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  • Re: Would you like to own a typographer's mould?

    Lead is liquid around 620 F, but it’s the melting point of the mold you have to worry about being several times higher than the metal you pour. There is a fairly respectable framework of metals, with their smashabilities and melting points that’s been in place, if you look them up.

    Most heat resistant plastic would explode, I imagine, and while that might not be a bad thing for some designs once control was established, let me know a while before you might try this in school.
  • Re: Naming the Widest Width

    Isn’t this 125th anniversary of the day they decided to stop naming font sizes and started giving them numbers?

    Happy birthday size numbers!;)
  • Re: [OTVar] Next step for variable fonts: process for registering design variation axes

    John:
    ”The Width axis typically affects all horizontal aspects of the glyph proportionally,”

    Is that true?
  • Re: [OTVar] Emotional Type/ Sharing technique for interpolating between angular to cursive masters

    Promphan,

    Nice thesis work if you can get it. ;)

    I’m impressed to see such a wide range of styles in a single font, and look forward to your completion of the glyph repertoire, if you do too.

    I have not looked at the work beyond the animation you have, (as simply as possible), web-coded and published, but one very small technical thing I notice that you might want to consider. Using cubic béziers, and going from a square to a round shape, you are forcing the dot of the i to rotate. This has a way of losing control of the shapes in between round and square, and perhaps adding more instability to the typography than you want. Maybe not, I could be seeing things.

    In either case, with quadratic béziers, the transformation of a corner to a round requires no rotation, i.e. the on-curve control points can remain at the extrema and achieve the same results without rotation. And in the case you do want the rotation to occur, quadratics could give you exacty the effect you are now getting as well.

    While a dot of the eye provides a most obvious example of this, there are other conditions in variable font development where this asset of quadratics becomes even more useful. 

    Good luck with this, and I hope, BTW you let no one “milk” you (and everyone else), out of precious time making and downloading huge VF movies. As with many other things that are superficially understood, it’s not that simple.
  • Re: Upcoming Competitions?

    Huh. I thought the best and only free competition for extraordinary work with no real market value, is the Typecon thing. That is still going after all these, what... two years, I wonder... or was it exhausted self-catering to the individual needs of the judges. Anyone know, tell Simon. Thanks.