even more fanciful - the serif-chopper

[gp]

Morris,

I think you're absolutely correct.  I wish I knew the exact fonts but
I'm not skilled enough to pick them out from sight.  Actually, if
anyone is really interested, I know some people who might be able to
pick them all out (design geeks) so we could see for sure where their
origins lie... might want to drop me a direct line if you're
interested though... the list is very convoluted at this point and
hard to follow so I might miss a request.

I was once told by a typography teacher that Swedes would cry if they
saw Helvetica in all-caps, for the record.  Helvetica has a rather
interesting history, I'd be interested in seeing the documentary... I
own H: Homage to a Typeface which is very image based.  I've only
quickly scanned through it before (I got it for free)... picking it up
off my shelf just now, I realize that every page is actually two
pages... like, every single page is serrated, like an "uncut" book
(like from On a winter's night a traveller by Calvino) but with edges
meant to be torn apart... so this book is apparently twice as long as
I once thought.  Wow.  I need to look at this again, it just got a lot
cooler.

-Jon

On 1/26/07, David Morris <fqmorris at gmail.com> wrote:
> 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 (-;
> >
> >
> >
> >
> >
>