![]() Hence, jazzers insist on reading music prepared by computer that is designed to look like it was done by hand. Things are easy to read when they are familiar. Traditions stick, because people are comfortable with what they know. All in all everything looks the same, doesn’t matter if its Scorlatti, Norfolk, etc …56 Some kind of a handwritten style for popular music engraving (e.g. I used to be a physicist, should we change all the mathematical notation too so it can look better to the average person too, who wouldn’t understand it anyhow? Yes, let’s find a new font for Einsteins general field theory So no, he doesn’t know what he’s talking about AFAIK. General typology is about making information available to the uninitiated, that is some random person who might see it. Last thing I want is some new streamlined clef system (it’s been done) - what’s the point? The ornate clefs trigger an automatic response in my brain. And yes a musician obviously needs conformity in design, because it’s all in the autonomous system. Again - your graphic designer is thinking in terms of a general person looking at this, not a musician. What matters is it’s ability to transmit information to a musician while playing, which is an operation that takes up a lot of bandwidth.Ī lot of thought and energy has gone into this over the centuries, could it be improved? The measure of that would be “does it better convey musical information to the musician”. But for notation the visual appeal in that sense matters little. Since we’re so inundated with symbols and graphics, the modern style is streamlined. He’s thinking in terms of purely how it visually looks to a modern eye. I think the graphic designer - who isn’t a musician, doesn’t have good insight into music design. Maybe there is one and I didn’t realize it. So, I hope that there will come a professional typeface designer, who cares for a highly legible, modern new interpretation of our musical notation. All in all everything looks the same, doesn’t matter if its Scorlatti, Norfolk, etc …īut I don’t know any good options let say for a serious slab font version for clefs, dynamics, … or a music font for dynamics in a non-italic, non-serif style (like Gotham, Avenir, Futura, …) – Dorico doesn’t support to change the font for pp, sfz, etc easily yet. Bravura, Norfolk, Opus, …) or some kind of a handwritten style for popular music engraving (e.g. Means:Īntiqua style (clefs, dynamics, etc) for »classical« engraving (e.g. One of the first things he asked me was if there is no other possibility than writing music in such an old fashioned way. Although Hopeless Diamond references both a valuable machine and a precious stone, its virtue is entirely in its eye-popping letterforms, whatever they’re used to represent.Just let me tell you this: years ago, when I published my first book about music theory (with hundreds of music examples) a professional graphic designer (no musician) gave the finishing touch to this book. Whatever we users may read into Barnbrook’s type designs (notably his 1992 medieval-influenced family, ironically named Manson) that was used on scores of gothic and horror genre books and record covers, type is always an empty vessel filled with and given meaning by others. Designed by Barnbrook and Marcus Leis Allion, Hopeless Diamond symbolizes, for me, a high energy command center, with all aspects working in harmonic precision. In the 70pt range it is tops as a display type that flies off the page. ![]() Although all the members of this family work best at sizes starting at around 50pts, smaller sizes have charm too. The X-height for the lowercase is equal to the upper case, save for a few ascenders, but that gives it at once a sleek and engraved look. Hopeless Diamond (a riff on the legendary Hope Diamond) was coined by test pilots who found flaws with the disappointing performance of what has become a major part of America’s airborne arsenal.Īs a typeface, however, it’s both stealth and jagged in appearance. Air Force’s state of the art ‘invisible’ weapon of mass destruction - the plane that looks like a bat wing. This 2009 family, Hopeless Diamond, bears that name not because its beveled edges resemble the facets of a diamond (which it does), but despite an obvious 19th-century wood type aesthetic, it is also the nick-name of the futuristic B-2 stealth bomber, formerly the U.S. ![]() In 1991 he named a font Exocet, his protest of missiles the English Navy was lobbing at a small island during the folly of Margaret Thatcher’s Falklands War. Jonathan Barnbrook can always be counted on to design a typeface where you get more than what you see.
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