Archive through September 18, 2001

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Martin Archer's picture
Joined: 5 Sep 2001 - 12:31pm
Archive through September 18, 2001

I’ve made contact with the guy responsible for this font:

He says he sent it to FontShop but they never replied. I told him I’d look around for someone who might be interested in developing it.

He also said, “…at the moment Roxane only exists as a research tool not as a real font because there are no other weights, italics and not much punctuation; nevertheless I can send you a copy if you want…”

It looks like a good project for someone into designing a useful plain sans family.

I told him: “…If I get anyone interested in taking the job on then I’ll insist that you are credited as the original designer and that you should get half of any sales — although don’t expect to retire on the proceeds!…”

Hrant H Papazian's picture
Joined: 3 May 2000 - 11:00am

What I really like about Roxane is that its design is analytical — something very lacking these days. But Gluth is not so analytical that it prevents him from taking a leap of faith — and that’s even better.

On the other hand, the good methodology and intentions are largely marred by a misguided foundation. His main mistakes are that:
1. He ignores the essentially bouma(word-shape)-based nature of immersive reading.
2. He needs to consider conflicts among letters, not just the letters themselves.

What this adds up to is that Roxane hits its target in terms of legibility (where individual letter clarity is paramount), but not *readability* (where word clarity is central).

Even so, it would be great to have it as a fully finctional font. As for FontFont, they only review fonts twice a year during a TypeBoard* meeting; but once they do, they let you know of their decision very quickly. He should still get a confirmation that they actually got his specimen, but he might have to ask for it.



Joe Pemberton's picture
Joined: 10 May 2000 - 2:30pm

Thanks for posting this article. It’s a nice read and an interesting hypothesis. Interesting the way he highlights counterspaces as the primary factor in providing contrast.