On Feb 28, 2009, at 18:51 , ann sanfedele wrote:
[email protected] wrote:
***How it's conveyed is somewhat irrelevant.*****
Actually, when it comes to poetry (especially) the type face can
matter... and reading poetry as opposed to listening to
it is quite different.
I've changed words and changed typeface / font in writing because
the way the lines look in print mattered to
me.
Spacing, punctuation, possibly a change in font size... it's all
part of the whole... the most obvious examples
in "famous' lit are George Herbert's poems where the lines form a
shape , an hour glass, for instance... and
certainly in e.e. cummings. And , hmm, isn't Tristam Shandy filled
with some odd type face stuff too? Help
me out here guys, I may be misremembering that - but it's one of
those "back in the dear dead days ..' authors.
the patterns the words make on the page aid the reader in how to say
the words in their mind, to get the beat right.
Of course you did say "somewhat", Paul :-)
I'm going to go feel up my old books now to see which are metal type
printed... (aside to mark )
ann
You go Ann!
When I was a Mac computer consultant, most of my clients were
artists, writers, and copywriters. Students of font design. (PC users
did spreadsheets and architecture, and played games)
In trying to create my own documents in PageMaker, I was usually a
failure because I did not have the knowledge of fonts, ligature,
kerning, and the myriad other parts that go into the design of the
printed page.
My clients impressed upon me how beautiful the language of page
design, and font choice as a subset, could be.
One of the frustrating things about mailing lists like the PDML is
seeing everything in plain text. Pa tui...
Joseph McAllister
[email protected]
http://gallery.me.com/jomac
http://web.me.com/jomac/show.me/Blog/Blog.html
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