Doves is insanely easy on the eyes despite so much going on. There is also mebinac[1] an unauthorized contemporary take on the original doves. Mebinac doesn't leap off the page as well yet deals with modern punctuation in a more normal way.
Personally you can freely use them to great affect in your RSS reader or mail app that you read everyday.
When you are looking for a font, how can you know which grapheme clusters have glyphs? Is there some classification system for fonts that let you know how complete they are?
Thanks!, hadn’t come across Mebinac. It’s quite good!
I’m also a big fan of Igino Marini’s recreation of the Fell typefaces:
The Fell Types took their name from John Fell, a Bishop of Oxford in the seventeenth-century. Not only he created an unique collection of printing types but he started one of the most important adventures in the history of typography. — https://web.archive.org/web/20240128075552/https://iginomari...
I use Doves Type for… everything. One day I started to find my monomaniacal obsession a bit funny and sort of to spite myself I set every font in Firefox to Doves Type. Serif, sans-serif, monospace, no other fonts allowed, as well as the UI font by tweaking the Firefox user profile iirc.
Or yeah I do use IBM PC VGA 9x16, IBM BIOS 8x8, and Eagle Spirit PC CGA Board Alternate 3 a little :) From the Ultimate Oldschool PC Font Pack: https://int10h.org/oldschool-pc-fonts/
I even munged together a combination of Doves Type Regular and IM Fell Great Primer Italic that matches the character scale and linespacing to both each other and to the IBM PC VGA 9x16 font at 1:1 size. The open-source FontForge did the trick!: https://fontforge.org/en-US/
(FontForge can autogenerate italics for any font. If you’re bored, I suggest loading up the classic VGA font and pressing the ITALICIZE button on ot. It’s… interesting!)
In general, on Windows I much prefer MacType’s fomt rendering: https://www.mactype.net … it’s kind of amazing that this kind of surgery is even possible.
I've become enamored of this typeface as well as of this morning, moved even if I'm honest, but I'm having trouble finding one that looks as nice as the bible page sample in the OP. I made this account here just to ask; which version have you been using, and where did you get it?
Curious what you did in FontForge to merge IM Fell Great Primer Italics into Doves Type Regular. (As I'd very much like to use Doves, e.g., for an e-reader font, but I do want to have italics for such purposes.)
I made a native attempt in FontForge (just doing 'merge fonts'), which (unsurprisingly) didn't work.
It’s a bit of a blackout when I try to recall it, haha. I should figure it out and write it up.
If it’s useful: As far as I can recall it involved simply changing the font family to match, i.e. “Dovesfell”, and then exporting the regular and the italic. The OS font system then figures out that they
belong together.
The scale is slightly different and the linespacing too. Did like a 90% rescale on one and 95% on the other? And then there was something to change in the Metrics window to make the linespacing identical.
As I understand, yes: but that'll be inferior to the original, since it won't have ligatures or hinting or anything. It's a lot of work for not a lot of benefit.
Copyright applies to the NAMES as trademarks, and the exact program used to reproduce them, but not to the shapes and designs, and yes, I made a lot of changes to that article to reflect current law.
I meant unauthorized in the autobiographical approval sense, the original doves creator frowned upon any modern takes of his typeface, the new designer acknowledged this and let us know.
I'm curious what you mean by not looking "period". The HPLHS fonts frankly seem to just be poor quality, rather than old. If you look at the images of the original type, Doves appears to be quite faithful to the original. Perhaps it's worth noting that we still use typefaces remarkably similar to the Romans, particularly Times New Roman, which despite its many shortcomings retains a "modern" look by virtue of still being in use.
Roman type has roots in Italian printing of the late 15th and early 16th centuries, but Times New Roman's design has no connection to Rome or to the Romans.
It was created by the descendants of the Romans, in the same physical location as Ancient Rome, and based on the numerous examples of letters that were still around on Roman buildings.
If that is “no connection” what exactly would a “connection” look like?
I'll admit I'm no typeface expert, but this seems to miss the point. Wikipedia's own page on Roman type [0] says "Roman type was modelled from a European scribal manuscript style of the 15th century, based on the pairing of inscriptional capitals used in ancient Rome with Carolingian minuscules". And visually, there's clearly an influence, though many centuries removed. My point is merely these very old typefaces remain modern looking because we still use similar ones today.
The capital letters were indeed inspired by Roman monumental inscriptions. But all the lower case forms were taken from Carolingian designs. Humanists wanted to copy Roman forms to go back to what they saw as writing uncontaminated with medieval influence, but the texts of Roman authors they used to do so were not actually written by Romans but copied by Carolingian-era scribes. It's why its generally much easier for us to read ninth-century texts than, say, earlier (e.g., Merovingian chancery script, yikes) and later scribal hands (e.g., late medieval Gothic).
"If my grandmother had wheels, she could have been a bicycle." Serif type is based on the use of chisels to carve rock. ANY other semblance is purely speculative. The trademark for Times New Roman is owned by the British, not the Italians.
Not all documents from the time period would've had such low quality though, and not everyone would want such quality in a modern document. If you want such an effect, it's always possible to add it later, but it's rather more difficult to remove it if it's baked into the font file.
This has so much of what I (as an outsider) love about the UK. The love of typography & general design chops, mudlarks, art and design in public life, the spirit of enquiry and adventure and, the presence of people in the bureaucracy and elsewhere who recognize whimsy and put institutional resources behind that pursuit.
There was also a revival of the Doves type made by Torbjörn Olsson in 1994. It is no longer available, but you can find the old specimen PDF at the Internet Archive and extract the embedded fonts. The weight is a bit lighter than the Robert Green version, but also has an italic face.
> “It is not that unusual to find pieces of type in the river,” Sandy said. “Particularly around Fleet Street, where newspaper typesetters would throw pieces in the water when they couldn’t be bothered to put them back in their cases.
Some assistant being lazy, or rushing to "finish" a task?
Or sorts that broke, or were worn out, and it was normal to toss things into the river?
Or a ritual? (Say, toss a sort into the river for the first page an apprentice sets, or when there's a press failure, or for superstition after printing very bad news?)
It was normal. Rivers were used for dumping the garbage. In some places they still are. I know about instances in Europe where people dump their trash in streams behind the hamlet.
When you say the UK, what you mean is a group of corrupt private companies that find it more convenient and cost friendly to dump raw sewage rather than correctly process it. I'm fairly sure the majority of people in the UK would be in favour of nationalising such companies and instead dumping their executives into the river instead [1].
One notable instance was “Bubbly Creek” in Chicago where the slaughterhouses dumped so much refuse in a tributary to the Chicago River that the water bubbled from the decay of the trash. The riverbed there is still polluted with toxic chemicals.
A bit hard to belive they would toss types in the water out of laziness given these types would be relatively expensive and the typesetters would need them to keep their job.
The particular case seem to be a deliberate act of sabotage which sound more believable.
Throwing worn-out or broken types and other tools in the river would probably be common though.
We've had centuries of embankment works along the Thames¹, a fair bit concentrated around the areas you'd expect to find type like this². There must be a phenomenal amount of history that was purposely covered around there. Given the scale of the works you'd have to imagine there is a significant chunk of non-London history to be found there too(the scale of granite imports from Cornwall being an obvious example).
I'm less optimistic about the possibility of more large scale digs though, as the Golden Jubilee bridge history³ points out the area is an also an exciting zone for stumbling in to unexploded ordnance and you always seem to be within few metres of a tube line or Victorian sewer.
[It is the reason I love those plucky Crossrail⁴ developers who've felt the anger from the havoc they've left across London over the few past decades. We get incredible large scale engineering works to lust over, coupled with really wacky archaeological digs tagging along for the ride.]
On a trip to London and having heard of mudlarking, I walked in one of the ‘beaches’. I immediately found an old belt belt buckle and about 20 stems from old clay pipes.
My father found a 17th century cork screw.
There must be an absolute wealth of finds along its banks.
Curious as to why this refers to recovering the type being important to creating a digital version of the typeface, when lower in the article it shows that there is a surviving bible. Couldn't that have already been used to reproduce the font?
Due to irregular spreading of the ink when printing, the shapes on the page are not perfect representations of the type shape, so the true shape of the metal form has to be inferred from comparing multiple printed samples.
There are digital reproductions of old typefaces that try to reproduce the actual weight on the page, but they seem to be not very popular with modern designers unless they are going for a deliberately archaic look.
They did and that is a huge point of contention in the revival of classic typefaces. In the 1970s, there was a massive push to digitize existing founts, but the type companies did it by tracing the metal rather than the prints. The result was digital fonts that printed much lighter than the original metal type. Most digitizations of early 20th-century typefaces you can find have this problem.
By the late 1970s, people began to pay more heed to the actual printed shapes. I like early 20th-century typographic style and am always on the lookout for good type reproductions, but there are two other factors that come into play. One is that a font designed to look a certain way when press-printed won't look quite the same coming out of your laser printer. The other is that modern taste is for thinner lines. When I use a revival of a classic type, I want it to look at it did back when, but apparently I'm in the minority.
It’s also a matter of printing technology, letterpress, vs offset. The latter tends to have less ink spread. It’s also a matter of printing on dry vs damp paper (letterpress works best on slightly dampened sheets of paper which contributes to the ink spread). Then there are things like subtle curves that don’t digitize well (digital Optima is a poor approximation of the original analog letterforms).
We actually have this. Obviously not this particular font. My family were all printers and I've sort of inherited a huge cabinet full of old school typefaces all carved out of some special kind of hard wood - pear wood - all over 100 years old. Absolutely 0 idea what we can do with it, but it's all hand made and very cool. Felt pertinet to share lol
Klim Type Foundry [1] may also be worth a contact — they’ve been inspired by woodcut type before (e.g. [2] [3]), so I wonder if they might be interested in knowing about this.
Interesting! While I'm no Kris Sowersby or Robert Green, I have a side-side project to carve my own wood type (I've got a stack of Beech rounds drying in the shed) when I finally get a chance. It'd be cool to see some photos of your collection. If you're in the States, places like Hamilton Type and Hatch Show Print have tonnes of old an quirky display faces that they still use regularly.
I remember the earlier story about the disposal and Robert Green's obsession with reviving it back in 2013 in The Economist[1]—at that time, "Intrepid fans have occasionally tried to recover pieces of the type from the river, but no one has ever found any"—so it's good to hear that the story didn't end there.
Not really. Jenson’s typeface (modern revivals include Montype’s Centaur and Adobe Jenson) retained a lot of calligraphic features which figure less in later faces. Garamond is much more of a type design than lettering in type and Caslon is wholly typographic in its nature.
You are technically correct. Even though that's the best kind of correct, I'd see these later developments as mostly natural refinements of the medium, that didn't really alter the fundamentals.
From Jenson until the first Grotesk fonts I don't think there was anything large one-time leap, but rather a sequence of gradual evolutions.
It has just the right balance of technology, art, history, and trivia fun facts. Makes it one of the best topics for us nerds.
Also, programmers spend a huge fraction of their time reading. Reading code, reading docs, reading reading reading. Fonts are important for us from an ergonomic point of view (and it's also a matter of taste and aesthetics!)
That's cool. I admit hearing that story and thinking, "Is that how it happened? could a diver find it?" Apparently, they could! Great work on someone seeing it through.
I’m left wanting to hear more about the motivation for dumping the type in the first place. What kind of swindle was suspected? Did the partner try to reconstruct the type?
Personally you can freely use them to great affect in your RSS reader or mail app that you read everyday.
[1] https://fontsme.com/mebinac.font