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Re: Favourite fonts for Photopolymer printing

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  • Gerald Lange
    Caryl 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
    Message 1 of 44 , Jul 13, 2005
      Caryl

      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.

      Gerald Lange
      http://BielerPress.blogspot.com
      http://TypeRoad.blogspot.com


      --- In PPLetterpress@yahoogroups.com, "hollowpress" <carylpeters@t...>
      wrote:
      > 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.
      > Caryl
    • 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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