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Interview with Charles Bigelow Yue Wang 136 TUGboat, Volume 34 (2013), No. 2 Interview with Charles Bigelow Yue Wang Abstract Interview of Charles Bigelow by Yue Wang, conducted in 2012. Y: In this interview we are very lucky to have Charles Bigelow with us. Professor Bigelow is a type histo- Figure 1: Lucida was the first new, original family of types rian, educator, and designer. With his design part- designed for digital laser printers and screens. This is the ner, Kris Holmes, he created the Lucida family of first Lucida specimen, printed on a 300 dot per inch digital printer by the Imagen Corporation in California. Distributed fonts used in the human-computer interfaces of Ap- Lucida was the first new, original family of types designed for digital laser printers atand thescreens.AT Thisyp is theI conference first Lucida specimen, in printed London, on a 300 dot September per inch 1984. ple Macintosh OS X, Microsoft Windows, Bell Labs digital printer by the Imagen Corporation in California. Distributed at the ATypI conference in London, September 1984. Plan 9, the Java Developer Kit, and other systems, bringing historical and technical understanding of printer. These fonts, including Helvetica, Times Ro- type to hundreds of millions of computer users. In man, Palatino, etc., had originally been designed as 2012, Bigelow retired from the Melbert B. Cary Dis- metal type, and some like Zapf Chancery for photo- tinguished Professorship at Rochester Institute of typesetting. Designed before the digital era, those Technology’s School of Print Media. He is now the faces were not created for low-resolution digital ren- RIT Scholar in Residence at the Cary Collection, RIT’s dering. When the first commercial font of Lucida rare book Library. was shown in 1984, it surprised Adobe. They knew C: Thank you for your visit. of it; they had even digitized a test version, but they hadn’t thought anyone would take the risk of making 1 Entering the digital type era — new designs for the new technology of laser printing. the birth of Lucida Instead, a Silicon Valley digital printer firm, Ima- Y: Let’s get started. Can you briefly introduce the gen, founded by Stanford researchers and graduates, design goal of Lucida? some of whom had worked with or been students of Donald Knuth, brought out Lucida first. Imagen’s C: In the early 1980s, we saw that computers would type director, Mike Sheridan, wanted to produce a become more widely used and that digital typogra- new design for the new technology and chose Lucida. phy would be possible for more people. At that time, Now, 30 years later, it appears he was right, but at digital printers and computer screens had low reso- the time, he took a risk. Adobe licensed Lucida fonts lutions. The goal of Lucida was to create a new, orig- some years later and still distributes them. inal family of fonts for medium and low-resolution digital printers and displays. C: Here (fig. 1) is the first Lucida (seriffed) specimen, printed on a 300 dot per inch digital printer by the Y: Is this the reason why that’s called Lucida? Imagen Corporation in California. It was distributed C: Exactly. We wanted to give it a name that could at the ATypI conference in London, September 1984. suggest it was made of light and was clear despite Y: Cool. The specimen only included Lucida (ser- the low resolutions. “Lucida” comes from the Latin iffed). word “lux” for light and clarity. It turned out that C: Yes. The seriffed family was first shown in 1984, Lucida was the first original typeface designed for and the sans-serif family was released in 1985. both digital printers and computer screens. Y: What makes Lucida look great even in low resolu- Y: Wow, really? tions? C: Yes. There had been previous digital typefaces C: We first did experiments, making bitmap letters designed for high-resolution typesetting machines by hand and comparing them to what we thought in the late 1970s and early 1980s; a few were orig- would be the outlines that could produce them. We inal types like Hermann Zapf’s Edison, but none found out several factors (see fig. 2). First, a big were new and original for laser printing and display x-height packs more pixels into the most visually screens (mainly CRTs in that era). Adobe developed important portions of text, the x-height parts of their own font format called “PostScript Type 1” and letters. A big x-height is an advantage for texts read digitized 35 typefaces for Apple’s LaserWriter Plus mostly on screens. That’s one reason Apple has been This interview was made possible with support from Program- using Lucida Grande as the standard user interface mer Magazine in China, http://www.programmer.com.cn. typeface on Mac OS X. Yue Wang TUGboat, Volume 34 (2013), No. 2 137 Figure 3: Scanned image from a book printed by Nicholas Fletibus.rtf 11/5/07 10:10 PM Jenson in Venice, 1478. These early typographic letters are ratherScan image darkfrom book and printed widely by Nicholas Jenson spaced. in Venice, 1478. These early typographic letters are rather dark and widely spaced. Early studies for Lucida, comparing brush and pen written letters Figureto bit map redesigns 2: Early for low-resolution studies printers for and Lucida, computer comparing brush and pen Fletibus & busto idecore writtenscreen displays. letters to bitmap redesigns for low-resolution printers and computer screen displays. : Marte sub aetholum do Y: That’s why Lucida’s x-height is bigger than most Aemachiae cladem truxs fonts, such as Times Roman or Baskerville, when composed at the same point size. ec Alceus in Philippi uitu C: Exactly. There are still questions today about the Figure 4: The same text from Jenson composed in the importance of x-height for legibility in Latin alpha- original Lucida font. Lucida is also somewhat dark and widely betic fonts. A vision scientist, Gordon Legge, and I spaced, for early digital printing technology and display, but The same text from Jenson composed in original Lucida font. itLucida is not is also somewhat a copy dark of and widely Jenson. spaced, for early recently wrote an article on the importance of type digital printing technology and display, but it is not a copy size for legibility, and we argued that x-height is the of Jenson. main factor that affects perception of type size [6]. 1970s and 1980s, it can cause letters to touch. Some The measure of x-height applies only to typography designers called this “sexy spacing”, but it turns out with upper and lower-cases: Latin, Greek, Cyrillic, to impair legibility. There are still debates about and Armenian. For case-less writing systems, various whether legibility is based on recognizing whole other factors affect the impression of size. words or individual letters. Lucida is on the side Secondly, Kris Holmes and I observed that tech- of letter recognition. Computer screens were read nical publications make frequent use of words in all from greater distances than print, which visually capitals, such as acronyms, emphasized expressions, reduced letterspacing and caused crowding of the keywords, and the like. Therefore, we made the Lu- shapes, so we gave Lucida slightly loose spacing to cida capital height a little shorter than the ascender counteract these tendencies. height (e.g. the height of a lower-case ‘h’ or ‘l’), to re- Also, we created letter forms with large open duce the distracting look of words set in all capitals. counters — the internal open spaces like in ‘a’ and This was not a new idea in typography; in 1495, the ‘e’ — to keep the interiors from collapsing and reduc- famous Venetian printer Aldus Manutius introduced ing legibility. Another small detail, which almost a roman type with slightly shortened capitals cut by nobody notices, is that we lowered the joins of the Francesco Griffo. arches in letters like ‘n’, ‘m’, ‘h’, ‘r’, and ‘u’, to give them more definition. Third, the weight of Lucida is darker than tradi- Page 1 of 1 tional book typefaces. We noticed that on screens Y: So it won’t clog up :). with black text on white backgrounds, the letters C: Yes. For instance, we didn’t want the top of an were slightly eroded, seeming too light, so we dark- ‘n’ to clog up and look like a smeared ‘o’. In fact, ened the Lucida stem weights a little bit. The stem most of the ideas behind Lucida were not new. Some weight is 1/5.5 of the x-height, and a little bit less we borrowed from very early typography. Here’s a than 1/10 of the body size. Its overall gray tone is scanned image from a book printed by Nicholas Jen- roughly 22% when the text is set solid (no extra line son in Venice, 1478, when printing technology didn’t spacing). have as high a quality as in later eras (fig. 3). These Fourth, at low resolutions, a single pixel is often early typographic letters are rather dark and widely the only space between letters rendered at text sizes spaced, too. The forms are somewhat distorted by (8 point to 16 point). If letterspacing is tight, which the technology of early printing. Rough paper, soft was fashionable in advertising typography in the metal type that wears quickly, uneven pressure and Interview with Charles Bigelow 138 TUGboat, Volume 34 (2013), No. 2 ink squash, and so on. We borrowed some of Jen- A: Body sizes the same, x-heights vary son’s design ideas and believe we were the first to try 1984 Lucida, 1985 Lucida Sans, 1987 Lucida Bright them in the low-resolution digital era.
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