To install this font on a Macintosh you need only two of the files in this archive:
1. The PostScript file should be dropped into your System Folder. The PostScript file is the one named ╥GoodCitMod╙.
2. The contents of the bitmap file should be installed into your System file with the Font/DA Mover version 3.8 or later. Use the standard procedure for installing a bitmap font file. The bitmap file is the one named ╥GoodCityModern.bmap╙. If you have trouble doing this, double check that you are using Font/DA Mover version 3.8 or above. When Font/DA Mover is running, you will see a number in the top left corner of the menu bar. If this number is 3.8 or greater, then you have a version of Font/DA Mover that will install GoodCityModern. If you are using System 7, drop the bitmap file into your System folder.
ÑÑÑMacintosh Truetype versionÑÑÑ
To install this font on a system 7 equipped Macintosh you need only one file:
The TrueType font file should be dropped into your System Folder. The TrueType font
file is the one named ╥GoodCityModern.suit╙.
Andrew Meit╒s commentary on GoodCityModern:
Naturally, you may be asking yourself, ╘How did he create this font?╒. Locating a full character set was not easy. After searching in many libraries, I found the set at C.W. Post College (which has an excellent typography reference section). The reproduction was small and the copier worse, but I managed.
Studying the page, I quickly realized several key points. One, Gutenberg designed the font with a deep understanding of Latin grammar and spelling. He had kerning pairs based on repeated letter usage throughout the Bible and kerned small words into tight units (i.e. our ╘of╒ and ╘and╒). Second, that he posited key geometric guidelines to aid in creating the font. He was doing more than just capturing the scribe-like strokes of his day, but in addition had a respect for the metal and ink to be used in printing his Bible. This second point made it possible to actually create the font; because of the smallness of the reproduced letters, I had to re-create (for techies, ╘reverse - engineer╒) them. (My loupe and the page became very close friends!)
After some hand drawings to ╘feel╒ the letter forms, I scanned the page at 150 dpi and made a bitmap font using Fontastic Plus. Sometimes, I felt another hand on my mouse while fat-bitting away late at night... Then, I typed Latin text to see the typeface in actual context.
Next, using the bitmap font, I printed samples at 200% enlargement with smoothing on to get a larger size to scan and clean up in MacPaint. Did preliminary versions in Fontographer 3.0.5 thru 3.1, but was not satisfied with the outlines or control of the outlines ╨ threw away about nine months work. While testing Freehand 3.0, I noticed that its new features would at last give me the tools and control I wanted. So, I placed the scanned images into Freehand 3.0 to trace and refine ╨ using all its features to accomplish the task. Yes, bcp by bcp, The font came alive. There were days I felt a presence in the room...
Once the letter forms were done, I simply option-copied the FreeHand paths into Fontographer 3.2. Did further refinements using remove overlap and decompose composites; then created kerning pairs. Based on the same careful study Gutenberg did on Latin letters, I needed to create 800 pairs! Now, as of 5:15 June 18 1991, using Fontographer 3.3, I was finished.
A few historical notes. The original typeface was created for Latin, not for modern English; hence, the ╘modern╒ in the name of my translation. I had to create a full Roman set everyone can use. However, there is an exact Latin version which is not done; which will be used for an involved multi-media work some time in the future. The ╘goodcity╒ part of its name comes from German: guten - good, burg - city. (actually, Earl Allen, a fellow Altsysian coined the term - thanks!)
