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  • Re: Color will be the new Italic. Color will be the new Bold.

    Mark van Wageningen / Novo Typo said:
    The reason to use color was to introduce hierarchy in the layout of the page. Later on color was often used to separate paragraphs with a colored pilcrow ¶ or a colored silcrow §. This brings us to the second direction in which color is used within typography.
    I'm sure no one is disputing the role of color in typography per se. Color fonts as letters constructed with several colors within every letter is different though. This breaks the idea of positive and negative shape that is so inherent to type. As you point out, this can be interesting exploration, and the examples you show have a visual novelty to them.

    In my opinion, this doesn't qualify this style for serving as highlighting in the way italic or bold works. In fact, the examples you show contradict this, since they are (have to be to work) display uses, where the visual attraction of the letters is the main focus, not differentiation from other, regular, text. Just because it's different doesn't means it's a synonym for bold or italic. To me, your claim sounds much like 'grunge is the new italic' or 'geometric fonts are the new bold' - it's too specific and too much of stylistic choice to be universally useful in the sense that you propose.

    Maybe the introduction of variable fonts might groom users to typeset with more intricate influence over the fonts they use - but the reverse deduction is equally valid: If variable fonts and the interfaces for manipulating their axes don't prove worthwhile to users, so might interfaces for setting the different colors or color schemes in color fonts.
  • Re: "Expert" fonts

    Sorry to be the partypooper here but before we get to deep into question (2), can we make sure we don’t forget that the answer to question (1) needs to check out first, especially now you’re going via Fontsquirrel etc etc?
  • Re: Color will be the new Italic. Color will be the new Bold.

  • Re: the OpenType features UI questionnaire /Q3

    I'm definitely more reluctant to include them than I used to be. When I first started making OpenType fonts, and they appeared to be going mainstream, I just assumed that the inconsistent support that existed then would improve. It has improved some, but not nearly as much as seemed to be promised.

    One thing that has given me hope is the growing support among web browsers. In some ways, the support there has been better than on the desktop.
  • Re: Doesn't the forum webfont need refurbishing?

    Here's a closeup of the Vietnamese fall-back in Windows 10 Chrome.

    It limits the conversation. I'd prefer to see a system font so more languages can be supported. Yes, this is an English forum but we're often discussing characters which aren't.
  • Re: Units per em

    Even foundry faces appear to have been designed to a unit of 1/4 of a point by some foundries; which makes sense, as without some commonality, how could lines be justified exactly?

    Linotype matrices were specified to .001" increments (with machining tolerances of half that) — which is much finer than a quarter of a point, and effectively no unitization at all.

    Unlike the Monotype system, which utilized a mechanical calculator for line justification and thus relied upon a unitization of advance widths, the Linotype used a spaceband that consisted of paired wedges that expanded to justify a line and which thus provided continuous adjustment within its min/max range. No unitization or commonality required.

    Here’s an image from Wikipedia Commons.

    But this is all tangential to Abraham’s original question of units per em for designing digital type.
  • Re: Best Practice for removing components

    because you might need do remove overlaps.
    Well, that seems like something the toolchain could be doing.
  • Re: Color will be the new Italic. Color will be the new Bold.

    @John Savard-- Having a lot of experience with early typewriters too, I can tell you that the intent of the 2-color ribbon was primarily for accountants to highlight a negative number, not for highlighting words -- although that could be and was done.

    When such a ribbon was used in an accounting machine, negative numbers automatically switched to the red ink.
  • Re: Color will be the new Italic. Color will be the new Bold.

    Colour may turn out to be the new "WTF" -- Although, the specimens do look great. It is hard to see them as a thing that will take off with graphic designers though. Few of the designers I know have heard of coloured fonts or layered fonts for that matter. I'm not convinced that many of those who've prurchdaed licenses for any of the several layered fonts I have on the market, did so with the intention of using them as such.  

    Fonts will, I think, forever be positive and negative shapes. Colours are nice, but as decoration. Not a core feature... with a couple probable exceptions I can think of, such as brand specific inclusions.
  • Re: Best Practice for removing components

    Why would one manually decompose components before exporting fonts?

    because you might need do remove overlaps. And for CFF it doesn’t make a difference. For TrueType it would be bad (to remove all).