Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

Ray Larabie


Ray Larabie
Last Active
Member, Type Person
Invited by
  • Re: Approaching Kerning Groups or Classes

    I make left and right groups for glyphs with identical or very similar sides. For example: "A_left" includes all Æ glyphs, Delta, Lambda and Æ. "A_right" same as left but with Alphatonos and no Æ.

    I name them left and right because that makes more sense to me but it's opposite; kerns for the left side of a glyph are right kerns and vice versa.

    I put a few glyphs such as S into groups that have both left and right kerns. Not many of those.

    I tend to push my luck as far as similarity goes. If it's not working, I'll kick that glyph out of the group and kern it on its own. Let's say I have a modular, squarish sans and the B and D are pretty close. I'll throw both of those into the O_right group. If it works, great. If I run into problems, I'll kick it out.

    With Greek and Cyrillic, I have fun economizing groups. Sometimes I need to kern Cyrillic with letters that would never appear in Cyrillic based languages because they share a kerning parent with one side of a Greek letter. It's unnecessary to take it that far but I get a kick out of it when I'm kerning and they all sync up.

    As for accent collisions, I do them last. If there are collisions, I kick them out of the group, copy/paste the kerning and modify all the pairs as needed.
  • Re: Textured Type

    Assuming the bitmaps are ready to go in Photoshop, I run everything through Scanfont 3.13 which autotraces the entire font in a few seconds. Then I spend an hour or two rearranging and aligning with the original non-textured typeface on the mask layer. Manual inspection and cleanup can take from a day to a week.

    Mochon took about an hour to go from Photoshop to font and about 3 days of manual cleanup and testing. I'm not including spacing. classes, kerning and OpenType coding.

    Uchiyama was about a 5 day cleanup job. It's not really textured though. It was mainly as matter of trying to get proper curves and extrema and getting rid of nasty bits.

    Ebenezer probably took 3 hours to go from Photoshop to completed font. The character set is much smaller so speed things up.

    The cleanup part is tedious. FontLab's cleanup filters weren't designed for cleaning up grunge.
  • Re: Macron on Top

    I really think it should be aligned with the dot. But that's because I don't know what it might collide with on the left. Unless you can locate some Sanskrit transliteration samples, there's no telling what might slam into that thing. I suppose if it's a slab serif typeface or you've got a short macron, it might have enough clearance.

    I prefer the look of it centered over the dot.
  • Re: Research into whether Typography Techniques are still relevant in digital design

    Question 7: Hammer, saw, screwdriver, plane, drill, clamp, sandpaper

    Which tool would you use to make furniture?
  • The vinyl records of font formats

    Someone told me a long time ago that Windows PostScript is the vinyl records of font formats. It has PostScript curves which are higher fidelity than TrueType curves for certain shapes the format allows higher resolution than Mac PostScript. There's no Unicode support so I suppose that mimics the inconvenience of vinyl records.

    Is there anything to this stretch of an analogy?