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Of course they are. Humans can have original ideas.
A computer can easily do it if you feed it with the right algorithms and set the right parameters.
Sure, the obvious huge gaps need to be fixed, but below a certain threshold, might not sidebearing space be considered an inviolable part of the letter? Consider the ﬁgure “1”: it bothers me when it is ﬁtted, and I give the proportional one more and more space these days.
Not every glyph shape can be put into a class.
While automation is useful, it can suck the life out of art, rendering it crude and banal.
I like to dive deep into the zone when I kern, and submerge my being in the spatiality of the typeface, in an organic, holistic way, for hours on end. Feel the space.
I would imagine setting up a number of different algorithms for kerning a face, and seeing which worked best, then tweaking it. A quite different MO.
Just like the Benton matrix cutter ruined type design and that’s why all those fonts by Goudy and Benton are so awful.
I didn’t realize pot was legal in Toronto!
…I think that's pretty much the MO the pro-automation posters have been talking about. …
Just wanted to add that Weibking also furnished and trained the engraving department at Ludlow.
You're either a reallllllllllly good type designer if you think spacing should happen after you've finished drawing......or you're a not very good one.
"the spacing informs the shapes and vice-versa"
So, although, during the phase of designing glyphs, spacing/kerning can be taken into account by a designer (see above) — the real spacing/kerning should be a completely separate step from designing glyphs. So I would agree with this: "Finally, done drawing all the characters. Now on to the spacing/kerning!"
"Finally, done drawing all the characters (and using spacing/kerning to assist in this drawing whenever needed). Now on to the spacing/kerning!"
But I cannot understand the opposite, that the spacing of a glyph informs the shape of that glyph.