TYPE DESIGN INFORMATION PAGE last updated on Fri Sep 22 09:44:38 EDT 2017
FONT RECOGNITION VIA FONT MOOSE
Free in-house tools from Adobe (for Mac OSX, older Mac OS, and Windows, but not UNIX) for wrapping a PostScript type 1 font into an OpenType/CFF font. Direct download. Quoted from the site: The goal of the Adobe Font Development Kit for OpenType package is to share the tools used by Adobe font developers for wrapping up PostScript fonts as OpenType/CFF font files, and adding OpenType layout features. These tools are used for in-house development of new Adobe OpenType fonts. Use them at your own risk, and with no guarantee of support! We know that they work for the fonts Adobe makes, but have tested only part of what it is possible to express with OpenType. Note! Although the FDK directory tree contains a number of Python scripts, none of them can be used by double-clicking on them; they can only be successfully called as commands from a command-line window (the "Terminal" program on Mac, the "cmd" or "DOS" program on Windows). Note also that the AFDKO is for adding OpenType data to existing fully-designed PostScript fonts, and for proofing them. It does not offer tools for designing or editing glyphs. The proofing tools work with TrueType-based source fonts, but the makeotf, checkOutlines, and autohint tools work only with PostScript source fonts or OpenType fonts with Postscript outlines. Thomas Phinney compares it with the free TTX tool, and says this: Currently, if I want a simple and accurate representation of the contents of a TrueType or OpenType font, and possibly to edit the info, I have been using the wondrous open source TTX tool, which is based on the FontTools library. This dumps the font info to an XML text file, which can be viewed/edited in any text editor or anything that can handle XML. It can also recompile the text file back into a font. (In fairness, Adobe's FDK for OpenType also has table dumping/recompiling tools, just not quite as slick as TTX. Even Adobe folks often use TTX.) Mac download file. [Google] [More] ⦿
Adobe: OpenType-SVG is a font format in which an OpenType font has all or just some of its glyphs represented as SVG (scalable vector graphics) artwork. This allows the display of multiple colors and gradients in a single glyph. Because of these features, we also refer to OpenType-SVG fonts as color fonts. OpenType-SVG fonts allow text to be shown with these graphic qualities, while still allowing it to be edited, indexed, or searched. They may also contain OpenType features that allow glyph substitution or alternate glyph styles. Color fonts like Trajan Color Concept and EmojiOne Color will appear just like typical fonts in your programs' font menus but they may not display their full potential, since many programs don't yet have full support for the color components. If your software program doesn't support the SVG artwork within the fonts, glyphs will fall back to a solid black style. Color can still be applied to this fallback style, as it will work like a typical OpenType font. [Google] [More] ⦿
Adobe OT fonts in Latex
John Owens (UC Davis) explains how to install Adobe OpenType fonts for use with Latex. He bases himself on Marc Penninga's fontools and on Eddie Kohler's LCDF type tools, both free. He has developed the otfinst package: otfinst takes a list of OpenType font files as input, uses Eddie Kohler's otftotfm to install them into a TeX/LaTeX system, and builds and installs the necessary font description and style files. Otfinst was formerly known as otftex_install and is written in Python. It has similar capabilities to Marc Penninga's fontools. [Google] [More] ⦿
Adobe's OTF conversions
Christopher Slye was involved in the creation of the Adobe OTF library. He writes: The licensed (non-Adobe) OpenType fonts in the Adobe Type Library are all produced from the Type 1 versions which preceded them. If you look at a pre-OpenType catalog of the ATL, you'll see that whatever was or wasn't present there is the same for the OpenType versions. Of course we took all the supplemental fonts we had and combined them into a single OTF and made the alternates accessible through layout features as best we could. It was, essentially, a conversion project. So yes, the OpenType versions of these fonts were not expanded, but neither were they reduced or limited. Licensing issues aside, I assure you we had our hands full expanding the Adobe Originals. As for why the various expert glyphs (oldstyle figures, smallcaps) weren't available in the first place, that is probably a licensing issue in most cases, and such things are not trivial. [Google] [More] ⦿
Developer of these free font families, quite exquisite and complete:
He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.
Graphic designer who has worked at the McGill Daily in Montreal (1997-1999) and at SUNY (New Paltz, NY, 2003-2004), where she obtained an MFA in Intermedia Design in 2005. She wrote a thesis in which features of OpenType are used to replace bad words with good ones. From 2006 until 2009, Amy was an Assistant Professor of Graphic Design at the University of Bridgeport in Connecticut. Currently, Amy is an Assistant Professor of Graphic Design and Foundation at the State University of New York at New Paltz. She is one of the cofounders of Alphabettes.
Andrey V. Panov
Designer with Rajesh Pradhan of a GNU license (free) OpenType Oriya font, Utkal (2003), which can be downloaded here and here. See also here, where it is given as part of the Rebati Open Source Project for computing in Oriya. [Google] [More] ⦿
Applied Symbols, founded by Selwyn Hollis, specializes in custom fonts and graphics for Mathematica. It created OpenType versions of Knuth's Computer Modern fonts. [Considering that the PostScript versions of these fonts by BlueSky are free, I have a problem with Applied Symbols actually selling them.] Another font sold here is UniMath: "This OpenType font contains over a thousand glyphs, including math-italic Roman and Greek alphabets, upper-case blackboard bold, calligraphic, and Euler script, and hundreds of technical and mathematical symbols." In an earlier web life (as Faux Tex Fonts), Selwyn was selling a Mac package with these truetype fonts: Symbolic, MathMode, and KahoeTech. [Google] [MyFonts] [More] ⦿
ATypI 2006 Type Tech presentations in PDF format by Thomas Phinney (Adobe) and some others. More specifically:
Eddie Kohler's free type utility which translates a Compact Font Format (CFF) font, or a PostScript-flavored OpenType font, into PostScript Type 1 format. It correctly handles subroutines and hints. [Google] [More] ⦿
Christina Schultz works as a freelance designer in London and Berlin. Her current focus is on iconography and intelligent fonts. Recent projects include logo, corporate and web design. She graduated from Central Saint Martins School of Art and Design with an MA in Communication Design in January 2005. At ATypI 2005 in Helsinki, she spoke about Piclig (for picture ligature), an intelligent OpenType font, which makes it possible to create symbols out of letters. These letters, when typed in a specific order, merge automatically and form picture ligatures. To achieve this replacement, piclig uses OpenType's contextual character substitution. The font contains a library of 112 symbols which are encoded not as images, but as characters. Piclig occupies little disk space, which is important in applications such as mobile phones. FF PicLig (2005, Fontshop). FF Piclig won an award at TDC2 2006.
Free font package from 2009 by Andrey Panov, specially adapted for TeX. CM Unicode (or: Computer Modern Unicode) is an OpenType and Type 1 unicode version of Knuth's Computer Modern font family. The OIpenType fonts include CMUBright-Bold, CMUSerif-BoldItalic, CMUSerif-BoldSlanted, CMUBright-Oblique, CMUBright-Roman, CMUBright-SemiBoldOblique, CMUBright-SemiBold, CMUTypewriter-Light, CMUTypewriter-LightOblique, CMUSerif-Bold, CMUBright-BoldOblique, CMUClassicalSerif-Italic, CMUTypewriter-Italic, CMUConcrete-BoldItalic, CMUConcrete-Bold, CMUConcrete-Roman, CMUConcrete-Italic, CMUSerif-BoldNonextended, CMUSerif-Roman, CMUSansSerif-Oblique, CMUSerif-RomanSlanted, CMUSansSerif-BoldOblique, CMUSansSerif, CMUSansSerif-DemiCondensed, CMUTypewriter-Oblique, CMUSansSerif-Bold, CMUTypewriter-Bold, CMUSerif-Italic, CMUTypewriter-Regular, CMUTypewriter-BoldItalic, CMUSerif-UprightItalic, CMUTypewriterVariable-Italic, CMUTypewriterVariable.
Free OpenType fonts at this religious educational institutions in Minnesota: AGaramondPro-Bold, AGaramondPro-BoldItalic, AGaramondPro-Italic, AGaramondPro-Regular, AGaramondPro-Semibold, AGaramondPro-SemiboldItalic, HelveticaNeueLTStd-Bd, HelveticaNeueLTStd-BdIt, HelveticaNeueLTStd-Blk, HelveticaNeueLTStd-BlkIt, HelveticaNeueLTStd-It, HelveticaNeueLTStd-Roman, HelveticaNeueLTStd-Th, HelveticaNeueLTStd-ThIt, HelveticaNeueLTStd-UltLt, HelveticaNeueLTStd-UltLtIt, TrajanPro-Bold, TrajanPro-Regular. [Google] [More] ⦿
Comparing TTX, OTFDK, DTL OTMaster and FontLab Studio 5
Thomas Phinney compares small font editing tasks in truetype and opentype fonts, and looks at four options: TTX (free), Adobe's OT FDK (free, admittedly less handy than TTX in his own words), DTL OTMaster (commercial and similar to TTX) and FontLab Studio 5. Excerpts from his blog: Currently, if I want a simple and accurate representation of the contents of a TrueType or OpenType font, and possibly to edit the info, I have been using the wondrous open source TTX tool, which is based on the FontTools library. This dumps the font info to an XML text file, which can be viewed/edited in any text editor or anything that can handle XML. It can also recompile the text file back into a font. (In fairness, Adobe's FDK for OpenType also has table dumping/recompiling tools, just not quite as slick as TTX. Even Adobe folks often use TTX.) [...] The downside to tools like TTX and OTMaster is that they make little effort to tell you the meaning of the various cryptic values for various fields (or the exact meaning of the field itself), even when said values are legal/legit. So you need to also have a copy of the OpenType or TrueType specification handy, and optionally a more descriptive, hand-holding tool like FontLab Studio. [...] FontLab Studio 5 interprets the OpenType font into its own internal format. It can't open a font, make a tiny change and re-save it as a font without potentially changing other things. To give a really concrete example, FLS displays font embedding settings in terms of its interpretation of the settings, rather than the actual bits. TTX or OTMaster are really handy for that, because they show the unvarnished truth of what's in the font, without interpretation. [Google] [More] ⦿
Contextual OpenType features
In 2003-2004, Adam Twardoch worked on the contextual OpenType features in Zapfino Extra and talked about it at TypoTechnica 2005 in London. Zapfino Extra has 1677 glyphs, and makes good use of the calt (contextual alternates) and clig (contextual ligatures) tables. The result is a classroom example of OpenType development. [Google] [More] ⦿
David Glenn from the Microsoft type group, explains why there are so few OpenType fonts "out there" (by February 2002):" There are a few main reasons why you don't see a lot more Latin fonts with richer typography using OT. Popular applications (besides InDesign&a few others) don't use OT for Latin text. A lot of apps use it for complex scripts since it the only way to fully support some of these languages. It takes a lot of work to make an application use OT. You have to figure out a good UI to present the OT functionality to users. Also, what do you do about backwards compatibility? Ligatures and other nice features will change line layout. Shipping "pro" versions of all your fonts takes time, money, disk space, etc. Secondly, font makers have invested a lot of money in tools and knowledge to make fonts. OT is a new skillset and format. If users aren't banging down their door, they're not going to put a lot of time and money into it as fast as if apps and users we're screaming for it. Most users--- regardless of OS--- don't really require richer typography to write letters, read email, etc. That's not to say richer typography isn't better or it's the right thing to do, but right now things work for "most" people. These two reasons--- coding apps to expose OT to users and font makers learning the art--- are the two main reasons why OT isn't prevalent. If the operating systems and applications supported (used) OT starting a few years ago I'm sure you would see a lot more OT fonts out there by now. MS shipped Palatino Linotype with Windows 2000 and Windows XP. Palatino Linotype is fully OpenType, with ~1200 glyphs. This is in addition to our many complex script typefaces we've shipped to enable and support many languages. Microsoft is working on delivering more OpenType via fonts, apps and technologies with each release we do. I'm sure Apple and Adobe are working on these issues as well. " [Google] [More] ⦿
The Eccentrifuge Blackletter Directory aims to be an exhaustive online reference for all commercially available blackletter fonts (but he only deals with commercial type). Run by John Butler of North Carolina (he was in Atlanta, GA). John Butler designed the Butler Antiqua family (2002) in the style of Ruzicka and Dwiggins. Eccentrifuge assists type designers in navigating and managing the complexity of OpenType feature programming, Euro conversion, character encoding and Unicode, Python scripting, bitmap embedding, and to a certain extent, internationalization. It also specializes in developing connected OpenType font designs at a level of fluidity previously unavailable, allowing your designs to achieve a true handwritten look. Jobs include Emigre's Mrs. Eaves OpenType, an OpenType version of Erik Van Blokland's Kosmik, and Barchowsky Fluent Hand OpenType. [Google] [More] ⦿
Edward G.J. Lee
Software company of Michael Jansson, located in Bromma, near Stockholm. Font software specialists, who have worked on an Adobe type 1 to truetype converter (as a built-in part of Windows NT, and a separate product called Janus), and are working with Microsoft on OpenType tools. [Google] [More] ⦿
Ernst Tremel s based in Muenster, Germany. He designed a Devanagari font called ShiDeva that includes a "volt" table and many ligatures. His pages also cover Tamil, and one can download the ETTamilNew font. He also has a Kurdish font, as well as maps about the Kurds and about Indian languages. About the Kurdish font, he writes: Kurdish AllAlphabets contains 694 glyphs and 529 standard kern pairs: Latin, Cyrillic and Arabic script. There are OpenType tables for Arabic and embedded bitmaps included.
He joined the Open Font Library movement. He offers Ahuramazda there, which is an alphabet for the Avestan language: Avestan was an Iranian language in which the earliest Zoroastrian hymns were orally transmitted since 1500 BCE. Due to lingusitic change, fluency in Avestan as spoken a thousand years earlier was deteorating, and hence the need to write the language became increasingly apparent. By the 3rd century CE an alphabet was created to write down the ancient Avestan language.
Paris-based outfit that specalizes in interactive design. In 2016, they experimented with that in type design when they exploited some Opentype features in the free font Datalegreya (see also Open Font Library): Datalegreya is a typeface which can interweave data curves with text. It is designed by Figs, on the basis of open source font Alegreya Sans Thin SC by typographer Juan Pablo del Peral. Datalegreya can be used in all contexts where small space is available to synthetically display graphical data: connected objects, embedded displays, annual reports, weather report and stock prices. Behance link. [Google] [More] ⦿
Free on-line font format converter from these formats (as input): TrueType, PostScript (Type 1 font), TeX Bitmap Fonts, OTB (X11 bitmap only sfnt), BDF (Glyph Bitmap Distribution Format), FON (Windows), FNT (Windows), OTF OpenType font, SVG, TTC, ABF (Adobe Binary Screen Font), AFM (Adobe Font Metrics File), BDF (Glyph Bitmap Distribution Format), DFONT (Mac OS X Data Fork Font). The output is one of these: TTF TrueType, OTF OpenType, FON Generic font, PFB Printer font binary, dfont Mac OS X data fork font. By T. Reinhardt, Switzerland. [Google] [More] ⦿
George Williams' free Open Source UNIX-based font editor for type 1 and truetype fonts, previously called Pfaedit. Also does truetype collections (TTC) and opentype fonts. Note that FontForge can be used to do all conversions between all formats (type 1, truetype, OpenType; PC, UNIX and Mac): it's a formidable tool. The internal text format for fonts is called SFD. It is a format that is acceptable for communicating and storing fonts. Note also that there is a powerful scripting language that can automate conversions and various tedious tasks.
Footnote: the headline of this page is set in New G8 by Artifex and Michael Sharpe based on URW Garamond No.8, a project developed, like hundreds of others in the open souyrce community, by FontForge. [Google] [More] ⦿
Free course offered at Typeworx in Toronto on Saturday, November 16, 2002, 1450 O'Connor Drive, 3rd Floor, Toronto, Ontario, Canada. Other free courses will be given throughout the year. These courses run from 10am to 7pm and cover Fontlab's basic features, maximum coverage of languages, font formats, unicode, OpenType, AAT, a demo on how to make a fully-featured OpenType font, the development of a huge font (Typeworx' Borgia will have over 5000 glyphs). [Google] [More] ⦿
Package made in 2005 by Marc Penninga that includes these free UNIX tools written in Perl. The package provides tools to simplify using OpenType fonts with LaTeX. It contains:
FontShop's hype on OpenType. See also here for the analogy with a Swiss army knife. Same presentation on Flickr, all brought by Stephen Coles. The point is well made, namely that one file carries a lot of tools. However, even omitting the fact that font sellers will embrace any new format because it increases sales, the presentation has some (minor) incorrect statements (example: contrary to the text, a PostScript font can hold many more than 256 glyphs) and some major omissions, e.g., at the time of the OpenType design, a much better format could have been invented, and all of the OpenType things are possible in TrueType as well---it was just a renaming of the truetype structure. A technological advance? Hardly. Stephen: a great visual presentation, but a poor subject to hype. [Google] [More] ⦿
Freedom of choice for font formats
In their presentation at ATypI 2013 in Amsterdam, Werner Lemberg (the co-developer of Freetype) and David Lemon (Adobe) compare truetype and type 1 for use in small devices. Their talk sounds quite interesting, and promises a small shake-up in font rendering on small screens.
The abstract: The PostScript (CFF) font format, in which most of the world's fonts are developed, is commonly used for all the traditional forms of graphic design, such as books, magazines, newspapers, advertising, posters, logos, packaging, and movie titling. But for the most part it hasn't been used in HTML pages or on mobile devices. Those environments have often done a poor job of displaying the fonts in this format, so designers have been limited to using only TrueType. Because TrueType is harder to develop and produces larger fonts, there are advantages to being able to use CFF as well. Adobe and Google have been working with the developers of FreeType, the open-source font rendering engine used in billions of devices, to improve the font imaging solutions available to browsers and mobile devices. David Lemon and Werner Lemberg will talk about the improvements coming soon to a screen near you, what this means for designers and developers, and also discuss how companies can work together to bring value to type users via open-source offerings. [Google] [More] ⦿
Stefan Lundhem started Fyrisfonts. He is the designer of Garajannon (Garamond family), Spartacus (a Roman, CODEX-like lettering font), Beckhem Gothic, Fournament, Primus, Fyris Fraction, Fyris Fraktur, Krabat, Heltime (mix of Times and Helvetica), Terminator, Bessie (2001, multiline art deco typeface modeled after Marcia Loeb's 1972 alphabet, Rainbow), Billie (2001, art deco titling, modeled after Marcia Loeb's 1972 alphabet, Zig Zag), Jämför abc, Miami Blues and Miami Vice (beautiful, now called Bessie and Billie, respectively). The pages in Swedish contain an in-depth study of Jenson and Adobe Jenson MM, Caslon, Cloister Old Style, Fraktur, Garamond, Minion MM, MultipleMaster fonts, Myriad MM, OpenType, Poynter, RailwayType, Newspaper type, Web fonts, Web typography, and screen typography. [Google] [More] ⦿
Freeware pixel font editor for Mac OS X by Mark Leisher. It works natively with BDF fonts, but can import
I quote Gerald Giampa (Lanston) from this discussion on OpenType: "Personally I do not believe Jim Rimmer will participate in Open Type. Open Type will be the Great Typographical White Elephant. The singular good feature about Open Type is "cross platform". Titch tich! There is more important aspects of typography than adding idiotic symbols and even longer kerning tables. Your typographical time should be spent making a beautiful font. If you have any additional time go boating. They are asking instead that you become a data entry clerk. As for the rest, auto ugly symbols are fine with me. I don't use them, but be my guest. As if I am going to spend time making beautiful pie signs. Or Greek, I know nothing of Greek. What, I am going to design them a typeface? think again! I am just not that arrogant. Who's fooling who. Frankly accents are bad enough. All these languages with their accents. At least in English we don't use accents as a crutch. I'm surrounded. I better shut up about the accents. Better cancel my vacation to Greece for that matter. The Open Type format lost me when it was decided that optical scaling was of no particular importance. One suggestion was real nifty. Make a font for every size. Ask our friend who made Founder's Caslon what he thinks of that idea? Maybe we can give him our libraries and have him do it for free. A gazillion fonts does "not" make a solution. User hostility?" [Google] [More] ⦿
GOTE stands for GNOME OpenType editor. Free (beta-version) editor by Robert Brady from the Department of Electronics&Computer Science, University of Southampton. Currently supports truetype only. Requires the gnome libraries and freetype. [Google] [More] ⦿
Charles Hedrick's free utility (chmap.c) for Windows machines to extract expert sets, small caps, etcetera from Truetype or OpenType fonts and make special Truetype or OpenType fonts for these expert sets, for use with older Windows software. Hedrick is the Director of Computing Services at Rutgers University. Hedrick also discusses the choice of text fonts: Documenta, Aldus, Janson Text, Minion, Warnock. Alternate URL. [Google] [More] ⦿
I have always maintained that hinting is unimportant *in the long run*. More and more people are coming on board. Quoting Raph Levien: The importance of hinting is steadily decreasing, and will eventually approach zero. Aside from hinting, the technical differences between OpenType TT and OpenType CFF are also not that significant - the encoding and fancy contextual features are the same across the two, the only real difference is the representation of the outlines. IMNSHO, a reasonable way to deliver fonts for Vista and future systems is to forego hints altogether, and tune the gasp table to enable y-direction grayscaling. See this thread for discussion and examples of the latter, a new feature for ClearType. Btw, I wasn't able to find the documentation for the new gasp flags for controlling y-direction grayscaling. Maybe one of the ClearType experts here can point me in the right direction. Basically, the effect of this approach is that contrast will be slightly softened compared to well-hinted fonts, but youre pretty much guaranteed no distortion or artifacts, and increasing resolution will lessen the importance of contrast over time. Of course, all this depends on the nature of the font. If your goal is good screen rendering of large blocks of text, as it is for MSs new ClearType font collection, then you probably do want to pay attention to the hinting. For display fonts, it shouldn't matter much at all. As far as the expectation for future support, I think both TT and CFF are going to be around a long time. All the new Microsoft stuff (XAML, XPS, WPF, if you can keep track of all the alphabet stew) supports both TT and CFF, and of course anything that deals with PDF has to as well. The code for unhinted TT and CFF rendering is pretty simple. So I would say that the choice between TT and CFF boils down to which tools youre most comfortable using. [Google] [More] ⦿
Free Indic OpenType fonts have been released under the GNU General Public License:
Polish type designer in Grudziadz (Stycznia) involved in the restauration of historical Polish type designs. At GUST.org, he created fonts for Polish such as QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk), Antykwa Toruńska (1995, based on work by Zygfryd Gardzielewski, electronic version by Janusz M. Nowacki). Alternate URL for the latter face.
He runs FOTO ALFA. At the latter page, you can find these fonts in which Nowacki participated: Antykwa Torunska, Antykwa Pótawskiego, Rodzina krojów PL, Rodzina fontów LM (Latin Modern), Quasi Palatino, Quasi Times, Quasi Bookman, Quasi Courier, Quasi Swiss, Quasi Chancery. The Quasi series are Polish versions of standard URW and Ghostscript fonts. The Rodzina series are Polish versions of the Computer Modern families.
In 2005, he placed these fonts on CTAN: Kurier and Iwona. Kurier is a two-element sans-serif typeface. It was designed for a diploma in typeface design by Malgorzata Budyta (1975) at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski. The result was presented with other Polish typefaces at the ATypI conference in Warsaw in 1975. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Iwona covers all of these too and is Nowacki's alternative to Kurier. Both sans font families have many useful mathematical symbols as well.
In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus.
In 2008, two styles of Cyklop were published. This was a generalization and extension of a historical type.
He writes: The Cyclop typeface was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke so it has high typographic contrast. The vertical stems are much heavier then horizontal ones. Most characters have thin rectangles as additional counters giving the unique shape of the characters. The lead types of Cyclop typeface were produced in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and accidents prints. Typesetters used Cyclop in the inter-war period, during the occupation in the w underground press. The typeface was used until the beginnings of the offset print and computer typesetting era. Nowadays it is hard to find the metal types of this typeface.
Association that developed some Japanese fonts, such as the Heisei Kaku Gothic, Heisei Maru Gothic and Heisei Mincho families at Adobe. IBM commissioned their own versions of the Heisei family. These IBM versions can be bought and licensed from Ascender Corporation. [Google] [More] ⦿
Kamal Mansour, educated in Cairo, used to run Kappa Type in Palo Alto, CA, and was involved in software, fonts and keyboards for some languages. Thereafter, he joined Monotype in 1996 where he is now involved in OpenType implementations for various scripts including Latin, Arabic, and Hebrew. At Monotype, from his base in Los Altos, CA, his responsibilities includes growing the library of non-Latin scripts, investigating potential products, in-house consulting, as well as assisting customers with font specifications.
He spoke at ATypI 2005 in Helsinki on Nastaliq style through open type, about which he writes: Designed by Pakistani calligrapher Mirza Jamil, Noori Nastaliq is a calligraphic Urdu script typeface originally devised for use on a Monotype imagesetter in the 1970s. Once this proprietary equipment became obsolete, Noori Nastaliq could not be readily implemented for many years with the digital technology at the time. With the advent and maturation of OpenType technology, Noori Nastaliq is once again alive. In spite of the many graphic complexities of Nastaliq style such as its oblique alignment to the baseline and its cursive connections, OpenType proved sufficient for the task.
In 2015, Patrick Giasson and Kamal Mansour codesigned the Arabic script typeface Bustani at Monotype. Bustani is the first OpenType font to offer full classical Naskh contextual shaping. It covers Arabic, Farsi and Urdu. Bustani won an award at TDC 2016.
Khaled Hosny is a physician in Egypt. He loves Arabic and its type, and is interested in every aspect of letter forms and typography. A hobbyist translator, programmer and font developer, he supports software freedom and is actively participating in the free software community. Sourcefirge link.
Designer of Punk Nova (2010), a free OpenType implementation of Don Knuth's Punk font, based on modified Metapost sources by Taco Hoekwater and Hans Hagan, dating from 2008. Hosny writes: Punk is a dynamic font, every time a glyph is requested Matafont draws a unique instance of it. On the other hand, OpenType is static, glyph outlines are drawn once and stored in the font and the renderer can not alter those outlines. To emulate the dynamic nature of Punk, we generate several alternate shapes of each glyph and store them in the font. Alternate shapes are mapped to the base character using OpenType [Randomize] feature (rand), which tells the renderer to select glyphs randomly from the list of alternate shapes. Pick up the free Punk Nova from CTAN or Open Font Library.
XITS (2011) is a Times-like typeface for mathematical and scientific publishing, based on STIX fonts. The main mission of XITS is to provide a version of STIX fonts enriched with the OpenType MATH extension, making it suitable for high quality mathematic typesetting with OpenType MATH capable layout systems, like MS Office 2007 and the new TeX engines XeTeX and LuaTeX. This free OFL package was developed by Khaled Hosny. Inside the fonts, we read Copyright (c) 2001-2010 by the STI Pub Companies, consisting of the American Chemical Society, the American Institute of Physics, the American Mathematical Society, the American Physical Society, Elsevier, Inc., and The Institute of Electrical and Electronic Engineers, Inc. Portions copyright (c) 1998-2003 by MicroPress, Inc. Portions copyright (c) 1990 by Elsevier, Inc.
Euler OTF (2010) are OpenType Math fonts based on Hermann Zapf's Euler and implemented by Taco Hoekwater, Hans Hagen, and Khaled Hosny. Named Neo-Euler (2009-2010), it covers Latin, Greek and has a full blackletter set of glyphs. Copyright Hosny and the American Mathematical Society. Open Font Library link.
In 2010-2011, Hosny developed the free Amiri font (OFL; dedicated web page): Amiri font is an open font revival of the Arabic Naskh typeface designed and first used by Bulaq Press in Cairo (also known as Amiria Press) in the early part of the twentieth century. Amiri's uniqueness comes from its superb balance between the beauty of Naskh calligraphy and the requirements of elegant typography. Amiri is most suitable for running text and book printing. See also here, at Google Web Fonts), and at OFL.
In 2015, Khaled Hosny and Santiago Orozco cooperated on the Latin / Arabic typeface Reem Kufi. Github link. Khaled, who designed the Arabic part, explains: Reem Kufi is a Fatimid-style decorative Kufic typeface, as seen in the historical mosques of Cairo. It is largely based on the Kufic designs of the late master of Arabic calligraphy, Mohammed Abdul Qadir, who revived this art in the 20th century and formalized its rules.
In 2016, Khaled Hosny designed Mada (Google Fonts), a modernist, unmodulated Arabic typeface inspired by road signage seen around Cairo, Egypt. The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type. [Google] [More] ⦿
KLTF stands for Karsten Lücke Type Foundry. It was established in 2005 in Datteln, Germany. Karsten is the talented German designer of the medieval text family Litteratra, which won an award at the TDC2 2001 competition (Type Directors Club). Karsten is from Datteln and studied communications design in Essen, finishing there in 2002. He worked at Steidl Publishers in Goettingen from 2004 to 2005. In 2005, he joined the type coop Village.
Other designs by Karsten include KLTF Tiptoe (2005, a bold and black headline family), and KLTF Grotext (2007, an elliptical family in 7 styles). Great OpenType link and discussion page. [Google] [MyFonts] [More] ⦿
Naqsh is a free OpenType font by Lateef Sagar Shaikh with tons of diacritics for a handwritten Mistral-like character set, as well as a full Arabic character set with appropriate opentype tables for the Nastalique way of writing context-sensitive Arabic. The Latin part was designed by Umar Rashid. A nice effort. The font can in principle also be used for ordinary Western text. Total number of glyphs: 1815. Compliant with many Unicode tables. See also here and here. [Google] [More] ⦿
LCDF Type Software
Eddie Kohler's free type utilities. The LCDF Typetools package contains several command-line programs for manipulating PostScript Type 1 and PostScript-flavored OpenType fonts. It consists of:
LGJ Font Notes
Taiwanese type designer Edward Lee has some font information pages (in Chinese). He has useful technical discussions on Metafont, OpenType, Truetype and type 1. Downloadable full CJK fonts include cwHBMono (2008, Tsong-Min Wu, Tsong-Huey Wu and Edward G.J. Lee).
This archive contains about 30 free full Chinese fonts in the WT, WTS, WP, and WCL series created in 2004 by Taiwanese type designer Edward G. J. Lee. The font names are: HanWangMingMediumChuIn, HanWangKaiMediumChuIn, HanWangMingMediumPoIn1, HanWangKaiMediumPoIn1, HanWangMingMediumPoIn2, HanWangKaiMediumPoIn2, HanWangMingMediumPoIn3, HanWangKaiMediumPoIn3, HanWangMingLight, HanWangMingMedium, HanWangMingBold, HanWangMingHeavy, HanWangMingBlack, HanWangYenLight, HanWangYenHeavy, HanWangHeiLight, HanWangHeiHeavy, HanWangLiSuMedium, HanWangFangSongMedium, HanWangKanDaYan, HanWangKanTan, HanWangZonYi, HanWangYanKai, HanWangShinSuMedium, HanWangCC02, HanWangCC15, HanWangGSolid06cut1, HanWangGB06, HanWang-KaiBold-Gb5, HanWang-WeiBeiMedium-Gb5, HanWang-FangSongMedium-Gb5, HanWang-SinSongThin-Gb5. All fonts are copyright Dr. Hann-Tzong Wang, 2002-2004. [Google] [More] ⦿
In a discussion on ligatures, Sii Daniels stated: [..] use InDesign and better fonts (OpenType) where the ligs should get placed automatically for you. The implication that OpenType fonts are somehow supposed to be "better" triggered this reply from me. Fonts are inert objects. Ligatures are placed by applications that use fonts. The only responsibility of a font is to store enough information so that applications can work with ligatures. Type 1 and truetype fonts can both store ligatures. In the AFM files of type 1 fonts, one can store additional information that may help applications with automatic ligature subsitution and placement of ligatures on the page. The famous GPOS and GSUB tables in OpenType can be introduced in truetype fonts as wellthere is nothing that ties these tables umbilically to OpenType. So, how exactly are OpenType fonts better? [Google] [More] ⦿
Long S Code
Polish type designer who, for her diploma thesis in typeface design at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski, created Kurier (1975). In 2005, Janusz Marian Nowacki digitized the Kurier family, and added an alternative family, Iwona. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Also, both sans families cover the most frequently used mathematical symbols. All type families are freely available from the CTAN archive. Alternate URL.
Masahiko Kozuka began making type in 1952. At that time, he had started working at the Mainichi newspaper, one of the leading nationwide daily newspapers in Japan, where he made hot metal text and headline typefaces. He worked at Mainichi from 1950 until his retirement in 1984. In the 1970s, in the transition from hot metal to digital type, he redesigned many fonts of Mainichi's newspaper typefaces. From 1984 to 1992, as type design director for Morisawa&Company, he supervised many type development projects such as the popular ShinGo typeface family, which is the main typeface in use in Japan today.
From 1992 to 2001, he supervised the Adobe Originals Japanese typeface development, and designed the Kozuka Mincho and Kozuka Gothic typeface families. He served as a part-time lecturer at Aichi Prefectural University of Fine Arts and Music from 1979 to 1997.
Respected Japanese foundry, based in Osaka and Tokyo, est. 1924 and incorporated in 1948. Its US office is located in San Francisco. Its president and CEO is Akihiko Morisawa. Its 270 empoyees report to executice director Takeshi Morisawa Business Planning and Development), directors Yoshitaka Nojiri, Yasushi Yamamura, and Tsunehisa Morisawa, and executive officers Haruhiko Takeuchi, Takeshi Tamura, Atsuhito Tanimura, Hiroshi Hino, Masahiro Shibukuchi, Nobuo Tomita, Yukihisa Morisawa. The Font Development department includes Noibuhiro Irie. Japanese pages. It has the best and most extensive PostScript kanji library.
Since 2003, many of their kanji fonts are also available in OpenType format. These include A-OTF-GothicMB101Pro-Bold, A-OTF-GothicMB101Pro-Heavy, A-OTF-GothicMB101Pro-Ultra, A-OTF-Jun201Pro-Regular, A-OTF-Jun34Pro-Medium, A-OTF-Jun501Pro-Bold, A-OTF-KyokaICAPro-Light, A-OTF-KyokaICAPro-Medium, A-OTF-KyokaICAPro-Regular, A-OTF-RyuminPro-Bold, A-OTF-RyuminPro-Heavy, A-OTF-RyuminPro-Medium, A-OTF-RyuminPro-Regular, A-OTF-RyuminPro-Ultra, A-OTF-ShinGoPro-Bold, A-OTF-ShinGoPro-Heavy, A-OTF-ShinGoPro-Light, A-OTF-ShinGoPro-Medium, A-OTF-ShinGoPro-Regular, A-OTF-ShinGoPro-Ultra, A-OTF-ShinseiKaiPro-CBSK1. The PostScript collection includes these families: Ryumin, ShinGo, FutoMinA101, MidashiMinMA31, GothicMediumBBB, ShinMaruGo, GothicMB101, MidashiGoMB31, FutoGoB101, KaishoMCBK1, ShinseiKaishoCBSK1, KyokashoICA, Kanteiryu, Folk, Takahand, Jun, MainichiShinbumGothic, MainichiShinbunMincho. The font library: Symbols, A1 Mincho, Akashi, Folk Pro, Futo Go B101 Pro, Futo Min A101 Pro, Gothic BBB Pr5, Gothic BBB Pro, Gothic MB101 Pr5, Gothic MB101 Pro, Harucraft, Haruhi Gakuen, Jomin, Jun Pro, Kaisho MCBK1, Kakumin Pro, Kanteiryu, Kocho, Kumoya, Kyoukasho ICA Pro, Likurei, MainichiNewspapersG Pro, MainichiNewspapersM Pro, Maru Folk Pro, Midashi Go MB31 Pro, Midashi Min MA31 Pro, Musashino, Nachin, Outai Kaisho, Pretty Momo, Reisho 101, Ryumin Pr5, Ryumin Pro, Sei Kaisho CB1, Shin Go Min, Shin Go Pr5, Shin Go Pr6, Shin Go Pro, Shin Maru Go Pro, Shinsei Kaisho Pro, Shuei Min Pro, TakaHand, Take Std, UD Reimin Pro.
Free on-line font converter (truetype, dfont, opentype). I checked this out, and have to warn people not to use it---it does not preserve several tables. Most importantly, the "name" table is lost in the conversion. Furthermore, this may be a way of grabbing your font. One should do these delicate tasks with trusted software on one's own computer. Nevertheless, if you insist, here are the formats between which it converts: .dfont .eot .otf .pfb .tfm .pfm .suit .svg .ttf .pfa .bin .pt3 .ps .t42 .cff .afm .ttc and .woff. [Google] [More] ⦿
Ulrich Stiehl's authoritative in-depth discussion (in PDF file format) of how word processors cope with OpenType and Unicode (most don't, or are abysmal). Adobe InDesign appears unscathed, while most Windows apps fail the test. [Personal note: Ulrich did not include a comparison with TeX/UNIX, a combination that has easily handled all the OpenType features since the early 80s.] [Google] [More] ⦿
A defect in the design of OpenType and in the way the Windows operating system handles it can cause a Windows crash. Read here exclusively how this could happen. A demo OpenType font is included, as well as instructions on how to change OpenType files to behave in this manner.
Adobe has converted its type 1 library to OpenType. The first fonts ever published by Adobe in OT format included Myriad Pro (30 fonts), Tekton Pro (18 fonts by David Siegel), Warnock Pro (30 fonts by Robert Slimbach), Lithos Pro (5 fonts by Carol Twombly), Chaparral Pro (40 fonts by Carol Twombly), Adobe Jenson Pro (40 fonts by Robert Slimbach, based on Nicolas Jenson's roman and Ludovico degli Arrighi's italic typeface designs), Calcite Pro (3 fonts), Adobe Garamond Pro (6 fonts by Robert Slimbach), Adobe Caslon Pro (6 fonts by Carol Twombly), Moonglow (12 fonts by Michael Harvey), Organica (1 font by Gabriel Martinez Meave), Silentium Pro (2 fonts by Jovica Veljovic) and Trajan Pro (2 fonts by Carol Twombly). [Google] [More] ⦿
The FontShop message from Petra Weitz starts like this: Heard all the hullaballoo about OpenType, but bored to death by technical jargon? We don't blame you. and goes on as follows: With its scalability and typographic features, OpenType is clearly the font format of the future. It recommends: OpenType does everything that the old PostScript and TrueType formats can do, and they are compatible with all modern operating systems and software. Ditch those old files and upgrade your favorite fonts to OpenType. OK, time for a reality check: TrueType and PostScript are both scalable and have neat typographic features---they are not different from OpenType features. In its basic form, OpenType is a raw shell around TrueType and PostScript. In its sophisticated form, it offers built-in ligatures and glyph replacement information. One could also have glyph replacement and ligature functionality with PostScript and TrueType, a fact often omitted by the OpenType supporters! I have been using ligatures with type 1 fonts for over 15 years in a TeX environment, so the OpenType hype is quite incredible to some oldtimers like me. To advise people to ditch those old files is just commercial spam: pay a second time for the same fonts, please. To hear all this from FontShop, which I consider one of the best font companies, is quite disappointing. [Google] [More] ⦿
Clive Bruton's report on the OpenType Jamboree held in Redmond, early 2000. Summary: "My viewpoint however is that OpenType, at least in Roman usage, is destined to occupy the same hinterland as GX. It is out there, but we donít need it. " [Google] [More] ⦿
I have predicted the collective frustration of type designers with any type format that would demand too much technical input. One such format is OpenType, with its numerous tables that have to be adjusted. This effort turns off the true artists, the letter painters. A type designer friend, who will remain anonymous, wrote: I get the impression that OpenType has just begun troubling the type design world -- when Windows Vista and XPress will be published. Especially Windows seems to implement certain OT features differently than Adobe applications do, which means that Adobe will have to change their applications too, and font developers will have to update their fonts again. [...] I could imagine doing other things than keeping up with ever new developments which, unfortunately, don't improve anything. [Google] [More] ⦿
Partially discussed here by John Butler, the Randomize feature in Opentype allows a cyclic substitution of glyphs by other ones, for example, to create the feel of randomness if each glyph has several slighty different implementations. This principle dates from the late 80s, when Signature Software first tried it in its handwritten font software. Those were type 3 fonts where such things were easy to do. Of course, "randomize" is not the right word. As of early 2006, no major software supports OpenType's "randomize" feature, but John Butler managed to get around it using the Contextual Alternates feature. [Google] [More] ⦿
On comp.fonts, Marek Williams offered this opinion on Opentype on January 31, 2002: "Yes, I am aware of the fact that the OpenType specification is free for anyone to use. But in spite of the fact that it has been available for over two years, not one single text font has been released by any foundry other than Adobe. It's a de facto monopoly. FontLab is the first with a price tag within the reach of ordinary folks, but there have been OpenType tools for some time and the major foundries could easily have been using them to create OpenType fonts. There are some non-Adobe OpenType fonts that have been released, but almost all of them are Arabic or Japanese. I understand that OpenType is a major advance for Arabic, where characters change according to the surrounding characters--- sort of like what English would be if we had several dozen ligature combinations and they were mandatory. This makes it not surprising that Arabic fonts would be made available quickly in OpenType format." [Google] [More] ⦿
A discussion on Typophiles regarding Adobe's discontinuation of MM (multiple master type 1 format), and its sales pitch for OpenType. In general, the type designers liked the optical scaling possibilities of MM. They are not so hot on OT in this regard. Michael Schlierbach's testimony there: "When I began using type, I started with MM. It's wonderful how you can work with optical scaling. I cannot understand why that technology has been given up. Optical scaling on OT, even the Adobe Opticals aren't nearly as fine. I would wish very much, to have a technology that makes it able to use fonts that have their own optical specifics over 6 or 8 sizes (or more) like in ancient lead-type, combined with the ease of working with a computer and for example InDesign, that does it automatically. So a good quality of type could return. With MM that was possible (a good worked font provided of course). Some (or most?) optical axes had non-linear scaling measures, and so a very fine adjusting to optical issues was possible. The few "opticals" of OT-Fonts are far away of that skill. I would wish that these possibilities would come back." James Montalbano reports: "MM as a font development tool is a big part of our work flow. I'm holding on to Illustrator 10 since the new CS does not contain any MM controls. So I hope so long as AI10 works, I'll have MMs." [Google] [More] ⦿
OT1 Font Manager
OpenType (or: OTF) comes essentially in two formats: the truetype kind (the font is truetype inside) and the type 1 kind (font is type 1 inside). For most fonts, OTF is just any old font with some wrapping paper around it to make the font less open. One can create truetype and/or type 1 fonts from OpenType fonts using many of today's font editors. I like pfaedit (now FontForge), George Williams' free and sturdy work horse for UNIX/LINUX and MacOS X. For example, I learned that Chaparral is of the "type 1 wrapper" kind. There are about 650 glyphs in that font, more than any type 1 font can actively hold, so when exporting in "type 1" format, while all 650 glyphs are created, only those numbered up to 256 in the encoding vector can actually be accessed. How do you get the other ones? I guess, you will need to replace the encoding vector by two other ones, one for the small caps, say, and one for ornaments. The names of all the glyphs can be obtained either from the AFM file (generated by pfaedit) or from the output of t1disasm (a free type 1 disassembler). It should be noted that the generated font is a perfect high quality type 1 font, with all hinting preserved, all kerning pairs present in the AFM, and even the "flex and hint replacement code", typical of many Adobe fonts, inside. Nothing is lost. The Chaparral OTF font was created by Adobe using a program they internally call "makeotf": Adobe has a type 1 to OTF program. Childish of them not to put their type 1 originals and their conversion programs on the market. [Google] [More] ⦿
Eddie Kohler's free type utility which creates TeX font metrics and encodings that correspond to a Truetype or OpenType font. It will interpret glyph positionings, substitutions, and ligatures as far as it is able. You can say which OpenType features should be activated. [Google] [More] ⦿
Panorama de polices OpenType
Richard Howard explains on how to get free OpenType fonts: " I recently found a font that I really like (daVinci) and am quite prepared to pay some money for it. Knowing absolutely nothing about the different font issues (I'm not overly into typography), I went onto Microsoft's page after hearing about the new OpenType stuff. Fair enough, useful info - then link to a page using and 'Embedded open type Font' - the same font that I wanted to buy! To cut a long story short, using IE 5.5, I saved a complete image of the website onto the hard drive, copied the 'eot' file from Microsoft's site by working out the path, and voila! - I had my very own Font generator - Microsoft Internet Explorer 5.5 itself ! Just a case of slipping into Notepad and setting out the text I needed to make my images. My question to Microsoft is - how can these people that spend MANY hours crafting fonts be let down by such LAPSE security holes??? After all, this technology WAS meant to be secure. I'd managed to generate the stuff I needed in about 5 minutes from first loading up the page. I will buy the font anyway to support the author, but this isn't the point. If I can do it, I'm sure a spotty 15 year old kid can." [Google] [More] ⦿
This Dutchman at the University of Leiden wrote open source code for the following tools:
Designer in Denmark of a free OpenType font with partial Unicode support: Summersby (2003). Current language support: Danish, English, French, German, Italian, Norwegian, Russian, Swedish, Ukrainian, plus a few others. Alternate URL. He is working on a serif typeface called Random (2004). [Google] [More] ⦿
SING is an Adobe proposal format for font files that contain glyphlets, single characters that are not in given fonts (also called supplemental characters or gaiji by Adobe), so that they can be used as if they were incorporated in an existing font. For example, this is a useful thing to have for many oriental languages. It can only work, of course, if the application recognizes it. Since 2004, the Japanese version of InDesign does. Jim DeLaHunt of Adobe explains the format: A glyphlet is like a very small OpenType font that contains one glyph. It contains the glyph outline data for one glyph (plus a one or two alternate glyphs for different writing directions, if appropriate). This outline data is in the TrueType or CFF formats supported by OpenType. The glyphlet also contains meta-information, data that describes the character and glyph properties of the glyphlet. It omits several OpenType tables, so that an OpenType system will not accidentally interpret a glyphlet as an OpenType font. The glyphlet is typically 1 to 2k in size and is supposed to travel with a document in which it is used. Glyphlets are either bought or made in editors, and are then managed by a Glyphlet Management Tool. Glyphlets can also be described in XML, and there is a one-to-one correspondence with the binary format. [Google] [More] ⦿
Free Tamil OpenType fonts have been released under the GNU General Public License:
Textism on OpenType versus type 1 in 2003 [site now defunct]: After years of stupid adherence to the stupid Postscript Type 1 stupid font format – in which a type designer's work is made marginally more useful than it would be if it where chiselled onto the arms of a manual typewriter, so long as the person using the typewriter worked only in North American english (elsewise, you understand, other typewriters would need to be purchased) and is subject to the letterspacing whims and lively mangling gewgaws central to programs like Quark Xpress – a new standard emerged some time ago, called Opentype; it features almost unlimited character sets and adheres to a universal character-encoding standard, it allows for sophisticated spacing and metrics, and type families are available as single binary files that work the same on Windows and Macintosh computers. [Google] [More] ⦿
Great article by Freddy Nader about the pros and cons of OpenType. Thomas Phinney (Adobe) disagrees, but in the same newsgroup. Gerald Giampa concurs: "Personally I do not believe Jim Rimmer will participate in Open Type. Open Type will be the Great Typographical White Elephant. The singular good feature about Open Type is "cross platform". Titch tich! There is more important aspects of typography than adding idiotic symbols and even longer kerning tables. Your typographical time should be spent making a beautiful font. If you have any additional time go boating. They are asking instead that you become a data entry clerk. As for the rest, auto ugly symbols are fine with me. I don't use them, but be my guest. As if I am going to spend time making beautiful pie signs. Or Greek, I know nothing of Greek. What, I am going to design them a typeface? think again! I am just not that arrogant. Who's fooling who. Frankly accents are bad enough. All these languages with their accents. At least in English we don't use accents as a crutch. I'm surrounded. I better shut up about the accents. Better cancel my vacation to Greece for that matter. The Open Type format lost me when it was decided that optical scaling was of no particular importance. One suggestion was real nifty. Make a font for every size. Ask our friend who made Founder's Caslon what he thinks of that idea? Maybe we can give him our libraries and have him do it for free. A gazillion fonts does "not" make a solution. User hostility?" [Google] [More] ⦿
The Terrible Secret of OpenType Glyph Substitution
Belgian graphic designer and software specialist who is assiocated with the Sint Lucas Hogeschool voor Beeldende Kunsten in Antwerp, Belgium. He designed various experimental types at these workshops. On his web site, you can find the (free) Panda truetype font made by his associate, Tom Van Iersel. He also made Pixie, a handwriting OpenType typeface (2004) that looks different each time. Speaker at the ATypI meetings in 2004 and 2005 in Prague and Helsinki. [Google] [More] ⦿
TrueType developer tools at Microsoft, such as TTFDUMP, TTOASM (TT Open assembler), TTODasm (TrueType Open Disassembler), Flint, SBIT32 (embits bitmap data in a truetype font file), CacheTT, Fastfont. [Google] [More] ⦿
Truetype, PostScript Type 1&OpenType
Discussion at Typophile in December 2005 regarding which font format will survive. Some say PostScript (type 1) will be around for a long time as many print shops are still using it. Truetype is preferred for applications on screen, it seems. There is agreement that Truetype outlines are harder to get right. But no one mentioned the fact that we should have a different font model altogether--one based on many inking paradigms including drawing and image-based formats, in which all data can be altered in ordinary text editors. [Google] [More] ⦿
"TrueType Open Assembler Two DOS utilities, TrueType Open Assembler (TTOAsm) and TrueType Open Disassembler (TTODasm), work together to aid in the creation, modification, and verification of TrueType Open (TTO) tables. TTOAsm accepts TrueType Open table data in text format and then assembles that data into a binary TrueType Open table file." [Google] [More] ⦿
Opentype discussion on Typophile. A quote from Hrant Papazian: "But business is business, and the reality is that the same identical font with no extra features (in fact with a somewhat higher technological barrier!) can sell for a bit more under the guise of OT. The same way that Toyota changes the bodywork on their Camry, calls it a Lexus something-or-other, and doubles the price; the same with Audi using VW "essentials": the much-touted TT is just a really fancy Bug. Some people take advantage of this business reality, others have more scruples. In fact, historically font houses have always looked for (and maybe even sometimes concocted, or at least helped concoct) new formats to resell their core value (sets of letterforms) to a saturated market. Many of these fonts we're using have been around for hundreds of years, and we're constantly having to re-pay for them... It's the price of technology I guess---it has a life of its own, with a ravenous apetite that must be fed." [Google] [More] ⦿
Underware is a (typo)graphic design-studio which is specialized in designing and producing typefaces. These are published for retail sale or are specially tailor-made. The company was founded in 1999 by Akiem Helmling, Bas Jacobs and Sami Kortemäki. Since 2002 Hugo Cavalheiro d'Alte is also part of the studio. They are based in Den Haag, Helsinki and Amsterdam. In 2017, they joined Type Network.
Bas Jacobs and Akiem Helmling designed Dolly (2001), a 4-font book typeface with flourishes, brushy, sturdy, Dutch. They created Sofa, a precursor of Sauna (2002; +Sauna Mono Pro), which won an award at the TDC2 2003 competition. In 2002, they made Stool for a Finnish printing house, Salpausselän Kirjapaino Ltd. Ulrika is a custom display typeface designed for Proidea Oy (a Finnish film and video production company).
In 2004, they created Auto, about which they write: Auto is a sans serif typeface which has three different models of italics, each with its own flavour. The font family consists of 3 x 24 fonts. With its three italics, Auto creates a new typographic palette, allowing the user to drive through unknown typographic and linguistic possibilities. Auto is fully loaded with both full Western and Eastern European character sets. Auto won an award at the TDC2 2005 type competition.
In 2005, Underware joined the type coop Village.
Interview in 2008.
In 2009, they published the connected script brush typeface Liza (+Text, Display, Caps, Ornaments), which has several versions for each letter.
In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.
Zeitung Pro (2016) is a substantial sans family, designed for micro and macro use, with optical sizes, and a Zeitung Flex variable Opentype font to boot.
Custom types: Stockmann Sans, Mr. Porter (script with a dozen alternatives for each glyph to better simulate real handwriting; it was awarded at TDC 2012 and at Tokyo TDC 2012), Stool (Headline, Thin, Grand), Sauna Mono (for the Danish Jyske Bank), Fated (fat), Ulrika (rounded and informal, slightly plump: for Proidea Ltd, a Finnish video production company), Suunto (2012; for sports watches, i.e., Suunto's Cobra2, Vyper2 and Elementum).
URW++ Design&Development GmbH is a Hamburg-based foundry established in 1995 by Svend Bang, Hans-Jochen Lau, Peter Rosenfeld, and Jürgen Willrodt. URW stands for Unternehmensberatung Rubow Weber, named after Gerhard Rubow and Rudolf Weber, cofounders of the original URW company from which urw++ evolved. It offers a whole range of font services and has an extensive (7000+) font library. At the basis of the early development of many classy PostScript fonts. For example, in 1999, URW++ donated the 35 core PostScript fonts (renamed) under the GNU GPL license to the Ghostscript project. The great 3000-font CD costs about 2000DM. Other CDs are more expensive: on the ITF CD, each font is about 100DM! URW sells fonts and font families with complete rights (you can change, resell, embed, anything, except use the original name), with examples ranging from 2k for a complete family of 12 to 5k for a collection of 250 fonts. This practice continues until today: URW++ thus provides a great service to software developers who want to include high-quality typefaces in their software applications. URW has offices in many countries. In the first decade of the 21st century, freelance type designer Ralph M. Unger contributed most frequently to the URW library. OpenType collection guide (in PDF).
Selected releases: URW Egyptienne, URW Grotesk (1985, Hermann Zapf), Anzeigen Grotesk (2009), Clarendon No 1 URW, Saa Series (industrial sans), Nimbus Sans (1987, a Helvetica clone), Nimbus Sans Novus, Nimbus Sans Europa (covering Latin, Greek, Baltic, Cyrillic, Central European, Turkish, Romanian, and so forth), Nimbus Roman No 9 (2001), Nimbus Sans Global and Nimbus Roman Global, each at about 2000 Euros, and each containing 35,000 glyphs, from kanji/Chinese/Korean to all European languages. House typefaces done for corporations: DaimlerChrysler Corporate ASE (after the Corporate ASE series for Daimler-Benz by Kurt Weidemann), Gardena Sans (2015, for Gardena), Siemens Schriftfamilie, Deutsche Telekom Schriftfamilie, ZF Friedrichshafen, Körber Argo, URW++ SelecType Raldo (2001, for Igepa).