TrueType Installation Instructions:

System 6: Use Font/DA Mover 4.1 or later to install the font into your
System file. Make sure you have the INIT named "TrueType" in
your System Folder, otherwise the font will not work.

System 7: Drag the fonts icon on top of the System Folder. System
7 will install it in its proper place.


Welcome to GoodCityModern,

GoodCityModern 1.1 Read Me

Thank all of you for downloading my font. I never in my wildest dreams
would think so many people wanted this obscure, yet historical, font. To
date, well over 3500 people have retrieved or received GoodCityModern. I
have received letters, cards, and phone calls from all over the world. I am
pleased that you are pleased.

Ah, like software development, there is always the needed 1.1 after the first
version ships. Quite a lot has happened to GCM (GoodCityModern):
numerous tweaking of path points; corrected accented characters;
improved some character widths; added a few new characters.  Enough
about the software.

Since GCMs 1.0 release, I have been busy reading about Latin grammar. I
learned several things. The original kerned pairs that Gutenberg created
(po, pe, pp, etc...) are actually special abbreviations for Latin prefixes,
suffixes, and phrases. He attempted to carry over the medieval scribes
style of spelling and shorthand for fitting long words at the end of lines.

Some have complained that the spacing for GCM is uneven or too tight. Go
look at a Gutenberg Bible reproduction and see for yourself. Its far easier to
unkern a few pairs to ones liking than try to know which pairs should be
kerned. Until Apple releases the Line Layout Manager, there is no smart
way to duplicate how Gutenberg typeset his 42 line Bible.

The main new feature of this version is a set of Lombardic caps to be used
as initial caps with GCM. The original caps will be another font down the
way. The TrueType version of Lombardoc in this new (2/1/93) archive is much
improved over the previous version in that it actually works. There was a
problem with the previous version that has been fixed in this one.

Remember: Blessed is one who teaches another to scribe the Letters.
Shalom.

------------------------
 GoodCityModern 1.0 Read Me

Naturally, you may be asking yourself, How did he create this font? It
started late one night, restless... Glancing through some type books, I
stopped upon a reproduction of the Gutenberg typeface; thought, that
would be a great typeface to do in Fontographer. Thinking further, perhaps
several weeks in the library and several more at my Mac with Fontographer
3.0 and I would be done. Hmm, things do not happen quite that way.
Murphys law was determined to be bothersome. There were only
fragments of pages to go by... My Mac and scanner broke, requiring costly
repairs. However, while visiting my parents (near C.W. Post Campus of
Long Island University in Brookville, New York), I found a full character set
to copy at the college library. Work could commence.

The reproduction was small and the copier worse, but I managed. Studying
the page, I quickly realized several key points. One: Gutenberg designed
the font with a deep understanding of Latin grammar and spelling. He had
kerning pairs based on repeated letter usage throughout the Bible and
kerned small words into tight units (i.e., "our," "of" and "and"). Second: That
he posited key geometric guidelines to aid in creating the font. He was
doing more than just capturing the scribe-like strokes of his day, but in
addition had a respect for the metal and ink to be used in printing his Bible.
This second point made it possible to actually create the font; because of
the smallness of the reproduced letters, I had to re-create (for techies,
reverse-engineer) them. My loupe and the page became very close
friends!

After some hand drawings to feel the letter forms, I scanned the page at
150 dpi and made a bitmap font using Fontastic Plus. Sometimes, I felt
another hand on my mouse while fat-bitting away late at night... Then, I
typed Latin text into Fontastic Plus sample text edit window to see the
typeface in actual context. Next, using the bitmap font, a PostScript printer,
and Apples print driver, I printed a page of characters at 200%
enlargement with the option smoothing (to partly smooth out the jaggies)
checked from Apples print driver. Thus, one could scale and smooth out a
bitmap font without fatbitting a lot. Finally, I cleaned up the scan in
MacPaint.

I did preliminary versions in Fontographer 3.0.5 thru 3.1. As the in-house
tester for FreeHand 3.0, I was naturally thinking mostly in terms of
FreeHand, constantly experimenting with new ways to use it. At one point, I
wondered "how much of my font could I do in FreeHand?" So, I placed the
scanned image into FreeHand 3.0 to trace and refine using all its new
features to accomplish the task. For example, while Fontographer has
layers, I preferred the naming and ordering of the layers palette that
FreeHand offered. Yes, bcp by bcp, the font came alive. There were days I
felt a presence in the room...

Once the character paths were done, I simply option-copied them from
FreeHand into Fontographer 3.2. Once paths are in Fontographer, one can
create the needed ligatures. Finally, after upgrading from Fontographer 3.2
to 3.3, I created kerning pairs. Based on the same careful study Gutenberg
did on Latin letters, I needed to create 800 pairs! Now as of 5:15 pm, June
18, 1991, using Fontographer 3.3, I was finished.

A few historical notes. The original typeface was created for Latin, not for
modern English; hence, the modern in the name of my translation. I had to
create a full Roman set everyone can use. However, there is an exact Latin
version which is not done. The goodcity part of its name comes from
German: guten-good, burg-city (or fortress), (actually, Earl Allen, a fellow
Altsysian coined the termthanks, Earl!)

Enjoy and use in good health.

Andrew S. Meit 
Altsys Tester (and Stackhead) 
Altsys Corporation

AppleLink: D0590 
CompuServ: 76004,2071 
America Online: Altsys 
MCI Mail: Altsys

