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- From: kibo@world.std.com (James "Kibo" Parry)
- Subject: Re: Bad Typesetting on Deep Space Nine
- Message-ID: <C1G4o7.CI9@world.std.com>
- Followup-To: alt.sex
- Organization: Two rooms filled with typography, in downtown Boston
- References: <1993Jan25.155615.6484@midway.uchicago.edu>
- Date: Tue, 26 Jan 1993 05:31:18 GMT
- Lines: 28
-
- In article <1993Jan25.155615.6484@midway.uchicago.edu> enf1@midway.uchicago.edu writes:
- >Last night, while watching the latest episode of Star Trek: Deep Space Nine,
- >I was appalled by the lack of typographic evolution mankind apparently
- >undergoes in the next few centuries. In every close-up shot of a computer
- >screen, not only was almost all text in all caps, as if it had been composed by
- >BIFF, but without fail, the text was set in (white on black) TrueType
- >Chicago.
-
- Run over to comp.fonts and ask Charles Bigelow how he feels about this.
- Maybe I should have hurried up and finished Galaxy Gothic already so he
- wouldn't have to suffer the indignity of seeing his designs used on
- "Plan Nine From Deep Space".
-
- (I like his TrueType New York, BTW, though of course I must make a
- pretense of not liking any font with a large x-height, to be
- properly pretentious, so don't tell anyone I said so.)
-
- And note, of course, that the credits are in Handel Gothic, which was
- also the official typeface of "Close Encounters" because it looks just
- like Helvetica with a couple round corners.
-
- >This, in my opinion, is a far worse anachronism than the supposed 1950s
- >newspaper shown in the film _Chaplin_ whose headline was set in Avant Garde.
-
- But was it the new Multiple Masher version?
-
- -- K.
-
-