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Beau Williamson

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Beau Williamson
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  • Yeah, I like the rounder 'corners'.  What I said about the 'ß', I meant just that the whitespace inside it was much greater than in the other letters. The new one looks better.
  • I have to say I have a soft spot for mono that this lights up. Typewriter with style! I do get the impression of clipping along the baseline though. The regular seems to do well on screen. The counters of 'ß' look a bit too open.
  • I think one of the things that gives Quadratic Béziers a bad name with people more familiar with Cubics is the way software like Illustrator convert them. When you outline ttf fonts in Illustrator, you get a lot of unnecessary points. I never under…
  • I don't have any criticism to add, very nice design. Just wanted to note how much 'cleaner' Uccello looks compared to your earlier Geranium.
  • Oh, now I want to kern all my tildes. Wavy line is great.
  • For what it's worth, I allow modifications of my fonts because I am only secondarily a type designer and primarily a graphic designer. The number of times I have needed to modify a font in the last ten years is under a dozen, but each time the chang…
  • I see the 'wild west' here. Like an tasteful abstraction of those log style display fonts so beloved of summer camp signs. Mostly the same observations as above. 'S' feels too wide, gets a thinning effect, 'N' too narrow, 'O' too wide. 'J' too wide.…
  • I would be very interested in a breakdown of 'quality of drawing'. Just a few points to watch out for in specific, such as curve quality (not bumpy).
  • My opinion, based on trying out a few different programming languages- Python is the easiest to get things done with in the shortest amount of time. There is nothing in font design that needs the higher processing speed of C to justify the steeper l…
  • On Stone by Sumner Stone is a great monograph that steps through the creation of a font family. I found it very illuminating. Lettering as Drawing: Contour and Silhouette by Nicolete Grey pairs very nicely with letterletter
  • I would second the motion of making a distinct 'J'. For what it's worth, I was looking at "Alphabets Decoratifs" published by L'Aventurine, 1995. For good examples of distinct 'I' and 'J' you could look at "Fractur mon Amore" by Judith Schalansky. T…
  • 'I' and 'J' were in the distant past the same letter. In the 16th Century, some nit-picky scholars thought that since the letter had two forms and represented two sounds, why not separate them. I'm guessing that Dieter Steffmann was using an older m…
  • Drawing by hand can teach you so much about the logic of typefaces, but digital lets you experiment so much faster. Both approaches have so much to offer for learning. Personally I sketch ideas for letters all the time but as soon as one letter, or …
  • Well, I suppose I've let this go before ironing out the kinks. In the end I did get a lot of inspiration from what you said Ray. Gave me new eyes to look at the work. I've been tinkering with typedesign for years, but this one is a new style for me.…
  • Here is a first draft of the two lowercase alphabets... obviously a lot of issues still.
  • Well, I've done some work on it. Imagine for the moment that I don't want to abandon the lowercase. I did understand that I was mixing some roman and italic elements. I've tried to divide them somewhat in the image below. I suppose I should work up …
  • The question is what is the reseller doing for your sales that you wouldn't be able to do yourself. To paraphrase an adage from the book publishing world - making fonts is easy, selling fonts is hard. A 50/50 split is fair if the retailer is providi…
  • Algorithmic pricing is a service available to all amazon sellers. Can't believe I passed up Counterpunch when I had the chance. I have the Stroke and it was well worth reading (obviously, I guess). Pairs really well with 'Lettering and Drawing: Cont…
  • There is a good script for removing points on top of each other in Illustrator. (Remove Redundant Points). You should use that before moving your shapes. I used to keep a copy of CS2 on my machine specifically for expanding brushes etc. because it d…
  • I've been thinking of a little app for a while now, but my nascent coding skills have kind of stalled for now. Just a simple text interface that lets you work on kerning on your phone or tablet. The increased screen resolution is great for working s…
  • I've recently switched to working at home. Has its ups and downs. I find it easier to get work done when I am in a productive mood, but harder to focus when I am tired. Case in point - browsing this forum after I finished my lunch break. I was offe…
  • Never found what was wrong. What I did was rebuild the font, step by step copying over the glyphs and coding, watching for the error to pop up. It never did, so I believe that the original file must have been corrupted somehow during one of the Font…
  • Still working to figure it out. I'll try cleaning the font chaches and see if that helps.
  • Sorry to bring this up again, but after a brief correction, the font is misbehaving again. The font looks alright in the preview window now, but it still shows up in the wrong place in the font menu. (Only in Illustrator. InDesign and other program…
  • Ah, I'll check that out in the unflattened file. (runs and checks) Sure enough, that was it! Thanks.
  • I have also found that certain glyphs will glitch in use if I don't decompose. For instance, just the 'oacute' was showing up hollow in illustrator (as if finely outlined around whitespace). The other glyphs that used the same 'o' component were fin…
  • When I started my first text font, I just wanted to pay attention to the technical side of the work, so I purposefully made the outlines very ugly. My idea was to learn about character sets and open type without getting bogged down in the details. …
  • Nina Stössinger said: — so the person who uses the font would just get more variables to set, and instead of coloring text, say, red, they could color it red, blue, and orange, and then the font would know which of those colors goes where, pain…
  • Red was used for emphasis in text all the way back to Ancient Egypt (where Thoth, the god of writing is depicted with two jars of ink, one black and one red). And it is still (I mean in a recent centuries frame of 'still') used by printers to signif…
  • Are you saying we need multi-coloured fonts? Or just coloured fonts. Because I can turn any font into a coloured font. A multicoloured font will not be the next italic.