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Showing posts with the label Zapf (Hermann)

Body-text fonts, pt. 41: Aldus

If you’re an Irish novelist publishing a masterpiece, c. 2017–2018, chances are, it’ll be typeset with Hermann Zapf’s Aldus.

Exhibit A (Sally Rooney):


Exhibit B (Anna Burns):


Edoarda & Stephen have returned from Dublin, Aberdeen, and Shetland (where Edoarda took grant-funded knitting lessons). I told Stephen I wanted a tree from Shetland; failing that, a jar of jellied eels, although that’s more of a Londoners’ food; failing that, a tabloid. Stephen found no trees, eels, or tabloids on Shetland. He did bring the July 4 issue of the Shetland Times. Front-page news: “Ponies Draw Crowds from Afar”; “Council Spends £2.4m on Agency Staff for Ferries.” The body text (Miller) is the smallest I’ve seen in any newspaper.

Some projects for the back burner; body-text fonts, pt. 23: Linotype Palatino

Another winter with a too-full garage. Not a terrible thing so far – the snow hasn’t been heavy, the car has been all right outside – but we really ought to clear the space once the weather warms. Ditto for other parts of the house.

We need haircuts.

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Anyone want to buy me the Routledge Handbook of the Philosophy of Friendship (ed. Diane Jeske, 2021)? It’s only $178 on Amazon; that’s a markdown of 34%. Having ruminated on this topic for eight years or so – roughly, the period of my marriage – I’ve come up with my own “theory” of friendship and am hankering to turn it into a publication, but my grasp of the recent literature is infirm.

(My grasp of the older literature, too. And, arguably, of the phenomenon itself.)

(The examples that motivate my “theory” involve people throwing darts and drinking beer together, not so much improving each other’s characters or visiting each other’s sickbeds. I guess this is a masculinist “theory.”)

(I may also need a copy of Bartlett’s or some other reservoir of folk wisdom.)

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In April there’ll be a memorial conference for my PhD adviser, Dick. Much as I’d like to attend, I can hardly think that far ahead right now. My last big trip was just in October. Before that, I hadn’t traveled farther than two hours since 2019 (when I last saw Dick).

Coincidentally, I’ve been dreaming that I still have to defend my dissertation. It’s always a relief to wake up and realize that I finished. That was the mother of all back-burner projects.

Philosophers talk about how personal projects give our lives meaning, and maybe they do, but they also give us lots to worry about.

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This month’s body-text font, Linotype Palatino, is known by all and loved and hated in equal measure. It isn’t Hermann Zapf’s original Palatino design; it’s the font on everyone’s computer. I love it in movie titles. I like it in some books. I kinda hate when people create their own documents with it; they usually don’t put enough space between the lines.

It often appears in textbooks.


This amusing passage opens Warren Hollister’s Roots of the Western Tradition. (Had he actually been reading E. O. Wilson, or was he just helping himself to a metaphor fashionable during his time?) Later editions only get crankier. Mine, the sixth, says: “In our own time, the pace has become so swift that some dull-witted people” (my emphasis) “see no point in studying history at all.” Such language is not now indulged.

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Look at this frog.

Body-text fonts, pt. 17: Robert Slimbach’s fonts: Adobe Garamond, Minion, and, especially, ITC Slimbach

We live during Robert Slimbach’s benevolent reign, or Adobe’s. It’s stale. Good as Slimbach’s Adobe Garamond and Minion have been, it’s tedious to see them still used so often.

Slimbach has created other fine typefaces for Adobe – Adobe Ten Oldstyle, Adobe Text (see Elizabeth Anderson’s Private Government), etc. – but, for whatever reason, book designers haven’t warmed to them. Arno and Warnock are good, too, but only on certain days of the week.

What I really like by Slimbach is his early, Zapf-inspired eponymous font for ITC. I first noticed it in NIV Study Bibles from the 1990s and early 2000s. It’s also in Bruce Cumings’s history, Korea’s Place in the Sun, and in the anthology Latin American Philosophy for the 21st Century; lately, it’s been shared all over the Internet in the body text of Ross McCammon’s book, Works Well with Others: An Outsider’s Guide to Shaking Hands, Shutting Up, Handling Jerks, and Other Crucial Skills in Business That No One Ever Teaches You.


(I seldom read self-help books. But I read all of this one. It’s painless, and it gives tips about how and when to write curt emails and use curse words and drink after the job and on the job, and how to tell your dining partner you’re not going to drink if you aren’t going to. And how to pronounce the names of alcoholic drinks from Scotland. It’s a very pro-drink book. The author’s dissimulations to the contrary, it’s the douchiest self-help book I’ve read. [I know, there are much worse ones.] After I finished the book, I looked up some of McCammon’s Esquire articles, and wow, that was like landing on a different planet. I shut the computer and fled the room. … By the way, I learned from At the Tomb of the Inflatable Pig [Adobe Garamond] that the country that imports by far the most Scotch, or that used to, is tariff-free Paraguay; the booze is then smuggled into Argentina and Brazil.)

As for Minion itself, I like it – but not tiny, and not in lines of interminable length, which is how Oxford University Press uses it.

Wanna see Minion used well? Look at a Vintage paperback of The Girl with the Dragon Tattoo.

Two streaks; season’s reading; body-text fonts, pt. 10: Optima

A little trivia, and then I’ll be quiet about the World Cup until the South Americans’ qualification tournament begins in March.

Two venerable – for me, virtually life-long – streaks were left intact:

(1) The tournament was won by a first-round group winner. Not since 1982 has this not occurred; that year, Italy won the tournament having finished behind Poland in the first round. (Italy did win its three-team quarterfinal group.)

The lesson: A team ought to play well enough from the outset to win its group and not just qualify out of it.

(2) Even more remarkable: The final game of this World Cup featured players employed by Bayern Munich and Inter Milan, as has every World Cup final since, and including, that of 1982. Dayot Upamecano (Bayern) was a starter in this year’s final, and Kingsley Coman (Bayern) and Lautaro Martínez (Inter) came off the bench – Martínez in the 102nd minute.

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I’ve picked some Canadian or quasi-Canadian literature to read or finish reading this winter.
  • Margaret Atwood, Surfacing
  • Kate Beaton, Ducks: Two Years in the Oil Sands
  • Pierre Berton, The Comfortable Pew
  • Rachel Cusk, Outline
  • Robertson Davies, Tempest-Tost
  • Brian Moore, The Mangan Inheritance
  • Alice Munro, Dance of the Happy Shades
  • Howard Norman, The Northern Lights (or maybe The Bird Artist)
  • Carol Shields, The Stone Diaries
  • Bernard Suits, The Grasshopper
And I’d like to get around to watching Mon oncle Antoine.

Good luck to me.

(This is in honor of the solstice, the coming blizzard, and especially Canada’s rare and brief World Cup appearance – most of which I contrived to miss. My Internet died during one game; I was in church during another; and during the third game, I chose to watch Belgium vs. Croatia instead.)

One of the books from my list is the source of this month’s body-text sample, which is set in Hermann Zapf’s Optima. This is surely one of the most elegant typefaces, although it’s not often used for large blocks of literary text. Which is a shame. The Canadian Journal of Philosophy was set in Optima many years ago. My church’s history, Merging Streams, is set in Optima, as is Tom Wolfe’s The Painted Word. This blog currently is typeset with an Optima clone, URW Classico. Another clone is Zapf Humanist 601; a third, with old-style numerals, is Epigrafica; and a fourth, with old-style numerals and small capitals, is Ophian.

June’s poem; body-text fonts, pt. 4: CRT Caslon and Palatino

A few nights ago, we had a good storm. It relieved us from the heat. The black sky turned mustard-yellow.

I feared for our lives, but a quick Internet search convinced me that we were in no danger.

This month’s poem, from Mark Twain’s Roughing It, is “The Aged Pilot Man.”

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯
On the Erie Canal, it was,
All on a summer’s day,
I sailed forth with my parents
Far away to Albany.

From out the clouds at noon that day
There came a dreadful storm,
That piled the billows high about,
And filled us with alarm.

A man came rushing from a house,
Saying, “Snub up* your boat I pray,
Snub up your boat, snub up, alas,
Snub up while yet you may.”

Our captain cast one glance astern,
Then forward glancèd he,
And said, “My wife and little ones
I never more shall see.”

Said Dollinger the pilot man,
In noble words, but few, –
“Fear not, but lean on Dollinger,
And he will fetch you through.”

The boat drove on, the frightened mules
Tore through the rain and wind,
And bravely still, in danger’s post,
The whip-boy strode behind.

“Come ’board, come ’board,” the captain cried,
“Nor tempt so wild a storm;”
But still the raging mules advanced,
And still the boy strode on.

Then said the captain to us all,
“Alas, ’tis plain to me,
The greater danger is not there,
But here upon the sea.

“So let us strive, while life remains,
To save all souls on board,
And then if die at last we must,
Let .⁠.⁠.⁠. I cannot speak the word!”

Said Dollinger the pilot man,
Tow’ring above the crew,
“Fear not, but trust in Dollinger,
And he will fetch you through.”

“Low bridge! low bridge!” all heads went down,
The laboring bark sped on;
A mill we passed, we passed a church,
Hamlets, and fields of corn;
And all the world came out to see,
And chased along the shore
Crying, “Alas, alas, the sheeted rain,
The wind, the tempest’s roar!
Alas, the gallant ship and crew,
Can nothing help them more?”

And from our deck sad eyes looked out
Across the stormy scene:
The tossing wake of billows aft,
The bending forests green,

The chickens sheltered under carts
In lee of barn the cows,
The skurrying swine with straw in mouth,
The wild spray from our bows!

“She balances!
She wavers!
Now let her go about!
If she misses stays and broaches to,
We’re all” – (then with a shout,)
“Huray! huray!
Avast! belay!
Take in more sail!
Lord, what a gale!
Ho, boy, haul taut on the hind mule’s tail!”

“Ho! lighten ship! ho! man the pump!
Ho, hostler, heave the lead!”

“A quarter-three! – ’tis shoaling fast!
Three feet large! – t⁠-⁠h⁠-⁠r⁠-⁠e⁠-⁠e feet! –
Three feet scant!” I cried in fright
“Oh, is there no retreat?”

Said Dollinger, the pilot man,
As on the vessel flew,
“Fear not, but trust in Dollinger,
And he will fetch you through.”

A panic struck the bravest hearts,
The boldest cheek turned pale;
For plain to all, this shoaling said
A leak had burst the ditch’s bed!
And, straight as bolt from crossbow sped,
Our ship swept on, with shoaling lead,
Before the fearful gale!

“Sever the tow-line! Cripple the mules!”
Too late! There comes a shock!
∗ ∗ ∗ ∗ ∗ ∗
Another length, and the fated craft
Would have swum in the saving lock!

Then gathered together the shipwrecked crew
And took one last embrace,
While sorrowful tears from despairing eyes
Ran down each hopeless face;
And some did think of their little ones
Whom they never more might see,
And others of waiting wives at home,
And mothers that grieved would be.

But of all the children of misery there
On that poor sinking frame,
But one spake words of hope and faith,
And I worshipped as they came:
Said Dollinger the pilot man, –
(O brave heart, strong and true!) –
“Fear not, but trust in Dollinger,
For he will fetch you through.”

Lo! scarce the words have passed his lips
The dauntless prophet say’th,
When every soul about him seeth
A wonder crown his faith!

“And count ye all, both great and small,
As numbered with the dead:
For mariner for forty year,
On Erie, boy and man,
I never yet saw such a storm,
Or one ’t with it began!”

So overboard a keg of nails
And anvils three we threw,
Likewise four bales of gunny-sacks,
Two hundred pounds of glue,
Two sacks of corn, four ditto wheat,
A box of books, a cow,
A violin, Lord Byron’s works,
A rip-saw and a sow.

A curve! a curve! the dangers grow!
“Labbord! – stabbord! – s⁠-⁠t⁠-⁠e⁠-⁠a⁠-⁠d⁠-⁠y! – so! –
Hard-a-port, Dol! – hellum-a-lee!
Haw the head mule! – the aft one gee!
Luff! – bring her to the wind!”

For straight a farmer brought a plank, –
(Mysteriously inspired) –
And laying it unto the ship,
In silent awe retired.

Then every sufferer stood amazed
That pilot man before;
A moment stood. Then wondering turned,
And speechless walked ashore.
⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

* Snub up: “The customary canal technicality for ‘tie up’” (MT’s note).

You can see pictures here (pp. 369ff).

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And now, the typeface: CRT Caslon.
No, not CRT as in “critical race theory”; CRT as in “cathode-ray tube.”

One good place to look for CRT fonts is in books that were published c. 1982. (Chances are decent, if you own anything by Emerson, it’s this volume set in CRT Caslon.)

My favorite CRT font is this version of Hermann Zapf’s Palatino:
(From Jonathan Spence, The Gate of Heavenly Peace.)

Body-text fonts, pt. 3: Melior

The mower is repaired, thanks to Karin’s dad; and the lawn is cut, thanks to me. And just in time, because this has been a rainy day.

On the whole, the weather has not been bad, but I haven’t wanted to go out strolling with Samuel and Daniel. I’ve been reluctant to take Daniel out very far: he’s still so small.

It’s not easy to think of good content for this blog when I don’t leave the house.

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This month’s font, Melior, was designed by the great Hermann Zapf.


Speaking of Bond, I suppose the Russians are due to make a comeback as “the baddies” of spy fiction.

The reason is terrible, of course.

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Domestic terrorism is featured in British thrillers more and more often. Has this been true of U.S. thrillers? Of the Jack Reacher novels, for example?

It’s fun to read about agents who fight exotic foreigners. I imagine it would be less pleasing to read a thriller about, e.g., a homegrown mass shooter.