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I was going to put this in Critique, but since I didn't make it maybe it's better here. Can you figure out what it is? But besides that, I'm really wondering what you think of it. hhp
Quick guess: the ATM substitution font? Stephen
Nope. But I guess now I don't need to ask you what you think of it... BTW, from now on I won't reply if it's just to say "no" to a guess. hhp
OK, I guess you guys give up. So, you know how typophiles cringe when they see a monoline sans condensed to fit a measure and as a result acquire a highly uncomfortable horizontal stress (because the vertical stems become too thin)? Well, I was thinking, what about the other way around? With some horizontal expansion you would quickly make a monoline sans acquire contrast, and *that* would actually be usable. So what you're seeing is Futura Condensed, 150% wider! A nice surpise, huh? It seems to work out fine, even in the diagonals. Basically, a completely new style of letter in 2 seconds. The only real problem is characters with (necessarily) unconventional stress, like that clunky "s". But still. hhp
It looks like poo to me. But that was a dandy experiment.
HHP: you earned 10.00$ in just 2 seconds. Your clients won't be able to tell the difference. How will you name your newborn clone? Jacques
> Squarish thing Interesting. And it implies that the intent was to combat distortions from horizontal compression, which is of course the most common way users torture type: gotta save that space! (Which makes me realize: maybe they should try using vertical compression for a change, at least when it's not a gotta-fit-it-on-this-one-line deal; especially since vertical savings always matters, whereas horizontal savings can come to naught when you hit a paragraph break, which is very common in a newspaper - a consideration Tracy has pointed out). So I guess the features of a font that help preserve its integrity/character when compressed are: 1. Good stroke contrast. 2. Vertical stress. 3. Squareness. 4. Slight darkness. hhp
Huh, I just thought of something else: You know how Excoffon's Olive has a funny lopsided stress? I wonder how it would look when expanded... (And the same with Bloemsma's Balance.) hhp
As requested by Hrant:
bigger than i thought. sorry.
how about some text?
Thanks Tiffany! I can't tell much from the text blocks, but the first image is pretty revealing. The narrowest style (#6) looks usable even at 200% I think. And at 150% the lightest weight (#1) sort of validates my original suspicion: Olive seems to become a nice monoweight sans. BTW, I hadn't realized that in the darkest weights Olive's lc "s" goes to a "rationalized" stroke distribution. hhp
Matthew Carter did some investigations into scale-proof lettering around 1970, essentially trying to see if it was possible to shore up a design against horizontal scaling. (I seem to recall that "Video" might have figured into the name of the design, but that doesn't sound quite right.) If I recall, Matthew (and Linotype) decided to scuttle the project, but there were some interesting proofs published in the Journal of Typographic Research. Squarish thing with a bit of contrast, somewhere on the Melior-Eurostile-Folio continent.