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Cory Maylett

About

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Cory Maylett
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385
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Member
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155
Posts
105
Location
Salt Lake City, Utah USA
Web Site
http://maylett.net
LinkedIn
http://linkedin.com/in/maylett

Comments

  • As a graphic designer, I had always assumed that most fonts were purchased by people like me — other graphic designers. During the couple of years I've had fonts for sale on MyFonts and elsewhere, I've found my assumptions about who buys them haven'…
  • I like the diamonds, but because they're different, they do tend to draw attention to themselves and define the character of the typeface, which might be good or bad. What I'm really curious about are your question marks; they're squiggly in a not-…
  • I received a payment message from them earlier today followed by an unsolicited "Thanks for contacting us. We'll usually respond within 2 business days" message. Later, today I received a message asking me if I still wanted to stay on their mailing …
  • Do that, make those sites popular and Monotype will buy them up using the money they should have spent fixing MyFonts. Then they'll lower the royalty rates even further in an attempt to make their money back. 
  • Jeremiah Shoaf said: I am indeed talking about people renaming the actual font files, not just the name referenced in the CSS. Like changing it to "company-name.woff". If someone opens the file and changes the name of the font itself to …
  • Matthew Smith : Just to be clear, one doesn't have to change the name of the font file in order to change how the name appears in a font-inspector like FontNinja or when inspecting the CSS. I too wonder if that's what people are mostly noticing. I'…
  • Dave Rowland said: How MyFonts has not been overtaken by Fontspring I don't know. For the past year, I've sold considerably more on Fontspring than MyFonts.
  • I'm wondering what the practical value of these kinds of animated (for lack of better word) uses of variable fonts might be — CSS-driven or otherwise. The examples I've seen (like this one) are interesting, but the interest is in the novelty, which …
  • Similar to its use as a math delimiter, the bar is used as an operator in various programming/scripting languages.
  • Although it might be interesting, their historical use isn't especially relevant to designing them to accommodate how people use them today. As a graphic designer/art director myself, I've never used a broken bar for anything — not even sure I've…
  • Call me clueless, but what is "negative advance" and what does "under-saturating" its width mean?
  • Jacob Morrison — I recently had a day to design some custom type to complement a new logo mark my company is using. Long answer follows — sorry. Your question is more about designing a logotype to match the A logo, but addressing that question is …
  • As already pointed out, you can almost eliminate ascenders and descenders and still design legible type, but legibility is different from readability. Display type can get away with being less readable since display faces are typically used in ins…
  • Ray Larabie said: I couldn't find the thread but there was a discussion somewhere on this site about when alternate Cyrillic italic forms are appropriate. This one perhaps: https://typedrawers.com/discussion/1026/cyrillic-italics-vs-obliques
  • This means that the vertical line must be 5.4% thicker than the horizontal line for them to be perceived as equally thick. This bias showed in 27 out of the 28 subjects. This is all very interesting. Perhaps I missed it while reading through the …
  • Frode, I think you might have gotten to the heart of the matter. At some point in the past I began including the aringacute, along with a few other mystery glyphs, in my fonts for the simple reason that so many others seemed to include them. I supp…
  • Bhikkhu Pesala — Thank you. Yours is a wonderful example of still another way this glyph can be configured. Perhaps there is no single, preferred way of handling the problem. In Vietnamese, the use of multiple diacritics makes the problem more mana…
  • Easily worth the advice I've gotten here. Done.
  • Not too long ago, I took a brief poll of the dozen or so graphic designers I work with about OpenType features. About a quarter of them didn't know such a thing existed. Only two claimed to use them regularly. The others said they didn't bother with…
  • I think in theory, simple is better, but that's not how things evolve. Let's say everyone did agree on that one, single universal font format. What would happen a year or two down the road when someone different came up with an even newer and better…
  • If it were me, I'd select more neutral typography for the addresses. The typeface you've chosen draws attention to itself for a couple of different reasons, which is not typically desirable for this kind of thing. For similar reasons, I'd leave off…
  • The top curve of the G terminates at a not-quite horizontal angle, unlike those same parts on the C and S.
  • Other possible responses. — I rely on the fonts I already have. Maybe I'll buy some with next year's budget. — They're confusing. — I can't experiment with new font formats on this deadline project. — These new fonts might not RIP properly at…
  • I agree with Craig Eliason, it reads as Meat the BaU. A little more loop in the two l's should fix it. I do like the meatier look, though, if you're going for a personality more befitting of meat balls.
  • As a U.S. graphic designer who dabbles in type design, I have no idea what the laws in Poland or the UK might be, so my perspective might be irrelevant. I rarely get attorneys involved in routine sales of work I've designed. I have standard contrac…
  • Adam Jagosz said: Now a potential client contacted me wanting to purchase an exclusive license, or preferentially, a copyright transfer. (I know the latter would not be in my favor, is more complicated legally, and so on.) Why would it…
  • As a user of both, I've found the documentation for both Fontlab VI and Glyphs to be absolutely first rate. I can say much the same about the customer service. All questions on the forums for both are answered quickly and quite thoroughly.
  • Michael Vokits said: I'm a language guy, not a design guy, and I need clearer cues than the rest of you. I'm a design guy with more years designing magazines, newspapers, books, websites and other publications than I care to count. …
  • Michael Vokits said: I prefer the consistency of color that smallcaps give; I dislike bold weights. You can, of course, design your typeface and build the fonts any way you choose, but are you designing these fonts for yourself or for others t…
  • Stephen Coles said: I'm sorry to report that Ely suffers a bit from the bone/bump effect Tobias refers to. No need to be sorry, I intentionally created it that way after experimenting with different degrees of smoothing.  To me, many ty…