St. Patrick’s favorite font, apparently…

Detail from the book of KellsWhy must we trundle out the Gaelic fonts, along with the corned beef, for St. Patrick’s Day? And what makes a script Gaelic? Perhaps it’s the association of uncials with the Book of Kells. Uncials are majuscules (all upper case), a script form which was developed during the early Byzantine era (fourth century) along with the new media of parchment and vellum. Like blackletter (commonly called Gothic or Old English) uncials are used only ceremonially or decoratively these days. Oh, that and for tattoos, and though uncials have no lower case, blackletter should never be used in all upper case (for God’s sake someone should send a memo to all of the tattoo parlors).

The etymology of uncial goes something like, “from Latin uncialis, from uncia (inch),” but Alexander & Nicholas Humez, in their brilliant book ABC ET CETERA The Life & Times of the Roman Alphabet, offer other etymologies. Uncial also could have been St. Jerome’s reference to either illuminated letters, or to “hooked” letters, depending upon how uncialibus was misspelled by the Saintly Dalmatian.

Either way, I agree with St. Jerome. Use uncials sparingly. Legibility is more important than ornamentation.

Posted in Complaints, Decorative, Display, Etymology, Legibility, Tattoos | Tagged , , , , , , , , , , | Leave a comment

The other cold type…

Ice and snow added to type

Ice any bold font, or flock it with snow.

When we needed a cartoonish, frozen-styled font, we were stymied by the lack of selection. We were shooting for that, “ice-machine” look — the “typefaces that are frosted or chilled or iced,” in the words of Gene Gable. We created some lumpy, congealed snow clumps and icicles that we could place on a layer above any letter, punctuation or shape. This gave us control over the look of the snow and the ability to choose any font from our collection.

Our free snow and ice shapes are available here as a pdf that you can parse with any vector design program. Use them as they are, or modify them as you see fit. And don’t forget your mittens.

Posted in Awful Puns, Decorative, Display, My Day Job, PDFs, Typography | Tagged , , , | Leave a comment

Oblique subtlety…

solidus-and-virgule

The difference is a matter of degrees.

The slash that we all have on our keyboards, is known as the virgule. The name comes down to us from Latin through French (virgula “twig”). It served medieval European literature as a comma and still performs this function in English language poetry. We also use it as a separation of like things (2005/2006), and it stands in for or (as in and/or) and per as in feet/second. We still use it to build level fractions.

The solidus is ever-so-slightly more oblique. It is the typographer’s fraction bar. Solidus was the name of a Roman coin. A Roman pound (libra) was comprised of 72 solidi. The British pound mark, £, is an ancestor of the Roman libra. The English shilling descends from the Roman solidus. The mark which separates British pounds, shillings and pence also came to be called the solidus (£ ⁄ s ⁄ d), and it is also a typographic character which is used to improvise fractions.

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The typographic bondage scene…

The Latin verb ligare, to bind, gives us the typographic term for connected letters. In many Roman typestyles, the upper terminal on the lowercase f tends to run into letters that follow, so type designers elegantly solved the problem by creating single sorts for the most common problems. Unfortunately in the digital age, with so many non-professionals setting type, these eyesores have reappeared.

Illustrated above are five common Latin ligatures. Many font families offer these five ligatures, and some fonts feature more extensive ligated characters. Professional design programs and Adobe’s Open Type technology automate substitutions of ligatures for problem pairings.

Posted in Ampersands, Awful Puns, Graphic Design, Ligatures, Typography | Tagged , , | Leave a comment

Xmas is just alright with me…

Harmless Xmas greeting“Holiday” comes to us from the Old English hāligdæg (holy day). “Christmas” is also from the Old English Crīstes mæsse (Christ’s mass).

“Xmas,” on the other hand, derives from a combination of Greek (X representing the initial chi of Greek Khristos) and Old English mæsse, which was recorded as early as the twelfth century as Xres mæsse.

Since the new year is tied to the Christian Calendar, this leaves those of us who do not share the Christian faith with Season’s Greetings or Happy Holidays as the least religious salutations at the end of the year. In any case happy new year to you.

Posted in Awful Puns, Etymology, Typography | 1 Comment

Television injures typography…

bad television typography

Not only "massive" but "dynamic"

Perhaps the greatest crimes against type, aside from those committed by graphic designers who use Photoshop to do page layout, are devised by the producers of television programs. I recently viewed a science fiction series from Fox called Fringe. The title for the show is awful enough, with it’s clumsy, thick, reflective, heavy, 3-d effects, but the locations in the series are marked by gravity defying “dimensional” letters which float mysteriously above cities, institutions and crime scenes.

Shouldn’t there be some protection of the dignity of type included in user license agreements for fonts?

Posted in Complaints, Graphic Design, Photoshop, Signage, Typography | Leave a comment

Sex change for ITC Anna…

itc-anna-modified

Before (left) and after surgery

We wanted a retro look for our client and we decided that a modified version of Anna would do the trick. This distinct, art deco font not only has solid bones, but offered a fluid-looking S that formed a fluid, flowing glyph. The extended crossbars and pointed terminals were too decorative for our rugged contractor’s identity, so we performed some light cosmetic surgery that gave us a sturdy industrial feel.

When we reduced the size of service, it looked wispy in contrast with the larger Watson Well. We looked through dozens of grotesks and Adrian Frutiger’s Avenir stood up well to the larger type.

Anna was released by International Typeface Corporation in 1990 and was designed by Daniel Pelavin.

Posted in Decorative, Display, Graphic Design, Legibility, My Day Job, Typography | Tagged , , , | 2 Comments

Newly overused…

The popular font Papyrus

A Chop Suey font for massage therapists and organic grocers?

We were barely aware of the existence of Papyrus when my partner and I arrived in Eureka (rural Humboldt County, California) in 2003, but it’s omnipresence caught our attention. We dubbed it “the Humboldt Font.”

Papyrus was designed by Chris Costello and released by Letraset in 1983. Its ubiquity owes to its inclusion in Microsoft Office and other Microsoft packages and its adoption in recent years as a system font by Apple. This new age, Chop Suey font is seen everywhere, from Arizona soft drink cans to promotions for the box office hit Avatar.

But success sometimes exacts a toll in typography. Hermann Zapf’s masterpiece Palatino was loved by designers until Apple threw it in with their system fonts early on in the desktop publishing revolution. Palatino was suddenly everywhere, but its ubiquity is still being punished, and Palatino has yet to make a comeback.

As has been the case with Comic Sans, Papyrus is scoffed at for its overuse, but is there a correct usage for Comic Sans, a singularly oafish, bulbous typeface? Papyrus is a skillfully rendered design. It’s not a font that I’ve ever had occasion to call upon; it’s a bit too precious, with its meticulously distressed edges and exaggerated horizontal strokes, but it’s a perfectly respectable decorative font.

My advice is that if you do choose Papyrus, keep it flat and simple — don’t dress it up with gradients, drop shadows and other fancy Photoshop filters and effects. Papyrus carries enough baggage already.

Posted in Complaints, Decorative, Display, Graphic Design, My Day Job, Typography | Tagged , , , , , , , | 2 Comments

No italics? What sort of “friend” is Facebook?

Sure she can bake, but she can't emphasize.

Facebook has had perfect pitch in creating and adapting their popular social networking interface, but they are typographically tone-deaf. They still haven’t made italics available to their users.

The pithy posts and comments that tend to dominate Facebook are the sort of environment in which italics are useful for emphasis. I understand that boldface is available, but I don’t want to go there.

Posted in Awful Puns, Italics, Typography | Tagged | 2 Comments

Letterpress is for lovers…

example of letterpress printing

Our wedding invitation: printed by Just My Type, Arcata, California

The status of Letterpress printing has made a complete one-eighty since I worked at Trebis Printing in National City, California in the 1970s. Letterpress jobs were common and inexpensive: forms, tickets, stationery, simple business cards and calling cards. Most jobs were black print, with the occasional flourish of red, and we were loath to change the presses over to other colors.

Offset became less expensive over the years, and the vast majority of shops sold their galleys of type for scrap. Some kept a letterpress or two around , but only for scoring or numbering. Nowadays the scarcity of the alluringly tactile letterpress print has given it a certain cachet; it is now exclusively for prestige jobs.

Let’s hope that shops like FireFly Letterpress remain with us for a long time.

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