Categories | Display | ||
Tags | Decorative Stencil Technology Unique | ||
Designer : | David Bennewith | ||
License: | Free for commercial use OFL | ||
Files: | 9 | Size: | 106 KB |
Views: | 404 | Downloads: | 5 |
WebSite: | http://colophon.info/ |
Lincoln/MITRE***In the early 1950s the US NAVY and Air Force commissioned MIT Lincoln Laboratory (Massachusetts Institute of Technology, Lexington) to begin Research & Development for what was to eventually become ‘SAGE’ (Semi Automatic Ground Environment) — a computer network designed for strategic, early warning air defence — in retort to a new technology-enabled reality of long range attack from the sky [and weapons of mass destruction], and new forms of Super Power paranoia that would lead to the Cold War. The SAGE network — capable of real-time mass data processing — worked with large computers, networking equipment and radar sites to produce an image of the protected airspace over the U.S. continent.One element of the computer network was the AN/FSQ-7 Combat Direction Central, a computerised command and control system, produced by IBM military Products Division. The AN/FSQ-7 was equipped with command post digital display desks operated by a soldier, using a ‘light gun’, push buttons and voice communication to identify and track targets, and – if necessary – plot an intercept course to them. Work on computer display systems began almost simultaneously with the computers operational design, leading to the design of a new typography for the console’s displays*, designed to mitigate human error in reading and reporting of data displayed on the screen. Taking into account that the type system would be used in situations of pressure and stress, the MIT Lincoln Laboratory and Mitre Corporation commissioned large studies into type legibility, as well as undertaking their own legibility tests. The goal being to create a type design that would work both technically, over various display systems [Cathode Ray Tube and Dot-Matrix displays], and visually (as a whole) while creating maximum visible differentiation between individual glyphs within its alphanumeric and graphic system, therefore reducing mistakes in recognition between signs that are commonly mistaken for one another: for example ‘I’, ‘L’ and ‘1’; or, ‘O’, and ‘0’. The outcome of the L/M type system is a programme for creating a typeface that doesn’t necessarily aid legibility — which is arguably a context based phenomenon — but presents a solution to the problem of producing maximum letter differentiation in a given type design system – which aids character recognition and acquisition. The L/M types were never developed to render continuous text but ‘call signs’ (The designation of the aircraft followed by an identification number), more visual signals, or data, than lexical semantics. Yet, these call signs find their way back into civil society via air disasters reported through media, like the disappearance of MH370 or the shooting down of MH17. *** The resources dedicated to the research and development of the L/M’ typefaces alone are remarkable, for example, declassified reports reference what appears to be all published studies in legibility available up to the time. We can see what is possible, and also what is impossible, with seemingly infinite resources. For example, it is impossible to define any particular ‘author’ of the font, or ascertain how many people worked on its development. its design being part of a contingent and iterative process, over what appears to take place over many years. Curiously, to this day, the original drawings of the type system remain classified in The MITRE Corporation archives. These fonts are digitisations of the alphanumerics I found in many military and research reports connected to the L/M type system. Each font is connected to a particular visual display on which the letters, digits and symbols would be rendered. Punctuation and accents have been added for convenience in use. ***— David Bennewith, Amsterdam 2016 *Technical Images for Social Engineering* *I first discovered the typeface reproduced in an article about font legibility on television screen, by Donald Shurtleff, in the January 1969 edition of The Journal of Typographic Research.***This work is licensed under an SIL Open Font License (OFL). For details see here http://scripts.sil.org/OFL
-----------------------------------------------------------SIL OPEN FONT LICENSE Version 1.1-----------------------------------------------------------PREAMBLEThe goals of the Open Font License (OFL) are to stimulate worldwidedevelopment of collaborative font projects, to support the font creationefforts of academic and linguistic communities, and to provide a free andopen framework in which fonts may be shared and improved in partnershipwith others.***The OFL allows the licensed fonts to be used, studied, modified andredistributed freely as long as they are not sold by themselves. Thefonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reservednames are not used by derivative works. The fonts and derivatives,however, cannot be released under any other type of license. Therequirement for fonts to remain under this license does not applyto any document created using the fonts or their derivatives.***DEFINITIONS"Font Software" refers to the set of files released by the CopyrightHolder(s) under this license and clearly marked as such. This mayinclude source files, build scripts and documentation."Reserved Font Name" refers to any names specified as such after thecopyright statement(s)."Original Version" refers to the collection of Font Software components asdistributed by the Copyright Holder(s)."Modified Version" refers to any derivative made by adding to, deleting,or substituting -- in part or in whole -- any of the components of theOriginal Version, by changing formats or by porting the Font Software to anew environment."Author" refers to any designer, engineer, programmer, technicalwriter or other person who contributed to the Font Software.***PERMISSION & CONDITIONSPermission is hereby granted, free of charge, to any person obtaininga copy of the Font Software, to use, study, copy, merge, embed, modify,redistribute, and sell modified and unmodified copies of the FontSoftware, subject to the following conditions:1) Neither the Font Software nor any of its individual components,in Original or Modified Versions, may be sold by itself.2) Original or Modified Versions of the Font Software may be bundled,redistributed and/or sold with any software, provided that each copycontains the above copyright notice and this license. These can beincluded either as stand-alone text files, human-readable headers orin the appropriate machine-readable metadata fields within text orbinary files as long as those fields can be easily viewed by the user.3) No Modified Version of the Font Software may use the Reserved FontName(s) unless explicit written permission is granted by the correspondingCopyright Holder. This restriction only applies to the primary font name aspresented to the users.4) The name(s) of the Copyright Holder(s) or the Author(s) of the FontSoftware shall not be used to promote, endorse or advertise anyModified Version, except to acknowledge the contribution(s) of theCopyright Holder(s) and the Author(s) or with their explicit writtenpermission.5) The Font Software, modified or unmodified, in part or in whole,must be distributed entirely under this license, and must not bedistributed under any other license. The requirement for fonts toremain under this license does not apply to any document createdusing the Font Software.***TERMINATIONThis license becomes null and void if any of the above conditions arenot met.DISCLAIMERTHE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OFMERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENTOF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THECOPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIALDAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISINGFROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROMOTHER DEALINGS IN THE FONT SOFTWARE.