Planet Open Fonts

CraftingType workshopsPython for Typographic Designers: Berlin

CraftingType workshopstypedesignersatwork: Carol Twombly checking stuff



typedesignersatwork:

Carol Twombly checking stuff

CraftingType workshopsWhole-Brain Typography Class, Seattle USA

Whole-Brain Typography Class, Seattle USA:

CT alumni and typography expert Jeff Barlow is holding a 1-day typography workshop in Seattle in a couple of week, on Thursday 10th July:

Check it out!

CraftingType workshopsNew tumblr, typedesignersatwork, is very good. Franck Jalleau...



New tumblr, typedesignersatwork, is very good.

Franck Jalleau checking stuff

Pooja SaxenaGoa street lettering

Street lettering images from a walk near Our Lady of Immaculate Conception Church and Archbishop’s House in Panjim, Goa. See all at Flickr.

Telephone KendraWaxMerchants_small


Ana Carvalho & Ricardo Lafuente (Manufactura Independente)Viagens com Alma

8_cluny-1-copy

We’ve been frequent collaborators of Visões Úteis, a theatre company based in Porto. Viagens Com Alma was a long-duration project spanning several months and many artists reflecting on religious imagery and subjective geography. We designed some of the printed materials for Visões Úteis’ various steps through this project.

Nicolas Spalinger (advogato diary)15 Jun 2014

Brötli compression and aggressive default subsetting

Working drafts of the Brötli compression spec and the WOFF2 format have been published. For those among you who don't know any Swiss-German, -li is the diminutive form and Brot is bread, so brötli = small bread. Interestingly, it's based on previous optimization work released as zöpfli: Zopf being another kind of bread. Notice a pattern? I wonder if the cantine's menu or local pastry shop had an influence (but it looks like the Umlaut has been lost in translation, oh well).

These small breads come in wide ranges, textures and flavours but it strikes me that the whole point is that, while good bread on its own can sometimes be tasty, it's really the variety of toppings and fillings in these "mini-sandwiches" that create something everyone can choose from and enjoy.

So, while I sincerely applaud all the amazing work done on compression and improving the common webfonts format, I think it's also worth pointing out that many webfont hosting services still strongly push towards a bland taste by default, i.e. without the varied ingredients as filling, i.e. serving a limited subset of the bigger fonts designed for more than one language. They tend to make it harder to use the original wider non-roman Unicode coverage and smart features but instead serve only the basic Latin, especially if you are interested in a lesser-known language and a more complex script. Ugh. Could taste a lot nicer.

For example in Google Fonts, various users keep complaining about how many fonts have been "optimized" to the point where they are broken and useless in various languages. You have to dig deep in the documentation to learn that to restore original functionality, you need to explicitly turn off the subsetting via &subset=all. Some people are less concerned with shaving off a few milliseconds and more with "will this actually work in my target language?".

Hopefully, smaller breads will not mean even less tasty filling IOW the compression gains will also allow fonts and web content in other languages beyond the Latin boundary to become more prominent and accessible. Making the subsetting less aggressive and limiting will result in a much tastier multilingual web.

Jakub SteinerAdwaita 3.14

Now that the controversial 3.12 tab design has been validated by Apple, we’re ready to tackle new challenges with the widgetry™.

Adwaita has grown into a fairly complex theme. We make sure unfocused windows are less eye-grabbing (flat). We provide a less light-polluting variant for visually-heavy content apps (Adwaita:dark). And last but not least we provide a specific wigdet style for overlay controls (OSD). All this complexity has made Adwaita quite a challenge to maintain and evolve. Since we were to relocate Adwaita directly into gtk+, we had to bite the bullet and perform quite a surgery on it.

There’s a number of improvements we aimed to achieve. Limiting the number of distinct colors and making most colors derived makes it easier to adjust the overall feel of the theme and I’m sure 3rd party themers will enjoy this too. Not relying on image assets for majority of the drawing makes the workflow much more flexible as well. Many of the small graphical elements now make use of the icon theme assets so these remain recolorable based on the context, similar to how text is treated.

Benjamin has been working hard to move the theme closer to the familiar CSS box model, further minimizing the reliance on odd property hacks and engines (Adwaita no longer makes use of any engine drawing).

We still rely on some image assets, but even that is much more manageable with SASS.

Anything gtk related never happens without the giant help from Matthias, Cosimo and Benjamin, but I have to give extra credits to Lapo Calamandrei, without whom these dark caverns would be impossible for me to enter. Another major piece that I’m grateful for living right inside the toolkit, ready to be brought up any time, is the awesome inspector. Really happy to see it mature and evolve.

Jakub SteinerJestedska Odysea Longboard

Some shots with the gopro from last weekend. Music by LuQuS.

<iframe class="image full" frameborder="0" height="500" src="http://player.vimeo.com/video/98082124" width="500"> Jestedska Odysea Longboard from jimmac on Vimeo. </iframe>

Pravin SatputeInteresting dilemma of Devanagari script fonts

I am sure after reading this post all font developers of well know Devanagari script fonts will start looking at there fonts again and start thinking there font is for which language?

Either they have developed font for Devanagari script or is it font for some specific language or it is simply a mess ?

As most of you know Devanagari script is widely used for number of languages. Major languages in this list are Hindi, Marathi, Nepali, Konkani, Sanskrit, Maithili, Kashmiri and Sindhi and some more languages.

Each language has some specific requirements from Devanagari script as follows.

    Characters requirement from Devanagari script block:
        Kashmiri, Marathi, Sindhi and Sanskrit has specific characters defined in Unicode Devanagari code page[1]. This is bit easy to identify, since Unicode has mentioned  it clearly for codepoints.

    Ligatures/Conjuncts requirement from Devanagari script:
        This one is bit tricky and one must go through each language standard documents from Governments or standardization organizations. I would like to mention some important differences here.

        1. Locale specific shapes for Unicode characters

Different shapes of same characters required in particular language.  Few examples of these are in Marathi "ल" (U+0932) and "श" (U+0936) are different than Unicode code block characters, same way Nepali language also has few different shapes for numerals. (Refer Lohit fonts for more information [2])

       2. Different behaviour of conjuncts across language. 

      This one is really painful, since there are not 3-4 but lots of conjuncts characters are different in widely used languages like Hindi and Marathi. Hindi language mostly prefers horizontal ligature (i.e. simply half form of characters) while language like Marathi, Sanskrit requires ligature form of conjunct which is used to be stacked.

After considering above points:
when you see, download or use any Devanagari font, you will definitely start thinking this font is for which language exactly?
Font for Hindi language with horizontal ligatures?
Font for Marathi language with Stacked ligature?
Pan Devanagari fonts supporting all language?
Even though its pan devanagari fonts, what it renders in en_US/en_IN locale?

       Lohit2 is one of the best example of how to handle this effectively. Still it needs some fixes for default behaviour of Lohit Devanagari font. Since Devanagari is widely used for Hindi language, i am in fever of making default behaviour of Lohit Devanagari to match with Hindi language and for other languages one should either download Lohit fonts for specific language (lohit-marathi, lohit-nepali)  or select appropriate locale while using Lohit Devanagari.

      Still question arises if default behaviour matches Hindi then, why it is called Devanagari, but i think answer is since it supporting other languages as well it is called Lohit Devanagari.

1. http://www.unicode.org/charts/PDF/U0900.pdf
2. https://github.com/pravins/lohit

Jakub SteinerOPW

Wow, Philip. OPW is a detriment to GNOME development in the same way an espresso or electronic music is. You may not appreciate its catalyst effect to great contributions, but blaming it for being one of the reasons why our developer story is sub optimal is very disrespecting to the people responsible for the program.

I am amused when poor developer workflow immediately becomes “gnome terminal lacks transparency” (and it being the design team’s decision), but reading this sort of lunacy on Planet GNOME is sad.

Nicolas Spalinger (advogato diary)25 May 2014

Recent significant open font releases: Fira Sans, Fira Mono and Source Serif Pro

Don't miss the newest version of Fira [Sans|Mono] (3.1 or 3.106 currently) commissioned by Mozilla from the Spiekermann and Carrois foundries. It should soon appear on http://github.com/mozilla/Fira and http://github.com/mozilla-b2g/moztt (FirefoxOS-specific).

And check out Adobe's Source Serif Pro now also available on https://github.com/adobe/source-serif-pro.


There are lots of interesting questions ahead in terms of how best practises will be defined and applied to open format workflows with multiple tools, DVCS tree structures and ongoing maintainership and release engineering of open fonts such as these...

Karl Berry (advogato diary)25 May 2014

A not-so-technical friend asked me, "What is a browser?"
My reply was, how about: software providing an interface for navigating information.

Here is my reasoning:

1) "interface" - there are the usual graphical browsers like firefox.
There are also textual-only browsers (such as lynx).
Also, non-interactive programs that simply download a file from the web
can be construed as browsers of a sort. "Interface" can encompass all
of that.

2) "navigating" - because an important component of the whole thing is
going from one piece of information to related, or maybe not related,
information. That is, "hyperlinks", although nowadays people rarely
bother with the "hyper". (I'm ignoring the fact that one can also edit
web pages in browsers, debug javascript programs, and do all kinds of
other unrelated things.)

3) "information" - instead of "web page", because browsers can work with
all kinds of things besides web pages, although of course they are the
most prevalent.


My definition says nothing about the www or even the Internet. This is
because browsers are quite useful for looking at stuff on one's own
computer. In fact, as you may remember or have come across, there was a
huge brouhaha and accompanying lawsuit about this in the late 90s, wrt
people replacing Internet Explorer with Netscape. MS's response was to
make Explorer be "part of" the operating system, specifically not
restricted to poking around the web. (I'll spare you the details, but
if you want them, here is the basic story:
https://en.wikipedia.org/wiki/Internet_Explorer#Early_versions)

I wrote the above before checking to see what kind of answers came up on
the net. Let's see ...

At least my friend didn't think a browser *is* Google.
http://www.youtube.com/watch?v=o4MwTvtyrUQ
(The first 30 seconds are enough to get the flavor.)

Here's wikipedia's take on it (first paragraph is enough):
https://en.wikipedia.org/wiki/Web_browser
They're specifically addressing "web browser", not "browser". Few
people would make that kind of pedantic distinction, as I do above.

So it goes ...

Vernon AdamsUntitled Font

CraftingType workshopsResult from recent Crafting Type Toronto

Result from recent Crafting Type Toronto:

Tom Creighton attended the recent Crafting Type Toronto and posted his result up on Dribbble:

started a legit typeface this past weekend after getting knowledge-bombed at a Crafting Type workshop. Pretty happy with how it’s coming together.

Great work Tom!

Ana Carvalho & Ricardo Lafuente (Manufactura Independente)Libre Graphics magazine

We had yearned for a publication that could combine the critical perspective of an art and design magazine with a clear free-culture angle. Together with ginger coons, we set out to make just that.

Active since 2010, the Libre Graphics magazine project has already released 6 issues, covering subjects like collaboration, internationalization and gender through a set of columns, showcases and reports.

Nicolas Spalinger (advogato diary)10 May 2014

open fonts vs. DRM-ized online services and desktop distribution channels

The various online webfonts services which now also include open fonts (like fonts under OFL) to bring added value to their existing libraries have a strong tendency to hide the authorship and licensing information as well as put up some DRM walls to make it harder to actually exercize your freedoms or using, distributing, modifying and redistributing these fonts.

The reality is that they have simply dropped open fonts into their proprietary DRM-ized workflows and not done enough due diligence or given enough respect to these authors' copyright, despite all the fancy PR and promises.

If font authors have released their work under a FSF/OSI/community-recognized copyright license then no overarching EULA or subscription agreement can prevent users (and fellow designers) from extracting these open fonts and using them accordingly. And when these online webfont hosting services start providing rich clients to connect into their libraries directly from desktops apps, the DRM scenarios are even worse: they tend not to install them in your font folder directly but into an intermediary hidden folder that you are not supposed to know about or have much control over so they can turn access to the fonts on and off as they wish.

You can understand their desire to lock up the proprietary fonts but they can't do that to the open fonts available through the same channels: in the owning versus renting dichotomy, open fonts are firmly in the camp of owning and even better being able to make it your own and redistribute the modified version. The rights granted to you by any author releasing their creation under an open license doesn't disappear when the software channel is turned off or your subscription is invalid. The whole point of releasing a font under an open license is that it's not under exclusive control any longer and the relationship between the font author(s) and the font user(s) is more direct.

The OFL FAQ is quite clear on this:

1.17 Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM (Digital Rights Management) mechanisms?

Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package, bundle or subscription plan. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL.

1.23 Can OFL fonts be included in services that deliver fonts to the desktop from remote repositories? Even if they contain both OFL and non-OFL fonts?

Yes. Some foundries have set up services to deliver fonts to subscribers directly to desktops from their online repositories; similarly, plugins are available to preview and use fonts directly in your design tool or publishing suite. These services may mix open and restricted fonts in the same channel, however they should make a clear distinction between them to users. These services should also not hinder users (such as through DRM or obfuscation mechanisms) from extracting and using the OFL fonts in other environments, or continuing to use OFL fonts after subscription terms have ended, as those uses are specifically allowed by the OFL.

1.24 Can services that provide or distribute OFL fonts restrict my use of them?

No. The terms of use of such services cannot replace or restrict the terms of the OFL, as that would be the same as distributing the fonts under a different license, which is not allowed. You are still entitled to use, modify and redistribute them as the original authors have intended outside of the sole control of that particular distribution channel. Note, however, that the fonts provided by these services may differ from the Original Versions.


Practically, users of Skyfonts with the Google fonts service can simply go to ~/Library/Application Support/skyfonts-google/ on OSX (or C:\Users\%username%\AppData\Roaming\skyfont-google\ on Windows) and retrieve the open fonts they have synchronised.

Similarly users of Creative Cloud with Typekit desktop can go to ~/Library/Application Support/Adobe/CoreSync/plugins/livetype/.r/ on OSX (or C:\Users\%username%\AppData\Roaming\CoreSync\plugins\livetype\r on Windows) and retrieve the open fonts they have synchronised. Note the .r hidden folder and the . in front of the various fonts to hide them. You have to reveal hidden files to be able to see them.

Notice the difference between the two: Skyfonts isn't hiding their dedicated folder any longer and newer versions of the desktop client even provide a menu entry "Reveal in Finder", Typekit Desktop still hides fonts and gives them an arbitrary numerical filename.

Of course, users should always double-check the metadata inside a font to make sure they are not retrieving a restricted proprietary font by mistake but an open font. Various tools are available to expose the font properties. Or just open them in FontForge and go to Element -> Font Info.

Surely it would be simple for them not to apply these DRM measures to any open fonts in their catalogues and keep them in a dedicated separate folder which has no need to be hidden and could just be in the normal user font folder? Or is it because, despite all the noise about open fonts being so horribly dreadful, lots of people are finding them good and useful and they actually continue to draw in subscribers for the proprietary fonts?

Sorry but you can't have the flexibility of taking advantage of open fonts without properly propagating the rights attached to them by their original authors. OK, it's a pretty weak DRM that can be worked around but it's still something that goes against the wishes of original authors and the general spirit of open fonts. If you want complete control and exclusivity then pay the authors the corresponding price and don't just leech off their open fonts without keeping them open. So, please drop that obfuscation trick and give these fonts the place they deserve in your font catalogues. Everybody will benefit.




Jakub SteinerBerlin DX Hackfest

DSCF0726

As regular planet GNOME readers have noticed, Berlin had the priviledge of hosting a couple of great GNOME developers and deisgners (and me ;). Berlin is where my first involvment with Free software people took place (at Gimpcon) and despite rather chilly weather it’s a great city to hang around, especially the east central part around Friedrichshain. Big thanks to Allan for organizing the event and extra thanks to Chris Kühl for hosting us at Endocode. Lovely office and great location. Free cappucino with your foursquare first checkin at the Espresso Ambulanz around the corner btw, great coffee.

After the hackfest that’s been centered around API docs and the toolkit we spent some extra days with Jon and Allan on some designs such as the selection mode, sharing, touch aspects of some widgets and started going through bugs and maintenance obstacles that stand in the way of making Adwaita the default gtk+ style. Sadly some refactoring is going to need to happen in the next couple of days/weeks, but it looks like Lapo is onboard for the challenge, so it’s going to be great having a wingman for this unrewarding chore.

It was a great kickstart, pretty pumped about 3.14 :)

CraftingType workshopsHow to check the quality of a Cyrillic typeface

How to check the quality of a Cyrillic typeface:

Alexandra Korolkova offers an English translation of an article about how to spot quality Cyrillic typefaces.

"The first thing I should say is that it is not a manual for designing Cyrillic from scratch. It is a sort of generalizing of the issues which we can face in Cyrillic; so you can compare some Cyrillic to these pictures and make a decision if…"

Happy shopping!

CraftingType workshopsAt Crafting Type workshop at the Hyper Island design college in...

<iframe allowfullscreen="allowfullscreen" frameborder="0" height="224" src="https://www.youtube.com/embed/_EhwHL1aloI?feature=oembed" width="400"></iframe>

At Crafting Type workshop at the Hyper Island design college in Sweden, Dave Crossland delivers a quick 10 minute introduction to FontForge and the essential windows and functions of any font editor.

Crafting Type workshops are held around the world and reveal the secrets of type design to designers of all kinds.

www.craftingtype.com

CraftingType workshopsISIA Urbino Typeweek registration is open!

ISIA Urbino Typeweek registration is open!:

ISIA Urbino Typeweek registration is open!

A week-long €500 type design intensive, in beautiful Italy in the summer.

Its not Crafting Type, but it will be just as amazing and you should apply!

CraftingType workshopsCT Toronto has sold out!

We have sold out of spaces at the upcoming Toronto workshop with Octavio and Aoife!

If you would like a beginner’s type design workshop in your city, drop our crew a line at info@craftingtype.com and we’ll try to figure something out

Pooja SaxenaStreet lettering from India and its neighbours

Corporation1_Nerd

Lots of blogs about street lettering in India have been catching my eye since I started my own last year. Whether it is a case of suddenly being more aware of them because of my little endeavour, or of lots of people making the effort of documenting street lettering in the country around the same time; I think it is a very good thing. I thought it would be useful to make a public list of all such blogs I have come across. This list has my favourite blogs and blog posts that document lettering from the Indian subcontinent. Of course, the list is nowhere close to exhaustive. I’m sure I have forgotten about some blogs that I didn’t bookmark and there must be others I simply haven’t encountered yet. I’ve also not included any Flickr photosets or groups yet. If you think I have missed an interesting collection, please leave a comment here or tell me on Twitter and I’ll try to add it.

INDIA

By major cities

Delhi
Lettering from the Archive and Streets of Delhi by Aakanksha Gaur
Delhi: Chandni Chowk on You Should Like Type Too by Rob Keller

Mumbai
Photo essay: Bombay Type on Mumbai Boss by Gopal MS
Photo essay: Bombay Type Part II on Mumbai Boss by Gopal MS
Bombay on Mumbai Paused by Gopal MS
CST/VT on Mumbai Paused by Gopal MS
Dadar Textile Shop Signs on You Should Like Type Too by Rob Keller
Mumbai Tempo Service Trucks on You Should Like Type Too by Rob Keller
Miami of India: the Forgotten Capital of Art Deco on MessyNessy Chic by Nessy and Alex

Kolkata
Kolkata Buses’ Pilot Signs on You Should Like Type Too by Rob Keller

Bangalore
Lettering from the Streets of Bangalore by me

Chennai
Street signs of Chennai on Open Practice by Nia Murphy and Selvan Thandipani

Lucknow
Lucknow gun shop signs on You Should Like Type Too by Rob Keller
Everything’s a blur from a bus in UP on You Should Like Type Too by Rob Keller

By script

Bengali
Inscrutable generalities (lettering from Illanbazar) on Rarh Studio Magazine
The memories of shape (lettering from Chandannagar) on Rarh Studio Magazine
The minstrels of letters (lettering from Bolpur) on Rarh Studio Magazine

Gujarati
Painters’ advertisements, and other lettering from Hand Painted Type—Gujarati by Akash Raj Halankar
Handpainted Type Gallery (also has some Devanagari and Latin lettering) by Hanif Kureshi

Malayalam
Keratype by Muneef Hameed

Tamil
Tamil Typography by Tharique Azeez

BANGLADESH
Letters from Bangladesh on Rarh Studio Magazine

SRI LANKA
Found Type Lanka, initiated by the la-ulu Collective


Jakub SteinerKill the Hackergotchi

I’m quite often mis-attributed for creating hackergotchis. Generally not being a big fan of dropshadows and guillotines, I’d actually prefer to keep the horrible aesthetic of hackergotchis in the past.

There’s probably less clumsy ways to do this, but to help the matter I’ve created a simple script + svg template that renders a round pill from a square photo. You need to have inkscape installed and provide it with a square photo.

$ ./render-avatar.rb jimmac.jpg 
Bitmap saved as: avatar.png

Please reattach your heads to your bodies, they look better as a unit.

Jakub SteinerLGM Leipzig

Another great Libre Graphics Meeting is behind us and I’m greatful for being able to take part in it. Big thanks to everyone making it happen, particularly the GIMP folks for allowing an old affiliate to share the Wilberspace.

There’s been some great talks, quite a few relating to Blender this year which I hope will become a trend :) Peter Sikking demonstrated how to present (yet again). Even though I’ve been fully aware of the direction GEGL based non destructive editing GIMP is taking, the way Peter showed the difference between designing for a given context versus mimicking was fun to watch. Chris Lilley showed us the way forward for the gnome-emoji project with SVG support in OpenType. So much going on beside the main talks that I managed to miss many, including Pitivi and Daniel’s on Entangle.

Allan and I presented what we do within the GNOME project and how to get involved. Kind of ran out of time though, guess who’s to blame. The GIMP folks set up a camera, so hopefully there will be footage of the talks available. Really enjoyed my time, always like coming back with the need to create more things.

Martin Owens deserves a shoutout for being an awesome Inkscape developer trying to address some rough spots we’ve bumped into over the years. Almost made me want to follow the Inkscape mailing list again :) Hopefully soon, we’ll be able to ditch the window opening verb madness we use for gnome-icon-theme-symbolic export.

<iframe class="image full" frameborder="0" height="500" src="http://www.youtube.com/embed/MWILJMAk80M"> Watch on Youtube </iframe>

CraftingType workshopsHow much does a professional type designer earn?

How much does a professional type designer earn?:

If you’ve been wondering about this, industry titans Stephen Coles and Thomas Phinney (CT Instructor) weigh in with their views on Quora.

If you want to get into this line of work as a complement to your existing professional design practice - in graphic design, UX or even architecture - you’ll find our intense 3 days workshops a great place to start from.

www.craftingtype.com

CraftingType workshopsHow much does it cost to custom design a typeface?

How much does it cost to custom design a typeface? :

CT Instructor Thomas Phinney answers this perennial question on Quora.

Check out our upcoming events in Toronto and France - our early bird discounts are ending soon!

www.craftingtype.com

CraftingType workshopsTechnical Tip: Overlapping Paths in Type Design

Technical Tip: Overlapping Paths in Type Design:

CT Instructor Thomas Phinney blogged earlier this year on a technical topic:

Enjoy!

Pablo ImpallariDel Camino A La Vereda

Del Camino A La Vereda

Oigame compay, no deje el camino por cojer la verda!

Ana Carvalho & Ricardo Lafuente (Manufactura Independente)Demo.cratica

From our work as part of the Transparência Hackday Portugal collective, we created the parliamentary monitoring website Demo.cratica. It is a carefully designed interface to the information released by the Portuguese Parliament on MP’s and session transcripts.
The official Parliament website hides most useful information behind many layers of obscure interfaces and terminology. With this project, we wanted to make a point on how information being available does not mean that it is accessible; and as part of that point, we tried our hand at building something better.

OSP (Open Source Publishing)Relearn Variable summerschool 2014

Good news! Considering how well last years OSP Relearn Summer School went, we’re reiterating and extending the school with all of the people and labs that make up Variable. We’re really exited to be able to make this happen again, especially considering all the extra people that will be joining in this year. Relearn starts on July 6th (Sunday) and […]

CraftingType workshopskickstarter: Octavio Pardo is a type designer from Spain. He...



kickstarter:

Octavio Pardo is a type designer from Spain. He created a set of five typefaces intended for protest signs, pictured above, and is now running a project to help make them universally available. The specificity and design-oriented approach piqued our interest, so we asked Octavio some questions.

Could you talk a bit about your design background in general?

I started as a graphic designer working in different studios in Barcelona. One day, one of my Art Directors told me: “You are a badass graphic designer, but you have no idea about type.” Since I am very stubborn, that day I decided I would learn as much as I could about typography. I ended up studying type design in England and then working for some of the most talented type designers in the world. Nowadays I freelance as a graphic designer and do type design projects as I seek true happiness :)

What are the characteristics of a good typeface?

There are two levels to judging a typeface. First, how interesting is the design? Second, how well is that design implemented throughout the entire piece of work? Since everything that matters in typography is quite subtle, it’s hard to tell if a typeface is well done if you don’t know where and how to look. But in the end, when you are looking at it, reading it, or using it in the right way, a good typeface makes things look great!

What attracted you to protest signage in particular?

Since I was very young, I was always amazed by protest images, both amateur ones and ones made by designers. They are pieces of communication that most of time seek to make an impact through the message, not through spectacular visual compositions. The concept goes straight to the mind. The work done by Adbusters, Jonathan Barnbrook… those are the reasons why I became a type designer.

Do you have personal history with protests?

During the first two years of the spanish recession, I was seeing my friends losing their jobs, my brother and sister having a very bad time, cases of corruption in the government every week on the news. Almost every time you turned on the TV you could see people striking and protesting, all over the country. I feel like doing something, but didn’t know what to do. That weight in my chest turned into a trigger for my creativity. I guess that is the feeling behind any emotional piece of art, but I’m not an artist, I am a graphic designer and a type designer. 

I am cautious about joining protests in general. The reason is that most of the information that the citizens get to establish their criteria comes from the media, and I simply do not trust the media anymore. They are aligned with political parties, not with the people. Without reliable information I hate to take positions on any idea. The people, I trust them.        

What are your future plans for this project?

First of all, I will finish it the way I want it to be. That still means a lot of work, especially [the typeface] “Revolution.” I am also negotiating with a big company to create companions for the fonts in different scripts; that would make it a really universal tool. And once the project is launched and finished, I want to add two more fonts to it. These are different but related ideas within the Tiananmen concept.

CraftingType workshopskickstarter: Octavio Pardo is a type designer from Spain. He...



kickstarter:

Octavio Pardo is a type designer from Spain. He created a set of five typefaces intended for protest signs, pictured above, and is now running a project to help make them universally available. The specificity and design-oriented approach piqued our interest, so we asked Octavio some questions.

Could you talk a bit about your design background in general?

I started as a graphic designer working in different studios in Barcelona. One day, one of my Art Directors told me: “You are a badass graphic designer, but you have no idea about type.” Since I am very stubborn, that day I decided I would learn as much as I could about typography. I ended up studying type design in England and then working for some of the most talented type designers in the world. Nowadays I freelance as a graphic designer and do type design projects as I seek true happiness :)

What are the characteristics of a good typeface?

There are two levels to judging a typeface. First, how interesting is the design? Second, how well is that design implemented throughout the entire piece of work? Since everything that matters in typography is quite subtle, it’s hard to tell if a typeface is well done if you don’t know where and how to look. But in the end, when you are looking at it, reading it, or using it in the right way, a good typeface makes things look great!

What attracted you to protest signage in particular?

Since I was very young, I was always amazed by protest images, both amateur ones and ones made by designers. They are pieces of communication that most of time seek to make an impact through the message, not through spectacular visual compositions. The concept goes straight to the mind. The work done by Adbusters, Jonathan Barnbrook… those are the reasons why I became a type designer.

Do you have personal history with protests?

During the first two years of the spanish recession, I was seeing my friends losing their jobs, my brother and sister having a very bad time, cases of corruption in the government every week on the news. Almost every time you turned on the TV you could see people striking and protesting, all over the country. I feel like doing something, but didn’t know what to do. That weight in my chest turned into a trigger for my creativity. I guess that is the feeling behind any emotional piece of art, but I’m not an artist, I am a graphic designer and a type designer. 

I am cautious about joining protests in general. The reason is that most of the information that the citizens get to establish their criteria comes from the media, and I simply do not trust the media anymore. They are aligned with political parties, not with the people. Without reliable information I hate to take positions on any idea. The people, I trust them.        

What are your future plans for this project?

First of all, I will finish it the way I want it to be. That still means a lot of work, especially [the typeface] “Revolution.” I am also negotiating with a big company to create companions for the fonts in different scripts; that would make it a really universal tool. And once the project is launched and finished, I want to add two more fonts to it. These are different but related ideas within the Tiananmen concept.

CraftingType workshopsHow to Tell If a Font Sucks

How to Tell If a Font Sucks:

Are you a user of fonts who needs to tell if a font is well made, or an aspiring novice type designer?

Crafting Type instructor Thomas Phinney explains how!

CraftingType workshopsFont Kickstarter: Octavio's Tiananmen Font is Go!

Font Kickstarter: Octavio's Tiananmen Font is Go!:

The Tiananmen Font Project is a set of five typefaces intended for protest signs.

Help Octavio make it universally available!

CraftingType workshopsAwesome Event: Automatic Type Design, Nancy (FR) May 6-7

Following our workshop in Aix-en-Provence, Dave Crossland and other Crafting Type folks will join Simon Egli at the Automatic Type Design event in Nancy, France, May 6-7. Its a gratis event, sign up to get your place at this historic meeting :)

CraftingType workshopsAnnouncing Crafting Type: Aix-en-Provence! May 2-3-4

We are super excited to announce a new Crafting Type workshop in Europe - Aix-en-Provence, at the amazing intuit.lab design school

This workshop has been set in motion by our latest instructor, Blondina Elms Pastel!

May 2-3-4

Sign up today!

CraftingType workshopsMartin Majoor: His Type Design Philosophy

Martin Majoor: His Type Design Philosophy:

Martin Majoor is an important designers, and his Type Design Philosophy page is an excellent distraction for any weekend

Pablo ImpallariEncode Sans 45 Free Fonts

Encode Sans 45 Free Fonts

Encode Sans
45 Styles
By Pablo Impallari & Andres Torresi

Download Free
http://www.impallari.com/testing/encode/index.php

Coming soon to Google Fonts!

CraftingType workshopsInterview with Gerry Leonidas

Interview with Gerry Leonidas:

Crafting Type Instructor Alexei Vanyashin Interviewed Gerry Leonidas, and its a great read!

CraftingType workshopsAnnouncing a special Crafting Type as part of the Portuguese...



Announcing a special Crafting Type as part of the Portuguese Typography Meeting in Barcelos, 26-29, November, 2014

Dave will be joined by Portuguese designers Joana and Natanael to conduct a workshop in English and Portuguese. This is one of the most affordable CT events ever!

www.ipca.pt/5et

DEADLINE FOR SUBMISSION OF PROPOSALS FOR SHORT PAPERS AND/OR POSTER: 10th JUNE

The 5th Meeting of Typography is organized by the Design Department of the Superior School of Technology (EST) of the Polytechnic Institute of Cávado and Ave (IPCA) and is being held in Barcelos, Portugal. This year’s meeting takes it’s theme – UBIQUITOUS – from the typography’s quality of existing everywhere, or almost everywhere, in it’s diferent contexts and applications.

The main objective is to stimulate the dissemination, reflection and discussion about typographic research and development on a national and international scale. To do so, we will have a program that includes the participation of researchers, practitioners, teachers and students and their investigations or professional experiences dedicated to typography.

Parallel to the presentations program, there will be invited keynote speakers with an excellence path in the constantly evolving world of typography, as well as a discussion panel, an exhibitions, workshops and social events.

We aim to combine investigation, education, and professional activity, as well as contribute to a rich cooperation and sharing of creative ideas within the typographic community.

CALL FOR PAPERS

The organization of the 5th Meeting of Typography, with the subject ubiquitous, calls for submission and presentation of originals short papers or posters, academic contributions and/or professional in various application of typographic contexts:

  • Typeface design
  • Typography and Identity
  • Typography and media technologies
  • Education, history and critical studies on typography
  • Typography and its contexts

More information in our website: http://web.ipca.pt/5et/5et_eng.html#chamada_ing

The accepted papers and posters will be published in electronic format online, with ISBN.

IMPORTANT DATES * Until 10th of June > Call for papers and/or posters. Deadline for submission of proposals for short papers and/or poster * Until 31th of July > Notifications of acceptance. Communication of acceptance of proposals with or without recommendations for improvement * Until 22nd of August > Final versions. Delivery of the final versions of papers and/or posters * Until 15th of August > Early bird egistration. Registration in workshops and conferences * 26th to 29th of November > 5thET, Barcelos, Portugal

More informations: 5et@ipca.pt

REGISTRATION NOW OPEN

PROGRAM (PROVISIONAL) Keynote speakers Peter Bil’ak Gerry Leonidas Dave Crossland Workshops, 26th 27th, November a) Letterpress & bookbinding* b) Collaborative Type* c) Crafting type (Dave Crossland, Natanael Gama, Joana Correia) Meeting of Typography, 28th 29th, November Keynote speakers Discussion panel Communications Poster exhibition Typewalk Barcelos Exhibitions Social program Closing Dinner

*To be confirmed

CraftingType workshopstypeworship: Time Stamped To achieve a perfectly packaged...

















typeworship:

Time Stamped

To achieve a perfectly packaged book, Finnish authors, Christoffer & Kaisa Leka, wanted to take their presentation to a new level by having the stamps designed as well.

Thier latest book, Time After Time comes enveloped in its own wrapping paper, custom printed to match the book’s colorful end papers and is meticulously wrapped and lettered by Christoffer himself.

The beautiful set of characters above have been designed by a host of typographers from all over the world, many well-known in the industry: Erik van Blokland, Maria Doreuli, Dave Foster, Kimya Gandhi, Cyrus Highsmith, Robert Keller, Ben Kiel, Indra Kupferschmidt, David Ross, Nick Sherman, Florian Schick, Nina Stössinger, Lauri Toikka, Wout Trippas, Teo Tuominen & Bernd Volmer.

I love this obsession to perfect every last detail; Ensuring that the book, which has obviously been lovingly crafted, is placed in the hands of the reader so carefully.

Each letters has been reproduced with gouache paint by designer Markku Mujunen on 6 millimeter thick plywood and each piece measures approximately 180 x 180 millimeters. To cover the costs, the originals paintings are being sold for €50. First come first served.

CraftingType workshopsThe Voices of Type

The Voices of Type:

Crafting Type instructor Eben Sorkin just published this excellent article about The Voices of Type on the Typecast blog!

Sneha KoreScreenshots for Lohit Malayalam

Hi all.Being at the stage of announcement for 2.92.0 (Beta-1) release of Lohit Malayalam from lohit2 project & following the things we discussed earlier [1][2] we had tested the Lohit-Malayalm on Harfbuzz, utrrs[3], & on W8 as well. Here comes the screenshots for the same.

Testfile screenshot on Linux :

Sneha KoreWSB : Work Status For Lohit-Bengali .. :)

Hi all. Its time to mention the status of work done for Lohit Bengali.

As we have planned earlier about the improvements, the first thing was to go through  

1) Referential docs
  • OT rules specifications for bengali script by microsoft
  • Unicode core specification documentation
2) GSUB-Cleanup

3) Glyph-namings 
  •  Following AGL specification (We are just following syntax and not naming stuff yet. It will happen with script improvement for generating sfd to ttf)
  • Bengali font have lot many conjunct ligatures, since we are following AGL syntax, for glyph-naming step, they are exceeding 31 character limit. For such cases we are removing the script tag placed at the end(i.e.beng) 
  • though we had script written for these glyphs namings, it would be generated afterwards
4) Lookup writings
  • for this, we are presently following the microsoft OT rules specifications for bengali script [1]
  • Previously, with lohit version 2.5.3, there was no lookup defined for akhand forms, so that one is added in newer version
  • One more thing that has to be updated to Below-base form substitution is, previously used ligature is different than what it has to be.
                                             
  • Amongst these two in above screenshot, the rules has been written for the one on the left, but as per unicode specifications & MS typography specifications, it has to be the one on right. so it has been updated now .
  • so with this, we are done lookup writings for basic shaping forms. now we are at mandatory shaping forms
  apart from this, the  things yet to complete are :
  • To complete lookup writings for all of the forms 
  • Removal of glyphs which no longer needed 
  • Test-File creation 
  • Testing 
  • bug reporting, solving, & reviewing
So that's it for bengali right now. the development is been tracked at lohit2/bengali [2]. surely try to complete the other things asap. For any comments or issues github link is here [3].

Pravin SatputeLohit2: Next one is Lohit Assamese and Bengali fonts improvement

  In last six month we have completed Devanagari (Marathi and Nepali), Gujarati, Gurmukhi and Malayalam under lohit2 project [1]. We have done significant improvement in these fonts not only from technical perspective but also from standards perspective. I am confident enough to say Lohit follows all standards around fonts and Indian languages and scripts guidelines.

  I attended typoday.in [2] conference in last weekend and talked with people around on lohit2. Happy to see number of people in fonts domain  are aware regarding Lohit fonts. Few people even used Lohit fonts during the workshop to demonstrate some points. Few people proposed enhancement for adding more ligature, so we all are going good :)

  This is time to do improvements in Lohit Assamese and Bengali. Followings are improvements we are looking for..

  • Removing not required ligatures.
  • Rewriting efficient open type tables.
  • Support to the "beng" and "bng2" open type script tags.
  • Building fonts through feature file (.fea)
  • Following AGL specification syntax.
  • Testing on Harfbuzz NG, Uniscribe(W8). 
  • Automated Testing Tool utilization

    One of the important task prior to development is to identify guidelines, specifications for Assamese and Bengali script. We do have TDIL documents available and will see if there is any other. With these improvements i am sure Lohit Assamese and Bengali can become standard reference font for upcoming Bengali fonts project.


    Need help from Assamese and Bengali language expert. I know few already and will ping them for more input during the developments. Development activity is going to happen in lohit2 [3] git.

1. http://pravin-s.blogspot.in/<wbr></wbr>2013/08/project-creating-<wbr></wbr>standard-and-reusable.html
2. http://typoday.in/
3. https://github.com/pravins/<wbr></wbr>lohit2

Eben SorkinThe Pro Merriweather (Merriweather ST) is now available at WebInk

I am very happy to announce that Merriweather Serif and Sans are available from WebInk’s web font service.  There are now 52 styles to choose from (up from 16 on Google’s Web Fonts). The fonts come with kerning, Open Type … Continue reading

Ana Carvalho & Ricardo Lafuente (Manufactura Independente)Out now: Libre Graphics magazine issue 2.2, Gendering F/LOSS

issue2.2

We’re very pleased to announce the release of issue 2.2 of Libre Graphics magazine. This issue, built around the theme “Gendering F/LOSS,” engages with discussions around representation and gendered work in Free/Libre Open Source Software and Free Culture.

We invite you to buy the print edition of the issue or download the PDF. We invite both potential readers and submittors to download, view, write, pull, branch and otherwise engage.

Why Gendering F/LOSS?

In the world of F/LOSS, and in the larger world of technology, debate rages over the under-representation of women and the frat house attitude occasionally adopted by developers. The conventional family lives of female tech executives are held up as positive examples of progress in the battle for gender equity.

Conversely, pop-cultural representations of male developers are evolving, from socially awkward, pocket-protectored nerds to cosmopolitan geek chic. Both images mask the diversity of styles and gender presentations found in the world of F/LOSS and the larger tech ecology.

Those images also mask important discussions about bigger issues: is it okay to construct such a strict dichotomy between “man” and “woman” as concepts; how much is our work still divided along traditional gender lines; is it actually enough to get more women involved in F/LOSS generally, or do we need to push for specific kinds of involvement; do we stop at women, or do we push for a more inclusive understanding of representation?

This issue looks at some of the thornier aspects of gender in F/LOSS art and design. In discussing gendered work, the push for greater and greater inclusion in our communities, and representations of gender in our artistic practices, among others, we hope to add and amplify voices in the discussion.

Gendering F/LOSS is the second issue in volume two of Libre Graphics magazine (ISSN 1925-1416). Libre Graphics magazine is a print publication devoted to showcasing and promoting work created with Free/Libre Open Source Software. We accept work about or including artistic practices which integrate Free, Libre and Open software, standards, culture, methods and licenses.

To find out more about the purpose of Libre Graphics magazine, read our manifesto.

Sneha KoreImprovements of Lohit Gurmukhi 2.91.0 over Lohit-Punjabi 2.5.3

Hello all ! with the announcement for alpha release 2.91.0 of lohit-gurm<wbr></wbr>ukhi from lohit2 project, I would like to mention some improvements that we had achieved with this version over the previous one.

The first improvement that's quiet notifiable is, of course, the task of renaming Lohit Punjabi to Lohit Gurmukhi since we had already discussed related to this [1].


the improvements that we had achieved in Gurmukhi includes : 

Technical improvements
  • Supports guru and gur2 open type script tags.
  • Follows AGL specification syntax.
  • Open type rules are available in .fea file for easy reusability
  • Open type gsub lookups reduction from 10 to 8.
  • Corrected glyph class of all glyphs.
  • Renamed anchors to GRAnchor.
 Designing improvements 
  • "Copy Reference" feature implemented for better reusability of glyphs.
  • Improved shape of aivowelguru, oovowelguru, aivowelguru_tippiguru, oovowelguru_tippiguru, aivowelguru_addakguru, oovowelguru_addakguru,oovowelguru_bindiguru.
I would like to elaborate these designing improvements because we also had resolved the bug on bugzilla on this [2]. So in conformance with that, the following screenshots are self-explanatory. The first section depicts designing in 2.5.3 version & second one is an improvement in 2.91.0.





 The basic need behind these design improvements helps to avoid merging & overlapping of some above base substitution glyphs to the consonant glyphs. This achieves better contextualization.

here comes a paragraph as an example (second screenshot has improvemnts over first one):





along with these improvements Lohit Gurmukhi had been sucessfully tested on harfbuzz, W8 & utrrs as well. Lohit page has been updated with this release[3]. So at any point of time , if you came across any issue, please feel free to mention :) .


1. https://bugzilla.redhat.com/<wbr></wbr>show_bug.cgi?id=1047373
2. https://bugzilla.redhat.com/show_bug.cgi?id=1047545
3. https://fedorahosted.org/lohit

Jakub SteinerLiberec

The town I grew up in is even smaller when you look at it from above. Somehow I still love it.

<iframe class="image full" frameborder="0" height="500" src="http://www.youtube.com/embed/F5z76ayCfVA"> Watch on Youtube Watch on Vimeo </iframe>

The League of Movable TypeTyler Finck’s helping his son sell his first font, and it...



Tyler Finck’s helping his son sell his first font, and it is awesome. All the money earned goes directly to the kid’s savings account. Let’s share this, and buy copies, and show Jonah how great he is.

$5 - Go buy a copy

Sneha KoreGNUnify : Nice event

Hey, good morning all !! Most of us might have attended this event called "GNUNIFY"[1]. as far as I know, It was 2 day event but was  overwhelmed with lots of sessions which were truely truely helpful . As it was open to all, sessions were informative for all of students, professionals,developers etc. Unfortunately I had missed the first day sessions but I was there at second day on 15th Feb.

There were a lot many sessions arranged on 2nd day as well among which I had attended the one which was "Django workshop". It was totally practical oriented session (really thankful for doing so) & session had included installation part as well, so that people got to know the details from basic stage.This session was well conducted by Arun Mittal. He differentiated the Django versions & their functionalities. He had briefly explained about settings.py, urls.py etc by means of programming. He made the audience to actually program & execute the things he explained.

The followed session was of "Python Decorators" which was conducted by Mr.Dhananjay Nene. He started with python functionalities (like python allows to pass function as a parameter to other function,python allows to create functions inside function etc) Then he directed towards the concept of python decorators.He explained,Decorator takes function as a input & returns function as output. Python Decorators has features listed below :

1) Lexical scoping
2) Code Reusability
3) New feature availability with if else structure
4) Partial Function Application

After this session we had served with delicious food :). well, succeeding session  was "Using Git & Github", it was very much informative for beginners. The speaker had demonstrated the concepts of creating repo's, pulling requests, forking, ssh keys, committing, pushing, pulling etc.

so, in-short the session arranged were truly informative (basically for learners). & I must say, they had done a great job. I am really thankful.
 
1. http://gnunify.in/

CraftingType workshopsFirst Wave Font Democratisation

<iframe allowfullscreen="allowfullscreen" frameborder="0" height="300" src="http://www.youtube.com/embed/jAdspOtgciQ?wmode=transparent&amp;autohide=1&amp;egm=0&amp;hd=1&amp;iv_load_policy=3&amp;modestbranding=1&amp;rel=0&amp;showinfo=0&amp;showsearch=0" width="400"></iframe>

First Wave Font Democratisation

CraftingType workshopsFontLab are offering a very cheap (US$50) workshop immediately...



FontLab are offering a very cheap (US$50) workshop immediately after the TypoDay.in in Pune, India — with Crafting Type instructor Thomas Phinney!

Sign up: http://blog.fontlab.com/workshop-20140303/

Pravin SatputeReview of Kannada fonts released by Karnataka Government

I just did a quick review of fonts released by Karnataka Government [a]. This is not from rendering perspective but from technical aspects of the fonts.

All fonts has following issues:

1. Font is specified as a Serif in PFM family.    Fonts is sans-serif still style is incorrectly given in true type fonts.

2. Version should not contain wording like "Initial Beta release".
    Presently given versions are like:- "1.000 2013 initial Beta release"
    Please refer [b] for version guidelines.

3. Font Embedding Permissions should be more relax.
    Presently it is only Editable embedding. It should Installable fonts so even receiver of document can use it.
    Refer font embedding permissions [c]

4. Incorrect License url
http://shabdalipi.com/ of TTF names not working

5. Some glyphs does not follows AGL guidelines
    Font has some glyph names starts with "_".
    Example: _uni0C96_uni0CCD  there is also glyph name uni0C96_uni0CCD. When two glyphs has same component one should be with name .alternate or .alt
    In above case it should be
    uni0C96_uni0CCD and uni0C96_uni0CCD.alt
    Please refer: [d]
    "If multiple glyphs in a font represent the same character in the Unicode standard, such as "A" and "A.swash," they can be differentiated by using the same base name with different suffixes. The suffix (the part of glyph name that follows the first period) does not participate in the computation of a character sequence. It can be used by font designers to indicate special characteristics of the glyph. The suffix may contain periods or any other permitted characters. For example, small cap "A" could thus be named "uni0041.sc" or "A.sc.""

6. This is not a bug but font contains 1478 glyphs. 
I am sure one can make same quality font with less number of glyphs by using Open type GSUB and GPOS tables.

7. Normal and Bold version of font should have same family name.

Following are the fonts in release tarball
San-Serif
  • Kar Chandrashekhara Kambara.ttf 
  • Kar Girish Karnad.ttf         (Bold:-  Looks like bold version of Kar Chandrashekhara Kambara.ttf   )
  • Kar Puthina.ttf
  • Kar Gopalakrishna Adiga.ttf   (Bold: Looks like bold version of Puthina)
  • Kar Puchamthe.ttf  
  • Kar U R Ananthamurthy.ttf
  • Kar K S Narasimhaswamy.ttf  (Bold)
  • Kar Maasthi.ttf     (Bold)
  • Kar Kuvempu.ttf              (Bold)
  • Kar Shivarama Karantha.ttf  (Bold)
  • Kar Vi Kru Gokak.ttf  (Bold)

Serif
  • Kar Da Raa Bendre.ttf

      Above mentioned bugs should be fix before the purchase and release of the fonts from Government. One should test rendering of these fonts with latest stable version of Harfbuzz-NG included in most of the key projects including Libreoffice, Gnome, Android and so on. These rendering issues must be fixed before the release of the fonts.



a. http://www.karnataka.gov.in/kcit/Downloads/Kannada%20and%20Culture%20Department-Unicode%20Softwares.zip
b. http://semver.org/
c. http://www.adobe.com/products/type/font-licensing/font-embedding-permissions.html
d. http://sourceforge.net/adobe/aglfn/wiki/AGL%20Specification/

Tags: #kannada, #fonts, #agl, #harfbuzz, #opentype

Footnotes