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Dan Reynolds

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Dan Reynolds
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  • Re: Specific diacritic designs depending on language

  • Re: Preview: Lindau – to become a family

    Absolutely! The collaboration of Czech and East German type designers in the 1950s and 1960s also seems to me like it is a continuation of pre-war practice. Menhart’s first typefaces were published in the early 1930s by the Bauer typefoundry in Frankfurt, who also published many of Schneidler’s typefaces (and Schneidler was Kapr’s teacher, etc.). I think it is a safe bet that Kapr was already familiar with Menhart’s work during his time as a student in Stuttgart. Perhaps Schneidler may have also shown him work designed by Preissig or other Czech designers. 
  • Re: Stephen Fry re-invents printing with movable type

    In many of the histories of printing and typography written by western authors during the nineteenth and early twentieth centuries, it was common to include a chapter about prior inventions and concepts that bore similarities to printing as we know it (three such examples that come to mind are Hansard’s Typographia, De Vinne’s Invention of Printing, and Reed’s 
    A History of the Old English Letter Foundries). These chapters usually discussed the printing of seals into clay in Ancient Egypt and Mesopotamia, but also mentioned a letter of Cicero’s, in which his ruminations came very close to describing the system of type-making and printing ascribed to Gutenberg, which of course were only realized a millennium and a half later. Quintilian is also cited, etc.

    These authors’ point, I think, was that the idea of printing with moveable metal type was not inherently novel in-and-of-itself, but that Gutenberg (presumably) was the person in the west to successfully put the theory into practice.
  • Re: Color will be the new Italic. Color will be the new Bold.

    Picking up an idea of Nixon’s, whenever I see someone state that “is the new Y,” I place all of my bets on Y.

    In 20 years – and in 100 years, too – I think it is a pretty safe bet to say that Bold and Italic letters will still be used in many of the same ways, and for many of the same purposes, that they are used for today.

    This does not mean that I think “color fonts” won’t have a future. It is just that I think that it is most likely that a new area of use will be found for them, which we have not envisioned yet, rather than they replace some pre-existing element in the typographic repertoire. 
  • Re: Color will be the new Italic. Color will be the new Bold.


    Dan, don't you mean you place all your bets on Y? In which case, I'm with you. In fact, going back to the origins of the cliché, I can't help noticing that, all these years later, black remains the new black.
    Oh, right, of course! I have edited my post.