Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

Nick Shinn

About

Username
Nick Shinn
Joined
Visits
3,451
Last Active
Roles
Member, Type Person
Points
986
Invited by
Admin James Puckett
Posts
1,168
  • Re: Specific diacritic designs depending on language

    If you look at German foundry and type-house specimens of the mid 20th century, you will find quite a few typefaces with low umlauts on the caps. I will post some images next week.

    A classic example of low cap accents: in the 1960s, Paris Match headlines treated acute, grave and circumflex in the same manner—a thin horizontal line.

    I suspect many languages would do away with diacritics, if that wouldn’t appear to be me-tooing English.
  • Re: What are 'true italics'?

    And we haven’t even discussed capitals yet.

    Of course, “true” italic capitals are exactly the same as the roman, which is how Aldo Manutio and Carl Dair did it! https://www.fontspring.com/fonts/shinntype/dair/dair-67-italic

    Bruce Rogers, on the other hand, was not averse to setting great swaths of text almost entirely in swash capitals.
  • Re: Is it ok to call a "typeface design" the UI of a font software program?

    Yes, and a mug is the UI between me and my morning coffee. 

    A plate, however, being flat, is more like a platform for serving food content.

    This metaphor game is fun!

    ***

    My first published typeface (by Face Photosetting, 1976)—thankfully long since vanished into the murk of history—was named Interface.
  • Re: What are 'true italics'?

    Adrian Frutiger and Hermann Zapf were required to second guess their original italics for Optima (Nova) and Frutiger (Next), under the (marketing?) premise/pretext of the superiority of “truth”, but it was immediately apparent this was a mistake. The truth will out, as they say.
  • Re: Anti-Ink-Traps

    I produced Brown (left) and Worldwide (centre) initially for newsprint, optically scaled.
    The minting sharpens up body type, and provides visual interest at display size.
    The third style is Beaufort, a glyphic effect which doesn’t require optical scaling, as the sharp serifs are close to asymptotic.

    For some reason, rounding obtuse angled inside corners seemed more appropriate than negative thorns, perhaps because they don’t “decay” during process, and it expands the joint in a manner that balances the outside minting, which looks good when the font is closely inspected, rather than the typeset image.