Planet Open Fonts

Matthew SkalaA read-only root for Slackware ARM

In my last posting I described getting Slackware ARM to boot headless on the ODROID U3 single-board computer, and I said that the next step would be to try to make it handle ungraceful shutdown (power loss) better. I plan to put this board into a Eurorack synthesizer module with no easy access to the microHDMI monitor connection, and SSH over the Ethernet connection as the only access to administrative functions. If, when the power is pulled on it, it comes up on next boot in a state where it requires console interaction to do a step like checking the filesystem before it will accept SSH connections, that is a disaster; I'd have to disassemble the whole module to extract the microSDMI card and replace the OS image. To be useful, the ODROID must be guaranteed or almost guaranteed to survive a power drop and come up SSH-able on the next boot. Ideally, I want pulling the plug on it with no shutdown formalities to be the normal expected way of shutting it down too, not just an error condition from which it can recover. A good journalling filesystem can increase the chance of recovery from occasional accidental power drops, but I think the only way to make routine non-accidental power drops safe is to keep the filesystem mounted read-only - which might be desirable anyway, to reduce wear on the flash memory and prevent its being corrupted by other kinds of accidents. So this posting is about my experiences configuring Slackware ARM on the ODROID U3 to keep its root filesystem read-only.

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!

CraftingType workshopsCT Instructor Thomas answers, Do companies get sued for using fonts illegally?

Pablo ImpallariDel Camino A La Vereda

Del Camino A La Vereda

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

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 […]

Matthew SkalaSlackware on the ODROID U3

Our last episode concluded with the discovery that the clip leads I was using to power the ODROID U3 had nontrivial resistance, possibly close to two Ohms for the pair. That's a lot, when one is pulling up to 2A through them from a 5V supply. I switched them for some lower-resistance ones, and the ODROID seemed to behave much better. Between that and a replacement of the Hardkernel-supplied microSD card, I was hopeful that the reliability problems would be much reduced and I could make some progress on the software side of things.

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.

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 with the direction of 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>

Matthew SkalaMore ODROID adventure, or "Young man, in this household we obey Ohm's Law"

As of last update, I had given up on setting up the ODROID U3 without connecting a monitor to it, and was shopping for a micro-HDMI cable. Here are some further notes

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!

Matthew SkalaSome notes on the ODROID U3

I recently bought a Hardkernel ODROID U3 single-board computer to use in one of my projects. The ODROID U3 is an ARM-based computer capable of running Linux or Android, with Ethernet, USB, microSD, and some other ports that I wasn't planning to use. My plan is to use it for controlling a music synthesizer, with the USB ports used to interface to the synth and a little LCD panel, and the Ethernet port used to talk to other computers. This posting contains some notes on getting it to work.

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

Matthew SkalaFontAnvil 0.1

FontAnvil is a script language interpreter for manipulating fonts. FontAnvil is substantially compatible with the PfaEdit/FontForge native scripting language, but FontAnvil is intended for non-interactive use; for instance, invocation from the build systems of font packages like Tsukurimashou. To better serve font package build systems in general and Tsukurimashou in particular, FontAnvil has no GUI and, to a reasonable extent, avoids dependencies on external packages.

Visit the FontAnvil home page.

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

Ben MartinThe vs1063 untethered

Late last year I started playing with the vs1063 DSP chip, making a little Audio Player. Quite a lot of tinkering is available for in/output on such a project, so it can be an interesting way to play around with various electronics stuff without it feeling like 10 das blinken lights tutorials in a row.

Over this time I tried using a 5 way joystick for input as well as some more unconventional mechanisms. The Blackberry Trackballer from SparkFun is my favourite primary input device for the player. Most of the right hand side board is to make using that trackballer simpler, boiling it down to a nice I2C device without the need for tight timing or 4 interrupt lines on the Arduino.




The battery in the middle area of the screen is the single 16850 protected battery cell that runs the whole show. The battery leads via a switch to a 3.7v -> 5v step up to provide a clean power input. Mid way down the right middle board is a low dropout 3v3 regulator from which the bulk of the board is running. The SFE OLED character display wants its 5v, and the vs1063 breakout board, for whatever reason, wants to regulate its own 3v3 from a 5v input. Those are the two 5v holdouts on the board.

Last blog post I was still using a Uno as the primary microcontroller. I also got rid of that Uno and moved to an on board 328 running at 8Mhz and 3v3. Another interesting leaning experience was finding when something 'felt' like it needed a cap. At times the humble cap combo is a great way to get things going again after changing a little part of the board. After the last clean up it should all fit onto 3 boards again, so might then also fit back into the red box. Feels a bit sad not to have broken the red box threshold anymore :|

Loosely the board comes out somewhat like the below... there are things missing from the fritzing layout, but its a good general impression. The trackballer only needs power, gnd, I2C, and MR pin connections. With reasonable use of SMD components the whole thing should shrivel down to the size of the OLED PCB.

Without tuning the code to sleep the 328 or turn off the attin84 + OLED screen (oled is only set all black), it uses about 65mA while playing. I'm running the attiny84 and OLED from an output pin on the 4050 level shifter, so I can drop power to them completely if I want. I can expect above 40hrs continuous play without doing any power optimization. So its all going to improve from there ;)

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

Matthew SkalaDon't plagiarize your cover letters!

The text below pretty much speaks for itself. Bold highlighting and numbered footnotes in [square brackets] are mine; all the rest is as I received it. Some irregularities of spacing and punctuation, visible in the original email, aren't obvious in the HTML. Names of the students are redacted because (after finding several more copies on the Web) I imagine the students are relatively innocent victims of bad advice. Name of the institution not redacted because I hope others who receive such letters and look for them on the Web will be able to easily find this posting.

Jakub SteinerExtreme Conditions Flying

Despite very high speed winds we had some great aerial fun with Kuba & Vlastik at Rašovka yesterday. I’ve balanced the camera on the gimbal better and the vibration situation is better, but it does get shakies from time to time. I still belive you can get comparable shots with the gopro on the Phantom, but not when it’s windy as it was yesterday.

<iframe class="image full" frameborder="0" height="500" src="http://www.youtube.com/embed/x9kN_Rl_iF0"> Watch on Youtube </iframe>

I don’t recall having a January quite like this. And don’t mind at all.

Jakub SteinerBad Vibrations

I have been trying to get rid of the high frequency vibrations on my S800 without much success. To ease the pain, I created a little movie using the test footage. Viewing in HD advised.

<iframe class="image full" frameborder="0" height="500" src="http://www.youtube.com/embed/C-14tb9SIKk"> Watch on Youtube </iframe>

Jakub SteinerUpdated App Icons

GNOME 3.12 will feature an improved Software experience. Richard has been fearlessly working on making the backend snappy and Software app itself cleaner and more fun.

There are many great improvements to the App pages, where you can learn what the app is about and see it in action. Having a great overview of the apps showed just how many apps don’t seem to care about their identities or didn’t manage to attract any graphics designer and things aren’t all rosy.

We’ve identified some key apps that are either featured in individual categories or are part of a set that needs a facelift as a group, such as the GNOME games. Number of apps that publish proper appdata is growing, so the todo list probably won’t shrink any time soon. If you feel like helping us out, check out the guidelines and get in touch!

Jakub SteinerFlying Cameras

Some of you may have noticed the tagline on my newly redesigned website. Camera Pilot. Allow me to explain. Before I do that, however, I have to make sure you understand I’m no expert on these things. Even if the devices are amazingly cheap from a historical perspective, you probably want to do your own research before flying your expensive camera. You definitely don’t want to follow my footsteps on tech purchases ;)

Multirotor is another term for ‘drone’ which has a rather negative connotation in the media. It’s a radio controlled helicopter that doesn’t use a single big rotor with a blade that can slice you, but instead has three or more props that allow it to hover and move around. Like many, I was intriqued by the flying toy, Parrot AR Drone but I wanted to know more about the capabilities of the camera. I was absolutely not intersted in flying the thing. I was interested in getting aerial shots.

I bumped into something called DJI Phantom when googling around. I got instantly hooked. My wife can testify I have a disposition for that kind of behavior.

What it essentially is, and what I bought it for, is a flying Gopro camera. The great thing about it is that you really don’t need to have any prior piloting experience. It couldn’t be easier to fly. Not only does it level itself and doesn’t crash immediately, thanks to a GPS module and altitude sensors, it really can stabilize itself in 3d space, fighting elements. If you let go of the controls, it will keep the same altitude and it will try to remain static, despite of its current momentum or wind conditions. It behaves more like a car or boat, rather than something that shares space with birds. You can take a breather. You can answer a phonecall. You can shake hands with the person (or a policeman in case you’re in the US or UK, because inevitably you’ll be looking suspicious there) that came to ask about the cute thing.

DSCF5801 DSCF5803

Trust me, people will want to chat with you. Normally, nobody ever approaches me, as I maintain my tough guy image. There isn’t a time when somebody doesn’t stop and ask about range, cost and flight time as soon as I take off now. If, for some reason, you lose the connection to the craft (transmitter is part of the package), it is able to come back to the take off location and land itself autonomously as long as it has a GPS lock.

<iframe class="image full" frameborder="0" height="500" src="http://www.youtube.com/embed/ONI5iX-h6tQ"></iframe>

What starts with fun toy, soon turns into a serious slippery slope as you’ll be extending the craft with a video transmitter so you can fly FPV (first person view), looking into an LCD panel or goggles. Flying a few meters away in plain sight is one thing, but once you get a taste of FPV, there’s no going back. If you’re intersted, I suggest listening to this Flite Test podcast episode with an icon of FPV, Raphael Pirker.

When shooting 60 frames per second, the footage can be stabilized in software, but things look a world different if you have the camera mounted on an active gimbal. You can get a perfect gopro gimbal from DJI, it’s going to cost you. They just dropped the price down by almost a half, but it’s still more than $350. If you can survive an extra wire or two and some weight (might actually be worth 1-2 minutes of flight time), you can get a decent alternative. Only today I have received a very well made Tarot 2D gimbal, that does still need the USB link to the gopro instead of the neat backside port, but looks pretty clean and compact otherwise. I’ll give it a spin soon.

Luckily one doesn’t really have to have a single DIY bone in the body to enjoy building quads. It doesn’t require a bigger skillset than building PCs. You probably can’t get away from soldering a wire or two, but apart from that it’s all about connecting components. The only skill is finding cheaper alternatives to the rather pricey (but honestly very well made) DJI counterparts. Big downside is the waiting. Buying parts from chinese vendors on ebay is the closest thing to getting your Christmas presents delivered by a deity. By the time the stuff arrives, you have absolutely no recollection of it and are genuinely surprised. A true Überraschung! Apart from ebay, I usually get components from RCtimer and Hobbyking.

As you’ll be carrying a lot of gear around, carrying cases are quite useful. I ended up using an IKEA plastic box for replacement parts, tripods and stuff that is unlikely to break. Model specific cases are crazy expensive, you can easily spend as much as I did for the kit for just a case for it. Pelican cases are the standard for when you need weather proof rugged travel safety, but they are expensive and very heavy. I went (in a typical fashion) for a clone. Farnell sells a Duratool D00468 that nicely fits the Phantom, batteries and a radio. Unless you lifted the skids to fit a bigger gimbal that is.

DSC_1511

<iframe class="image full" frameborder="0" src="http://player.vimeo.com/video/79050435" style="min-height: 500px"></iframe>

I am a big fan of machines with a purpose. Things that don’t resemble a “computer”. For now I have an agile small flying camera (DJI Phantom) and a super stable giant rig serving as an “infinite crane” (RCTimer S800R). I left out my last chopper for some other time as it not only involved most DIY time, the most crashes by far, but also boldly returns to the land of free software and open hardware, which is likely to strike a tone with people reading this. Check back soon!

The League of Movable TypeSriracha, a documentary by Griffin Hammond, with @finck’s...

<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/79918470" width="400"></iframe>

Sriracha, a documentary by Griffin Hammond, with @finck’s Ostrich Sans everywhere. The Los Angeles Times says its the hottest movie of 2013. Get it? It looks awesome.

Ben Martinattiny screen driver for parallel controlled character displays

This is the "details" post for controlling a 7 bit parallel OLED character display using an attiny as a display driver. See the previous post for an overview of the setup and video.

And now... the code. Apologies for some of the names of directories. Instead of branching and whatnot in git I just copied the code to library(n+1) and added the next feature in line as I went. I might at some stage do a write up detailing the stepping stones to get from the bare attiny84 to the code below.

To make it simpler, I'll call the "main" arduino the Uno. That is the one what wants to run the show. The screen is attached to the attiny84 which I'll just call the tiny84.

This is the code that one uses on the Uno: oled_clientspireal.inoIt is designed to look very close to the example it was based on (linked in the second line of its header comment).

The attiny84 runs this attiny_oled_server_spi2.inoThe heavy lifting is done in SimpleMessagePassing5 which I link next. The main part of loop() is to process each full message that we get from SimpleMessagePassing5. There is a timeout() logic in there after that which allows the tiny84 to somewhat turn off the screen after a period of no activity on the SPI bus. noDisplay() doesn't turn off the OLED internal power, so you are only down to about 6mA there.
The SimpleMessagePassing5 does two main things (coupling SPI into message byte boundaries in a single file, the academics would be unhappy) SimpleMessagePassing5.cppEarlier version of SMP did
USICR |= (1 << USIOIE); 
in init(). That line turns on the ISR for USI SPI overflow. But that is itself now done in a pin change ISR so that the USI is only active when the attiny84 has been chip selected.

serviceInput() is a fairly basic state machine, mopping up bytes until we have a whole "message" from the SPI master. If there is a complete message available then takeMessage() will return true. It is then up to the caller to do smp.buffer().get() to actually grab and disregard the bytes that comprise a message.

I'm guessing that at some stage I'd add a "Message" class that takeMessage could then return. The trick will be to do that without needing to copy from smp.buffer() so that sram is kept fairly low.
The Uno uses the shim class Shim_CharacterOLEDSPI2.cppwhich just passes the commands along to the attiny84 for execution.
This all seems to smell a bit like it wants to use something like Google protocol buffers for marshaling but the hand crafted code works :) In some ways using GPB for such a simple interface as CharacterOLEDSPI2 might be well be considered over engineering, but I'm still tempted.

CraftingType workshops[link] Italic subtleties by @Tosche_E

[link] Italic subtleties by @Tosche_E:

Eben SorkinMerriweather ST is coming

After discussing the possibility that commercially licensable version of Merriweather might be in technical conflict with the Google version we agreed that this kind of edition of Merriweather would need to be re-named. I have decided the new name will … Continue reading

Pravin SatputeAnnouncing alpha release of lohit-malayalam 2.91.0 from lohit2 project

   Glad to announce alpha release of lohit-malayalam 2.91.0 from lohit2 project[1]. As we planned earlier [2] indeed this is lightest Malayalam modern script font around with just 214 glyphs and 11 open type table.

    We have done following improvements in Alpha version over the 2.5.4 release.

  • Reduced number of glyphs nearly by 25%
  • Open type Looksup are reduced by 45%
  • Supporting mlm2 and mlym specifications.
  • Testing on Harfbuzz NG and Uniscribe (W8)
  • Followed AGL syntax with User friendly glyph names.
  • Improved GASP table (grid-fitting)
  • TTF build from feature file.
    Updated lohit project page [3] for download details. Source tarball link [4], TTF tarball link [5] and webfonts format for Lohit is at [6].

    I would like to say thanks to Ani for her help in testing stuff, Shriramana for reporting important bugs from standard perspective and Sneha for making this happen :)

    As this is alpha release need your help for testing it and making it more perfect. I am still doubtful that we might have missed some important exceptions of Malayalam script so looking forward to fix them in coming releases.

    By next week this release will be available in Fedora 20 and Rawhide.

1. http://pravin-s.blogspot.in/2013/08/project-creating-standard-and-reusable.html
2. https://www.redhat.com/archives/lohit-devel-list/2013-December/msg00005.html
3. https://fedorahosted.org/lohit
4. https://fedorahosted.org/releases/l/o/lohit/lohit-malayalam-2.91.0.tar.gz
5. https://fedorahosted.org/releases/l/o/lohit/lohit-malayalam-ttf-2.91.0.tar.gz
6. https://fedorahosted.org/releases/l/o/lohit/lohit-malayalam-web-2.91.0.tar.gz
7. https://github.com/pravins/lohit/issues/new

Sneha KoreAutomated Testing Tool for Lohit

Hello everyone. Being at completion stage, here comes the tool for automated testing which is key asset in testing process since it saves the time & predicts accurate output. Its just as simple as running a single command preceding with appropriate parameters .

What we have done actually is,
1. We had written a script which takes the input involving script_name, test_file_name & ttf_file_name.
2. This script can be used for both generating the standard test case output from raw test case file & testing that standard test cases with the ones after newer modifications.
3. Only the thing to note is that, this script has hb-shape dependancy. So while executing this in fedora, ubuntu etc please make sure you have harbuzz-devel rpm installed .  

The Screenshots & Commands for execution :

For generating the standard test cases  :

    python generate_test.py <test file> <font file>





For testing the newer test cases : 

    python auto_test.py <test file> <font file>




 where,

> generate_test.py  : 
     this script can be executed only once to generate standard output file
 which will be going to include output for all the test cases specified in raw test file.


> auto_test.py :
      this script can be executed, many a times , whenever any changes are been made. This script will compare output with the previously generated standard test file.

> test_file :     the name of text file wherein all your test cases resides.

> font_file : 
     ttf file name for the font which you want to apply to.

you can refer the link [1][2] for python script auto_test.py. Hope this finds useful.

1. https://raw.github.com/pravins/lohit2/master/scripts/generate_test.py
2. https://raw.github.com/pravins/lohit2/master/scripts/auto_test.py

Sneha KoreLohit2 proceeding with Lohit Punjabi

Good morning everyone! With the release of Lohit Malayalam & script writings of automated testing tool, we are now looking towards improving Lohit Punjabi [1]. As previously specified in the mail on lohit-devel-list, its better to call "Lohit Punjabi" as "Lohit Gurmukhi".

This improvements will involve all the basic & additional improvements as well :

Basic improvements :

    * Following AGL specification (We are just following syntax and not naming stuff yet. It will happen with script improvement for generating sfd to ttf)
    * Feature file separate for flexibility and reusability.
    * Complete cleanup of existing Open type tables
    * Supporting both "guru" and "gur2" open type specifications.
    * Thorough testing with Harfbuzz and Uniscribe (WinXp, W7 and W8)
    * Fixing existing open bugs of Lohit Punjabi [2]

Additional improvements :

   * Removal of lookups which are no longer needed.
   * Inclusion of feature tags according to the specifications in Microsoft Typography for Gurmukhi[3] 
   * Automated Testing 


The development has already been started at Lohit2[4]

1.http://pravin-s.blogspot.in/<wbr></wbr>2013/08/project-creating-<wbr></wbr>standard-and-reusable.html
2. https://bugzilla.redhat.com/<wbr></wbr>buglist.cgi?bug_status=NEW&<wbr></wbr>bug_status=ASSIGNED&<wbr></wbr>classification=Fedora&<wbr></wbr>component=lohit-punjabi-fonts&<wbr></wbr>list_id=2147810&product=<wbr></wbr>Fedora&query_format=advanced
3. http://www.microsoft.com/typography/OpenTypeDev/gurmukhi/intro.htm#features
4. https://github.com/pravins/<wbr></wbr>lohit2/tree/master/punjabi

Ben MartinRipple counting trackballer hall effects

Sparkfun sells a breakout with a blackberry trackballer on it and 4 little hall effect sensors. One complete ball rotation generates 11 hall events. So the up, down, left, and right pins will pulse 11 times a rotation. The original thought was to hook those up to DPins on the arduino and use an interrupt that covered that block of pins to count these hall events as they came in. Then in loop() one could know how many events had happened since the last check and work from there. Feeling like doing it more in hardware though, I turned to the 74HC393 which has two 4bit ripple counters in it. Since there were four lines I wanted to count I needed two 393 chips. The output (the count) from the 393 is offered in four lines per count (its a 4 bit counter). So I then took those outputs and fed them into the MCP23x17 pin muxer which has 16 in/out pins on it. I used the I2C version of the MCP chip in this case. So it then boils down to reading the chip when you like and pulsing the MR pin on the 393s to reset the counters.


In the example sketch I pushed to github, I have a small list of choices that you can scroll through and if you stop scrolling for "a while" then it selects the current entry. Which just happens to be the exact use case I am planning to put this hardware to next. Apart from feel good factor, this design should have less chance of missing events if you already have interrupt handlers which themselves might take a while to execute.

OSP (Open Source Publishing)Seoul fonts karaoke

This print party was wildly exciting. Thanks again to the collectif SIN and De La Charge gallery. Find the recipe and generic of the event on the README page of the workshop and download the 2 hits interpreted by our voice Ms. Funzie Korocr, 다누보강의 작울결 Remix 1 and 다누보강의 작울결 Remix 2

The League of Movable TypeAwesome, creative music video for Ophelia from @octochamp using...

<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/85160584" width="400"></iframe>

Awesome, creative music video for Ophelia from @octochamp using Ostrich Sans. Well done.

CraftingType workshopsWhat is the advantage of making your own company typeface?

CT instructor Thomas Phinney answers on Quora:

What is the advantage of having a custom typeface for a corporation? Additionally, once a typeface is created, what is the best way to deploy this throughout the corporation and third party vendors?

Cost savings can indeed be noticeable, depending on the size of the company and number of users. You won’t be tempted to restrict who gets the fonts to save money, which is an unfortunate potential side effect of traditional font licensing. (See also notes on licensing, below.)

You get a unique brand appearance. If your company’s brand has to do with being just like somebody else (or everybody else), that’s not useful. But if like most brands you want to be distinctive, part of that equation can be using a truly unique typeface that nobody else has.

The typeface can be developed/customized to your needs in terms of functionality, special characters, language support, whatever. As long as you make sure you own all rights, it can be added to and modified in the future as your company grows and evolves. You usually can’t do that with off-the-shelf fonts (except for open source ones).

You avoid licensing problems by owning all rights (make sure you do so!). Traditional font licenses often have surcharges or additional licensing required not only to give to printing vendors and partners, but to embed the font in an ebook, or use it for live text on your web site.

On your second question: What Sébastien describes in his response are written brand guidelines. They tell you how to use the company’s logo, typeface, color palette and other elements together to create a consistent brand image across all media and documents. Everybody producing visible work for the company should have access to (and be forced to actually use) the brand guidelines. There might be a simplified subset for people who are just using Office type apps, and such apps might get some custom templates….

Pooja SaxenaBook covers by Satyajit Ray

The internet, every now and then, throws up great surprises—The Satyajit Ray Film and Study Center at University of California, Santa Cruz makes available scanned images of over 200 book, magazine and journal covers designed by Satyajit Ray. Covers such as this one for the book Khai Khai written by his father, Sukumar Ray.

KhaiKhai

The collection includes about two dozen and a half covers of the literary and cultural journal, Ekshan, founded by Nirmalya Acharya and Soumitra Chatterjee. For every issue of Ekshan, Ray drew or wrote the journal’s name afresh.

Ekshan

There are also close to forty covers of Sandesh, the children’s magazine started by his grandfather, Upendrakishore Ray, in 1913, run later by his father and uncle and revived by him in 1961 after 27 years of being of going unpublished.

Sandesh

Satyajit Ray’s calligraphy, lettering, illustration and graphic design works keep making an appearance on the internet, but this is the most comprehensive online resource of its kind that I have found till date. All the images for this post were sourced from this collection and it can be accessed in its entirety here. For those looking for some context to see these images in, Jayanti Sen’s Looking Beyond: Graphics of Satyajit Ray would be well worth the read.


Footnotes