Avatar

Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

John Hudson

About

Username
John Hudson
Joined
Visits
2,442
Last Active
Roles
Member, Type Person
Points
1,531
Posts
1,007

Comments

  • 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.
  • The most recent issue I hit with a CFF OT font with a non-1000 UPM was six or seven years ago: non-Adobe PDF creation tools messing up spacing when embedding fonts. I've not see any similar issues more recently, but wouldn't be surprised if there is…
  • Yes, fractional coordinates are legit now (although not recommended unless you need them, since they increase font file size), and yes, they are supported in FLVI.
  • What's missing, I think, is the care over placement and balance, the attention to graphical detail that characterises even Dadaist typography. The Gollancz covers include all the tropes of modernism — sans serif type, bold colours, lack of images, u…
  • I wouldn't describe the design of The Intelligentsia of Great Britain as 'moderately modern'. It's a dog's breakfast of poorly conceived and executed ideas. Many of the other Gollancz jackets are more moderate, and the better for it.
  • I'm guessing it was probably one of the books published by Victor Gollancz in the 1930s. when Morison was a director in the company and advised on book design. The distinctive yellow jackets with bold black and red sans serif lettering were Morison'…
  • Someone recently asked me to modify the ogonek accents in one of my fonts — you may recall the thread. I duly modified the position and design of the accents, and uploaded a new version, fixing a few more bugs in the process.  Even Microsoft made s…
  • @Roel Nieskens Kittens?
  • It's notable that not all implementations of the Arabic script are abjads: some are alphabets (e.g. the Kurdish writing system). I suspect that the efficiency of abjads is related to the particular linguistic structures of certain languages that fav…
  • Somewhat as an aside: There have been a lot of assertions in this thread about how we — collectively or as individuals — read. I think it is important to restate what should be obvious, given that competent, experienced reading is an unconscious ac…
  • Nina it's not possible to do it in a same way. Because what you're doing in Latin is reordering the letters and they are not contextual. If I reorder the letters in Arabic their shape change and the whole pattern becomes different. In more abstract …
  • Khaled, I'd not seen that paper before. It seems mostly to deal with perception of vowels in vocalised text. In the conclusion there is a reference to an earlier study, which I think is the one that Nadine told me about: The present results, togeth…
  • This could be surprise for you but there is no final, initial, medial form in Arabic script. This is just an implementation method in western type systems. Amen.
  • I didn't know anything about neo-Naskh and neo-Kufic and by doing a quick search couldn't find any documentation for them as calligraphic scripts. The terms are limited to typography, and refer to fonts that mimic aspects of Naskh or 'Kufic' while…
  • They certainly mean square Kufic style I've quite regularly heard the term neo-Kufic used to refer to typographic letters with large counters, rationalised vertical alignments, and usually fairly low contrast stroke modulation. They're not necessa…
  • Awwww. Now I'm going to cry. Thank you, Adam.
  • On the subject of supplemental fonts containing OTL discretionary variants as default forms — something that I've resisted making, on the grounds that I shouldn't have to bend over backwards to provide workarounds to poor support of technologies by …
  • when people reading English tend to read English words as a single unit, taking advantage of the general shape of a word as indicated by letters with ascenders and descenders in lower-case That is not how cognitive scientists now believe that we r…
  • It is precisely to avoid having existing documents in the standard font infected by a custom version — or vice versa — that we customise the name when we customise the font. There are too many variables involved in document creation and exchange for…
  • Usually appending client name or something similar (e.g. if client wants if for some particular project or third party branding). Our preference is to put the client name after the regular font name, but sometimes they request it the other way round…
  • Yes. Unless your brief is to design for a specific output device or condition, it is better to proof at the high end, simply because there is too much variation in the low and medium end. Of course, one gets clients saying 'We want this to work real…
  • Does it bother you? If so, do something about it. But bear in mind that the optical effect may be due to multiple factors, so mi inclination is only to fiddle with actual overshoot amounts after all other aspects of a glyph are finalised.
  • What's going on is that overshoot is intended to provide a general optical adjustment between flat and rounded forms within a narrow band of space. So typically there isn't a lot of variation in precise heights for similar shapes. The other thing to…