In a great post by Jonathan Hoefler titled “On the Death and 441-Year Life of the Pixel”, Giovanni Ostaus’ alphabetical bitmap embroidery from 1567 is juxtaposed against modern typographical design:
Renaissance ‘lace books’ have much to offer the modern digital designer, who also faces the challenge of portraying clear and replicable images in a constrained environment. Ostaus’s alphabet follows the cardinal rule of bitmaps, which is to always reckon the height of a capital letter on an odd number of pixels. (Try drawing a capital E on both a 5×5 grid and a 6×6, and you’ll see.) Ostaus ignored the second rule, however, which is “leave space for descenders.”
I’d planned to introduce this item with a snappy headline that juxtaposed the old and the new – for your sixteenth-century Nintendo! – before reflecting on the pixel’s moribund existence. Pixels were the stuff of my first computer, which strained to show 137 of them in a square inch; my latest cellphone manages 32,562 in this same space, and has 65,000 colors to choose from, not eight. Its smooth anti-aliased type helps conceal the underlying matrix of pixels, which are nearly as invisible as the grains of silver halide on a piece of film. And its user interface reinforces this illusion using a trick borrowed from Hollywood: it keeps the type moving as much as possible.
On the Death and 441-Year Life of the Pixel [Typography via Daring Fireball]
J? U?
WHERE HAVE THEY GONE?!
I and J were once alternate forms of the same letter, as were U and V.
The real question: why is there a W? Because Giovanni Ostaus was German.
The ‘W’ is fake – i can tell by the pixels.
http://tiny.cc/4m5o7
older.
Secret LOP- Older, but not a regular grid. Close, though.