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Bhikkhu Pesala

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Bhikkhu Pesala
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  • Re: Color will be the new Italic. Color will be the new Bold.

    Most of the examples that you show are ugly, and only serve to illustrate the excessive use of colour that distracts from the message conveyed by the text.

    For example: Look at the headings Contents, Preface, and Introduction in your book. They should be a single colour. The three-coloured drop capitals are fine, but three-coloured headings are just gaudy. I would not even want to read the book if it was laid out like that.  

    Effective use of colour may well help to communicate a message, but mixing three colours in a single glyph is just distracting. It might work in a logo, but not in text that needs to be read and understood.  

    This is more than enough colour to make the word stand out:


  • Re: Color will be the new Italic. Color will be the new Bold.

    The purpose of text is to communicate. Excessive use of colour does not help to get the message across and may fail miserably, just like USING ALL CAPITALS
  • Re: Naming font modifications

    Bhikkhu, I disagree in the strongest terms. 
    You're entitled to your opinion, but the best solution is to ask the client, and let them decide. For me, it would be a nightmare if I had to change the font in any of the old documents that I opened because the font's name had changed. 

    Someone recently asked me to modify the ogonek accents in one of my fonts — you may recall the thread. I duly modified the position and design of the accents, and uploaded a new version, fixing a few more bugs in the process. 

    Even Microsoft made some changes to their fonts with Windows updates to fix some bugs, but they have not changed the font names: Verdana, Arial, etc., have had the same names for more than a decade.

    I think you disagree only because you're thinking about a different scenario entirely.
  • Re: Why are composite glyphs not used whenever possible in exported TTF files?

    that were only needed in some minor useless languages, like Spanish.
    Wow! I didn't expect to read such a comment on a forum for professional type designers. Spanish is the first language for 427 million people, which is more than for English (339 million).

    I don't see any good reason for not using composites, though I have seen problems caused by mirrored or scaled composites though not for those just rotated like ¡ or ¿

    I use composites extensively in my fonts, but not for colon, semicolon, single, or double quotes, etc., only for subscripts, precomposed fractions, etc. 
  • Re: MUFI question

    I implement a number of historical ligatures and longs forms in all of my fonts, just because I can and it's not difficult to do since I wrote the code to automate it. 

    I don't think many users will need them, but those who do won't necessarily want to be restricted to Black Letter or Gothic typefaces. 

    Suppose, for example, that someone wants to reproduce an ancient manuscript from the British Library or a passage from Shakespeare. They might want to typeset it using a typeface like Caslon or Garamond.