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Simon Cozens

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Simon Cozens
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  • Well, I've basically redrawn both heavier masters manually with a bit of help from RMX Tools. The latest effort is above. I am just not sure what else needs tweaking.
  • Help. It's all gone wrong! I was just about ready to go when I realised that my heavier weights had ridiculously larger x-heights than the thin master - like, 100 units larger rather than 10 - so I have had to go back and redraw the semibold and bol…
  • On one hand I hear people talking about thousands of kern pairs. On the other I hear people like Andreas saying "space everything as well as you can, then kern only what is necessary", and Bruno Maag saying "kern straight-straight, straight-round, r…
  • I'm not really sure what I'm looking at here. Is it meant to look a bit hand-drawn, a bit crude and bumpy? If so, that's fine, it's a legitimate aesthetic - although perhaps you could rough the /d up a bit; the inside bowl is too lovely. If not, tak…
  • I've got to agree with James. Looking at Russian word lists gets you so far, until the day comes when you have to typeset Къ̀форд Ландѝдно or something.
  • Well, me too - my interest in type design was sparked by Don Knuth, who also used superellipses in design. Maybe a name change is appropriate.
  • I think I spotted Bruno Maag in the BBC Sans section.
  • Sorry, wrong file. Another try.
  • Another month, one more go:
  • I'm interested in this question too. Is it a problem to have:                        ...  ... ... And if so, what should I do about it? (And also if so, shame on Glyphs for letting me do it wit…
  • I've just heard from the publisher at Wiley dealing with the MIS Press list. They would be happy for the rights of the Fontographer book to revert back to Stephen Moye if he asks for them. (That's the first step to either bringing the book to a diff…
  • Hrant, the issue is one of design and intent. If you think you're ever going to go cross-platform, you make use of one of the cross-platform UI libraries such as Qt (which I think is what Fontlab uses). You also make sure you use a programming langu…
  • I can't speak for Georg or the Glyphs team, but it would be an incredible undertaking for Glyphs to ever "go Windows". It would basically require a ground-up rewrite.
  • Oh sure. If you're an impecunious arts student and can only afford one, get How to create typefaces and borrow Designing Type from the library. And if you have good design eyes, you strictly speaking don't need Designing Type. But I clearly don't (s…
  • So it is! Off to the opticians...
    in Numerals Comment by Simon Cozens July 19
  • Is the symmetrical construction of the 8 deliberate? I thought you generally need the top bowl smaller than the bottom, but I would be interested to hear if there are good reasons for an exception.
    in Numerals Comment by Simon Cozens July 19
  • Right. What this is likely to produce is: 1) Kana designs without a matching kanji set (unusable) 2) Designs with a relatively small kanji coverage (unusable) or 3) Designs produced by running a filter over another font. Hopefully the MyFonts team …
  • Just Van Rossum is a type designer. He was the one of the first to do really programmy things with fonts. His brother Guido invented Python.
  • There seems to be quite an active type community on Twitter; I've learned a lot by listening in on the chatter. If you're not already using it, then follow typographica and a bunch of your favourite designers, and between them you should hear most o…
  • decompostion => decomposition
  • I almost don't need to ask, but: is the /s on the left less of a "train wreck"? I really liked the idea of having a line section in the crossbar, but it obviously wasn't working -  I actually wasn't really sure what was train wrecky about the one on…
  • Khaled Hosny said: ccmp has no effect on character to glyph mapping, it works in glyph space like any other feature I'm sure you're right, but that means the OpenType Spec is very misleading: Tag: “ccmp” ...Function: To minimize the …
  • OpenType works in glyph space apart from the ccmp feature, which alters the character to glyph mapping. I don't know if that happens after the shaper has made inferences about the text (I suppose technically it shouldn't) and it certainly isn't mean…
  • One of the things I aim to get done in my Copious Free Time is to add language tagging to the various texts on Pablo's type testing page. That's working on the basis that browsers will pass the language tags to the shaper and have your fonts shaped …
  • Thanks Chris and Christian for the encouraging and detailed feedback! I do keep revisiting this one because my dream is to shepherd it to (eventual) release: it's a design I both really like and have a modicum of confidence in. Lots of things to do …
  • Here we go again. I've taken a good long look at curve quality and thinning, and along the way it seems to have grown an uppercase. (In retrospect I am not sure this was a great idea, because now it just looks like a generic grot, but I am enjoying …
  • There's a pretty decent explanation at Wikipedia; the first place I would look for more details is Eco's "Search for the Perfect Language", which is my go-to guide for Victorian invented language stuff.
  • Would it work to thin the top crossovers of the /w as you have with the corresponding ones on the /m? I think that would make it more legible. That said, I have to work pretty hard to see the /m as an /m. Maybe a deeper cut on the vertex?
    in Arctedo Comment by Simon Cozens June 18
  • If you have a security compromise on a site whose main business is digital downloads, the whole darn thing is suspect. You either look through and reconstruct every single zip file, or you burn it down and start again. That's if you take security s…
  • Explain the system to me. Why does A-R, T & Z have an on-stroke but not S & U-Y? If B does, why doesn't 5? If L does, why doesn't U?