All fonts of the book have been chosen because they were drawn with code.
Body and headers fonts used in this book are part of a larger font family drawn by A.V. Hershey in the 1960s and were developed specifically for vector plotters. Limited by the technical limitations of these plotters, curves are segmented into small, straight lines. Furthermore, as vector plotters draw using a single line width, varying line thickness is simulated by placing lines close to each other. The specific variants displayed in the book were reinterpreted with Metafont. The body fonts are from the Hershey Noailles family, interpreted by Antoine Gelgon, transforming the segmented curves into real curves. The Hershey Times in the headers was interpreted by Gijs de Heij and Simon Egli, (ab-)using Metafont’s “most pleasing curve” to generate its particular shapes.
The code samples are set in OCR-pbi, a font family drawn with Metafont by Antoine Gelgon. The skeleton of this font is based on the OCR-B, drawn by Adrian Frutiger in an effort to draw a monospace font readable by both machines and humans.