Loading ...
Sorry, an error occurred while loading the content.

Re: Linotypesetting

Expand Messages
  • Gerald Lange
    Kayle This is far more than you have asked for and actually doesn t provide you with the ready answer but it would be foolish to address this without further
    Message 1 of 22 , Dec 24, 2006
    • 0 Attachment
      Kayle

      This is far more than you have asked for and actually doesn't provide
      you with the ready answer but it would be foolish to address this
      without further explanation. It is hard to make specific
      recommendations as everyone is going to have their own taste about
      typefaces but there are a number of considerations. Note first that a
      pretty face can lead you astray. :) Beauty is more than skin deep.

      To begin I point to the greater wisdom of Lewis Allen (from his
      _Printing with the Handpress_) on the selection of typefaces: "choose
      only after thorough study, for inferior tools corrode the spirit."

      Complicating this is the fact that digital types are generally not
      well suited to the letterpress process (because of ink gain and
      impression—which they were never expected to encounter). One very good
      reason for heading for the special collections department of your
      local university library, or for buying or trading with fellow
      printers whose work you admire, is that you may be able to discern
      what typefaces work well, on which papers, etc.

      I would suggest buying type from a digital foundry known to provide
      technically competent fonts. That will save you a lot of grief and is
      money better spent. I often use Adobe Originals, Font Bureau output,
      Carter & Cone fonts (which are run through Font Bureau to set up the
      metrics), etc. I find that the more established foundries, especially
      those that have historical connections, are a bit more attentive to,
      and understanding of, these matters. But even here one might be a bit
      cautious. While I prefer the technical fitting of Linotype digital
      fonts to Monotype digital fonts, this is not a rule of thumb.
      Monotype's Pastonchi (based on the metal face) is somewhat of a
      technical marvel, while Linotype's Optima (based on the photofilm
      face) requires a great deal of reworking. And there are some very
      excellent fonts from indy foundries, such as dfTYPE's Rialto, a
      version of which is actually designed for letterpress printing.

      Which somewhat brings us back to the other concern, how to make
      digital fonts print well when printed letterpress. This is what one
      might call "a complex issue." I have written somewhat on the subject
      and rather than bulk up this message further, will simply refer you to
      the page where some of this material is available. The "An Affinity by
      Design" article may provide a better understanding. Note, however,
      that this was written prior to the relatively recent fashion of "deep
      impression," for which there are further considerations.

      http://bielerpressii.blogspot.com/

      see also

      http://bielerpressxi.blogspot.com/


      Gerald






      >
      > Gerald,
      >
      > If you would: what are the "half dozen or dozen very good typefaces"
      > you and others go to
      > over and over again for your letterpress work?
      >
      > With apologies if everyone has answered this a dozen times before...
      >
      > A very happy holiday to all,
      >
      > Kayle Simon
      >
      >
    • Ed Inman
      ... It s also probably far cheaper for most graphic artists to outsource printing altogether--much less want to have anything to do (hands-on) with the arcane
      Message 2 of 22 , Dec 25, 2006
      • 0 Attachment
        -----Original Message-----
        >From: Gerald Lange <Bieler@...>
        >Based on your
        >production, it is far cheaper to outsource for processed photopolymer
        >plates than to buy a platemaker or even try to process them yourself by
        >alternative means.

        It's also probably far cheaper for most graphic artists to outsource printing altogether--much less want to have anything to do (hands-on) with the arcane world of letterpress...

        But what fun is that? (LOL)

        Oh sure, we can ponder initial vs. ongoing platemaking costs till the Linotype freezes over, but what digital-era graphic artist/letterpress freak in this "I want it yesterday" market would not *want* to make their own photopolymer plates?

        Who wants to wait hours, days, or even weeks on a plate to arrive in the mail from some service bureau in Timbuktu when you can make your own in 20 minutes time?

        Obviously, learning to make plates involves some investment and a different set of skills than printing, but it's nothing to be overly afraid of for skilled craftspersons. I've successfully made hundreds of them with only modest equipment and anybody with a burning desire to learn the same can do likewise.

        cheers,
        Ed
      • Gerald Lange
        Hi Ed 20 minutes!!! Even a platemaking machine can t process em anywhere near that fast. It takes much longer than that for the bath to heat up, especially in
        Message 3 of 22 , Dec 25, 2006
        • 0 Attachment
          Hi Ed

          20 minutes!!! Even a platemaking machine can't process em anywhere
          near that fast. It takes much longer than that for the bath to heat
          up, especially in winter.

          You must be doing something right, and having fun doing it as well.
          Congrats.

          Gerald



          >
          > -----Original Message-----
          > >From: Gerald Lange <Bieler@...>
          > >Based on your
          > >production, it is far cheaper to outsource for processed photopolymer
          > >plates than to buy a platemaker or even try to process them
          yourself by
          > >alternative means.
          >
          > It's also probably far cheaper for most graphic artists to outsource
          printing altogether--much less want to have anything to do (hands-on)
          with the arcane world of letterpress...
          >
          > But what fun is that? (LOL)
          >
          > Oh sure, we can ponder initial vs. ongoing platemaking costs till
          the Linotype freezes over, but what digital-era graphic
          artist/letterpress freak in this "I want it yesterday" market would
          not *want* to make their own photopolymer plates?
          >
          > Who wants to wait hours, days, or even weeks on a plate to arrive in
          the mail from some service bureau in Timbuktu when you can make your
          own in 20 minutes time?
          >
          > Obviously, learning to make plates involves some investment and a
          different set of skills than printing, but it's nothing to be overly
          afraid of for skilled craftspersons. I've successfully made hundreds
          of them with only modest equipment and anybody with a burning desire
          to learn the same can do likewise.
          >
          > cheers,
          > Ed
          >
        • Bethany Carter
          ... Dear Ed, I have that burning desire!! Unfortunately what I don t have is the information on how to build said modest equipment , and then what to do with
          Message 4 of 22 , Dec 25, 2006
          • 0 Attachment
            >I've successfully made hundreds of them with only modest equipment and
            >anybody with a burning desire to learn the same can do likewise.

            Dear Ed,

            I have that burning desire!! Unfortunately what I don't have is the
            information on how to build said "modest equipment", and then what to do
            with it when it's built. I've always had my plates made by Boxcar and they
            always do a lovely job, but I would love to learn how to make them myself.
            There are many things I would like to print but the cost of having a plate
            made is usually why they don't get printed. Would you be willing to share
            your knowledge of the process with me and how to build the equipment? You
            can certainly contact me off list with your reply if you prefer. Thanks for
            your consideration!! Have a happy holiday!

            Bethany


            >From: Ed Inman <edinman@...>
            >Reply-To: PPLetterpress@yahoogroups.com
            >To: PPLetterpress@yahoogroups.com
            >Subject: Re: [PPLetterpress] Re: Linotypesetting
            >Date: Mon, 25 Dec 2006 02:55:30 -0600 (GMT-06:00)
            >
            >
            >
            >-----Original Message-----
            > >From: Gerald Lange <Bieler@...>
            > >Based on your
            > >production, it is far cheaper to outsource for processed photopolymer
            > >plates than to buy a platemaker or even try to process them yourself by
            > >alternative means.
            >
            >It's also probably far cheaper for most graphic artists to outsource
            >printing altogether--much less want to have anything to do (hands-on) with
            >the arcane world of letterpress...
            >
            >But what fun is that? (LOL)
            >
            >Oh sure, we can ponder initial vs. ongoing platemaking costs till the
            >Linotype freezes over, but what digital-era graphic artist/letterpress
            >freak in this "I want it yesterday" market would not *want* to make their
            >own photopolymer plates?
            >
            >Who wants to wait hours, days, or even weeks on a plate to arrive in the
            >mail from some service bureau in Timbuktu when you can make your own in 20
            >minutes time?
            >
            >Obviously, learning to make plates involves some investment and a different
            >set of skills than printing, but it's nothing to be overly afraid of for
            >skilled craftspersons. I've successfully made hundreds of them with only
            >modest equipment and anybody with a burning desire to learn the same can do
            >likewise.
            >
            >cheers,
            >Ed

            _________________________________________________________________
            Get live scores and news about your team: Add the Live.com Football Page
            www.live.com/?addtemplate=football&icid=T001MSN30A0701
          • bellky6030
            I have also made quite a few PPplates with modest equipment. I make .250 soft polymer plates for a flexo-ish operation and I also make hard resin plates for
            Message 5 of 22 , Dec 25, 2006
            • 0 Attachment
              I have also made quite a few PPplates with modest equipment. I
              make .250 soft polymer plates for a flexo-ish operation and I also make
              hard resin plates for debossing type and images into soft paper. Each
              plate takes less than thirty minutes, start to finish.

              I'm using liquid resin, ink jet transparencies, hardware-store 'black
              lights', and some old toothbrushes and nail brushes for processing. I
              wouldn't necessarily recommend doing fine work this way, but for line
              art and 12pt and larger type it's working quite well. As I gain more
              experience and further refine my techniques I expect to move to finer
              images and smaller type.

              Anyway, it can be done with simple, homemade equipment, and with good
              results.

              Regards,
              Dave
            • Scott Young
              Does anyone one the list have a good source that explains how to get started using photopolymer plates or a source to get a sample plate made to try on
              Message 6 of 22 , Dec 26, 2006
              • 0 Attachment
                Does anyone one the list have a good source that explains 'how' to get
                started using photopolymer plates or a source to get a sample plate made to
                try on press?
                Thanks in advance!
                Scott


                -------Original Message-------

                From: bellky6030
                Date: 12/25/2006 10:32:57 PM
                To: PPLetterpress@yahoogroups.com
                Subject: [PPLetterpress] PP Plates in 20

                I have also made quite a few PPplates with modest equipment. I
                make .250 soft polymer plates for a flexo-ish operation and I also make
                hard resin plates for debossing type and images into soft paper. Each
                plate takes less than thirty minutes, start to finish.

                I'm using liquid resin, ink jet transparencies, hardware-store 'black
                lights', and some old toothbrushes and nail brushes for processing. I
                wouldn't necessarily recommend doing fine work this way, but for line
                art and 12pt and larger type it's working quite well. As I gain more
                experience and further refine my techniques I expect to move to finer
                images and smaller type.

                Anyway, it can be done with simple, homemade equipment, and with good
                results.

                Regards,
                Dave





                [Non-text portions of this message have been removed]
              • Gerald Lange
                Scott Can t help you with the plate sample thing as you actually need a height specific base to print plates but I did write a monograph on photopolymer plates
                Message 7 of 22 , Dec 26, 2006
                • 0 Attachment
                  Scott

                  Can't help you with the plate sample thing as you actually need a
                  height specific base to print plates but I did write a monograph on
                  photopolymer plates a while back.

                  Go here
                  http://bielerpressxi.blogspot.com/

                  Gerald

                  ps: by the way, your email address is junked. You might want to fix that.





                  --- In PPLetterpress@yahoogroups.com, "Scott Young" <scott@...> wrote:
                  >
                  > Does anyone one the list have a good source that explains 'how' to get
                  > started using photopolymer plates or a source to get a sample plate
                  made to
                  > try on press?
                  > Thanks in advance!
                  > Scott
                  >
                • jason@greenboathouse.com
                  Like Bethany, I have the desire and a decent sense of discovery, and the discussion here of custom plate-making has me both curious and eager. I know many on
                  Message 8 of 22 , Dec 27, 2006
                  • 0 Attachment
                    Like Bethany, I have the desire and a decent sense of discovery, and the discussion here of custom plate-making has me both curious and eager. I know many on the list hold fairly tight their trade secrets, thinking them well earned and thus somewhat private skills, but should anyone feel generous enough to share the basic construction & directions, I, too, would be very grateful so that I can venture into what I'm sure is a frustrating & rewarding process of trial and error.

                    Tom, or others, on-list or off, I'd greatly appreciate the same information Bethany has requested.

                    All the best to everyone for the new year...

                    Jason

                    _____________________________

                    Jason Dewinetz
                    www.greenboathouse.com/dewinetz



                    ----- Original Message -----
                    From: Bethany Carter
                    To: PPLetterpress@yahoogroups.com
                    Sent: Monday, December 25, 2006 8:00 PM
                    Subject: Re: [PPLetterpress] Re: Linotypesetting


                    >I've successfully made hundreds of them with only modest equipment and
                    >anybody with a burning desire to learn the same can do likewise.

                    Dear Ed,

                    I have that burning desire!! Unfortunately what I don't have is the
                    information on how to build said "modest equipment", and then what to do
                    with it when it's built. I've always had my plates made by Boxcar and they
                    always do a lovely job, but I would love to learn how to make them myself.
                    There are many things I would like to print but the cost of having a plate
                    made is usually why they don't get printed. Would you be willing to share
                    your knowledge of the process with me and how to build the equipment? You
                    can certainly contact me off list with your reply if you prefer. Thanks for
                    your consideration!! Have a happy holiday!

                    Bethany

                    >From: Ed Inman <edinman@...>
                    >Reply-To: PPLetterpress@yahoogroups.com
                    >To: PPLetterpress@yahoogroups.com
                    >Subject: Re: [PPLetterpress] Re: Linotypesetting
                    >Date: Mon, 25 Dec 2006 02:55:30 -0600 (GMT-06:00)
                    >
                    >
                    >
                    >-----Original Message-----
                    > >From: Gerald Lange <Bieler@...>
                    > >Based on your
                    > >production, it is far cheaper to outsource for processed photopolymer
                    > >plates than to buy a platemaker or even try to process them yourself by
                    > >alternative means.
                    >
                    >It's also probably far cheaper for most graphic artists to outsource
                    >printing altogether--much less want to have anything to do (hands-on) with
                    >the arcane world of letterpress...
                    >
                    >But what fun is that? (LOL)
                    >
                    >Oh sure, we can ponder initial vs. ongoing platemaking costs till the
                    >Linotype freezes over, but what digital-era graphic artist/letterpress
                    >freak in this "I want it yesterday" market would not *want* to make their
                    >own photopolymer plates?
                    >
                    >Who wants to wait hours, days, or even weeks on a plate to arrive in the
                    >mail from some service bureau in Timbuktu when you can make your own in 20
                    >minutes time?
                    >
                    >Obviously, learning to make plates involves some investment and a different
                    >set of skills than printing, but it's nothing to be overly afraid of for
                    >skilled craftspersons. I've successfully made hundreds of them with only
                    >modest equipment and anybody with a burning desire to learn the same can do
                    >likewise.
                    >
                    >cheers,
                    >Ed

                    __________________________________________________________
                    Get live scores and news about your team: Add the Live.com Football Page
                    www.live.com/?addtemplate=football&icid=T001MSN30A0701





                    [Non-text portions of this message have been removed]
                  • Gerald Lange
                    Jason and Bethany In the Files section here is Brian Allen s article A Homemade Photopolymer Plate Making System. You might find this helpful.
                    Message 9 of 22 , Dec 27, 2006
                    • 0 Attachment
                      Jason and Bethany

                      In the Files section here is Brian Allen's article "A Homemade
                      Photopolymer Plate Making System." You might find this helpful.

                      Files>Reference materials>BAllen Photopolymer2.pdf

                      Gerald
                      http://BielerPress.blogspot.com



                      > Like Bethany, I have the desire and a decent sense of discovery, and
                      the discussion here of custom plate-making has me both curious and
                      eager. I know many on the list hold fairly tight their trade secrets,
                      thinking them well earned and thus somewhat private skills, but should
                      anyone feel generous enough to share the basic construction &
                      directions, I, too, would be very grateful so that I can venture into
                      what I'm sure is a frustrating & rewarding process of trial and error.
                      >
                      > Tom, or others, on-list or off, I'd greatly appreciate the same
                      information Bethany has requested.
                      >
                      > All the best to everyone for the new year...
                      >
                      > Jason
                      >
                      > _____________________________
                      >
                      > Jason Dewinetz
                      > www.greenboathouse.com/dewinetz
                      >
                      >
                    • Kayle Simon
                      Gerald, I am familiar with the article you wrote on revising fonts for letterpress, and also familiar with the foundries you mention. I have always loved type
                      Message 10 of 22 , Dec 28, 2006
                      • 0 Attachment
                        Gerald,

                        I am familiar with the article you wrote on revising fonts for
                        letterpress,
                        and also familiar with the foundries you mention. I have always loved
                        type and have many of my own favorites, of course; those that are always
                        "on" and at the ready, those I find myself turning to time and again.

                        I would say that there are perhaps only 30 or so of the thousands of
                        fonts I own, that I literally could not live without.

                        What I would like to know is, not what fonts are best for
                        letterpress, but
                        what fonts do you, Gerald Lange, turn to, time and time again,
                        with the understanding that some if not most of these, you have revised
                        for letterpress printing?

                        And what fonts do others on this list similiarly find themselves
                        turning to?
                        It's a personal question, rather than a technical one; I'm not asking
                        anyone to
                        tell me what to love; I'm asking what others love.

                        Thank you again, everyone, and Happy New Year!

                        Kayle Simon


                        On Dec 24, 2006, at 3:07 PM, Gerald Lange wrote:

                        > It is hard to make specific
                        > recommendations as everyone is going to have their own taste about
                        > typefaces
                        >
                        > ..


                        [Non-text portions of this message have been removed]
                      • Gerald Lange
                        Kayle While I do use certain typefaces over and over again for non-letterpress related work I rarely do so for letterpress. Mainly my work is book related, and
                        Message 11 of 22 , Dec 28, 2006
                        • 0 Attachment
                          Kayle

                          While I do use certain typefaces over and over again for
                          non-letterpress related work I rarely do so for letterpress. Mainly my
                          work is book related, and it takes a good long time to produce
                          letterpress printed books. So much so that by the time I am finished
                          with a book, I'm also kind of finished with my interest in the
                          typeface. Plus, every book project is going to encourage the use of
                          the most appropriate typeface, and this is going to be determined by
                          parameters such as paper, dimension, subject matter, etc, rather than
                          "love." Plus I tend not to repeat the use of a typeface as I try to
                          avoid a standardized approach in my bookwork.

                          That said, I am currently exploring Linotype's Sabon Next, have
                          completed the typesetting of a book with Linotype's Optima (which
                          required extensive reworking), have used dfTYPE's Rialto (highly
                          recommended), Carter & Cone's Miller/Wilson Greek, most of the Adobe
                          Originals line (possibly forthcoming is a project with Kepler),
                          Monotype Imaging's Granjon, Pastonchi, Poliphilus, Berthold's Post
                          Antiqua, some of Lanston Typography's faces... I went through a period
                          where I was quite interested in faux letterpress typefaces:
                          LetterPerfect's Old Claude, MetaDesign's Celestia Antique, Hoefler &
                          Frere-Jones' St Augustin, Letraset's Papyrus, Panache Typography's
                          Lettres Eclatees. Thankfully I have gotten over that.

                          The only face I have ever had a problem with was Emigre's Journal,
                          which I actually like a great deal. It has very little affinity to the
                          letterpress process. On the other hand, while I haven't used it, I
                          have seen some impressive work with their Mrs Eaves.

                          I recently reworked Comic Sans into a very thinned out (looks far
                          better that way) PS1 version for a non-letterpress related project
                          that I am tempted to try letterpress if and when the opportunity
                          presents itself!!!

                          I've not listed any display or special purpose faces (such as script
                          or fraktur) as the original post had to do with work-a-day text faces
                          as I recall, but these are, of course, the enjoyable make-it-sing
                          touches to all typography.

                          So, I'm afraid no love list to offer you.

                          Gerald



                          >
                          > Gerald,
                          >
                          > I am familiar with the article you wrote on revising fonts for
                          > letterpress,
                          > and also familiar with the foundries you mention. I have always loved
                          > type and have many of my own favorites, of course; those that are always
                          > "on" and at the ready, those I find myself turning to time and again.
                          >
                          > I would say that there are perhaps only 30 or so of the thousands of
                          > fonts I own, that I literally could not live without.
                          >
                          > What I would like to know is, not what fonts are best for
                          > letterpress, but
                          > what fonts do you, Gerald Lange, turn to, time and time again,
                          > with the understanding that some if not most of these, you have revised
                          > for letterpress printing?
                          >
                          > And what fonts do others on this list similiarly find themselves
                          > turning to?
                          > It's a personal question, rather than a technical one; I'm not asking
                          > anyone to
                          > tell me what to love; I'm asking what others love.
                          >
                          > Thank you again, everyone, and Happy New Year!
                          >
                          > Kayle Simon
                          >
                          >
                          > On Dec 24, 2006, at 3:07 PM, Gerald Lange wrote:
                          >
                          > > It is hard to make specific
                          > > recommendations as everyone is going to have their own taste about
                          > > typefaces
                          > >
                          > > ..
                          >
                          >
                          > [Non-text portions of this message have been removed]
                          >
                        • John G. Henry
                          Kayle: I have always gravitated back to a Garamond-like face. Through the years I have used ATF Garamond, Garamont, and Granjon (all G faces you ll notice).
                          Message 12 of 22 , Dec 29, 2006
                          • 0 Attachment
                            Kayle:

                            I have always gravitated back to a Garamond-like face. Through the
                            years I have used ATF Garamond, Garamont, and Granjon (all "G" faces
                            you'll notice).

                            I like the fairly small x-height which keeps the page relatively
                            light and open. In doing miniature pages, however, I think a face
                            with larger x-height becomes more readable in small sizes, so have
                            used Linotype Baskerville and Authors Roman (BB&S) to good advantage.

                            I may have related this on-line before, but it bears repeating. I
                            complained to one of my professors, Harry Duncan, that I only had
                            12pt. Garamond in sufficient quantities to set book pages. His reply
                            was that he could be happy with just that face and size for almost
                            all he wanted to do.

                            I do find myself gravitating to what I like and enjoy seeing, and
                            the older I get, the less I seek out new type and decorative
                            material.

                            John G. Henry
                            Cedar Creek Press


                            > And what fonts do others on this list similiarly find themselves
                            > turning to?
                            > It's a personal question, rather than a technical one; I'm not
                            asking
                            > anyone to
                            > tell me what to love; I'm asking what others love.
                            >
                            > Thank you again, everyone, and Happy New Year!
                            >
                            > Kayle Simon
                            >
                            >
                          • Bill Denham
                            John, Best to you in the new year. I have a memory of your response when I joined this list a while back. I hold that still. l noted your affinity for
                            Message 13 of 22 , Dec 29, 2006
                            • 0 Attachment
                              John,

                              Best to you in the new year.

                              I have a memory of your response when I joined this list a while back. I hold that still.

                              l noted your affinity for Garamond.

                              I have the same love of how it looks.

                              I am no knower of typefaces, though once years ago when I worked for a small regional newspaper, the managing editor subscribed to "Upper and Lower Case" (I think that was the name) and I used to love spending time with it. I cannot offer any rational explanation or even wild guess for why I share your love of Garamond and Garamond-like type faces--but that's what I like and that's what I use in all my poetry.

                              Thake care.

                              Bill Denham

                              "John G. Henry" <JohnH@...> wrote: Kayle:

                              I have always gravitated back to a Garamond-like face. Through the
                              years I have used ATF Garamond, Garamont, and Granjon (all "G" faces
                              you'll notice).

                              I like the fairly small x-height which keeps the page relatively
                              light and open. In doing miniature pages, however, I think a face
                              with larger x-height becomes more readable in small sizes, so have
                              used Linotype Baskerville and Authors Roman (BB&S) to good advantage.

                              I may have related this on-line before, but it bears repeating. I
                              complained to one of my professors, Harry Duncan, that I only had
                              12pt. Garamond in sufficient quantities to set book pages. His reply
                              was that he could be happy with just that face and size for almost
                              all he wanted to do.

                              I do find myself gravitating to what I like and enjoy seeing, and
                              the older I get, the less I seek out new type and decorative
                              material.

                              John G. Henry
                              Cedar Creek Press

                              > And what fonts do others on this list similiarly find themselves
                              > turning to?
                              > It's a personal question, rather than a technical one; I'm not
                              asking
                              > anyone to
                              > tell me what to love; I'm asking what others love.
                              >
                              > Thank you again, everyone, and Happy New Year!
                              >
                              > Kayle Simon
                              >
                              >






                              [Non-text portions of this message have been removed]
                            • Gerald Lange
                              John I ve used these all in my metal type years, and I d agree you can always trust a good Garamond. But I think the thread was about digital type. In that
                              Message 14 of 22 , Dec 30, 2006
                              • 0 Attachment
                                John

                                I've used these all in my "metal type years," and I'd agree you can
                                always trust a good Garamond. But I think the thread was about digital
                                type. In that case, I don't know of anyone who is offering or owns the
                                rights to the ATF Garamond, but Monotype Imaging has the Granjon
                                (which I've used and thought quite good, though in modified version)
                                and P22 is offering Goudy's Garamont (as part of the Lanston
                                Typography collection). Which I have been tempted to buy. Always liked
                                its funk. But Garamond doesn't always start with a "g." Sabon, as a
                                for instance. And, I really like the Old Claude that LetterPerfect put
                                out; despite that it is faux letterpress, the settings are quite good.

                                Besides, there is a bit of a controversy over what is a Garamond,
                                isn't there? or more to the point, are all the Garamond faces
                                appropriately attributed?

                                As an aside, once upon a time, I met with Nicolas Barker, as an
                                interview for a project, and he promptly started out with the idea
                                that the first digital type program, Karow's (?), was actually an
                                attempt to have the computer determine the Garamondness of Garamond.
                                Apparently not all that successful.

                                Gerald
                                http://BielerPress.blogspot.com


                                > Kayle:
                                >
                                > I have always gravitated back to a Garamond-like face. Through the
                                > years I have used ATF Garamond, Garamont, and Granjon (all "G" faces
                                > you'll notice).
                                >
                                > I like the fairly small x-height which keeps the page relatively
                                > light and open. In doing miniature pages, however, I think a face
                                > with larger x-height becomes more readable in small sizes, so have
                                > used Linotype Baskerville and Authors Roman (BB&S) to good advantage.
                                >
                                > I may have related this on-line before, but it bears repeating. I
                                > complained to one of my professors, Harry Duncan, that I only had
                                > 12pt. Garamond in sufficient quantities to set book pages. His reply
                                > was that he could be happy with just that face and size for almost
                                > all he wanted to do.
                                >
                                > I do find myself gravitating to what I like and enjoy seeing, and
                                > the older I get, the less I seek out new type and decorative
                                > material.
                                >
                                > John G. Henry
                                > Cedar Creek Press
                                >
                                >
                                > > And what fonts do others on this list similiarly find themselves
                                > > turning to?
                                > > It's a personal question, rather than a technical one; I'm not
                                > asking
                                > > anyone to
                                > > tell me what to love; I'm asking what others love.
                                > >
                                > > Thank you again, everyone, and Happy New Year!
                                > >
                                > > Kayle Simon
                                > >
                                > >
                                >
                              • Crispin Elsted
                                Dear Kayle, I m not sure whether you mean typefaces in general, or only digital ones, but I thought I might as well weigh in with my loves . As it happens,
                                Message 15 of 22 , Dec 31, 2006
                                • 0 Attachment
                                  Dear Kayle,

                                  I'm not sure whether you mean typefaces in general, or only digital ones, but I thought I might as well weigh in with my 'loves'. As it happens, mine are all metal, because that is all I use -- not from any Luddite dismissal, but simply because I have neither the software nor the expertise as yet to use digital faces. I rather imagine, as I'm now 60, that I'll be able to continue with metal predominantly for the rest of my career and still be able to leave a well-stocked collection of metal type in good condition for someone who cares to use after we've closed up shop. That said, I do plan to acquire Adobe InDesign at some point, and a few digital fonts to use on it -- although with a few exceptions, such as Rialto, most of the digital fonts I would use would be the well-digitized forms of types I use in metal.

                                  Returning to metal founts (I make a habit of distinguishing between metal 'founts' and digital 'fonts', by the way) we began with Bembo and still use it: we have it from 8pt to 72pt. The other text faces we use frequently are Poliphilus and Blado, Joanna, and Van Dijck. That gives us two old styles, one transitional, and a modern -- or, in Robert Bringhurst's rather more explicit designations, two Renaissance types, one Baroque, and one modern -- which means that we can print with some sense of period and idiom most of the texts we're interested in working with. We have a number of other text faces in addition to those which we also use: Garamont, Spectrum, Caslon, Gill Sans, and Goudy Catalogue. I have always admired and often used van Krimpen's types; we have large holdings of all three sizes of Cancelleresca Bastarda, for instance, and I use that on occasion for the right piece; recently we used it for a broadsheet of a Ronsard sonnet, and some years ago we printed an edition of Spenser's 'Prothalamion' and 'Epithalamion' in Cancelleresca Bastarda. I wish I had Romanee, but can't find it any longer in metal, and although there are rumours of a digitized for of it, I haven't (yet) found it; if I do, I'll buy it whether or not I've yet acquired a digital system! My greatest 'want' on my wish list would be a very large fount of van Krimpen's Antigone Greek.

                                  As to 'loving' faces, I would say that of Poliphilus & Blado and Joanna among text faces, and of Open Kapitalen (Roman and Greek) and Castellar among titling faces. And to those I would add a sublime little 16pt titling called Elysian, once cast by the Dale Guild, and unidentified as to its designer; Theo Rehak thought it might have been a forgotten Goudy face, but no one knows.

                                  Thank you for letting me air a few of my enthusiasms, Kayle.

                                  A happy and productive New Year to all, with attendant blessings,

                                  Crispin Elsted

                                  Barbarian Press
                                  12375 Ainsworth Road, R.R.8
                                  Mission, British Columbia V4S 1L4
                                  Canada

                                  Tel: 604.826.8089 Fax: 604.826.8092
                                  Website: www.barbarianpress.com

                                  ----- Original Message -----
                                  From: Kayle Simon
                                  To: PPLetterpress@yahoogroups.com
                                  Sent: Thursday, December 28, 2006 9:02 AM
                                  Subject: Re: [PPLetterpress] Re: Linotypesetting


                                  Gerald,

                                  I am familiar with the article you wrote on revising fonts for
                                  letterpress,
                                  and also familiar with the foundries you mention. I have always loved
                                  type and have many of my own favorites, of course; those that are always
                                  "on" and at the ready, those I find myself turning to time and again.

                                  I would say that there are perhaps only 30 or so of the thousands of
                                  fonts I own, that I literally could not live without.

                                  What I would like to know is, not what fonts are best for
                                  letterpress, but
                                  what fonts do you, Gerald Lange, turn to, time and time again,
                                  with the understanding that some if not most of these, you have revised
                                  for letterpress printing?

                                  And what fonts do others on this list similiarly find themselves
                                  turning to?
                                  It's a personal question, rather than a technical one; I'm not asking
                                  anyone to
                                  tell me what to love; I'm asking what others love.

                                  Thank you again, everyone, and Happy New Year!

                                  Kayle Simon

                                  On Dec 24, 2006, at 3:07 PM, Gerald Lange wrote:

                                  > It is hard to make specific
                                  > recommendations as everyone is going to have their own taste about
                                  > typefaces
                                  >
                                  > ..

                                  [Non-text portions of this message have been removed]





                                  [Non-text portions of this message have been removed]
                                • Kayle Simon
                                  Thank you so much, Crispin, Gerald, John and Bill, for your comments on fonts (and founts). I do hope to collect metal type as the years go on (I own extremely
                                  Message 16 of 22 , Dec 31, 2006
                                  • 0 Attachment
                                    Thank you so much, Crispin, Gerald, John and Bill, for your comments
                                    on fonts (and founts).
                                    I do hope to collect metal type as the years go on (I own extremely
                                    little now, not having
                                    come into a collection with either of my presses); now I have a list
                                    of what
                                    I might want to look for in particular, along with some new fonts
                                    that have been mentioned
                                    that I must consider for possible digital use.

                                    And thank you, Lance, for scanning and posting the calendars.

                                    Happy New Year everyone.

                                    Kayle Simon
                                  Your message has been successfully submitted and would be delivered to recipients shortly.