Gothic Fonts Quotes

...the book typographer's job was building a window between the reader inside a room and that landscape which is the author's words. He may put up a stained glass window of marvelous beauty, but a failure as a window; that is he may use some rich superb type like text gothic that is something to be look at, not through.

Ecofont is designed to save ink, money and eventually the planet, but heaven save us from worthy fonts. Ecofont is a program that adds holes to a font. The software takes Arial, Verdana, Times New Roman and prints them is if they had been attacked by moths. They retain their original shape but not their original form, and so lose their true weight and beauty... a study at the University of Wisconsin claimed that Ecofonts, such as Ecofont Vera Sans, actually uses more ink and toner than lighter fonts such as Century Gothic...

The homeward ride’s camaraderie was marred only by the fact that someone near the back of the bus started the passing around of a Gothic-fonted leaflet offering the kingdom of prehistoric England to the man who could pull Keith Freer out of Bernadette Longley. Freer had been discovered by prorector Mary Esther Thode more or less Xing poor Bernadette Longley under an Adidas blanket in the very back seat on the bus trip to the East Coast Clays in Providence in September, and it had been a nasty scene, because there were some basic Academy-license rules that it was just unacceptable to flout under the nose of staff. Keith Freer was deeply asleep when the leaflet was getting passed around, but Bernadette Longley wasn’t, and when the leaflet hit the front half where all the females now had to sit since September she’d buried her face in her hands and flushed even on the back of her pretty neck, and her doubles partner 92 came all the way back to where Jim Struck and Michael Pemulis were sitting and told them in no uncertain terms that somebody on this bus was so immature it was really sad

We are marginally—but crucially—less likely to question the soundness of an article about a rationale for going to war when it comes presented beneath the neo-Gothic Cheltenham typeface of the New York Times, or to probe the coherence of a thesis defending a presidential budget when it is laid out in the sober yet sensuous columns of Le Monde's Fenway font. Brands alone dissuade us from picking sceptically at their underlying content.