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Dyana Weissman

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Dyana Weissman
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  • Re: How do you handle the finances of a project?

    In general, my formula is broken down into two parts. 1. The work itself. How many days will this take? And then charge the daily rate. There are SO many variables. A basic Latin sans is going to take way less time than a basic Latin script with texture. 2. The licensing/exclusivity. Which someone else at my company quotes on.

    The videos @Thierry Blancpain posted make very good points.

    As for getting paid, it varies. Overall we have wonderful clients and we don't usually require payment until the project is finished. Some clients, however, might have a complicated payment system, or international red tape to go through, and will take longer to pay. So occasionally we charge a percent up front. Some clients will negotiate a kill fee if they're not entirely sure what they need. I always always always say "changes in scope may cost extra." Scope creep is the worst. It starts with a small change here... and then another one... and then just one more. I let some slide—they are to be expected with newer clients, for example. I usually give a warning the first time "this is considered a change in scope, but we'll let it slide for now," just so the client isn't surprised later when I do charge a fee. 
  • Re: Color will be the new Italic. Color will be the new Bold.

    Hmm, interesting. My initial reaction was, "I don't think in black and white, I think in positive and negative space," and believed the premise was flawed. And obviously, using color as hierarchy is not a new idea, nor do fonts inherently limit users from using color. 

    But it's not too hard to imagine more than two dimensions to glyphs (yes, to an expert this is simply a fancy way of saying layers, and they will still register two-dimensionally). Despite the declarative tone, as a purely conceptual piece, it's an exercise that yields some intriguing results. I doubt we'll be changing how we read anytime soon, but a little typographic exploration can be an amusing diversion. 
  • Re: Home office vs. office

    I've been working exclusively from home for over a year now. For many years, I went into an office, but spent a day or two working from home each week. I found it easier to stay focused in the office, and I enjoyed the company of my coworkers. 

    Weirdly, though, when I had a very tight deadline for a project, I would work exclusively from home. Commuting would take too much precious time. Once I got into work mode, it was easy to stay in it. 

    After years of experience, I am able to stay focused while working at home. But it can be too isolating, especially in the winter. 

    I generally prefer listening to conversations when I work, instead of music. I put on a TV show or movie that I've already seen, so I'm not distracted by what is happening.

    After years of wearing headphones in the office, I have a Pavlovian response to putting them on that makes me ready to work. 
  • Re: Kerning for beginners

    If it helps, a 256 character set with good kerning would have 3,000 - 5,000 kerning pairs (with some exceptions depending on the design of course). 
  • Re: Kerning for beginners

    Once you've decided on what your target size is, make sure your spacing is as close to perfection as possible. Ideally this would be decided as you were drawing each glyph. 

    I would suggest, as a beginner, to ignore classes anyway. Go through all the major combinations: Uppercase to uppercase, lowercase to lowercase, uppercase to lowercase, figures to figures, uppercase to punctuation, lowercase to punctuation, figures to punctuation. This takes FOREVER and can be unpleasant, but it helps you to internalize the patterns of a typeface on a whole other level. You'll make mistakes that help you to remember what to look for in the future, when you do rely on classes.