Re: Favourite fonts for Photopolymer printing
I put a pic of the Rialto printed letterpress in the Photos section
here. Photos > Bieler Press > Rialto. You need to view it at the high
rez version. This was shot at any angle because the piece is quite
large but I think it shows how well the face sets and how conducive it
is to the process.
I sent an email earlier in the day but it apparently got lost in the
ozone. So, in case it never shows up: The last price I saw on Rialto,
in 2002, was $509USD. I wrote a review of the typeface at about that
time and a copy can be found at TypeRoad.
> You're right, Gerald. When I checked again today, I saw no such
> anomalies. But I had looked at the file three times and the text
> dipped on the letters I mentioned. Go figure . . .
> Do you have any idea how much Rialto costs - the site Ludwig pointed
> me to is mostly in German. Thanks again.
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