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  • Re: Home office vs. office

    I worked from home for about seven years.

    I have only one rock-solid advice: make sure your work area is at least two rooms away from the kitchen.
  • Re: Naming font modifications

    One reason why we always strongly advise our clients on changing the name for custom font modifications is that their use is rarely contained within the organisation/company itself.

    Third parties – such a freelance designers, printers, banner makers, web developers – need to use these fonts too. In these cases a lot of confusion/frustration is avoided if the customised fonts are clearly named differently.

    For this very reason we think it is best to add the name of the client to the font name.
  • Re: Glyphs vs Robofont

    I am on the Glyphs team and therefore biased. But I can give you links for most of the points in your bullet list:
    • Scanning/importing hand-drawn sketches: Creating Fonts with Complex Outlines Importing from Illustrator, or try Window > Plugin Manager > Trace Background
    • Drawing-from-scratch experience (curves, smoothening, comparing, batch changes...)? See the tutorials listed under Basics on the Tutorials page, or the videos on the Get Started page
    • Import/export options: Import UFO, SVG, PS/T1, OTF, TTF, paste vectors from apps like Sketch or AI, place all image formats supported by macOS; for exporting, see below (you asked that twice)
    • Ease of setting up custom and standard charsets: Adding Glyphs to Your Font, try List Filters in Font View (see Handbook), or more advanced Custom Sidebar Entries in Font View
    • Metrics/Kerning/Spacing: SpacingKerning
    • Grids, snaps, smoothening options: not sure how smoothening relates to grids, but see File > Font Info > Other Settings > Grid
    • Interpolation features: See Multiple Masters, part 1: Setting up masters and the following two parts.
    • Validation features and from there quick, font-wide and/or group fixing options: There are many indicators throughout the app, as well as plug-ins, that help find inconsistencies, incompatibilities, etc., many ways to batch-edit/fix stuff. See for instance the Multiple Masters tutorials for MM-related validation/fixing.
    • Type format options (exporting/saving): Save as .glyphs and .ufo, export as .otf, .ttf, .eot, .woff, .woff2, built-in AFDKO.
    • Retina-friendlyness: Glyphs has supported Retina screens from the start.
    • Extensions/add-ons: See Window > Plugin Manager, and the Extend page
    Find the Handbook as free download on https://www.glyphsapp.com/get-started (and short instruction videos).
  • Secure Fonts

    Tempest is a term in the computer security world for being able to read the contents of (amongst other things) computer screens remotely by looking at the electromagnetic emanations leaking from the monitor. You can essentially build a modified analogue TV which can tune into a computer's monitor and see what the remote user sees. This obviously caused quite a freak-out in security circles when it was discovered.

    The usual way to deal with it is increased mechanical shielding around monitors to reduce the signal emission, but last night I read about a project (PDF) to defend against electromagnetic snooping by modifying the font rendering:




    (I have no larger point here, I just found it fascinating.)
  • Collecting/sharing unusual symbol designs

    Hey guys!

    So i thought it might be fun to gather a couple of symbol designs that are somewhat unusual,
    would be nice if any of you would like to participate and share some "fundstücke"

    Heres a neat percentage sign i came across



  • Re: the OpenType features UI questionnaire /Q2

    On the subject of supplemental fonts containing OTL discretionary variants as default forms — something that I've resisted making, on the grounds that I shouldn't have to bend over backwards to provide workarounds to poor support of technologies by the people who invented the technologies, harrumph —, I have found online unauthorised derivative fonts made in this way. So lack of good and consistent support for OTL discretionary features also leads to the proliferation of unauthorised derivative fonts and the breaking of license agreements.
  • Re: Tiro Typeworks is hiring a font maker

    I have never wanted to be a Canadian more.
  • Re: Tiro Typeworks is hiring a font maker

    Tiro Typeworks is looking for a full-time font maker (design & engineer) to work in British Columbia, Canada!

    In 2001, I had the joy and privilege of spending five months in Vancouver, working at Tiro Typeworks as an intern. This was my first serious font work gig. I remember this time very fondly, and I can say that working for Tiro was a life-changing experience for me. 

    Without John Hudson and Ross Mills, I wouldn't be who I am today, and the type industry wouldn't be what it is. 

    Ross and John are undoubtedly among the most brilliant, finest, wisest, friendliest and hard-working people in the type industry. They take on highly interesting typographic projects, execute them with passion and keep pushing the borders of what's possible in digital type. 

    Uncompromising open-minded pioneers, they have a wealth of knowledge regarding type, language and font technology, and over the last two decades, they were never shy to share it. And they're genuinely interesting, smart and immense fun to be around. 

    Back in 2001, despite me being an unexperienced intern, Ross & John treated me as an equal and a partner in the project we were working on, and the time I spent there allowed me to form a friendship with both of them, which has lasted since then, even though we don't see each other often. 

    Vancouver was a very fine place to live and work, and I believe it still is. Lots of Hollywood films and TV shows are shot there, because of the unique mixture of a urban environment surrounded by beautiful nature. You have great food, culture and nature. 

    Tiro Typeworks is a great company. Their success in the industry is an evidence that a two-men partnership supported by a network of friends and collaborators can achieve wonders. Whoever ends up taking the position will be blessed with the chance of working on great projects with great people in a great place. What would you want more? 

    Best of luck,
    Adam
  • Re: Font Modification

    Hi Luke, 

    I can put you in touch with our EULA people, if you wanna DM me the best email to reach you at.
  • Re: 656565656

    What's going on is that overshoot is intended to provide a general optical adjustment between flat and rounded forms within a narrow band of space. So typically there isn't a lot of variation in precise heights for similar shapes. The other thing to bear in mind is that the optical effect for which overshoot compensates is actually size-specific, while overshoots in typical fonts are not (variable fonts with a size axis linked to actual text size could provide better results). In your images, we're looking at the numerals quite large, at sizes for which we use edge recognition rather than shape recognition. At these sizes, we see the relationship between the bottoms of the numbers in different ways than we would at small sizes.

    The other thing that is going on is that our perception of the relative heights of the bottoms of the letters is not only affected by the radius of their curvature. As you've observed, some of what you perceive seems contrary to the idea that broader flatter curves, being closer to flat, require less overshoot than tighter curves. That's because other aspects of the structure of the glyph affect how we perceive the top and bottom. A narrower shape like the zero, with tighter, more pointed vertical extremes than the eight is going to appear taller; indeed, is going to appear to thrust upward and downward, whereas the horizontally aligned counters of the eight make it look wider, thrusting outwards. This is, of course, a problem with tabular numerals, especially at heavier weights: the zero ends up too narrow, as in the Helvetica Neue Black example.

    FInally, as I noted in my earlier response, at these sorts of sizes, where one can really only fixate on parts of the shapes, it is possible that one will have a different perception depending on whether one is looking at the relationship on the left or right of a numeral, at least in the case of an asymmetrical one like five.