Typefaces were designed within, and sometimes even in celebration of, the technical constraints of the moment.
You have to settle for the squares the grid can allot you.Īt first, in the early years, the deal seemed a bad one. As against the apparently infinitely subtle possibilities of a hand-guided engraver cutting punches for metal type, or a pen or brush putting ink down on paper for photographic reproduction, there is an obvious bargain to be made with the technology.
‘Digital typesetting’ means that characters, and indeed any other graphic elements, exist only where they can be generated by the rectilinear sweep of a beam, either on or off. Digital processes were introduced into typesetting in the 1970s, but – as always in the development of human inventions – it has taken some time to realise their full implications.
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