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* Re: [9fans] Typesetting
@ 2001-01-11  2:09 William Staniewicz
  2001-01-10 23:32 ` Dan Cross
  2001-01-11  9:50 ` Douglas A. Gwyn
  0 siblings, 2 replies; 20+ messages in thread
From: William Staniewicz @ 2001-01-11  2:09 UTC (permalink / raw)
  To: 9fans

I agree that the web has become ugly. How would you
change it? I think I would reduce it a bit to something
more content oriented and less driven to "appeal".

> The danger, I think, comes when we can no longer tell ugly from
> beautiful, as is clearly the case these days.  Too much time is spent
> investing energy in ugly things, like the web and various other
> ``Internet'' things, because people *think* this is what computing
> should look like.  I sure wish I knew how to change that.
> 
> 	- Dan C.



^ permalink raw reply	[flat|nested] 20+ messages in thread
* Re: [9fans] Typesetting
@ 2001-01-11  4:03 okamoto
  0 siblings, 0 replies; 20+ messages in thread
From: okamoto @ 2001-01-11  4:03 UTC (permalink / raw)
  To: plan9

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>I bet they say it takes a lifetime of study, apprenticeship, practice, and
>learning, pretty much as it does here.

You must have had some negative experience with someone Japanese.
I suspect something wrong relation between this mailing-list and Japanese
proffesionals of computer science,  because I have no reply on my querry 
on Toshiba's floppy drive, which is very familiar machine here.
I got, however,  a Japanese book describing "Japanese standard" of floppy 
drive, and may be able to find something.

Anyway, I found more than 40 peoples got my update of Japanese106 
keyboard for plan 9 in these several days, which is not neccessary for
others who is not running Plan 9.  Therefore, I think there are some more
people who is running Plan 9 here, even if they may not be any proffesional
on computer science, thay may help our future, I believe.

Kenji


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From: "rob pike" <rob@plan9.bell-labs.com>
To: 9fans@cse.psu.edu
Subject: Re: [9fans] Typesetting
Date: Wed, 10 Jan 2001 12:47:45 -0500
Message-ID: <20010110174802.A9CE319A5F@mail.cse.psu.edu>

	What do Japanese font designers say it takes to make a good font?

I bet they say it takes a lifetime of study, apprenticeship, practice, and
learning, pretty much as it does here.

-rob

^ permalink raw reply	[flat|nested] 20+ messages in thread
* Re: [9fans] Typesetting
@ 2001-01-10 18:34 forsyth
  0 siblings, 0 replies; 20+ messages in thread
From: forsyth @ 2001-01-10 18:34 UTC (permalink / raw)
  To: 9fans

>>And Kepler's beautiful music-of-the-spheres model had to be scrapped because it was wrong.

it's an interesting contrast with software: today, something might be not only wrong but ugly,
yet we end up being stuck with it for ever, it seems.



^ permalink raw reply	[flat|nested] 20+ messages in thread
* Re: [9fans] Typesetting
@ 2001-01-10 17:47 rob pike
  0 siblings, 0 replies; 20+ messages in thread
From: rob pike @ 2001-01-10 17:47 UTC (permalink / raw)
  To: 9fans

	What do Japanese font designers say it takes to make a good font?

I bet they say it takes a lifetime of study, apprenticeship, practice, and
learning, pretty much as it does here.

-rob



^ permalink raw reply	[flat|nested] 20+ messages in thread
* [9fans] Typesetting
@ 2001-01-10 17:24 Laura Creighton
  2001-01-10 17:34 ` Boyd Roberts
                   ` (2 more replies)
  0 siblings, 3 replies; 20+ messages in thread
From: Laura Creighton @ 2001-01-10 17:24 UTC (permalink / raw)
  To: 9fans; +Cc: lac

1. One question is whether or not Knuth has access to a C/A/T
phototypesetter.  They were not that common.  I can't remember when
the company folded either, was it bought by WANG or something? I could
go look at 20 year old mail and see, I suppose, except I think that
mail is backed up on 9-track.

2.  This is a quote from the Metafont book.  chapter 1 page 1  (paragraph 2)

	Why is the system called METAFONT?  The FONT part is easy to
	understand, because sets of related characters that are used
	in typesetting are traditionally known as fonts of type.  The
	META part is more interesting:  It indicates that we are interested
	in making high level descriptions that transcend any of the
	individual fonts being described.

(Okay. So ``transcendence'' is not some woolly idea that I am bringing up
because I lack mathematical rigor or even common sense.  It is the design
goal of the whole project.)

The consensus among pre-computer font designers is that there is, by definition
no such thing as a beautiful font that can be described by a high level
description which transcends itself.  Fonts are *wholly* immanent, and are
indeed a refutation of the Platonic theory that you can find some ideal
font that all fonts are the reflection of.  Each font can only be utterly
what it is in relevance only to itself  and the materials one uses to print
it ... ink and paper.  The entire beauty of a font comes in the things
which make it uniquely what it is and what nothing else can be.  A font is
like a tree, or a collection of pebbles.  Only the trivial and boring
bits about it can be abstracted out ... the part where a a font becomes
beautiful or not is precisely where is cannot transcend.

Thus, non-computer font people, hearing of TEX were firmly convinced that
nothing beautiful could ever be produced with it because METAFONT was a
true heresy, an attempt to substitute mathematical beauty for the beauty
of real physical things.  It was a very cool and fascinating heresy because
there is something deep in the heart of all people who love mathematics to
wish that font design was a place where mathematical beauty was responsible
for font and font family beauty.  I feel almost the same way reading about
Kepler's early attempt to model the positions of the planets based on
constructable regular sided solids.  It would be *so* *cool* if it had been
that way.  But the beauty of the solar system is only partially mathematics.
Some of the beauty is in that it *is*.  And Kepler's beautiful music-of-the-
spheres model had to be scrapped because it was wrong.

However, it is impossible to prove that the old-time font designers were
correct and that Knuth was persuing a delusion.  After all, the reason that
the fonts produced were ugly could be that the designers were lousy, and 
there is every reason to expect them to be lousy at it because most people
who started designing fonts with METAFONT were computer people ... i.e.
people with little or no formal artistic training, who were doing this for
the first time, often in the mistaken belief that what they were doing
ought to be easy.

I am curious as to what font design is like in Japan or other places where
there is a strong tradition of calligraphy and where letters, like bricks
or phonemes do not exist.  What do Japanese font designers say it takes
to make a good font?

Laura Creighton


^ permalink raw reply	[flat|nested] 20+ messages in thread

end of thread, other threads:[~2001-01-22 18:00 UTC | newest]

Thread overview: 20+ messages (download: mbox.gz / follow: Atom feed)
-- links below jump to the message on this page --
2001-01-11  2:09 [9fans] Typesetting William Staniewicz
2001-01-10 23:32 ` Dan Cross
2001-01-12  0:31   ` Steve Kilbane
2001-01-16 22:37     ` Dan Cross
2001-01-17  2:54       ` chad
2001-01-17 12:33         ` Micah Stetson
2001-01-17 20:52         ` Dan Cross
2001-01-17 23:05       ` Steve Kilbane
2001-01-22 18:00         ` Dan Cross
2001-01-11  9:50 ` Douglas A. Gwyn
2001-01-11 10:06   ` Boyd Roberts
2001-01-11 18:32   ` Dan Cross
2001-01-12  9:32   ` Randolph Fritz
  -- strict thread matches above, loose matches on Subject: below --
2001-01-11  4:03 okamoto
2001-01-10 18:34 forsyth
2001-01-10 17:47 rob pike
2001-01-10 17:24 Laura Creighton
2001-01-10 17:34 ` Boyd Roberts
2001-01-10 19:58 ` Dan Cross
2001-01-12  9:32 ` Andy Newman

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