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There are great fonts for different purposes. “Lucida” comes from the Latin word lux for light and clarity. We called our font “Lucida” to suggest it was made out of light and clear. We thought the old types never looked right for printing on low-resolution laser printers. Kris and I designed a typeface in 1977 called Leviathan for a special edition of Moby Dick, but our first digital type was Lucida, released in September of 1984, when I was 39.
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FONT LUCIDA SANS UNICODE CSS LICENSE
It’s like publishing - you design a type, and a company may or may not license it and sell it. What were you and Kris hoping to achieve? I thought, “This is the future.” Tell me about developing Lucida.
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Later, when I taught at the Rhode Island School of Design, I took summer night classes at Harvard to study computing. My love of science always made me ask, Why? Why do we think one thing is more beautiful than another? So, I began to study that. People had spent thousands of years working out different ways to write. To him, writing beautifully was part of civilization. I went to Reed College in Oregon, which was sort of the opposite of Cranbrook - it was noted for its liberal nature - and I had a graphic arts teacher, Lloyd Reynolds, who was a calligrapher. The Detroit News had a writing contest for high school students, and I won the grand prize: a typewriter.
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I learned a lot, but Cranbrook was very restrictive and I wasn’t learning the way I liked. When I was a sophomore in high school, I became rebellious. What inspired your fascination with fonts? At home, my parents gave me Little Golden nature books, and because I read through them so fast, they gave me a junior membership to the Institute of Science. My dad was an amateur artist and would take me to the art museum, and we would look at paintings and other works together. What I remember with most pleasure about growing up were two nearby museums, the Cranbrook Institute of Science and the Cranbrook Art Museum. My parents sent me to Cranbrook because I loved science. After that, we moved to a small neighborhood in Beverly Hills. In a way, it was an introduction to a world that was on its way out. In the wintertime, we’d go on sleigh rides pulled by my grandpa’s dappled white and gray horses. My first memories are of the countryside. Hour Detroit: What are some of your memories from growing up in Michigan?Ĭhuck Bigelow: Until I was 3, my parents and I lived on my grandparents’ farm on Wattles Road in Troy. But before he rose to prominence as a type historian, educator, and creator, Bigelow was a native of Troy and a precocious Cranbrook student whose curiosity often led him to rebel against the institution’s regimented ways.īigelow, now 76 and writing a book called Our Work about his and Holmes’ body of font work, talked to Hour Detroit about his Michigan roots, how his love of writing and science led him to typography, and what qualities make a great font. The duo’s goal was to make text easy to read in a lower-tech era of printing.Īt the time he co-designed Lucida and several other font families, Bigelow was a typography professor at Stanford University and a recent recipient of the prestigious MacArthur Fellowship, aka the Genius Grant. The name is intended to evoke the typeface’s lucidity it’s known for clear lines and legibility as well as tall lowercase letters. He and his partner in typography, Kris Holmes, released the font in 1984. Or, as you probably are more familiar, Lucida Sans, Lucida Bright, and Lucida Sans Unicode. You could probably eliminate the space by setting font-size and line-height on the list element to zero and then re-setting them back on the anchor but this of course kills any inherritance if required.Most font fanatics - yes, they exist - know Chuck Bigelow is the man behind one of the oldest typeface families still in use: Lucida. The non breaking space will give you a space at the current font-size so ensure the list element is set to the same font-size as the anchor content and then there should be no change in height (assuming you set the line-height the same for both also).įor IE you would need to float the list and the anchor or you will get a stepping effect between the anchor and the non floated non breaking space. if it was wrapped inside a classed span). You can’t remove the non breaking space with css because it would be like trying to remove a certain letter from within a word, unless the character was inside a unique context and then you could set it to display:none (e.g. Is there a way using CSS to remove the break created by the ? But is creating the a dip breaking the design. With all the li items to have the same uniform height. The problem is I’m trying to create an inline list of block elements I can not edit the HTML & can only edit the CSS file. I wanted to submit a design to CSS ZEN GARDEN. Sorry I guess these are fundamental basics but I’m a little foggy on this.