Howdy, Stranger!

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

Kent Lew

About

Username
Kent Lew
Joined
Visits
2,672
Last Active
Roles
Member, Type Person
Points
832
Invited by
Admin James Puckett
Posts
689
  • Re: Romanée – New Release?

    Naturally, all of this reminds me of the dialogue in Dwiggins’s fanciful account of the creation of Electra — his imaginary conversation with Kobodaishi, “Patron Saint of the lettering art”:
    He said: “The trouble with all you people is that you are always trying to reproduce Jenson’s letters, or John de Spira or some of those Venetian people. You are always going back three or four hundred years and trying to do over again what they did then. What’s the idea?”

        “Well” I said, “we think those types were pretty good—about the best that anybody ever made, and we’d like to make some like them.”

        “But why like them?” he said. “You don’t live in Venice in 1500. This is 1935. Why don’t you do what they did: take letter shapes and see if you can’t work them into something that stands for 1935? Why doll yourself up in Venetian fancy-dress costume and go dodging around in airplanes and automobiles dressed up that way?”
    (Having designed Electra, Dwiggins went on to continue also using Janson, Caslon, Baskerville, Bodoni, et al., types in his own book work, of course. ;-)
  • Re: Font or Font Software

    Historically, the “art work representing images of letters, numbers and other characters” was considered the “typeface” and the means of reproducing those images — i.e., the physical metal sorts, or the photofilm negative, or the computer file, etc. — was considered the “font.” (In American English, anyway.)

    Since the advent of desktop publishing, however, the term “font” has gradually evolved, through vernacular use, to be applied now to the intangible design of a typeface also (much to the annoyance of some of us old-timers). Thus the rise of the more specific term “font software” to mean the original, narrower sense of the actual font file and computer code.

    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.

  • Re: Capital Eng

    If a font does indeed provide for African languages, then I think it does makes sense to have the capital “nj” form as the default, and localize for the relevant Sami languages.

    But to adequately cover African languages, one needs several less common characters — such as ɓɗɖɲƴ, just to show a few.

    Extended Latin character sets that cover the majority of European languages will easily cover three of the four Latin-using Sami languages with the simple inclusion of ŋ. If the char set is primarily aimed at that standard target, then I think it makes sense to have the “NJ” form as the default.

    If you want to provide a capital “nj” form for those few African languages that can get by with just the ŋ and not the rest of the pan-African set, I would be more inclined to make it the alternate.
  • Re: The president of Kazakhstan (or is it Qazaqstan now?) signs the latinisation edict

    And so we go from this:


    to this:


    You’re right, Ray — all that custom work adding Ұұ to extended Cyrillic fonts is probably going to dry up over the next 8 years. ;-)

  • Re: Cyrillic lowercase shha (һ) - ascending vs non-ascending

    suggests [...] that there was no upper-case shha
    but still if it can't begin a word, distinguishability between the upper- and lower- case forms is somewhat less of a priority.
    I don’t know why on earth you jumped to that conclusion!?

    Here are just a handful of words starting with һ taken randomly from the front page of the Башҡорт wikipedia site: һаулыҡ һаҡлау һәләте һәр һәм һуңғы һуғыштың — including the very common һәр “every” and һәм “and.”