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Jens Kutilek

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Jens Kutilek
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  • Re: Aspects of quality for a typeface

    It’s tricky. Nearly all of the aspects mentioned here can be intentionally done differently and still make a good font.

    E.g. FF Trixie, the original distressed typewriter font.
    • Quality of glyph outlines = horrible
    • Quality of spacing = monospaced, what do you expect?
    • Quality of kerning = kerning is nonexistent
    The font would fail by these criteria, still it is an important milestone for OpenType fonts.

    Not to say that quality criteria don’t matter, but it’s the old saying, if you know the rules you can break them.

    In my opinion, ligatures and alternates are overrated. Type designers (including myself) can get carried away adding them. Most users will never find the alternates. Ligatures (esp. ones that are active by default) can do more harm than good if they are added to designs that don’t really need them.
  • Re: Coolangatta

    Of course, the first thing I thought of when I saw that you were doing a typeface based on a shape intermediate between a square and a circle was Melior, designed by Hermann Zapf using the superellipse of Piet Hein.
    Hermann Zapf retrofitted the mathematical principle on his typeface Melior after the fact. Melior was drawn without any mathematical exactness, it’s very calligraphic in its details. It was designed in the 1950s, and the superellipse became popular in architecture in the 1960s, so Zapf gladly made the connection to his typeface.

    By the way, there isn’t a single superellipse, there is an infinite number of superellipses with parameters between a normal ellipse and a rectangle.
  • Re: New Open Source Font by Production Type: Spectral

    Well I noticed the bumpy curves by zooming in on the PDF specimen, which was the reason to compare the outlines on top of each other in the first place.

    I agree that at the intended environment and size it will not be noticeable. But you never know how large somebody will mis-use a text font ;)
  • Re: New Open Source Font by Production Type: Spectral

    I’m wondering about the decision to release the fonts in TTF format only, because the conversion quality of the TrueType curves is not very good. The source PostScript UFOs look good, but the TT curves could be better even with the same number of control points.

    (PS in the background)


    (left: PS, right: TT)
  • Re: Copyright notice - deliverables placement - end user perspective

    Right before your quote from the UFL, it says ‘Permission is hereby granted, [...] to propagate the Font Software, subject to the below conditions:’

    So I think the copyright notice clause only applies if your marketing department distributes the font files, but not any materials using the fonts.

    In case of embedding the fonts in some materials, e.g. a PDF file, the original copyright notice of the fonts would still be intact if somebody extracted the fonts from the PDF.