Pink Noise - Leonid Korogodski [68]
Last but not least, I want to thank my family and friends for their support and understanding.
COLOPHON
THE PRIMARY TYPEFACE IN PINK NOISE IS OPTIMA NOVA®. Designed in the 1950s by Hermann Zapf (b. 1918), one of the most celebrated font designers of the 20th century, the original Optima® has a distinguished history. It is a humanist sans serif font with such fine curves and tapers that they effectively play the part of serifs. This kind of subtle variation is what the brain likes to see, making the font easy to read. But because of these delicate tapers, this font has been a challenge to convert into a digital format. The first attempt, also called Optima, had to sacrifice too much because of the stairstepping effect at the low resolution of the monitor’s screen.
Optima nova (Copyright © 2003 Linotype® GmbH) is the second, more successful attempt by Akira Kobayashi and Hermann Zapf, to create a digital version of Optima. It also has a true italic (not merely slanted) and a titling face.
What other font shows so well the loss one suffers in the conversion to a digital format?
The other fonts used in Pink Noise:
Agilita® Condensed, by Jürgen Weltin. A “sans serif companion” to Optima nova. Copyright © 2006 Linotype® GmbH.
neo® TECH, by Sebastian Lester, designed to look futuristic but not gimmicky. Copyright © 2004 Monotype® Imaging, Inc.
AURA, a titling typeface by Jackson Burke. Copyright © 1998 T.26. Appears on the dust jacket and the spine of the cover.
MONUMENT, another distinguished titling face, by Oldřich Menhart (1897–1962). Digitized by Dieter Steffman. Copyright © 2002 Typographer Mediengestaltung. Appears in the Latin quote of the Occam’s Razor principle on page 176.
Narkis Classic Hebrew, by Zvi Narkis (b. 1921). Appears on page 61in the Biblical allusion expanded on the facing page. Copyright © 2003 MasterFont®.
Rachana, by K. H. Hussein, is a free Malayalam typeface that reintroduced hundreds of beautiful akhand glyphs, which had been removed from the language in the pre-computer age to map the alphabet onto the typewriter’s keyboard. Having ushered in the Malayalam typographic renaissance, Rachana is now a component of the Linux-based Rachana operating system. Copyright © 2005 Rachana Akshara Vedi.
Thunaivan tsc, a free Tamil font by Ravindran Paul. Copyright © 2002 Micro Mart. Appears in the epigraphical inscription and appendices.
Sanskrit 2003. Copyright © 2004 Omkarananda Ashram Himalayas. Used in appendices.
Adobe® Kaiti, a Chinese and Japanese font. Copyright © 2006 Adobe Systems Inc. Used in appendices.
THE FIRST HARDCOVER EDITION OF THIS BOOK WAS PRINTED by Print Vision Pvt. Ltd. in Ahmedabad, India, a winner of several National and South Asian awards of Excellence in Printing.
The text was printed on bilt Sinnar Matte 80# with black and magenta inks. The internal illustrations were in “four-color black,” with a spot uv glossy coating. The dust jacket was printed on bilt Sinnar Glossy 100# with the four-color cmyk process (Cyan, Magenta, Yellow, and blacK), as well as Pantone® Goe® 31–1–3 and a combination of matte and glossy coatings.
And made ELOHIM for Adam
and for his wife garments of skin,
and clothed them.
— GENESIS, 3:21
Layered Terrain, West Arabia Terra Crater, Mars.
Credits: NASA / JPL / Malin