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Craig Eliason


Craig Eliason
Last Active
Member, Type Person
  • Re: Oldstyle tabular figures

    Oldstyle figures (at least theoretically) are more legible and groups of them make more distinct "wordshapes." And the reason to make figures tabular (i.e. monowidth)--to insure they line up line-to-line, vertically--isn't urgent in the horizontal dimension. 

    It is for historical reasons that lining numbers strike us today as the default form and thus oldstyle figs are a special case. But one could argue the opposite, that is, that it is lining figures that only need to be brought out in particular cases. From that point of view the question might be what is the point of lining tabular figures?
  • Re: Seb Lester's doodles, calligraphy or lettering?

    I don't see them as "very different concepts."  To me calligraphy is a subset of lettering. 
  • Re: The Twist

    Sorry, didn't see your question before.
    As I understand it, the topic of this thread is the use of "opened corners" in constructing shapes in a font editor. It seemed to me like your reply, however reasonable, didn't relate to that at all. Correct me if I'm mistaken.
  • Re: The Twist

    Further argument only leads the thread further off topic, so I'll just leave it at agreeing to disagree.
  • Re: Neology: a type design experiment in readability

    the reader only registers such information, within a saccadic rest, as is necessary to identify a character. Variance in character shape will not be perceived if it occurs across a saccade, because it has no significance to the task of decoding text.
    How does the mere alternation of styles relate to this? In, say, the word "addresses," are you presuming the first and second esses are likely to fall in different saccades?
    It occurs to me that this pseudo-random coding is used in a pseudo-handwritten font to prevent doubled letters from looking identical, but in this case perhaps insuring, rather than preventing, doubled glyphs would be appropriate.
    The other wrench in the works is the inability to control characters that are proximate though in different lines: in the headlines on p. 8ff, for example, the /y/ at the end of the first line almost looks like it has a broken-off tail since it sits more or less just above a curvier /y/ in "styles."