Slate presents “My Favorite Font: Anne Fadiman, Jonathan Lethem, Richard Posner, and others reveal what font they compose in and why.” Some bits I appreciated:
I like Courier because it seems provisional—I can still change my mind—whereas Times New Roman and its analogues look like book faces, meaning that they feel nailed down and immovable. —Luc Sante
Most of my books have been set in Walbaum, which sounds like a chain store but is in fact an early-19th-century font designed by Justus Erich Walbaum, a German punchcutter whose luscious serifs may have been influenced by his early apprenticeship to a confectioner. —Anne Fadiman
Obsessing about fonts is a form of procrastination, so of course I have indulged in it ever since I graduated from a TRS-80 Model III to a Macintosh. —Caleb Crain
There’s a strong preference for Courier, which I happen to think is a good idea. Keeps the writer from getting to hung up on presentation. When I worked on the PEN literary journal, I’d format files in Courier for the staff, but in Times New Roman for the editor in chief. The book was then set in very small Adobe Caslon, and we’d find another round of typos on that version—you see different kinds of errors every time you change the typeface.
The default fonts in most of my non-layout applications are set to Georgia, Verdana, and Andale Mono. Yours?
(P.S. Man, remember daisy-wheel printers? I used to take mininaps between pages when I printed out my papers for school; each page took, like, five minutes, and I found the tat-tat-tat-tat-tat soothing.)