So what's the story on the chunky book-face phenomenon of late? I'm noticing more and more faces that abandon the perfect symmetry that seems to have become the standard (like 'Loreto' [ http://www.typophile.com/forums/messages/29/loreto_post1-34991.pdf ], and 'Quetzal' [ http://www.typophile.com/forums/messages/29/6757.html?1077083089 ]).
What's the theory, that obviously jointed contours and asymmetry mimic the imperfections that ink can lay on paper even when the typeface is near-perfect in its symmetry? (Seems like a good-enough reason.)
I'll revert to my Lamarckian views on letterform recognition for a moment... Have people gotten used to the [accidental, or at least naturally occuring] roughness of letterforms? And could it be that now they accept these types of contours as the norm and crave them?