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  • Re: The vinyl records of font formats

    Also, FWIW, the idea that vinyl records are superior in fidelity to CDs is also a myth. Some people prefer the sound of vinyl, but it's not capable of reproducing sound as accurately as CD.
  • Re: Quador – a squarish serif

    What makes you approach this as a display type? Looking at your design a whole array of reference typefaces come to my mind that have one or another feature you are also experimenting with, and none of those types were primarily aiming to be for display use. I'm asking because in regard to your questions the use case and size probably will give the best pointers to decide in terms of shape and stroke contrast. One the one hand features like the angular insides of the n shoulders echo something of a Swift, and seemingly aim to advance text readability. Some of the more strong and wedge like serifs make this design rather suited to smaller than larger sizes, in my view. On the other hand, the extreme ellipse can really only work when the point is to capture the eye's attention. I don't think the problem is how far can you push each aspect, but how to combine them.

    Overall I find myself glancing at the serifs at lot, which seem to have a couple of different appearances and come off as somewhat undecided and inconsistent. To my eye also the overshoots, especially in the caps, seem like they would need to be more pronounced.
  • Re: Public domain pros and cons

    Personal opinion, not legal advice:

    John, you are raising a point that I was only referencing by implication, so I want to thank you for that. My view is that in the eu and many other places, unlike the us, and as Khaled had said, you can't put something in the public domain, it can only have the monopoly rights adhered to it expire. So if your intent is to gift something to humanity, to make it available to everyone, which seems to me the actual urge behind an attempt to put something in the public domain, then the ofl and licenses like it keep that intent intact, while licenses like cc0 and mit/bsd/Apache do not and allow that intent to be subverted by downstream 3rd parties. Maybe you don't mind your work that you intended for everyone with a computer not being available to everyone with a computer, but it seems kind of short sighted to me. 

    Ray, you say you want fewer support emails. Only the ofl is going to deliver that, because everything else is less common and going to generate more questions. Adam and John both know from the Noto mailing list how many questions Noto gets, under ofl, so there's no way away from it, but using the same license as the majority of other libre fonts (with an extensive and well maintained FAQ) is the best Ray can do. (Well maybe the way to get away from it completely is to ask someone else to maintain the fonts. I'm happy to do that...  If they are ofl :)

    In the USA typeface designers are categorically all public domain except those subject to design patents which are very few and those last for 15 years. In the eu there are design rights that adhere for a few years unless registered and then join the public domain; if registered they join after 5 years unless re-registered, which can be done up to a maximum term of 25 years. In most places it's ambiguous. In Israel typeface designs are subject to regular authoring copyrights, so I'm not sure how anyone draws anything there without risking a lawsuit. Well, they just shoulder the risk, I guess. 

    Anyway, I don't think the meaning of the public domain is that all monopoly rights expired, that's just the situation. The meaning of all monopoly rights expiring is that the public's freedom to use, study, modify and redistribute the work is unfettered; and no monopoly rights can be re-adhered (as far as I know.) So the ofl recreates that situation before the monopoly rights expire. 
  • Re: Out of print books

    I've read a few out-of-print books, including The Stroke and Counterpunch, at no personal cost, thanks to inter-library loans. I'm sure it's particular to different countries, library databases and university library policies which books are available, but maybe it's worth looking into, if this isn't too obvious to mention.
  • Re: Naming font modifications

    @Simon Cozens I think the problem with your proposal is that everyone would be independently renaming their old and/or new version of the same fonts, so the multiplicity of names would be large. With this independent renaming, you will certainly end up with cases of both (1) same font but different names and (2) different fonts but same name.

    So, I don’t like that part of your proposal. I do like the idea of a font installer that is smart enough to advise which is likely the better/newer version of a font, including version string info among its algorithms and info, but not relying solely on that.
  • Re: Out of print books

    Well I think that the AmazonUK entry was a mistake, they said it would take a month to deliver it and now the delivery has been put back another month. Also the Amazon original price version has been removed (only resellers on the page now).
    I put in an order start of the month, risk it for a biscuit as they say. It will be interesting to see what happens. I kinda of knew it's too good to be true. 
    Well, Amazon UK eventually cancelled my order. They say for some reason it can’t be fulfilled.
  • Re: Public domain pros and cons

    Dave, the OFL requirement of downstream distribution being under the same OFL license is exactly what makes OFL distinct from public domain. I mean, there's nothing in the public domain status of the plays of Shakespeare that requires a publisher to distribute books for free or to allow another publisher to rip off the covers and distribute them under another cover.

    Now, it may simply be the case that software and other digital media works don't really have an equivalence of public domain as properly understood. The fact that we're debating what font software license is most like public domain indicates that this might be so: that software never escapes from licensing, whereas true public domain is the absence of any license (the earliest forms of legal copyright were licensed monopolies granted by the state: absence of license was absence of copyright).

    Maybe our categories are confused, and it only makes sense to talk in terms of public domain with respect to typeface designs, not fonts?
  • Re: P4 grotesque - first typeface

    I think there are good lessons to learn yet from working on the curves of /b/d/p/q/. The relations of inner to outer contour and (thus) the stroke thickness and curve tensions need refinement. 
  • Re: Marking Copies of Fonts

    In steganography, information is hidden for example in images or audio files. The least significant bit of an image pixel or an audio sample can be used to encode a piece of additional data.

    Applied to fonts, you could put in a @yanone logo with a rough outline, and the point positions would differ slightly in each sold font. Only you would know the original outline and be able to extract the information encoded in the point coordinate differences.
  • Re: OT Sub Prioritisation (Need Help)

    Try putting the l_l substitution in a separate lookup before the i_l lookup.