Come Thou Font
Whoa, whoa, whoa! I pour all kinds of creative energy into composing my music; do you really think I have any left over to design original fonts for the score???
(This is on my mind because I just sent out a score this week for a competition. The music is a setting of an ancient Irish poem. For the title, I used a free, Tolkieny-looking Icelandic font called Edda. For the rest of the score, I used the Finale defaults, except for the complete text printed on the first page; the text is so long, I had to use Arial so the tiny letters could be read. I know what you're saying: font promiscuity! ...but that was the best I could do without rethinking every font decision in the score, which I had no time for. Why, why, why did you people ever get me noticing fonts?! Cure you, Daniel Wolf! Curse you, James Lileks!
I am pleased, however, that M. Wolf and others like Georgia; after an exhausting review of my choices a while back, I settled on Georgia as the most - interesting - yet - commonly - available - and - without - being - too - weird choice for my outgoing email.)
Meanwhile...
What's the greatest choir on earth? Chanticleer gets my vote. Richard Morrison (quoted at A Cappella News) seems tempted to nominate the Estonian Philharmonic Chamber Choir directed by Paul Hillier. He pulls his punch, however, and for the same reason I would: their programming lacks the brilliance of Chanticleer. (Maybe they could compensate with better fonts.)
Finally...
The Sci-Fi Catholic demonstrates how awkward confession can be for the anime fan. It is no easier for the hardcore MMORPGer.
Umie the Umlaut says, "ask your doctor about the Fredösphere!"
1 Comments:
Fred —
I don't think that creating an entirely new font is really necessary, but tweaking existing fonts is a reasonable and attractive proposition. I'd like a better treble clef, for example.
I've actually just switched over to Georgia on my web pages, but won't use it for scores, as it doesn't print out particularly well.
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