Re: Linotype Gold Edition 1.7.1 Font
Ronald
Bembo (Monotype Corporation, 1929; based on the 1495 roman type of Francesco Griffo)The hot metal version of Bembo came with two versions of R, one with a short leg intended for text composition and the other with an elegantly extended leg intended for titling purposes. Unfortunately, in the phototype era the second R was the only one available and that situation continued with the PostScript version of Bembo. Both Rs are once again available with Bembo Book Pro. Unfortunately, the long-legged R remains the default character.
Centaur (Bruce Rogers, private 1914; Monotype Corporation, 1929; based on the type of Nicolas Jenson, 1470)The R in Centaur also has a leg that juts out, but the flawed letter is the odd j with its dirk-like wiggle. This letter is a Bruce Rogers invention since Nicolas Jenson did not have a j in his typeface. Presumably, the wiggle was added to keep the j from having to be kerned. It is distracting in text, beguiling in headings and logos (see john varvatos).
Sabon (Jan Tschichold, Stempel, Linotype and Monotype, 1967; based on the types of Claude Garamont) and Sabon Next (Jean Franois Porchez, Linotype Library, 2003)Sabon, one of the most beloved typefaces of the 20th century, was originally designed for three technologies: foundry, Linotype and Monotype. When it was adapted to film and subesequently to digital it was the Linotype design that was carried forward. This meant that the italic was compromised since the linotype version was duplexed. Thus the italic is wider than normal. This dismays many people, but it might be acceptable if it were not for the nearly round o. The solution is to use Sabon Next Italic instead.
CC Galliard (Matthew Carter, Carter & Cone Type, 1992) and ITC Galliard (Matthew Carter, International Typeface Corporation, 1978; based on the types of Robert Granjon)As admired as ITC Galliard has been from the outset, its aggressive italic has not always found favor, especially the pelican-jawed g. Anticipating this, Matthew Carter designed an alternate g for such people, but when the International Typeface Corporation took the font over from Mergenthaler Linotype, it was set aside, along with other additional characters. These characters were all returned to the font when Carter re-released Galliard (the regular weight only) through Carter & Cone Type. I am not one of those who disliked the pelican-jawed g, but I am happy to have the alternate g as well.
Weiss Antiqua Italic (E.R. Weiss, Bauer, 1926)Neither Latin nor Italian use y as a letter. Thus, it does not have deep historical roots. In cursive writing it often takes two forms, one derived from v and the other from u (letters that were interchangeable in Ancient Rome). Italic typefaces often follow the v form, often to the detriment of the rhythm of the letters and thus to consistency of spacing. Perhaps the most egregious example of this is Weiss Antiqua Italic (originally Weiss Kursiv), one of the first typefaces to follow the chancery model. The y has a beautiful, sweeping left arm which makes proper spacing difficult and, in the case of ry or ty, nigh impossible.
Franklin Gothic (Morris Fuller Benton, American Type Founders, 1902) and ITC Franklin Gothic (Victor Caruso, International Typeface Corporation, 1980)Franklin Gothic is one of the most iconic of American typefaces. It is an unusual design in that it is heavy and there was never a regular version from ATF. Instead, ATF made condensed and wide versions and then lumped Franklin Gothic with several other Morris Fuller Benton-designed gothics (Lightline Gothic, News Gothic, Monotone Gothic and Alternate Gothic) as a de facto family. This satisfied printers and designers for decades. But when ITC licensed the face they decided to not only adapt it for photocomposition but to make a proper family. Thus, we have the anomaly of ITC Franklin Gothic Book. The updating of Franklin Gothic involved a number of small annoying adjustments that chipped away at its identity, most of which can be accepted as the price paid for having a harmonious family. The one change that went too far was the mucking about with the distinctive Franklin Gothic g. In ITC Franklin Gothic it looks like a mailbox flag. This completely changes the appearance of a block of text as the ear on the g keeps popping up like a schoolchild overly eager to answer a question.
Carter Sans (Matthew Carter, Monotype Imaging, 2010)Sometimes a flaw in a typeface is a very tiny thing. With the new Carter Sans the square dots on the i and j appear too large. Matthew Carter may have done this deliberately to make them hold up at small text sizes. But at display sizes they are too noticeable.
Bickham Script (Richard Lipton, Adobe, 1997; OpenType version 2004)The PostScript version of Bickham Script had a significant flaw: the T, the second most common letter in the English language. It is designed with a very wide base that makes it ambiguous. Is it an T? an I? or even a Z? Instead of being corrected in the OpenType version, this problem has been exacerbated. There are no simpler alternate forms, only two fancier Ts, both of which have similar ambiguity.
The designer of the logo for The Astor, an apartment building on the Upper West Side of Manhattan, took matters into his own (or her own) hands and simply lopped off the base of the T, among other indignities.
top line: Bickham Script with regular T and contextual Th; Bickham Script with medium T and different h; Bickham Script with large T and different h; Novia Script bottom line: Bickham Script with contextual swash Th; Adobe Caslon Pro with contextual Th; Big Caslon.
Burgundica (Gerrit Noordzij, The Ensched Font Foundry, 2009)Burgundica is a modernized fraktur. As such, it has several letters that are inherently problematic for modern readers, especially non-German ones. The A, D and S are all extremely difficult to recognize in frakturs. For Burgundica, Gerrit Noordzij simplified each of them, but not enough. Which one is the fatal flaw depends on the reader. For those who want to still use Burgundica, the solution is to find a compatible roman face and substitute its capitals.
Bulmer (Mon
otype, 1954; based on ATF Bulmer [1928] which was derived from the types of William Martin, 1792)Finally, the lowly punctuation mark may be the flaw in a typeface. The exclamation point and the question mark are the most obvious of these since they are the largest. Monotype Bulmer has a chubby exclamation point, resembling an exploding cigar, that is at odds with the elegance of the rest of the typeface. It belongs in a Betty Boop cartoon. On the other hand, Weiss Antiqua has an exclamation point that is so short that it looks to be in danger of vanishing entirely. It is not a bang but a whimper.
After all, some flaws are only blemishes to those who deeply love a typeface. But other flaws are more serious as they hinder legibility, inhibit reading, or fail to perform their expected function. Whether the flaws in a given typeface are fatal or can be worked around depends not only on the typeface but on the typographer. Caveat littera!
Fairmont State University Relations & Marketing has created a series of files and templates to aid you. The templates were designed using selected fonts, Palatino linotype, and Arial, and selected font sizes, text placement, and color. We request that you maintain the design of the template document as an institutional standard.
Fairmont State University letterhead is created by typing information in a Microsoft Word Letterhead Template. The template was designed using selected fonts, Palatino linotype, and Arial, and selected font sizes, text placement, and color. We request that you maintain the design of the template document as an institutional standard.
If you are typing a letter that is intended for electronic publication please use the template marked for electronic publication. This template includes logos and the equal opportunity, affirmative action statement.
The Linotype was invented by Ottmar Mergenthaler (1854-1899) in 1884. Although born in Germany, Mergenthaler became a naturalized American citizen in 1878. The Linotype was a revolution in the printing world. No longer would a man have to manually place the type to print a book or newspaper.
The Linotype machine [Photo 1] in the McCune Room is an immediate center of attention for the visitor. Its nameplate lists it as Linotype Model 8, Serial Number 33931 [Photo 2]. Based on the serial number, this actually is a Model 8A, which began being shipped from the Mergenthaler Company in April 1922.
The Linotype was setup with a keyboard of 90 keys [Photo 3]. The white section (on the right) contained the upper case letters; the black section (on the left) contained the lower case letters; and the blue section (in the middle) contained small capitals, numbers, punctuations and fixed width spaces. By the use of the keyboard, the operator could type out the text. This would then be assembled from the magazines [Photo 4] which contained different size fonts. The type matrix [Photo 5] and the spacebands [Photo 6] were used to establish the text that would be made into a line of type (known as a slug) [Photo 7].
The slug is made when the pig ingot [Photo 8], which is made of lead, is melted and mixed with tin and antimony. The linotype metal is composed of 4% tin, 12% antimony, and 84% lead. This is melted at a temperature of up to 550 degrees and placed in the mold disk [Photo 9]. The type matrix [Photo 5] is made of brass and the spaceband [Photo 6] is a steel band which separates the words from each other. The molted metal is then cast using these matrixes and spacebands which results in the line of type [Photo 7].
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