Re: Favourite fonts for Photopolymer printing
- With TypeCon 2005 starting next week (not to mention summer vacations)
there might be less response from typefounders right now.
Some individual small typefoundries are interested in their typefaces
being usable in photopolymer letterpress but they're the exception,
and, let's face it, they need to be concerned about the 99.9% of their
customers. Nevertheless I know Matthew Carter has expressed
considerable interest in his more recent faces being usable in PPL;
John Downer said that his new Paperback was tested on photopolymer. I
know that P22 often uses its daces on photopolymer. But I would agree
that these are not the rule.
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