On 04/23/2014 07:00 AM, Werner LEMBERG wrote:
[...] They all show this artifact of rounded interior corners. I
promise I'm not just making this up. They come from the punch
manufacturing process AND the engraving process AND printing
process. I think it would be quite nice to incorporate these
somehow, but maybe that's just me, in which case I would do it for
myself.
What I love about them is the eye doesn't really notice them when
they are there, but I would argue that the eye DEFINITELY notices
when they are NOT there, like with any of the major notation fonts
today. If you need more examples, I'd be happy to supply
them. Cheers!
Especially this example
http://lilypond.1069038.n5.nabble.com/attachment/161770/2/barenreiter-examples.png
shows very well that what you want to achieve is not related to the
font itself: It's definitely one level `later', so to say: The round
edges, which can be clearly seen, are not only affecting the clef
outline but *every intersection* of lines, including bar lines!
I agree when I look at the picture, but I wonder what's the cause - can
you enlighten me?
IIUC you argue that the reason for the rounds is that the metal punches
for noteheads etc cannot be cut out with 100% sharp inner corners.
Makes sense. Now, the barlines are drawn on an engraving plate first,
and apart from slight rounds at the ends, they will be perfectly
straight and sharp. An intersection with a bar line or stem (or any
other object) will collect a tiny bit of metal next to the intersection
point, but this should be related to the direction of the stroke of the
bar line or stem, right? So, all I can think of as causes for the
general rounding are dust on the engraving plate, artifacts from
polishing the plate before printing, or random feathering of ink. But
all those must affect both inner and outer angles?
Your confused
Alexander
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