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Nick Shinn said:
In conceptual art, the idea is more important than the execution.Applying the same distinction to fonts may not work quite so well, but at least, if the basic idea of the font, its sine qua non, can be described in words, then that makes it a conceptual design.
André G. Isaak said:
On a completely unrelated note, does anyone know who was responsible for renaming "Fifteenth Century"? Antique, perhaps, but there's nothing Caslonesque about it.
Nick Shinn said:
Caflisch Script is a great conceptual typeface, using OpenType to code the “joining rules” of calligraphy to create “dynamic ligatures”, and also developed in conjunction with InDesign, in order to make it happen seamlessly, automatically. However, it is not an especially popular typeface, and popularity is perhaps a requirement of greatness.
Florian Hardwig said:
Mistral had a glyph that was marked on the sort both as p and f, but could also serve as l and other things like s (or long ſ). Bruce Kennett discusses this detail in his Excoffon talk held at The Cooper Union, see the video from 29′ 11″. This feature was advertised in specimens. The given examples include the use as a slash in c/o and in double letters (ff, pp, ss).
John Hudson said:
As I recall from conversation with Vinnie, Comic Sans was originally intended for the short-lived Microsoft Bob, but ended up not being used in that product.
Lance Hidy’s Penumbra, in its original Multiple Master form (released by Adobe in 1994), is a prime example of a “concept font.” It was the first—and only—MM font that deployed a style variation slider, from full serif to sans serif. Later, after the Multiple Master program was retired as a consumer product, Penumbra was released in four static variations (serif, half serif, flare serif, and sans serif) in four weights. The underlying design, which Hidy described as the “offspring of Trajan + Futura,” is, itself, a very high concept. There is an excellent article about the creation of Penumbra, by its designer, in the book The Eternal Letter, edited by Paul Shaw, which I produced for The MIT Press (2014).
This brings to mind two other concept fonts inspired by the Classical Roman letter, both of which add lowercase letters (therein the "concept"): Sumner Stone’s Popvlvs and Thomas Lincoln’s sans serif Roma. Both were released in 2011.
Hrant H. Papazian said:
@Nick Shinn Does Mistral do that? Intentionally? BTW now you've made me think of "Sum of the Parts" by Frere-Jones, which uses just six (?) shapes for everything...https://fontsinuse.com/typefaces/85027/sum-of-the-parts