> Anyone who has a digital "OPTIfont" and a font editor can readily view the problems, including usually several times too many Bezier points within any character. I counted 78 control points on a minimal character, for instance, that should have had less than a dozen.
For a lot of folks, they're never going to notice the difference, but this gets into target audience sophistication, etc. etc.
Popular works regularly mine the (public domain) past. Disney animated movies like Cinderella did so. Seth Grahame-Smith did so with Pride and Prejudice and Zombies. and so on. That is literally the benefit of copyright expiration, that other people can utilize and transform a published work.
I've been doing some bookbinding projects recently, e.g. some of William Morris's works originally published by his Kelmscott Press, and have been typesetting them using some replica fonts. This is a very cool project.
I do wish they'd provide more details about where a given font comes from. For instance, CL Antique No.1's uppercase bears a strong resemblance to Morris's drop caps used in News From Nowhere, but there doesn't seem to be a reference to what CL Antique No.1 is based on.
https://luc.devroye.org/fonts-27506.html
> Anyone who has a digital "OPTIfont" and a font editor can readily view the problems, including usually several times too many Bezier points within any character. I counted 78 control points on a minimal character, for instance, that should have had less than a dozen.
For a lot of folks, they're never going to notice the difference, but this gets into target audience sophistication, etc. etc.
I do wish they'd provide more details about where a given font comes from. For instance, CL Antique No.1's uppercase bears a strong resemblance to Morris's drop caps used in News From Nowhere, but there doesn't seem to be a reference to what CL Antique No.1 is based on.
Or maybe I'm just missing that somewhere?