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Ofir Shavit

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Ofir Shavit
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  • Re: Fixed Stroke Width and Hebrew

    It doesn't matter in... A. this scale of "contrast", it appears, to me at least, as a distortion rather than something deliberate.

    B. Your specific design and modern Hebrew letter forms.
    While traditional Hebrew scripts were constructed according to the H emphasis, as in this typeface (Vilna by Shmuel Gutman) for example: 

    ...the modern, more geometric letter forms, as in your design, are losing the horizontal emphasis and are affected by the optical issue as much as Latin does.

    Look at your /ש and the Vilna /ש. What does it have in common? ,why should your /ש tolerate reverse contrast? Why did you thin the middle /ש's connection to the left stem if you "trust" this reverse contrast concept?


  • Re: [OTVar] Animation of symbols/emoji using CSS animation with variable fonts

    Very nice!

    Speaking of efficiency, how much time does it take to create such one glyph variable font (16 key frames), provided you have one ready vector object (horse or anything else)?
  • Type design assistance service

    Since about a year ago, I owed a favour to a calligrapher friend, and the opportunity to pay him back didn't occur, so I decided to offer him that I will create a font for him from one of his designs. We picked one, he sent me a nice sketch of the letter-forms, and we're proofing it now, and will release it soon in 4 weights.

    The whole process went so fast and smooth, thanks to my skills with Fontark of course, that this crazy idea came up in my mind...

    I want to offer my font creation skills to you type designers.
    I can create incredibly fast, simple to medium complexity, typefaces, from a sketch to a working OTF.

    If you have a new/old idea for a font, you can send over to me almost any level of sketch of it (hand drawn or not, partial letters, a solid idea, etc'), and I'll send you a draft font of it, and you'll guide me further to the point you'd like to take over it and finish and market it.

    The target I see in my mind is me supplying you 2-3 weights of your font in a decent finishing level, and you will take it to perfection and produce it yourselves.

    The terms of my service... 

    I will not claim any creative rights for the fonts I help building, and will protect your creative rights (not showing it to anyone etc') zealously.

    Commission -  The commission for this service is entirely up to you! 
    Although I don't grant I will accept any work, at any time, I leave it all up to you to decide how much or how you will pay me for this service.

    You can send me even things to do just to test the quality of my work without intention to pay at all. I also help a lot for free, and in any case that I accept a job I don't expect a certain payment, so anything you'll find proper by your exclusive criteria will be accepted and appreciated by me. 

    Feel free to comment or ask questions here, of even ask a public test or whatever.
    If you'd like me to do something for you in private, feel free to message me.

    This offer is open for anyone! Personal, Independent, corporate, galactic...
  • Re: Marsa Serif — type design critique

    Very nice work, with personality and delicacy.

    Few things I notices...
    R' is too dark
    A' seems too short
    O' (and round sides) and S' are spaced to much.

    Something bothers me with the vertical contrast. The thin strokes in U' N' X' etc' are thinner than the horizontal strokes, so you basically have 3 stroke weights (Thick vertical, thin vertical/diagonal, and horizontal) somehow distributed unevenly resulting in disharmony and causing some letters to pop up and some fade.



  • Re: Graphology


     I could jot messily or I could slow down and write with care. When doing so I've noticed that there is something deeper going beyond...


    At the very core of it, what you describe here is a certain expansion of consciousness and it's impact.

    - In our "regular" active state (moving, thinking, talking, writing...) one's consciousness is like a focused beam, it enlights and includes a small part of ourselves/our being ,and we get aware of it while all the rest of our being (including it's activity) lay in the darkness of our subconscious and automatism.

    - Consciousness changes the nature of the activity of any of the human aspects, focus your attention on your body movement, ant it'll change, focus your attention on your feelings/thoughts/whatever and they'll change. If you'd like, a human is a hyper-super-duper quantum mechanics lab. And one that has been researched, investigated and explored since the dawn of mankind.

    - With this in mind, the human is like a flute, or a sax. be aware of the first hole in the flute and it'll open (all the rest are closed), blow and you'll get a certain tone of sound. Move your awareness to the third hole, it'll open and the first will shut. A different tone will be sound. 

    - Like that, our consciousness "jumps" deliberately and not deliberately from one subject of attention to another and the "music" of our life and everything we do and express is played.

    - What you described is a practice of expanding your attention to include more than one "hole" of your "flute". it demands a less "focused", wider and inclusive attention and the "tones" it produces are much different and humans are sensitive to it (who more who less).

    - consciousness is the essence that can unite the entire "flute".

    - The human attention and consciousness can expand beyond imagination. (and don't make me laugh with mentioning scientific brain researches, i'm in a serious mood lately)

    - Consciousness expansion practice is in the core of any spiritual practice and particularly in respect of creative arts you'll find it in Zen (Ensō) and Tibetan Buddhism (Tibetan mandalas).