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Best Of

  • 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:

  • 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.
  • Re: Font editor of choice??

    Göran, I've been evaluating Glyphs 2.0 lately (and the beta some before that), and I'm very pleasantly surprised. I said three years ago that I was going to try both RoboFont and Glyphs, but I was so taken with RoboFont that I never got around to giving Glyphs a serious try. Now I have, and, although I'm not going to abandon RoboFont and my other UFO-based tools (they can do a lot of useful and amazing things), I will probably switch to Glyphs as my main production tool.

    The built-in TTF hinting was one of the things that got my attention because, until now, none of the TTF hinting workflows that I've seen was very practical to me, mainly because the TTF hinting was towards the end of the production process and necessitated forking my font data into separate OTF and TTF production files at some point. I really hate having multiple sets of source files. Glyphs lets you do the TTF hinting very early in the design on the interpolation masters and before removing overlaps! This is huge, because it means means the hinting becomes part of the design process, and the burden of manual hinting (when it is necessary) becomes much more manageable. (It's very much in line with what Petr van Blokland spoke about three years ago at Robothon.)

    So far, I am pleased with the hinting results I'm getting on Windows. Testing does require moving the TTFs to a Windows machine (VMWare in my case), but it only takes a few seconds to see a preview for each new itteration.

    Aside from that, Glyphs 2.0 has other advantages that are making me take it seriously:
    • Speed
    • Much smaller, fewer, and more manageable data files which means it will be practical to use it with things like Dropbox. (Example: 24 font family: 6 interpolation master UFOs + 24 instance UFO files totaling 160MB vs 1 Glyphs file totaling 2.5MB, plus each UFO is actually a folder containing hundreds or thousands of .glif files)
    • More focussed and integrated UI
    • A much simpler workflow than anything else I've used, which lets me focus on design
    • Although it's not as seamlessly integrated as it is with RoboFont, I can still do my kerning in MetricsMachine
    It does have it's quirks and annoyances, but I'm very impressed.