The typographic system of letters and spaces – horizontal and vertical ones – can be seen as both limiting and liberating. If you are interested in design as a problem solving activity, you thrive under constraints. ![]() Making new large type for letterpress printing is really quite stupid then. If that doesn’t help, you’ll change the message. So you have to pick a smaller size which will have more of each character or you’ll choose another typeface altogether. If you only have a large wood type font in one size, you run out of certain characters very quickly. ![]() The material defines not only how you work but also what the result will look like. There are no half sizes, let alone fine increments in letterspacing, unless you want to spend hours inserting slivers of brass or thin paper to refine a line of type. ![]() Suddenly we’re happy to take a lowercase l and use it for a figure 1 because that particular typeface doesn’t have enough figures? WTF? Wood type sucks when it comes to kerning because you would have to cut away bits of the letter itself in order to achieve “perfect” spacing.
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