RE: [PPLetterpress] letterpress optimised digital type - HZ microtypographic enhancements
If the patent rights were bought, of what use then is the software code?
Besides, I wonder what exactly could be patented: perhaps some algorithms
that were developed, but the HZ-principles you rehearsed, sure could never
be subject to patent or copyright laws? That would be the same as patenting
Marinetti's Futurist Manifesto or the Then Commandments. And as for software
code: those patents will be always "pending" and thus remain undefined. So,
let's not bother about these legal issues and continue the research.
> they have obviouslyAre you sure the HZ program did this? This would require a completely
> just expanded/condensed entire glyphs rather than "parts of glyphs" for
> certain characters as the original HZ program did.
different definition of fonts than outline shapes. The only font format that
would possibly allow for this approach I know about is Metafont (and,
perhaps, the native format of Font Chameleon). Did the URW developers used
Dr Knuth's format? The developers at Adobe could never allow for a true
glyph condensation/expansion (i.e. only parts of certain selected glyphs,
such as counters), precisely because of the standard font formats InDesign
has to support. Outline fonts are unintelligent fonts: neither software
would ever be able to recognise and thus alter a counter, simply because
this shape is defined as a sheer curve, nothing different from a stem.
That's why HZ rule Number 9 is a bit utopian and euphoristic: "The
adjustments made here should be applicable to single master fonts." As for
outline fonts, only MM would allow for (some of) the alterations.
> The examples I have seen suggest that HZ is best suited to very narrowI agree that the HZ microtypographic enhancements are more obvious in narrow
> columns or for ragged-right settings. For general column width, there is
> little if any difference to software such as plain TeX. The most
> pronounced difference, however, is in the use of HZ for very narrow
> column widths.
text widths. But this is even more the case when justification is applied
and not in ragged settings. (Justified text would benefit more from the HZ
enhancements, because here inter-word spacing is variable and hence more
I disagree with the possible conclusion that the HZ prescriptions should be
applied to narrow column settings only and that consequently their
development wouldn't be that urgent. Wider text settings would benefit from
the software considerably as well. The occurrence of rivers could be
banished for once and for all, widows and orphans would be avoided and
plenty of other advantages might be expected.
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