World Cup notes; body-text fonts, pt. 52: Fairfield (old and new), Fanwood, and Fanwood Text
Tuesday evening, we were without Internet. I couldn’t stream Norway’s first World Cup match since 1998 – Iraq’s first since 1986. Norway won, 4–1.
Then I missed Argentina’s brushing off of Algeria. Messi equaled Miroslav Klose’s scoring record. After his third goal, I relented and tuned in to Fox. The commentators asked how the Argentinians would motivate themselves. They played for Messi’s sake in 2022, they said, but now that Messi has won the World Cup, what will they play for?
It’s for such imbecilities that I avoid tuning in to Fox.
We reprogrammed our TV and, happily, gained offline access to Telemundo before the midnight match. I caught the Austrians’ first World Cup appearance since 1998. I went to sleep before they finished putting the Jordanian debutantes to the sword.
Iraq and Jordan were the first Asian teams to lose. Iran, on the previous night, salvaged a point against New Zealand. Humorists produced this headline: Kiwis Learn How Trump Feels after Stalemate with Iran (or words to that effect).
The French had a glorious second half against Senegal. Along with Argentina, they are the favorites (Spain failed to defeat Cape Verde). The French are frightening. They could win the tournament with just twenty good minutes in each game.
I have kind feelings but few words for: Belgium, Egypt, Saudi Arabia, Uruguay, England, Croatia, Ghana, Panama, Colombia, and Uzbekistan. Their games were entertaining.
♦ ♦ ♦ ♦ ♦
Fairfield (des. Rudolph Ruzicka, 1949) was shortened and fattened by 1990s digitizers. This is what one comes across in, e.g., recent Norton Critical Editions:
(There is a lighter body-text weight.)
Compare with the original metal-type in Henry Hazlitt’s influential primer. This type has longer ascenders and descenders:
(More Hazlitt:
Actually, “in the long run we are all dead” is a problem for “longrunism.”)
♦ ♦ ♦ ♦ ♦
The newer Fairfields may be easier to read at small sizes, but the original is more beautiful. Thankfully, the metal-type’s dimensions have been digitized as Fanwood (lighter) and Fanwood Text (darker).
The Fanwoods have no boldface. But they are free to download and use. And lovely. It’s gratifying to come across them in new books.
E.g., in Freida McFadden’s.
(Our sofa is like the cop’s.)
Then I missed Argentina’s brushing off of Algeria. Messi equaled Miroslav Klose’s scoring record. After his third goal, I relented and tuned in to Fox. The commentators asked how the Argentinians would motivate themselves. They played for Messi’s sake in 2022, they said, but now that Messi has won the World Cup, what will they play for?
It’s for such imbecilities that I avoid tuning in to Fox.
We reprogrammed our TV and, happily, gained offline access to Telemundo before the midnight match. I caught the Austrians’ first World Cup appearance since 1998. I went to sleep before they finished putting the Jordanian debutantes to the sword.
Iraq and Jordan were the first Asian teams to lose. Iran, on the previous night, salvaged a point against New Zealand. Humorists produced this headline: Kiwis Learn How Trump Feels after Stalemate with Iran (or words to that effect).
The French had a glorious second half against Senegal. Along with Argentina, they are the favorites (Spain failed to defeat Cape Verde). The French are frightening. They could win the tournament with just twenty good minutes in each game.
I have kind feelings but few words for: Belgium, Egypt, Saudi Arabia, Uruguay, England, Croatia, Ghana, Panama, Colombia, and Uzbekistan. Their games were entertaining.
♦ ♦ ♦ ♦ ♦
Fairfield (des. Rudolph Ruzicka, 1949) was shortened and fattened by 1990s digitizers. This is what one comes across in, e.g., recent Norton Critical Editions:
(There is a lighter body-text weight.)
Compare with the original metal-type in Henry Hazlitt’s influential primer. This type has longer ascenders and descenders:
(More Hazlitt:
Actually, “in the long run we are all dead” is a problem for “longrunism.”)
♦ ♦ ♦ ♦ ♦
The newer Fairfields may be easier to read at small sizes, but the original is more beautiful. Thankfully, the metal-type’s dimensions have been digitized as Fanwood (lighter) and Fanwood Text (darker).
The Fanwoods have no boldface. But they are free to download and use. And lovely. It’s gratifying to come across them in new books.
E.g., in Freida McFadden’s.
(Our sofa is like the cop’s.)