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It doesn't matter how
many hours of video and megabytes of graphics can be
stuffed onto a silver platter, typefaces still serve an
essential function that can't be duplicated by other
means--transmitting complex intellectual and emotional
messages in a concise and precise way. But the
limitations inherent to reading on-screen--especially the
low-resolutions of monitors, mean that the digital
designer has to be more careful about choosing typefaces
that are easily readable on-screen. Here are some
tips tips on finding the best typefaces for the screen.
In the past, every time
a new typesetting or printing medium appeared, designers
created typefaces to take advantage of it. But today,
while more people than ever are designing more typefaces
than ever, so few of them are designing type specifically
for the screen that you can count them on one finger.
Luckily Microsoft, yes, Microsoft hired type
designer Matthew Carter to design two new
typefaces, especially for on-screen reading. The results
are triumph--and free.
Times change. But
the purpose of type doesn't. Gary Priester disparages
the loss of real typesetters. If you weren't around to
know what they did, or how they did it, Gary tells you
what you missed.
"Nowadays,
even a four-year old can set perfectly kerned, 63-point
Garamond Italic just by pressing a few keys on his
computer, without the slightest inkling of the history of
Garamond, Granjon, Caslon, metal type, phototype--or of
how Garamond compares to any other typeface, or of even
what the letters mean." says David Rakowski
(otherwise known in the world of fonts simply as
"Davy.") Is something being lost in the
translation to a digital world?
keeps the eye doctor
away. So says James Felici. "Oh, let me just
blurt it out: I like bit-mapped screen fonts. In fact, I
prefer old-fashioned bit-mapped screen fonts to anything
that ATM, TrueType, or Speedo can throw up on the screen.
If we're expected to read documents on screen, we need
better type than they can offer."
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