Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

Best Of

  • Re: Only Bold appears in MS Word

    You definitely don't want to decompile and recompile a whole font just to change a name table entry. Better to use a tool like TTX to dump just the name table, change the name in the XML, and then fuse the edited table back into the font. Alternatively, if you prefer a tool with a UI, try DTL OTMaster, which allows you to touch individual parts of a font without affecting others.
  • Re: Home office vs. office

    As a business side person I need to build my schedule around client need.  Yes, I have my own projects and I'm involved on internal projects but the key scheduling factor is when I will be needed for technical, sales and licensing support by clients.

    Our clients are all over the world (as is true for most foundries) with only about 45 percent in the US and about half of that 3 time zones away from me.  It works out that even though I don't need to work more than 8 hours in a day I need to be available from 7am EST (at the latest) till 8 or 9pm EST.  There are gaps in the middle of the day when I'm less needed and a few key times right before various key time zones leave for the day that I need to be especially reachable.  I tried to work from an office and it just didn't make sense.  I ended up either spending more time there than is healthy or doing most of my work in off hours and just lounging in the office.  Working from home allows me to work organic hours as needed and still have a life.   
  • Re: Public domain pros and cons

     
    Or, offer the font under the user's choice of several highly permissive licenses.
    That's also not a good idea imho, because if the OFL is one of them, it prohibits redistribution by downstream people "under any other license."

    The OFL and only the OFL is the best way to make font available without restrictions to the general public, with requirements that maintain the work in that status. Everything else was not written for the unique situation that a font is in, and doesn't fit quite right in some way. 
    If you want to allow unrestricted use, the spirit of public domain, use the sil ofl. 

    Or the fantastically simple and unrestrictive MIT license: the 'do-whatever-the-fuck-you-want' license.
    Rather, that's http://www.wtfpl.net ;) But WTFPL is a terrible idea for serious work, not only because it is inherently unwelcome in important contexts (eg, anything involving kids, and some businesses) but because it is not legally sound (and therefore prohibited in large businesses.) 

    The MIT license has a similar problem to the main CC licenses, in that it requires distribution of the license alongside the work, and since the design is subject to copyright or other rights in some places, and doesn't have a document embedding exception, then the simple requirement is prohibitively restrictive.
  • Re: Naming font modifications

    the best solution is to ask the client, and let them decide. For me, it would be a nightmare if I had to change the font in any of the old documents that I opened because the font's name had changed.
    When working with clients on this sort of modification or customization, I always recommend a custom or modified name. And along with that, I offer to provide them with a script that will automate changes in legacy documents (assuming they are working in InDesign, which they almost always are).

    Several years ago, when Font Bureau made a major update to the Benton Sans family, there was a lot of debate about the pros and cons of having the family name change slightly (from “BentonSans” to “Benton Sans”).

    All of the familiar arguments arose — including preventing the possibility of documents that depend upon features in the new full-featured OT fonts from opening with older fonts installed and without warning of the mismatch (an argument for name change) versus causing confusion and hassle in updating existing documents (an argument for keeping the same family name).

    The decision was made to update the family name.

    As you can imagine, updating specimen documents that had contained around 128 fonts (prior to merger of SC styles) to roughly 80 fully-featured OT fonts was a daunting prospect. The Adobe Find Font… interface is very cumbersome at that scale. Which is when I developed my InDesign script.

    I then suggested to sales & customer support staff to make the offer to clients that we could provide them the script to update legacy InDesign documents, as a courtesy. I don’t know if anyone ever took advantage of the offer.
  • Re: Naming font modifications

    Bhikkhu, I disagree in the strongest terms. The version number is rarely exposed to end users at all, let alone prominently. John's advice is, as always, sterling.
  • Re: Pan Nigerian Alphabet

    Please keep in mind that Pan-Nigerian alphabet was a try to establish a set capable to support all languages of Nigerian area. Even Hermann Zapf worked on this. It is not an alphabet to a given language, the reason why it is called a theoretical alphabet. Thus, a search for samples of Pan-Nigerian will not bring good results. Instead of this, you should search for individual Nigerian languages (there are more than 500).

    The official idiom of Nigeria is English, but the characters added by Pan-Nigerian alphabet are used in local languages – Hausa, Yoruba, Igbo, Urhobo, Ijaw and Edo are among the more used. As Michel already pointed, the Pan-Nigerian alphabet proved too short to its planned target, so other characters need to be considered for a proper support.

    Another relevant aspect is that Pan-Nigerian area also embraces Benin and Cameroon. The whole region is especially complex regarding langues and orthographies.

    [...] the educated individuals from these peoples probably don't find writing their native languages important


    Definitively not. The lack of development of any area does not mean their people do not find their language (and its writing) important. The absence of adequate ways to reproduce texts was/is a major obstacle to local language in all colonies – since typewriters to digital fonts. Some languages even dropped characters that today are encoded and may be reincorporated into use. It is much more a lack of resources than a lack of perceived importance.

    Anyway, some alphabets could be used by numerous people in some places or ethnical groups. Hausa is used by more than 41 million of people. If just 5% of them write in Hausa, this is enough to have a large public. And even among communities where original languages are hardly written, many times there are initiatives to improve people literacy. Finally, it is good to remember that even European languages were once hardly written outside abbeys, what never pointed to lack of importance.

    So, Pan-Nigerian is fully important for any font with support for several African languages, although not enough to a wide support.

    For additional info, I suggest a search of posts from John Hudson and Denis Jacquerye in old Typophile threads.

  • Re: Public domain pros and cons

    Dave, 

    "copyleft licenses" and "public domain" are pretty much the opposites of each other. If I base my work on a work that has been published under a copyleft license, I must publish my work under the same license. Since OFL is a copyleft license, and it prohibits selling derivative fonts, if I publish my font under OFL, I publish my font “for free” but I also force anybody who’d want to reuse even a few glyphs from my font in their font to also publish their font for free. In other words, other people are prohibited from selling things based on my thing, if I publish it under OFL. 

    That may or may not be want you want as an author. An OFL license is very restrictive in the sense that only the original copyright holder is allowed to sell the fonts, but those who add to the fonts or change something are not. If the original designer passes away or goes AWOL, that “monoply” to make money through sales (and possibly find financing for further improvement) may “freeze” for some 70 or 90 years. 

    “Public domain” (or CC0) is very  different. It's right for you if you, as the original author, are not interested at all in restricting what other people may do with your work. If a font is CC0, others can extend it or modify it or reuse portions of it, and be free to do whatever they want with the results (sell, publish for free, under whatever license etc.). 

    In other words, with copyleft licenses like OFL, you as the original author retain much control over what others may do with your fonts, while with “copynull” licenses like CC0 (public domain) you relinquish all control. 

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

    I think colour is important in written communication, but not on the same plane as bold / italic / etc. Being a web designer for government websites, I have to cater for the 1 in 12 men / 1 in 200 women of the population who are colour blind, and for those readers you need something more than just colour alone to differentiate things. 

    That's probably why B/I/U stylings aren't going away anytime soon, they are simply just more universally understood and accepted. 
  • Re: MyFonts and families

    I've read the entire thread, and wanted to share my thoughts on the subject.

    I understand that selling deeply discounted products in volume works great for MyFonts, but I believe that it devalues the work of the designer and could eventually hurt the entire font business. I do not blame MyFonts for doing so, it is a legitimate business model, but I think it may not be best suited for everyone (although some designers obviously benefit from it, at least for a while). I have noticed a steady decline in sales on MyFonts since 2013, and it is obvious that the model they have been promoting in the past few years favors something different from what I have to offer. I guess I'll just have to live with that, and try to explore other options for my product. I believe that through hard work, persistence and dedication you can build your brand reputation slowly, and customers will respect that. Joining like-minded foundries with similar quality standards in order to promote and sell fonts seems like a good way to succeed.
  • Re: hinting 101

    TTFAutohint.
    Finish.