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  • Re: Fontstand launches

    A great thing about Fontstand is that we can redirect clients there when they ask to get trial licenses. These kind of requests seems to be growing in amount all the time. I guess people like to test stuff before buying, and I don’t blame them. For this, Fontstand is a really great option.

    It also give smaller companies and students, who maybe don’t have a large budget to use quality fonts easier, something which IMHO is so much better than shopping a font at 90% discount and get a Gotham-clone. :wink: 

    Maybe it will also make designers who seldom try new fonts at all to try something new, this could be a positive “side-effect” perhaps.

    All in all, it’s a great collection of foundries on Fontstand. From my point of view, we all have something in common; we try very, very hard to create authentic typefaces.
  • Re: Errol Morris on How Typography Shapes Our Perception Of Truth

  • Re: Wagashi: Humanist (?) Sans Critique Request

    Hi Harry,

    TBH, I think you have to start with learning the basics of type (design) first. This simply will cost you a number of years, and then you’re not immediately a type designer still. I know the route; I got my first lesson from Gerrit Noordzij in 1978 at the KABK, and are lecturing type design since 1987 there (I’m actually the longest serving lecturer at the Royal Academy).

    I consider it extremely friendly of other list members that they start pointing at details here, but when basic skills and knowledge are missing, this will become labor of Sisyphus IMHO.
  • Re: Technical Trivial Facts (.ttf)



    Until the late 19th century it was common practice at typographic meetings  –for education and enjoyment– to visualize optical aspects of type design on stage. A highly popular act was the one by the TypoTwins. The two brothers (the delivery interval between them had been less than 15 minutes) shared exactly the same height, but the bolder one looked a bit shorter due to a lack of some extra vertical overshoot.
  • Re: Proper way of designing the “@” symbol

    Indra, true. Those pages I linked don’t show accurately compare recent releases. A search by design date (rather than MyFonts appearance date) gives a better idea of how consistent each foundry is. The difference isn’t as great as I thought, but it’s still there. Since 2005:
    • 7 of 8 (88%) Adobe Latin families have @ aligned with lowercase
      Kinesis 3, a revision of an older design, is the only outlier.
    • 28/35 (80%) Font Bureau families
    • 59/70 (84%) FontFont families
    • 85/107 (79%) Linotype families
    • 20/30 (67%) Monotype families
  • Re: Type Releases feed

    I think the idea was that this site is focused primarily on discussions, and while we have no issue with new release announcements, promotion should not be part of the main feed.

    Please keep it this way. This is a place for discussions, not promotion. Promotion can be found anywhere else, good discussions are harder to find. :smile: 
  • Re: Monotype stock takes a tumble

    Could be that sales of Helvetica are cutting into sales of Helvetica.
  • Re: License Violation

    Makes me wonder why the museum selected this typeface in the first place. By doing this, they basically have proven the opposite.
    I've been hearing the 'not sufficiently distinctive so not protectable' argument for more than twenty years now, so I'll say here what I said on the comp.fonts Usenet group in 1994:

    As soon as someone chooses to use one typeface over another, he or she has acknowledged its distinctiveness and also the value of that distinctiveness. To then claim that there is no distinctiveness and no value is disingenuous.
  • Chuck Bigelow On The Scientific Research Into Typefaces For Dyslexic

    I myself have been skeptical about these kinds of typefaces, and I thought this article by Chuck Bigelow was great:

    http://bigelowandholmes.typepad.com/bigelow-holmes/2014/11/typography-dyslexia.html

  • Re: Technical Trivial Facts (.ttf)



    At around the same time the musical High Contrast Society had its premiere on Broadsheet. Starring Frank E. and Bing Crossbar it’s about the established top segment of the type industry, focusing on more down-to-earth matters like Black Tie vs. White Tie.