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Adam Twardoch

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Adam Twardoch
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  • We will need to find an icon designer who will take on the task of visualizing all the different operations you can do in FontLab VI. That would be great, actually! 
  • Ramiro Espinoza said: Please, consider adding icons tool bars in the future. I miss them You mean for various menus? 
  • This is not to say we’ll get there overnight. Some might say “a promise to always deliver a new release that fixes any problem overnight or within two days” is unrealistic. Even the actual compilation and building takes time — you’d be surprised. Ne…
  • Also: we’ve been on an agile development path for FontLab VI for a long time now. We didn’t publish the Preview builds too often because there were periods when we’ve done some rewrites and refactoring. But mostly, it’s been bug fixing, which no dou…
  • Here’s our blog announcement about FontLab VI release: http://bit.ly/flvi
  • Ramiro Espinoza said: If I create a bunch of new fonts via CMD+n and the close the program, instead of asking for saving, it crashes. Full error message text sent by email. There will be blood. And updates. 
  • Ramiro Espinoza said: Thanks! Now I like it more Sketchboard is vey useful for making complex lettering works, using glyphs slots for such things in FL5 makes the drawing interface to become unstable. Yes, that was exactly our thinking …
  • Damn, Igor, you beat me to it! 
  • And if you want tabs, you can use setting 1 and then if you undock a tab (turn it into a floating window), you can dock it back — it takes a bit of practice though. You grab the window title and move it near the tab titles until you see a blue highl…
  • Ramiro,  Use setting 3 of http://help.fontlab.com/fontlab-vi/Preferences/#windows-and-tabs-configuration if you prefer to work with floating windows instead of tabs.  Note that you can undock the toolbar and the panels from "inside" the main windo…
  • Ps. I’m sure there are lots of people who care. But they don’t do enough to show that care. 
  • Katy Mawhood said: @Adam Twardoch  It doesn't seem fair to infer that font EULAs are written without care, when many of us know the opposite is quite true. Many EULAs define "font software" to incl both design and software. Katy,  I’d be grat…
  • Actually, Dave, it’s the other way around. The companies with 1,000s fonts on file can afford paid protection under the German scheme and under the U.S. Design Patent scheme. Adobe owns the U.S. Design Patents D318290 and D327902 for Adobe Garamond …
  • Dave Crossland said: If copyright applies to letterforms, no one can design new typefaces  But copyright, and various other forms of protection outside the “font as software” scheme does apply to letterforms and has for decades. Some (but…
  • Shahab Siavash said: ...countries that basically does not have Copyright law as the western world has and therefor a lot of things users could do are basically "legal" in their country but not in a global understanding of Copyright. One sho…
  • Kent Lew said: In your case, it sounds like Russian law allows you to protect the actual typeface designs as well as the font software. Which U.S. copyright does not. Kent,  do you happen to know the answer to why most foundries, eve…
  • BTW, I applaud ParaType for being one of the few font companies that actually haven't blindly copy-pasted the U.S. template thinking. And of course I applaud the Russian legal system that protects typefaces as visual works, the way many people thi…
  • The tldr version: font EULAs don't state what the reality IS. They state what YOU WANT IT TO BE. Other parties can disagree and dispute, then you go to court and some person rules. But most likely, this won't happen, so you as a font vendor have the…
  • Artem,  This is an excellent question. I've found it pitiful that most font vendors worldwide, including those from Europe or South America, have blindly drafted their EULAs purely around the limitations of U.S. copyright law. It's ridiculous that …
  • Jackson Cavanaugh said: Suppose foundry XYX released a type family XYZ Abc. Is 'Abc' now considered to be 'taken'? tldr; Yes. That's a bit general, no? Monotype claims the trademark on "Monotype Scotch" and "Scotch Roman MT", but cla…
  • Generally, it is a matter of trademark law. One entity can introduce a product under a certain name, and either claims or registers a trademark. If another entity introduces a different product under the same or similar name (in the same product c…
  • I once tried to understand how it works but failed. There is a lot of convoluted "magic" for this. 
  • Even David Berlow hasn't yet combined Decovar and Amstelvar into one font (but I'm sure it'll happen soon!).
  • Ps. I don't think users expect that each font covers all of Unicode.
  • Jens Kutilek said: I have the feeling that for width and weight axes, we as type users already expect everything to be simply available, from Hairline to Black and from Ultra Compressed to Ultra Extended.  Do we? I never have. On the contra…
  • Before I forget: here’s a list of “beauty angles” or “rational angles”, i.e. the hypoteneuses of a right-angled triangle where both legs are small integer numbers. With those angles, node and handle coordinates will have a much higer chance for prop…
  • (As with any axis, the default should be what the designer feels should be the default. If the slnt axis goes between 4 and 12 in a design, the default can be 4 or 12 or 11.30993 (the last being a rational angle of course)
  • Jens Kutilek said: I agree with Frank that the amount of contrast is an integral part of a typeface design. If a value of 0 (no visible contrast) is the default, as Adam suggests, will we have to design monolinear versions of all typefaces? Wi…
  • Don't increase the contrast, make it wider and looser, and make it larger (esp. the lowercase) at a given size. Like 16px. The Sitka project has shown that the best way to increase readability was to make all glyphs bigger on the body (you can redra…
  • Using an actual measured ratio between the thins and thicks is not a good idea: if a font has a weight axis as well, then "high-contrast light" will have a lower thin-to-thick ratio than "high-contrast black", simply because the denominators are muc…