even more fanciful - the serif-chopper

[David Morris]

Sans Seraph fonts are the favorites (if not the invention) of Late
Modernists.  The classic/universal modern font being Helvetica Medium.
 Its abstraction to the point of being without flourish, neutral, and
thus Universal of International is the attraction.  But it is also
generally acknowledged to be less legible, especially in columns of
text.

http://www.myfonts.com/fonts/linotype/helvetica/#stylelist

So I'd say the projection of the front-most font to the other two is
through time, from the past to the future.

David Morris

On 1/26/07, mikebailey at speakeasy.net <mikebailey at speakeasy.net> wrote:
> I'll probably kick myself for excess prolixity in the AM, but...
>
> ok, the 2 reflections on the cover are sans-serif, and the bold origin
> letters have serifs -- indicating maybe they are projected through some
> kind of serif-chopper
>
> ...now if the serifs represent the knurled brass intricacies of the
> Victorian Age, I was initially thinking of the harsh, aether-less conditions
> of the 20th Century as chopping off the serifs with their cold, machine-like
> efficiency - but what if the aether itself is the dangerous possibility, and
> the convenience of its offered explanation leads to the reductive
> assumptions that strip letters of serifs, lives of grace, children of sleep?
>
> better not get started on what if Pynchon is really a Straussian?
> I'd have to raise my opinion of Strauss for one thing (-;
>
>
>
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>