Wednesday, March 10, 2021


Fredrick R. Brennan (via Jason Snell):

It is abundantly clear that this is the font they used, and no typewriter was involved in the production of this scene, even though the documents were the primary object of the scene.

While working on the project, incredibly, another bad typewriter scene intruded upon my life.

Fredrick R. Brennan:

While it would be ideal for the font itself to contain code through which it could create a (near-) infinite number of similar-looking glyphs, that is not possible in an OpenType font.


FF Duper, however, works via hundreds of GSUB subtables; while I tried to follow Wenzel’s lead in this regard, I eventually realized that for my font it was not going to be possible; the layout would be far too slow and the GSUB table far too large.


Instead of large tables and variable numbers of alternate glyphs, acquiesce, and include n (I decided on 9) versions of each glyph, even such glyphs as “space”.

His more realistic typewriter font is available here.


1 Comment RSS · Twitter

Interesting, I see very clear differences between the 3 N in the example screenshot. They all have the same general "degraded/damaged" look, but the ink distribution is completely different in each of them. For example, the left side of the first N in "PENNY" has a gap halfway down, while the second N is completely connected. The other gaps have similar obvious differences.

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