Okay, so if you’re reading this, you already know that I am a hardcore typegeek. Typically that entails spending countless hours in front of my computer screen tweaking bézier outlines of glyphs (read ‘letters’ all you non-hardcore types) with highly-specialized software, followed by more hours inputing and checking vital font information that users will likely never see. Does this sound like a lot of work? Well it is!
But no more. Now you at home can get hooked on creating fonts with no special expertise or software required other that what you’re using to read this blog. FontShop International (who recently promoted some of my typefaces for P22 in their last newsletter) has unofficially released FontStruct, ‘a free font-building tool,’ which ‘lets you quickly and easily create fonts constructed out of geometrical shapes.’ For being live just over a week old, there are already several interesting and well-designed offerings available for download. Having tried my hand at using the site myself, I must admit building fonts with this tool is simple and fun. I’d be interested in what some of you non-typegeek people think. Give it a whirl: go to the site, make a font, come back here, and post your thoughts with links to your work. (Be careful, though, it’s addicting!) While you’re there, be sure to check out my creations and give ’em good ratings!
Sassy, originally uploaded by pauldhunt.
After three trips to Las Vegas in the last six months, I finally got to make it to the Neon Museum’s Boneyard. I had tried to go twice previously but the key to getting in is to book a tour as far in advance as possible. The tour was an amazing experience. The organization behind it has the goal of preserving as much of the old Vegas signage as possible and making it accessible to the public. I believe these are very worthy goals, so I was glad to make the requested donation to go on the tour.
FontShop International has recently announced the release of a typeface compliation: FontStars™ 2007. This collection of “the year’s best fonts” includes three that I designed for P22: P22 Underground Regular, P22 Zaner One, and P22 Zaner One Extras. This is a quite diverse collection and includes many of my personal favorite typefaces released this year, including several that I have licensed myself (Cinescope, MVB Sacre Bleu, MVB Solano) and some that I wish I could license (Greta, Blaktur). It’s really nice to get this kind of recognition. It’s even nicer to see typeface I’ve designed in use! Speaking of Zaner, I’ve recently seen it on the shop front of Paradiso Bouidor in SoHo and on the cover of Carrie Underwood’s latest album, Carnival Ride.
Back in MyFonts news again. I’m always giddy to get a mention of something that I worked on. This time it was for LTC Italian Old Style, mentioned in this month’s Rising Stars newsletter. I’m glad that the newsletter features a new text face each month as most of the rest of the featured faces are decorative display faces. Not that there’s anything wrong with display faces, but I think that a nice serif face with a bit of character can be quite a nice change from all the fancy and frilly stuff once in a while. In fact, this is why I digitized a light (display) weight of Italian Old Style in addition to the regular (text) weight.
The consumerist season is upon us once again. In the spirit of the season, I thought I’d post at least one gift idea. It’s sheik, it’s practical, and sure to be appreciated by any of your friends and family who may suffer from typoholism: it’s the super-snazzy typo-touk from Typotheque! These lovely, hand-made hats come in 12 colours, and can be personalized with a capital letter of your choice. Being as I have an undying hat fetish, and that I need something to keep my ears warm in the English winter weather, I already got one for myself, and I must say that I love it! Order one for yourself and for your loved ones now to have in time for the holidays.
… well, it’s not quite a word, but someday it’ll be able to make any word! (In the Latin Script, that is) So what is this drawing of? It’s my very feeble sketching abilities trying to depict what my typeface project will look like. This is definitely not a tight sketch. However, this is the only sketch i made before I embarked upon the process of digitization. I have filled several small book pages with even feebler attempts at calligraphy so as to have a point of reference for what I hope will be a nice, pen-informed typeface for Sanskrit research. I’m bound to have my hands full with the brief I’ve cut out for myself. Wish me luck!
Okay, I will admit it. I am an Etsy addict. For those of you who don’t know what what Etsy is, it is an online marketplace, whose motto is: “Buy, Sell, and Live Handmade.” Many of the items listed on the site are one of a kind, which is very cool. At the moment, I’m particularly hooked on plushy toys. Imagine my delight when i stumbled upon Monsieur Virgule (pictured above), his wife Madame Virgule, and their pup Comma-Dog. I hope one of you snaps them up before they’re gone!
I was rather pleased to see a mention of Underground Pro in this month’s Rising Stars newsletter from MyFonts.com. It was good to finally see a some constructive comments on the type family rather than just a regurgitation of the general press release that was sent out when Underground was first released. I also think the newsletter’s usage of the type for their font sample (shown in thumbnail above) has been the best I have seen to show off some of the features of the font system. I need to find out who is responsible for the newsletter so I can send him (or her) an nice, big, warm “thank you!”
Everyone knows that to squoosh™ text is a cardinal sin. Or if they don’t know it, they should! However, as with every rule, there are exceptions (which are governed by more rules). There are certain typefaces that hold up quite well to a bit of horizontal manipulation, and in fact, there are some that exist that have been designed to withstand this type of abuse. Among these types that have been built with this in mind are the types of Gerard Unger. I’ve been blessed to sit in lectures and to be guided by Mr. Unger in some typeface design workshops this week. Working with him in this way has made me think of what makes a typeface elastic so that it can be squooshed or stretched without losing its spring. He spelled it all out for us this afternoon.
There are two aspects within a typeface that allow for horizontal distortion. The first is that the contrast must be high: horizontal strokes must be thinner than horizontal strokes. The second is that curved parts must be somewhat squarish. These two factors in combination will give a typeface some elasticity, which will allow for some degree of squooshing, but don’t overdo it!
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