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Ping Pong
A quick brown fox jumps over the lazy dog.
adhesion
Sweet Pomeloa
MISS WHITE’S STORY
The story, as Miss White told it, was not unusual in that part of the city, but to John Dean there was every element of newness in it.
He listened without interruption as the story unfolded itself.
Mrs. Marsh, Ted’s mother, had had a hard time of it. Bill Marsh had married her eighteen years ago. Bill was a good mechanic, but after about six years of happiness things began to go wrong. He lost his position and at that time work was not easy to get. Day after day he had searched for something to do. Discouraged, he had taken to drink. Then there was a day when Bill did not return. In all these years Mrs. Marsh had never heard of him. She felt he was dead, yet even that she did not know.
It was a hard struggle afterward. Sewing and washing, early and late, and many a day she went hungry, so that the two children could eat. The mother often spoke of how Ted, when eight years old, had gone out one afternoon and had not returned until seven o’clock. Without a word he had put fifteen cents on the table and then had turned to eat. He showed by the way he ate how hungry he was. After the meal was over, he explained how he had made up his mind to support the family, and so he had bought some papers; the fifteen cents was profit. His capital, also some extra pennies, was intact, so that he could buy more papers.
Ping-Pong to płaszczyznowy krój pisma oryginalnie zaprojektowany przez Elżbiete Krużyńską w 1974 roku. Projekt został przygotowany w wersji pozytywowej i negatywowej do matryc fotoskładowych. Autorka korzystała z pomocy fotografa Zenona Renke z którym w pracowni Ośrodka Badawczo-Rozwojowego Przemysłu Poligraficznego prowadzili próby rastrowania liter różnej wielkości i z różną liniaturą rastra.
W 2020 Mateusz Machalski chciał zdigitalizować i rozbudować cały krój. Dzięki pomocy prof. Piotra Welka z Akademii Sztuk Pięknych, który przygotował w processignu program do wektorowych rastrów, całość stała się możliwa. Następnie Mateusz Machalski i Małgorzata Bartosik zaczęli rysunek wszystkich znaków oraz programowanie kroju pisma. W porównaniu do oryginalnych rysunków nowy Ping-Pong ma rastry pozwalające na wyświetlanie na monitorach, delikatnie zmienioną konstrukcję oraz znacznie rozubudowany zestaw znaków. W procesie digitalizacji pomogli również: Adam Twardoch, Michał Jarociński oraz Andrzej Tomaszewski.