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Having some font that have "PRO" in their names, I wonder if that means the same?
I'll explain:
in the font Adobe Caslon Pro the characters like g with ^ and c with ^, which are being used in the independent language Esperanto could not be found, whereas in the font Minion Pro, there are present, just like in the font Garamond Premier Pro.

Any comment on this?

PS. I am new here, and I hope I can learn a lot from everybody.

The friend is a photography teacher at a high school. Recently the teacher that taught digital art was involuntary transfered to another school and replaced by, in her words, an "inadequate" teacher. She said the new teacher only teaches how to apply photoshop filters.

I don't have much more information than that, but she enlisted me to help her come up with some information to why this is not an effective way of teaching digital art. Her exact quote was, "why photoshop filters suck."


Can anyone shed some light on when the Scangraphic phototype library was digitized? Any history on the foundry would also be appreciated. Thanks.

It'll be a good meeting:
We're expecting a lively conversation.
And we've got plans for the future.

Each year, The Special Collections & Rare Books Department at Simon Fraser University (SFU) convenes a special book-related event. This year we are pleased to celebrate our good friend and one of Canada’s living national treasures, the printer, typographer and publisher, Jim Rimmer.

Jim’s career stretches back over fifty years and he has made many friends along the way, both at home and abroad: printers, type designers, publishers, students, teachers, design firms, binders, type founders, librarians, book collectors. . . Since many of these people are printers, we are inviting their participation in this public event by producing a broadside celebrating . . . Jim. The broadside may be any size and could include an anecdote or tribute, for example, and should include a signed colophon. We would like to have three copies of each broadside: two will be given to Jim; the third will reside in SFU’s Special Collections Department, which holds Rimmer’s archives. We will need all broadsides in hand by October 31, 2006.

You may also send personal greetings and best wishes by email, card, fax -- any form you choose. In which case, please send three copies by October 31, 2006.

The broadsides and greetings will be gathered then presented to Jim during the evening of the Rimmerfest, which will take place on 25 November at Simon Fraser University, 515 West Hastings St., Vancouver at 7:30 p.m. Robert Bringhurst, among others, will speak at this celebratory event. All are welcome.

The broadsides and the greetings should be sent to

Eric L. Swanick, Special Collections Department
Simon Fraser University
8888 University Drive
Burnaby, BC V5A 1S6
tel: 604 291 4626
fax: 604 291 3023

I look forward to receiving these special items and seeing you on 25 November. By the way, Typophiles should check out the Rimmer Type Foundry at

Thank you,

Eric Swanick

what d'you reckon?

I have to go on an internship this (school)year. I was thinking about going to London, but amazingly enough I can't seem to find that many. London is known for it's high concentration of design firms i believe. I've bought and looked into some books, but I was also wondering if anybody on this forum knows some good firms.

I am looking to get a font editor. So far i am looking and comparing Font Lab Studio and Fontographer. I am new at this though I am good at lettering. I just need to know what I need to convert my vectors to fonts without spending too much money and having more software than I really need.

Font Lab studio is more expensive but seems to be the buzz. what does it do that Fontographer doesnt?

Any feedback would be appreciated. Thanks!

Can anyone send me a scan of an example of Frederick Warde's Arrighi typeface? I need to see this face in use.



First I should mention that the goal here is not in fact randomness, because we want a "natural" effect, where adjacent glyphs are not identical--which is what would occur occasionally with a truly random disposition of glyphs.

In these examples, there are four alternates of each character in the font (including punctuation and, importantly, the space). They are sorted in four classes, @one, @two, @three and @four.

Version 1.0 was provided by Thomas Phinney. This is the first lookup.
It sets glyphs from a sequence of classes: 1234 1234 1234, which then repeats.

Version 2.0 is a tweak I provided, to deal with repetitive five-character sequences, as in "they do the things..."
This is implemented by the second lookup.
It sets the class sequence to: 1234 1324 3142, which then repeats.

Version 3.0 deals with the line-break problem. (Because layout applications don't carry contextuality from one line to the next, starting over every line, a word like "the" at the start of a line is set with the same glyphs every time.) This method was suggested by John Hudson. It works backwards from the fifth character in the line (chosen, again, to deal primarily with the problem of "the"). My code splits possible fifth letters into seven groups, arranged to separate those that occur most frequently in English into different groups. The seventh group is the default, and not coded. It includes all accented characters, as I have not bothered to make truly comprehensive classes, as I did with classes one through four, which might include them.
This adjusts Version 2.0 by changing the first four classes in the sequence, depending on the fifth character in the line, to one of: 3143, 4324, 2413, 3214, 4132, 2314 or 1432.

feature calt {

lookup calt_one {
sub @one @one' @one by @two;
sub @two @one' @one by @three;
sub @three @one' @one by @four;
} calt_one;

lookup calt_two {
sub @four @one @two' by @three;
sub @three @three' by @two;
sub @two @four @one' by @three;
sub @four @three @two' by @one;
sub @three @one @three' by @four;
sub @four @four' by @two;
} calt_two;

lookup calt_three {
sub @one' @two @three @four [E M V e m v one space] by @three;
sub @two' @three @four [E M V e m v one space] @three by @one;
sub @three' @four [E M V e m v one space] @three @two by @four;
sub @four' [E M V e m v one space] @three @two @four by @two;
} calt_three;

lookup calt_four {
sub @one' @two @three @four [T U B t u b two space.alt2] by @four;
sub @two' @three @four [T U B t u b two space.alt2] @three by @three;
sub @three' @four [T U B t u b two space.alt2] @three @two by @two;
sub @four' [T U B t u b two space.alt2] @three @two @four by @four;
} calt_four;

lookup calt_five {
sub @one' @two @three @four [P A C p a c three nine space.alt3] by @two;
sub @two' @three @four [P A C p a c three nine space.alt3] @three by @four;
sub @three' @four [P A C p a c three nine space.alt3] @three @two by @one;
sub @four' [P A C p a c three nine space.alt3] @three @two @four by @three;
} calt_five;

lookup calt_six {
sub @one' @two @three @four [L I Q Y l i q y four eight] by @three;
sub @two' @three @four [L I Q Y l i q y four eight] @three by @two;
sub @three' @four [L I Q Y l i q y four eight] @three @two by @one;
sub @four' [L I Q Y l i q y four eight] @three @two @four by @four;
} calt_six;

lookup calt_seven {
sub @one' @two @three @four [D O G Z d o g z five] by @four;
sub @two' @three @four [D O G Z d o g z five] @three by @one;
sub @three' @four [D O G Z d o g z five] @three @two by @three;
sub @four' [D O G Z d o g z five] @three @two @four by @two;
} calt_seven;

lookup calt_eight {
sub @one' @two @three @four [F R J N f r j n six seven] by @one;
sub @two' @three @four [F R J N f r j n six seven] @three by @four;
sub @three' @four [F R J N f r j n six seven] @three @two by @three;
sub @four' [F R J N f r j n six seven] @three @two @four by @two;
} calt_eight;

sub @two @two' by @one;
sub @one @one' by @two;

} calt;

I suspect it may be possible to configure a system that works entirely with backwards-activation, but it is too mind-boggling for me to figure out.

[Sorry, I meant to post this in the Build forum.]

I will be heading off to Budapest for two weeks and I thought I would solicit some suggestions about typo-interesting places to see. Or any places, really, above and beyond the typical tourist hot-spots that people here have found interesting.



Hey i'm putting together my r

Looking to find some nice prints focused on type or design... any good sites you know of?

Practically all of the paper assignments I get in school say that the font the paper is done in must be "12 point Times". Personally, I'm not a huge fan of Times; I respect it because of its widespread use but that's precisely the reason I'm not a huge fan of it. So I've almost always shirked this rule, without being reprimanded (well, not yet). I replace Times with Adobe Garamond; I find this font well-suited for papers.

So, does anyone else get this same requirement at all? Do you ignore it like I do? If so, what do you replace Times with?

On a recent trip to the Design Museum ( in London (Highly recommended), I spotted this wall/desk calendar in the shop.

Calendar Image
Calendar Image2

The magnetic circle can be positioned to surround the number. Really interesting shapes, anyone know of any other interesting typographic calendars?

2002 Honest Fonts
( archived version)
This is for the guy who asked about free fonts. Awesome.

Something to do with preventing piracy. A logo of some sort was involved.

(Cross-posted from english.stackexchangecom since folks here are more likely to have come across this sort of thing before.)

In the 1928 Scribner’s (NY) edition of The Plays of J. M. Barrie, I’ve noticed an odd convention: where a contraction happens in middle of a word (e.g., “don’t” for “do n(o)t”), the apostrophe has the usual appearance. But when the contraction removes the entire first part of the word (e.g., “it’s” for “it (i)s” or “I’ll” for “I (wi)ll”), the typesetters consistently left the inter-word space there: not “it’s” or “I’ll” but “it␣’s” or “I␣’ll” (using ‘␣’ to represent a space):
Illustrative example

In the comments someone mentioned seeing a book from that era with “y’all” written as “y’␣all”. The idea is the same: if the apostrophe indicates elision of part of only one word, the words aren’t run together.

• Was this a reasonably widespread practice, or merely an idiosyncratic house style? or
• Was this perhaps an idiosyncratic authorial style, like A. A. Milne’s use of “sha’n’t” in Winnie the Pooh, and should therefore be preserved in reproductions?

Last year some friends opened a shop called Gubb & Mackie on Customs Street in downtown Auckland; when I visited the shop they had just refurbished the place and unearthed this mid-20th century mosaic from under the floor vinyl, welcome mat and god-knows-what-else.

Interesting to see how much extra trouble the lettering artist of the day had gone to over that angular ampersand; I figure that by the time they'd trimmed all the tiles to allow for the diagonal insets, it couldn't have been much of a time-saver.

I have made an Arabic font. In Word 2007 when I apply low, medium or high justification the Kashidah i.e. the stretching line within the words sometimes appear at wrong places as shown by the red arrows in the picture below. Is it a font problem? what would be the solution ?

When I tried in OpenOffice there appear three problems.
1). The kashida appeared at wrong places as indicated by green arrows in the 2nd picture below.
2). The Marks disappeared from the last letters of each line as indicated by red arrows.
3). The last marks of some words slipped forward from their respective places as shown by orange arrows.
Is there any solution for these problems ?

A friend showed me a postcard announcing this event. Not only is a bunch of the graphics set in Reliq, but the main logo/graphic is a photo of a pumpkin carved with the event name, in Reliq. Sweet and spooky.

Hi Typophille

I am designing a font for Kashmiri in fontcreator and Volt. I encountered a problem with one of my characters uni065F. It is a below mark and is used in combination with other characters. i set its positioning in volt and type as mark but when i test it in microsoft word it creates joining problem for the character with which it is used. it does not let the character with which it is used to join with successive character. Any help would be a great help. thanks

I have been looking at Mercury in the course of trying to select a typeface for an upcoming book project (my first 'serious' book actually!), and got pretty excited about them offering different grades to offset differences between paper / printing circumstances.

Now to my uninformed eye, the difference between the grades looks very similar to the difference between optical sizes in other typefaces, except that the different grades all share common widths / metrics so as to be interchangeable at any time. – Also, on the H&FJ page that helps in choosing a grade, under the Book section it says, "Book designers who use uncoated stock (and can rely on good inking) typically select Grade Two. Those who routinely run very small type, such as footnotes or captions, should consider adding Grade Three."

Now – wouldn't that effectively mean using the heavier grade in the function of a smaller optical size?

So, can 'grades' indeed be seen as sort of an elegant digital adaptation, or expansion, of the concept of optical sizes – as in, you need a smaller size, you choose a heavier grade (& most likely track it more loosely) – but also, if you need the same size but the print comes out too light, you can choose a heavier grade as well without the layout changing?
Or am I mixing up apples and oranges?

(If this sounds confused, it's probably because I am. :) )


BUYFONTSSAVELIVES will sell typefaces to raise money for Cancer Research UK and Macmillan Cancer Support. The brainchild of Haymarket Creative Director Paul Harpin, all proceeds are going directly to these two great charities.

The fund-raising project was inspired by Harpin’s niece Laura, who sadly died aged just 26. Paul created a new typeface family to sell in her memory. Other type designers and experts are kindly joining in to help raise funds.

The fonts are available to buy and download from with the initial releases including the following:

A new typeface family in four styles – Plain, Shaded, Ribbon, Stencil – twelve weights plus italics in each style. Designed by PAUL HARPIN assisted by PAUL HICKSON. “This is my first ever typeface,” says Harpin, “and I now know how hard type designers work”.

Kindly donated by LORD HESELTINE. Two styles – Text and Titling. Originally produced as a gift from Haymarket Media Group to Lord Heseltine for his 75th birthday. Designed by PAUL HICKSON and his wife PATRICIA. For Hezza’s 80th we added italics, for Latin plant names.

Donated and designed by MATT WILLEY (assisted by HENRIK KUBEL at A2 -TYPE) in honour of his father Nick. This much sought after headline font was originally drawn for ELEPHANT magazine, then used in Matt’s PORT magazine and has featured in the US edition of WIRED.

Kindly donated by G-Type's Nick Cooke, this special pack includes the Regular & Bold weights of both Organon Sans & Serif which have been designed specifically to complement one another. Feature rich OpenType fonts with Small Caps and extended European character sets.

Please help to spread the word about this campaign or kindly buy one of the fonts. Get in touch if you’d like to donate a typeface.


e: or

does anyone know of a typeface that goes well with bodoni?