Dennis Poon
2002
TX Elf аьсі2з
RBCDEFGHIJKLmNOPqR
STUUlDXYZabcdefghïj
klmnopqrstuvuix4z!?¡
■"»«><■» >i
fl sense must be considered in the art and craft of legibiltiij.
In order to establish criteria for screen typography it is
important to embrace the lams of traditional typography The
screen must also obey a necessity for typographic clarity;
use the history and fundamentals of typography as a frame
of reference. The vocabulary is the guide. Text on the screen
is based on light waves, hence there is often a matching
bitmap for a specific typeface and a specific size. The mord
and line spacing still need to be checked and corrected
accordingly. This is important since reading on the screen
can be difficult for those who are not used to to it.
Conventional typefaces cant be simply transferred to screen.
The issue of legibiltg does highlight
the différence betuieen print and
screen, in particular the relation to
tgpe style, size, spacing, text length
and color application. Typefaces that
uiere designed for the print medium
pose problems uihen theg are applied
to the 72 dpi monitor. The limitation of
this resolution can be overcome by
understanding the technology.
(6/7 POint)
TX Elf is inspired Ьч screen typefaces such as
Chicago, Geneva, monaco and New York. Like
these typefaces, TX Elf is adaptable to the
bitmap of a 72dpi screen and is optimized for
reading.
306
mailroom@typebox.com
ABCDEFGHlJKLMMOPQRSTUVWXyZabcdefghi
Íkínnopc|rshuuwxYzí?¡¿0m45b784*$¿y€(a
.7„8o,nî**toaçéînOQUjÂÇ£ÎR00UBfJfI..."\
"::7'»'"»«><<»<>o-r=*=à+^£TlrTAdÎWfJ0n[]
§410(ít*SsyYt5|3Zz,/2,/+nA,J!-x,U
TX Tiny Tim Gimpy
Joachim Müller-Lance
2001
ABCDEFQHlJKLMMOPQRSTUVWXyZabcdefg
hiiklnnopqrstuvwxyzí?¡¿UT2345b78 ¥€@&ft7.7.8o,ns**to*çéjnOQUjÂÇ£ÎU00Ue ßi/jfOH[]§ TX Tiny Tin CiripY& Stout Dickens reel's 1%Qs pop cuJture - based on memories of bOs TV animations. TX Tiny Tin was originally inspired by ny favorite childhood anine 'Speed Racer', lis characters TX Tiny Tim Stout Joachim Müller-Lance www.typebox.com 307
«Л..."\"::7Ѵ"»«><~£2<>+=-і=±+-ФП1пДа
Tiny Tin's design night not be very healthy» but it is happy & weJJ-behaved.
wear letters playing puns between Japanese and English. These hand-drawn letters intrigued ne
- was their dinkiness truly vernacular or intentional? - and 1 decided te try a sini/ar 'good-bad'
approach in a compiete typeface: Drawing everything intentionally wrong, flipping entire
characters, adding useless serifs and giving emphasis te Иле wrong details. However, the resuit
was a surprisingly unique design that detached itself fron ite origins. Ite appearance called for
a different nane, and that was when the thought of Tiny Tin cane in, both via Dickens'
Christnas Carol and the late but endearing bOs singer whose autograph 1 got at a revival
show at San Francisco's Kennel Club in 1ЯЧ0.