RE: [PPLetterpress] [thoughts on digital typefaces.]
>> The P22 Foundry division 'International House of Fonts' (IHOF)Then my guess was not so bad? The Dwiggins hand/your font at first glance
>> have a font called 'Dwiggins', which seems to be an uncial bastard
>> inspired by, rather than designed by W.A. Dwiggins (1880-1956):
> Actually the font is a digitized version of calligraphy that Dwiggins
> created for a small booklet that was included in Dolphin #2 (New York
> Limited Editions Club 1935). It was never a typeface to begin with, but it
> is true to Dwiggins's hand. It is rather quirky isn't it?
looks very similar to Dwiggins' Winchester with its uncial alternatives, the
latter being more rendered as a traditional book letter and thus somewhat
less 'quirky'. (Could the Winchester uncial have been drawn perchance
somewhat after Dwiggins wrote his calligraphy for the Dolphin?)
Likely, it's just a matter of personal taste--if typography and type design
were allowed such an aesthetic liberty at all--but I don't like unicase
fonts, and their going astray from canonised conventions of aesthetics and
readability. In Dwiggins' case, though, it would be anachronistic to
denounce the experiment as a unicase font, since it was conceived as an
uncial revival--only the alternative version, that is.
Uncials didn't have two different alphabets, and neither did Roman script
from which it devolved; the combination of uppercase and lowercase in Latin
script is an invention of the early 15th century, which has proved it's
usefulness. Unicase scripts never could bear upon the historical existence
of uncial script as a legitimisation, since the latter was a true one-case
alphabet, whereas unicase experiments of contemporary designers (amongst
whom Zuzanna Licko) are but an at random mixture of both alphabets. Uncial
script is an intermediary phase in the evolution of Western script, standing
in-between Latin monumental capitals and the lowercase forms of the
Carolingian minuscula that are still in use. I don't believe we should
emulate embryonic stages of our typographic history, having reached its full
maturity already. This consideration, however, I grant, one might take for
but a personal conviction.
Thanks for your info on the origins of the P22 Dwiggins.