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John Savard

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John Savard
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  • If color is the "new italic", or the "new bold", then it will be up to the user to decide when letters change color, just as it is up to the user to decide what words are to be set in bold or set in italic. And word processors already let people cha…
  • This discussion has reminded me of an important difference between the kind of font one would order from ATF or Kelsey and a TrueType font file. If one wanted to typeset an entire book, a single 20-a font wouldn't have enough letters in it to do the…
  • Denis Moyogo Jacquerye said: In Togo, the same character is used as a letter Ƒ/ƒ in the orthography of the Ewe language. If you plan to support that language the glyph must be a proper letter (proper ascender and descender, upright in upright, …
  • Caledonia is a very popular typeface; one very tiny footnote to the career of W. A. Dwiggins that few people know is this: the symbols "dek" and "el", used for a while by the Duodecimal Society of America (now the Dozenal Society of America), and wh…
  • Mark Simonson said: The 18 unit em John mentions is from the metal type days, and it was strictly to do with the widths of the characters. The shapes of the characters were not constrained by any sort of unit grid the way they are in digital fo…
  • Having owned a manual typewriter which had a cloth ribbon that was red across half its width, so that one could print words in red for emphasis, the idea of color being "the new italic" is not completely bizarre to me. Since display faces like Bifu…
  • Given that 18 units per em was good enough for Monotype, on the one hand no doubt 1000 units per em is enough, but on the other hand, a number of units that is a multiple of 18 would provide compatibility.
  • Just as Semitic languages are suited to consonantal alphabets (apparently the term "abjad" is a fairly recent coinage, and one that has some controversy attached to it), there are characteristics of Chinese that would complicate the move from charac…
  • I actually mention the Kuhn and Anderson paper in a page on my web site, as I found the idea of some interest myself. It's on the page titled "Hardware Security" in the cryptography section.
  • Bahman Eslami said: This could be surprise for you but there is no final, initial, medial form in Arabic script. This is just an implementation method in western type systems. Yes, I did oversimplify. There are two different forms, a la…
  • John Hudson said: That is not how cognitive scientists now believe that we read. That may be. But my argument is that even if bouma played a significant role in reading, there could be reasons for difficulty in reading the Arabic scrip…
  • If Arabic takes longer to read than Hebrew, or presumably English, when people reading English tend to read English words as a single unit, taking advantage of the general shape of a word as indicated by letters with ascenders and descenders in lowe…
  • In the case of English, "can't" is one word; it's a contraction of can not, but the omitted letter, replaced by an apostrophe, is in the middle of the word "not". In the case of French, "d'aujourd'hui", which means "of today" or "contemporary", is a…
  • To me, the 5 and 6 look very much the same at the top, and also the same at the bottom, but I'm less sure. With the 8 and the 0, at first the 8 looked bigger, and later, the 0 looked bigger.
  • Optima, Bifur, Data '70... there are plenty of typefaces out there that are not calligraphic in nature. Even a conventional typeface like Bodoni has letterforms that would be difficult to execute with a nibbed pen. Thus, I think that referencing a …
  • I don't know a word of Arabic, but to me, the third one looked as though the stroke width was uniform, so the thinner vertical lines may be a simple optical correction for reasons that are not dependent on the script or culture, except as they are a…
  • I would put it this way: with a large x-height, and with open counters, newspaper type has to lack certain features that suggest grace and delicacy. That does not mean that it cannot be designed with aesthetics strongly in mind; that does not mean t…
  • Historically, the primary distinguishing property of newspaper typefaces is a large x-height. The use of Scotch Roman for newspapers was characteristic of the 19th Century in the United States, and persisted somewhat longer in Britain. The first of…