Path: utzoo!utgpu!news-server.csri.toronto.edu!rpi!zaphod.mps.ohio-state.edu!think.com!snorkelwacker.mit.edu!ai-lab!life.ai.mit.edu!karl From: karl@apple-gunkies.gnu.ai.mit.edu (Karl Berry) Newsgroups: comp.fonts Subject: Re: What's yer fav. font combos? Message-ID: Date: 3 May 91 01:09:55 GMT References: <1991Apr20.044900.260@mac.cc.macalstr.edu> <1991Apr26.021623.16330@sq.sq.com> <1991Apr26.193159.27235@ico.isc.com> Sender: news@ai.mit.edu Reply-To: karl@cs.umb.edu Organization: /home/fsf/karl/.organization Lines: 17 In-reply-to: rcd@ico.isc.com's message of 26 Apr 91 19:31:59 GMT > Optima doesn't even start to behave at 300 dpi until you're up to 13 > or 14 pt. When Hermann Zapf designed Optima, he did so for hot metal typesetters. When CRT typesetters came along and Hell (I think it was Hell, maybe it was Stempel) asked him to rework the font for digital storage, he was never happy with the results -- and this is at typesetter resolutions! (I got this information out of Hermann Zapf and His Design Philosophy which is, incidentally, set in Optima.) He designed other faces specifically for digital media (typesetter resolutions, though, though laser printer resolutions -- as far as I know Lucida (by Charles Bigelow & Kris Holmes) was the first to be specifically designed for everything from screens to typesetters) -- Edison is the one I can remember offhand. It's too bad those faces haven't been more widely adopted. karl@cs.umb.edu