Taking all things into consideration, I don’t believe any sound technology since 1959 is “better” than any other. Fidelity to source is not the determining factor of merit, it’s the listener’s experience.
As typographers with so much love for lette…
Here is the technical reference I followed about “lossless”:
"Vinyl is the only consumer playback format we have that's fully analog and fully lossless,"
Your expert may be nerdier, but check out this guy’s lathe!
Vinyl is lossless. It is an analog medium that reproduces sound waves continuously, whereas digital media samples those waves, losing information in between the samples. A moot point at higher sampling rates, e.g. FLAC.
But it could also be argued …
Essentially, people who prefer vinyl prefer the way it distorts sound, whether they realize that's what it is or not.
“Distort” is rather a loaded word. By the same token, one might say that the process of letterpress printing “distorts” the shape…
However, Smeijer’s philosophy is that “fidelity” (understood as the exactly consistent reproduction of typographic shapes) is a poor measure of the effectiveness of typography.
In that sense, comparative quality is not something that can be measure…
Vinyl may be compared to foundry type, in terms of being analog and accurate. Fred Smeijers calculates a resolution of 2540 dpi, in his book Counterpunch.
I went to a high end consumer audio show recently, and almost all the exhibitors were demonst…
I italicize almost everything in italic fonts. If editors and typographers want to get picky about equations, they can use roman font characters at their discretion.
In a couple if types (The Modern Suite) I included roman parentheses as a stylisti…
I’ve put in many typefaces, substituting long s according to 18th century English usage (even for types alluding to other eras). I doubt anyone has ever used it, but who knows what the future will bring? People are still licencing fonts I made 20 y…
There is something rootless about digital culture, so we need a little high touch to offset the high tech, and foundry connects us with our storied past.
So much emphasis on distressed and script types these past 20 years. It didn’t go away when gr…
According to wiki usage was varied up to 1961 when the ASA (American Standards Association) fixed it as hooked-italic f. That would firmly associate it with the mathematical variable “f”, represented by a serifed character (as Michel noted), …
I started my business with the snappy dotcom name “ShinnType” (note trendy intercap).
Since updated to plain old “Shinntype”.
But on the official documents I wanted something more, well, official-sounding, hence “Shinn Type Foundry Inc.”
Usage in some old photography manuals: just plain roman “f”.
The Rolleiflex Book, 1932: f4
However, the usual mention in this manual was just “stop 4”, only rarely using f.
Pocket Leica Book, 1952: f/4
The Camera, Time-Life, 1970, f/4
Yes Georg, literary publishing is a good comparison, in that the business is divided into three major revenue categories: Authoring/Design, Publishing, and Distribution/Retailing.
Although of course those can be combined or further split.
A short compendium of doppelgängers
Pieces of foundry type that did double duty, rotated 180°:• Comma and Left Quote mark
• Left and Right Parentheses and Square Brackets
• Question/Exclam and Questiondown/Exclamdown
• In Baskerville, £ and Ital…
My favourite old documentary word is “scrolling”. A venerable noun cleverly rehabilitated as a verb, quite apropos.
I’m also rather fond of “leading”, which some practical folk have tried to replace with “line spacing”. Borrrrr-ing.
After all, if …
I put the same amount of effort, because the typefaces deserve it.
I’m driven by the capabilities of font software to enrich the expression of a typeface design, not by the market or the capabilites of layout displaying applications.
Robert Bringhurst has used colour in typography, in hierarchical manner.
I recall one work where the lines of text overlapped, in different colours.
Couldn’t find that online, but this from his Selected Poems, published by Gaspereau Press.
We seem to have skipped the greyscale stage.
(Those practising in 1990 will remember.)
Grey text has certainly become something of a new black for web page designers, on the principle—right or wrong—that high contrast on device screens is too hars…
There is a small market for layered fonts, which have been available for 25+ years.
So, not much market-driven demand for huge change there.
Colour will never be the new bold.
When one uses colour for contrast, one usually bumps up the weight.
I’ve worked at home since 1992. I was an art director/graphic designer then. That was before the internet; the game-changers being the telephone-answering (cassette) machine and pager—but then email and the web sealed it.
As a home-owner, it made m…