and below the x-height), but I can't say that I noticed anything
out of the ordinary.
--- In PPLetterpress@yahoogroups.com, "hollowpress" <carylpeters@t...>
> Thanks for responding Gerald, Ludwig and Harold
> I will probably buy the Bembo open type in a month or two. Re: the
> Rialto specimen on file, why is it that some letters have a lower x-
> height than others (i, p, w)? It doesn't show up this way on the
> druckschriften site.
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