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Thomas Phinney


Thomas Phinney
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Admin James Puckett
  • Re: Style naming for font menus

    In a font (TrueType or OpenType), there are several different sets of data for the family and style. Different environments use different name data.

    So, for legacy Windows environments (including older versions of MS Office), you must use a family of no more than four members, Regular, Italic, Bold and Bold Italic being the only options. At least, if you want your font to work properly.

    The open question is what you put in the font for more savvy environments. This is much more open-ended.

    You may if you wish keep these sets of names the same as those required for Windows, so that no "family group" has more than four members, and you have oddities like family = "Glurbish Black" and style = "Regular".

    Or, like most font developers today, you may use them in a typographically savvy way, so you have family = "Glurbish" and style = "Black" and the single Glurbish family may have 4, 6, 8 or 200 members, as needed.
  • Re: MyFonts and families

    Adam Ladd said:

    I’d be curious what the results might be if retailers set a max limit for how much of a discount could be offered (e.g. 50% is the largest, no discounts above that [90%, etc.])....

    I suppose a key would be that this limited-discount scenario would need to be adopted by all the major retailers to keep the playing field more even, otherwise I would guess buyers would look elsewhere to find larger discounts.

    I imagine (at least) that part of your analysis is sound. However, what you describe reads to me—admittedly, not a lawyer—as pretty much the textbook definition of “price fixing.” Except for some particular goods markets for which it is deemed necessary to maintain stability, price fixing highly illegal for most goods, in most countries with robust legal systems and consumer protections, including the US, Canada and the EU.

    “A plain agreement among competitors to fix prices is almost always illegal, whether prices are fixed at a minimum, maximum, or within some range.”

    See also:

  • Re: Mell Sans

    The reversed diagonal contrast on the A is just weird and out of place, unless you follow it through in major other ways. But I suspect it will never look playful, just odd.

    You need a lot more practice at making smoother curves (and straight-to-curve joins), learning where to place the on-curve point and how to manipulate the off-curve points. For example, just talking about the “b”:

    - the top right curve looks just slightly squished in
    - the bottom seems heavier than the right side, making it seem like it has reversed contrast... only the top doesn't follow suit.
    - the bowl’s outer bottom contour, the on-curve point is much too far left, making it seem lumpy
    - the bowl’s outer top contour, the on-curve point is just a little too far left, contributing to the squished corner.
  • Re: MyFonts and families

    ybaggar said:

    Confusing what is good for myfonts and what is good for a designer on myfonts is a mistake.

    Agreed! What is best for MyFonts overall may not be best for the individual designers selling there.
    ybaggar said:

    If myfonts' strategy is wrong for you, the question is, why are you still there? Or can you still make it work for you somehow? Is the solution to also make heavy discounts and bundles and low prices?

    It's not a binary question: MyFonts strategy/marketing can be less than perfect for a given type designer or foundry, but that doesn’t mean that they would be better off not selling at all on MyFonts. Nor does it necessarily mean that they have to dramatically change their discounting and bundling strategy. Certainly that is one way to deal with the situation, but not the only way. Whether abandoning MyFonts might make sense would depend on just how much worse than ideal the MyFonts approach is for that particular designer/foundry, combined with what their alternatives are.
  • Re: Articles or sources on letter widths

    When you say "letter widths" do you mean the marking width (the black part of the letter) or the advance width (the total space allocated the letter, including any white space)?

    As a for-example, let's say that the marking width of the E, F, L were identical (typically not, as the lowest bar of the E is usually widest so the F is narrower, but just for the sake of argument, pretend they were all three the same). The F would still usually have less advance width because it would be allocated less right sidebearing. The L would have even less right sidebearing and be narrowest in advance width. Even if all three had the same black body width.