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LeMo aka PatternMan aka Frank E Blokland

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LeMo aka PatternMan aka Frank E Blokland
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501
  • Re: ‘Grand Cru Classés’ sprouting from Antwerp soil

    However I do feel formal education can potentially stunt the proper development of one's original voice […]
    In my previous work, I could see a style developing and after graduation it was essentially erased.
    Education as such should not be blamed if some tutors apply a sort of one-sided conditioning or perhaps even try to indoctrinate students. Of course, it is flattering for an educator if students embrace his/her ideas, but the primary task of education is to provide a solid foundation for further development and for enhanced reflection. For type design this means that education should result in technical skills combined with knowledge of the historical developments in the profession (including the changing esthetic preferences during the different style periods) together with insight in (the influence of) technology.

    By marking the historical and technological boundaries of the type designer’s profession and by stimulating a critical and analytical way of thinking, students should be able to find their own place in the profession and to develop their unique personal ‘hand’. Although craftsmanship formed and still forms the basis for the type designers’ metier and conventions define its boundaries, educators should always be careful that their training does not suppress the natural desire of designers to trespass IMHO.
  • Re: Superscript – missing forms

    Hi Kent,
    Superscript ¹²³-only is a legacy from MacRoman Postscript Type 1 encoding. ([…] three pre-built fractions from that same encoding: ¼½¾.)
    Windows Latin-1 encoding?
  • Re: Superscript – missing forms

    Yeah, right, I suppose Windows 1252 had these also.
    Actually, I think that only the Windows Latin-1 character set contains the three superior figures in question and the aforementioned fractions, and that these characters were never part of the Mac OS Roman encoding.
  • Re: Quador – a squarish serif

    Frank, you need to stop accusing people of plagiarism, it's rude.
    Hi Christian,

    We’re a bit on different wavelengths, I reckon. I am only observing, investigating, analyzing, and questioning. Of course, we can switch here instantly to details mode (which I consider the easy part because consistency matters regarding shape, contrast-flow, contrast, and spacing are purely relative to the concept), but I think it is relevant to discuss the concept first. Your remark make me wonder how your type-design tutor(s) handled the originality and idiom issues.

    Best, Frank
  • Re: How big is the type design industry?

    Fonts are cheap to make […]
    I take the liberty here to utterly disagree. The development of high-quality fonts from scratch requires a long and intensive study and a thorough, i.e., costly production. The prices of hard- and software are peanuts in comparison with the development costs.
            Next week the Dutch Type Library will release DTL Valiance by Hanna Hakala, of which the development took ten years. Coming autumn we will release DTL Romulus and DTL Fell, of which the production started in 1997. Cheap fonts are perhaps cheap to make but the development of high-quality fonts takes a lot of time and efforts, and hence is very costly.