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John Hudson

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John Hudson
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  • Pablo, those kinds of advanced settings options are the domain of user interfaces, not of fonts. Ultimately, the font maker has no control over what features of a font are exposed in the UI, or ever which are supported at all in a given piece of sof…
  • None of this is reason to ignore the needs of proportional tracking, as that axis, x transparent proportional spacing, is needed — top-level Ui stuff, by a certain class of Latin designs, and several scripts like Arabic, which have not been track-ab…
  • Or are tracking / character spacing features in apps simply an artefact that designs tailored to optical size went away in the phototypesetting era and didn't immediately return in the DTP era, and that if we can only restore use of optical-size des…
  • Dave: So if your intent is to gift something to humanity, to make it available to everyone, which seems to me the actual urge behind an attempt to put something in the public domain, then the ofl and licenses like it keep that intent intact, while…
  • Dave, the OFL requirement of downstream distribution being under the same OFL license is exactly what makes OFL distinct from public domain. I mean, there's nothing in the public domain status of the plays of Shakespeare that requires a publisher to…
  • I don't think it's an issue of users having to futz with spacing, but rather a question of what happens when users do futz with spacing. Layout software has tracking; CSS has letter-spacing. People use these things, and at the moment tracking gets a…
  • In this case, though, the substitutions are of equal length:  i l -> i_l  l l -> l_l Paul has suggested a way to handle this by making the substitution for the sequence to /i l_l/ contextual. That's certainly one solution.
  • Try putting the l_l substitution in a separate lookup before the i_l lookup.
  • One cannot practically do that with a font. With fonts it is more like trying to find who removed the proverbial needle in the haystack after it has been found and moved elsewhere. Unless a license holder admits to releasing a font in the wild, it w…
  • And  just because the font can be traced to a purchase doesn’t mean that the purchaser released it on a pirate font site. Every time they send a job to print someone else gets a copy.  The point of serialising fonts with licensee data isn't to tra…
  • It's pretty good. Looking at the 010101 sample, I think you might reduce the bottom overshoot of the zero just very slightly, as the 1 looks like it is floating upwards a bit.
  • ...as the copyright owner, I can do whatever I want with my own creation. Excepting as contractually restricted. That is, sometimes works are created under contract, and even though one retains copyright the contact terms might place some restrict…
  • Also note, with regard to component order, that it is good practice in the case of precomposed diacritics for the base letter to be the first component. This has implications for inherited metrics.
  • You definitely don't want to decompile and recompile a whole font just to change a name table entry. Better to use a tool like TTX to dump just the name table, change the name in the XML, and then fuse the edited table back into the font. Alternativ…
  • Perhaps we need to clarify whether we're talking here about a typeface design or a font? Ray's original post spoke of 'releasing a typeface as public domain', but some of the follow-up comments refer to fonts.
  • If you want to allow unrestricted use, the spirit of public domain, use the sil ofl.  Or the fantastically simple and unrestrictive MIT license: the 'do-whatever-the-fuck-you-want' license.
  • Nick: Robert Bringhurst has used colour in typography, in hierarchical manner. I recall one work where the lines of text overlapped, in different colours. Perhaps The Blue Roofs of Japan? One of Robert's attempts at polyphonic typography, in whic…
  • At some level, every font I make I make for myself. So I'll make them the way I think they should be made. That said, I'm also typically making fonts for specific clients, often with specific needs and workflows, and these tend to be clients who are…
  • Hey Matt, yeah that might count for something. Also, I like how you managed to make something as wonky as Millwright balance so nicely in text: that takes some skill. By all means send us a resumé and let us know more about your experience and knowl…
  • Georg, as I understand it, you should be able to view named instances from a variable TTF in MS Edge browser.
  • 1. delete all component-only glyphs (this will delete only the component glyph itself, all incidents of the comp. will change to contour this way) Ah. I didn't understand what you meant by 'component-only glyphs'. You mean glyphs that only exist i…
  • We expect this position to remain open until late April, so if you're considering it, consider some more, but don't consider for too long: get your application in. We look forward to seeing it and talking with you.
  • 1. delete all component-only glyphs You mean decompose, right? Not 'delete'.
  • I don't have time to write as long a response here as I would like, but here are some thoughts: 1. When talking about colour in typography, it is important to distinguish between the use of multiple colours applied to text, and use of multiple colo…
  • Yes, that's right. The first version of Zapfino for Apple was very small on the body, in order to accommodate the very tall ascenders of the taller style variants. This was done in consultation with Apple, and they shipped the font, but then they go…
  • In the case of the Slabo fonts, I tailored the UPM to each target px size, so that I would have a number that was evenly divisible by the px number to give me a grid that fit to the UPM.
  • How are these sequences encoded? I presume it is desirable to have a consistent encoding, since putting the tanwin on different letters depending on how you want it to display means different spellings for the same word.
  •  I loved my stat camera and still miss it.  I was admiring the camera set up at the Letterform Archive, and thinking I'd like to have one of those. Then I realise it was about half the size of my whole office.
  • I am assuming that Microsoft is accommodating legacy systems in sticking with their power of 2 recommendation?  Not just legacy systems. The optimisations in the rasterisers are current for DirectWrite as well as the older GDI environments. Basical…
  • Moving forward, there's also the new STAT table to consider, although if tool makers get it right, you should be able to populate the STAT table data and have the tool automatically generate the name table entries.