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Jens Kutilek

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Jens Kutilek
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  • Re: Coolangatta

    I think starting with a Thin weight is not the easiest option, especially for a beginner. At this weight, your design is nearly monoline, so you lose the ability to add "flavor" by playing with the distribution of contrast.

    I would suggest to start with a Regular, either based manually on your existing Thin, or from scratch. From scratch is not as bad as it sounds; if you have internalized the idea of your typeface, redrawing it will not take nearly as long as drawing it the first time.

    As Hrant would put it, with the Thin weight you are painting black lines. A Regular or Medium has more interplay between white and black shapes/masses.

    Starting with the Regular also has the advantage that it usually is the most often used weight, so it's good to get it right before going towards the more extreme weights.
  • Re: [OTVar] Contrast Axis (ctst)

    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? Will it be reasonable to assume that any typeface should be able to change its contrast completely from conventional to reverse? When is a typeface not itself anymore? ;)

    I don't think I said 0 should be "default". Have I said this? I thought I said 0 should be "perceived no contrast". 

    Yeah, I guess I did read your numbers as internal axis coordinates, with 0 being the default.

    Though a typeface may span only a small range of the design space, I wonder if new axes will raise expectations as to what a typeface can do?

    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. So there may be a pressure for type designers to span "the whole axis range" in a new design.
  • Re: Plex; IBM's new font identity model


    I can't speak for the authors of the OFL, but it seems to me that if a user obtains a font binary under the OFL, they can pretty easily load it into their font editor and carry on.
    I have seen some pretty complex Glyphs and VFB source files, so I tend to disagree on that. For example, with FF Real all 26 styles of the initial upright release came from one Glyphs file with various glyph replacements and tracking applied via custom parameters.

    If source files are not available, it’s quite hard to make consistent changes to a full font family. You would have to re-engineer composites, outline compatiblity, find out the masters, interpolation values ... first The interpolation masters may not even correspond to any one of the published fonts. Plus manual hinting is lost when you edit TTFs etc.
  • Re: Web Fonts Guide

    Can we please drop EOT and TTF from the webfont formats already? :) Especially TTF is not needed for anything. If a client absolutely targets obsolete Android devices, they will know they need TTF and ask for it.
  • Re: Convert a .ttf to CBDT/CBLC format color font?

    If your idea doesn't involve manual work, it would probably be easier to script it in Python with FontTools instead of using a graphical editor. You would  just need to find someone who has experience with FontTools and the CBDT table, these different table formats can be quite special. It's not like if you know one table, you can script all ;)