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Simon Cozens

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Simon Cozens
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  • Right. This kind of work can be done much more easily at the text level than at the font level. Trying to modify text by modifying the font is a misguided approach.
  • This would make a lovely mono.
  • /n shoulder is really bumpy, and the curves on the serif look a bit funny too. As well as reducing the number of nodes to a minimum, you need to match the curvatures on both sides of the node - see this. Tools can help while you're learning to see t…
  • It says, "go not to type designers for counsel, for they will say both narrower and wider".
  • Here's a slide from Gerard Unger's 2015 Granshan talk on Carolingian minuscules. It appears at 4:24. Notice the 1.5 stories g...
  • I don't think someone's first ever typeface is meant to mature into a new or useful thing, any more than one's first story will turn into a bestselling novel. It's a learning exercise, and if you treat it as such and keep your expectations appropria…
  • The DJR license is still 1500 words. People do read EULAs - it's just that what they read is "Press the button marked 'I agree' to get on with your day."
  • Oh wow. I get that these are display fonts but I wonder what the intended rendering is for, say, Zilla Slab in a full-justified context. Ideally you'd have a flexible-width black space, but I can't see how a layout engine would be expected to know t…
  • I just drafted a very long post and re-read it only to discover it was saying essentially what John said above. So I'll extract one idea from it: what programs the programmatic axes, and what do those programmes look like? Let's suppose we have thre…
  • Hah. I've actually discovered that my layout engine was better written than I thought. It does send entire runs to the OpenType layout engine. But then it digs through the shaped item list and replaces space characters with fixed-width glue nodes. I…
  • It rather reminds me of the Interstate g, one of the rare occasions where my emotional reaction overpowers my trust in the ability of professional type designers.
  • But you could also do something in-between in terms of x-height difference. It's not a binary decision. Well, sure. The binary decision is "redraw two masters" or "don't". If "don't" is acceptable then it would save a lot of work.
  • Thomas Phinney said: I am not convinced that when your thin is that thin, in a relatively monoline design, that having the boldest weights have 100 units higher x-height is any more ludicrous than restraining it to just 10 units heavier. Also,…
  • 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 …