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Are there any layout or design applications which do not require a font to be installed in order to use it? That is, I have a decent library of Bitstream fonts (came with WordPerfect X3) and would like to use one or two for a specific project but not have them installed in my font registry...
(I have a feeling I'm going to get a rep around here as the user asking the stupidest questions, but so be it. Asking questions is how I learn.)
I have a problem with (and now I try to explain it in my best Englisch) a single last paragraph word on a new line. I work in InDesign CS3 and I don't want that the last word of a paragraph starts on a knew line. I now the ways of correcting this manually, but I am looking for a way to prevent this. Any one a good idea /tip?
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Some of you may have already heard the sad news - the Type Museum in London is to close. This is what I received:
The trustees of the Type Museum have taken the decision this week to
CLOSE and disperse the museum due to lack of funding.
These unique collections spanning the evolution of type design and
manufacture will be split up and the majority put into storage -
unlikely to see the light of day again.
You are receiving this email because you have previously expressed
your interest in, and support for the Type Museum. We need your help
urgently if we are save the Type Museum as a working resource for the
future. Apologies if you have received any cross postings.
A meeting is scheduled to launch a Type Museum Society campaign to
ensure a working future for the collections.
18:30 on Wednesday 24 May at the Type Museum, 100 Hackford Road SW9 0QU
All welcome. We need every kind of active support if we are to succeed.
If you are able to come along, or have any other time, ideas (or
money!) to offer please let us know at:
Thank you in anticipation
for the Type Museum Society
In illustrator, you can choose a key object to alight everything else selected around.
Can't seem to do this in indesign though. All I find is align with page and margins, otherwise it always alights with the upper left object in a group selected.
Am I missing something.
I recently received my membership renewal from SoTA. It is hard to support a phantom organization.
Has SoTA ceased to exist? It seems they do nothing anymore. Other than the wonderful Ampersands for Haiti project, they seem to be in a coma. Last year, the somewhat ho-hum TypeCon program was barely posted before the event and this year is no better. By now, everyone should know who the speakers are and what the conference will cost. A Professional organization should be run, well, professionally.
It takes a lot to get me to bitch on a public forum but sometimes only the squeaky wheel gets oiled.
Last year I was looking for type specimen and related publications of foundries on the internet. I found this nice booklet that was published Christmas 1970 by H. Berthold AG as a present to their customers. It is called ‘Die Wappen der Buchgewerbe’ (Coats of Arms of the Book Trade) and was published in a series of facsimile publications from ‘Schätze aus der Berthold-Bibliothek’ (Treasures from the Berthold-Library). On the cover Englische Schreibschrift set on the Diatype Photocomposer and Akzidenz Grotesk Mager as handset metal type. On the cover also the first known printers' mark from Fust and Schöffer in the Mainz Psalter, printed in 1457. ‘Die Wappen der Buchgewerbe’ was first published in 1891 by the Austrian heraldic painter Hugo Gerard Ströhl and contained nine colored plates with coats of arms.
On the second picture a spread with one of the seven coats of arms that are shown in the Berthold booklet. This is the coat of arms of the painters, one of the oldest coats of arms. Times where changing and in in the seventies graphic designers began to play a bigger role in book production. So Berthold dedicated this coat of arms also to the graphic designers.
I am looking for a free font similar to Grey Sans Black, Acto UltraBlack, or Formula TS ExtraBold. I have looked at daFont and Font Squirrel and so far have had no luck. I was hopping someone here might be able to point me in the direction or better yet introduce me to a substitute.
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Anyone else catch Robert Bringhurst today at Zapfest? What was that quote about "Designing a typeface is like making dinner.."? What other tidbits resounded with you about his speech?
I read in a short bio of you, that you did not have a formal education in graphic design. Did I misread this?
More to the point:
If this is true, how did you become so interested in the study of type? just curious.
I'm not sure if this is the right forum, but i really need to find this or a similar font.
Hello guys, here I'm asking for your help to make my font project
Tweegi a reality. Tweegi is a super condensed fonts with two
variables regular and italic, it has a 600+ character set, with regular
and discretionary ligatures, alternate characters, complete set of
numbers, small caps and it covers 105 latin alphabets. The best of this
is that if I can reach the funding goal, it will be free for everyone
to use as they like.
So please check it out and help me spread the word, every help
will be appreciated.
What is the accepted etiquette regarding a drop cap if the text opens with a numeral?
I'm not sure if I've seen it in print or wether I've just ignored it but it looks pretty awkward on screen here.
The Beta version of Adobe Flash Player 10 was just released on Adobe Labs. Among the many enhancements, there is a new Text Engine which comes along with an extensive library of ActionScript 3.0 Text Layout Components. Here's the blurb from the release notes.
_ New Text Engine
A new, highly flexible text layout engine, co-existing with TextField, enables innovation in creating new text controls by providing low-level access to text layout and interactivity APIs to create component-level text objects. The new text engine expands creative freedom by treating device fonts as first class citizens that can be anti-aliased, rotated, and styled and have filters applied as if they were embedded. The new text engine also offers right-to-left and vertical text layout, plus support for typographic elements like ligatures._
Text Layout Components
An extensible library of ActionScript 3.0 text components, coming in future to Adobe Labs, provides advanced, easy-to-integrate layout functionality that enables typographic creative expression. Layout and style text with tables, inline images, and column flow through components that are compatible with both Flash and Flex, all while getting the benefits of the new text engine. Rich text components allow designers and developers to flow text and complex scripts, such as Arabic, Hebrew, and Thai, across multiple columns like a newspaper, around tables and inline images, from right-to-left, left-to-right, bi-directionally, or vertically. Selection, editing, and wrapping of text are handled as would be expected for the different layouts.
Anti-Aliasing Engine (Saffron 3.1)
An update to the Saffron anti-aliasing text engine increases performance and quality of anti-aliased text, particularly for Asian character rendering. Support for stroke fonts reduces memory requirements.
That's right, support for Complex Scripts and OpenType features is coming to the Flash platform. These are great news!
Hi! I work a bit with type but not in type buying, so I have a bit of a dilemma. I do some freelance teaching work in my spare time. I have a tax credit because of that and am thinking about buying a nice body text font for my own teaching work-lesson plans and the like-that’s got more range than Garamond.
I have a couple of criteria I’m looking for, in descending order of importance. No choice about foundry-in fact I’d be keen to support a small one doing something really good.
I suspect I crashed Windows 7 rasterizer. I was investigating how my (silly) font was looking at 8pt/em (in Notepad); now Notepad fonts' selection is quirky when I try to choose this font (it won't show — autogenerated — Italic/Bold on the first time I select the font, only on the second time), and, while the dialogue allows me to choose font size, the Notepad continues to use the same 8pt size.
The other fonts are unaffected (even in the same Notepad session).
Is there any way to clear the rasterizer cache and ask it to start from the scratch? (Short of rebooting…)
Do you know your type basics? I created this quiz on Bloxi about typographic trivia.
I was curious what fonts would say 1990s (please no comic sans, grungy fonts, typewriter fonts or computerish/techy fonts). that were good then and still hold up today. Preferably from the first half of the 90s.
Hi. I'm new here and to typography in general. I've started reading Bringhurst's EOTS, based on numerous recommendations, and had a few questions on some of his guidelines and the justification used in the book itself.
I'm only on page 42, but thus far, the following guidelines have been suggested:
2.1.7 Don't letterspace the lowercase without a reason.
2.1.9 Don't alter the widths or shapes of letters without cause.
2.4 Etiquette of Hyphenation and Pagination
... and no typesetting software should be permitted to compress,
expand or letterspace the text automatically and arbitrarily
as a means of fitting the copy.
All of the above seem to make perfect sense to me, especially tweaking a designers type by changing widths, even to a mere mortal, I wouldn't even consider such blasphemy. However, he then points the reader to p.190 (section 9.4) where he talks about the various software justification engines that are able to do letterspacing and glyph shaping. He then proceeds to describe the min/max letterspacing and min/max glyph shaping settings he used in the book?!?
Is it me, or is he violating his own rules by using letterspacing and altering the widths of glyphs? Perhaps, as a newcomer, I simply do not understand some of the terminology, but it seemed clear to me that the first two guidelines frown upon both letterspacing and glyph shaping.
With that said, I am also curious as to the general concensus of his use of justification in the book. Before I started getting into the details of interword spacing, I thought the book was very readable. However, after reading only 42 pages, I am now continually distracted by the horrible interword spacing seen is some paragraphs. On p.31 the following paragraph looks terrible:
A man who would letterspace lower case would steal sheep, Frederic Goudy liked to say. If this wisdom needs updating, it is chiefly to add that a woman who would letterspace lower case would steal sheep as well.
My untrained eye still can't notice any glyph shaping occuring, but in the above paragraph, I can see the extra letterspacing and wordspacing with no problem whatsoever. In some ways, I think I enjoyed the "look" of the book better when I was ignorant of these details. Now, all I do as I read is concentrate on how the wordspacing is so inconsistent across lines.
Am I just being overly critical because I've just recently been enlightened to some of the details of typography?
ps On a side note, does anyone know if InDesign's paragraph composer has the same feature the TeX does concerning the amount of extra wordspace used on consecutive lines? If I recall, TeX will not put one line of text with an abnormal amount of extra wordspace next to another where the wordspace must be shrunk in the other extreme, thus limiting the contrasting amount of nearby wordspacing.
Not necessarily in the historical context...more like objects we use daily that are indicative of our culture, lifestyle, etc.
Fast food (McD, wendys, burger king, pizza, etc)
iPod (not necessarily indicative of just US culture, but more generational)
What else? Would love input from someone who is American, as well as any outside perspective on American culture from the international Typophile contingent.
I’m considering showing my students samples of Jonathan Hoefler’s HTF Gestalt as part of a short lecture about “minimal” typefaces – Pierre di Sciullo’s Minimum, Herbert Bayer’s Universalschrift, Wim Crouwel’s New Alphabet and so on. I have some HTF specimen booklets as visual documentation, but I'd like to show the typeface in “regular” use as well. Does someone over here know if HTF Gestalt has ever been used in some “real” context – magazine layout, book cover, anything ?
Thank you very much.
Does anyone have any stories of font abuse where someone has been prosecuted? For instance, a design house using a font and not buying the license etc.. Has anyone had experience with this?
I never really hear of anything like it in type, it sometimes seems like people can get away with it.. (or can they?)
I found this in the archives.
On the Monotype website, there are two futuras. One is called Futura(R) and the other is called Futura. (R) = the copyright symbol. They are different. The most obvious difference seems to be that the capital U of the Futura without and (R) has a flattened base and is not just a simple arc. I thought that Futura was Futura unless, maybe, a particular foundary was specified, of someone decided to "improve" on it. What gives?? I want to match a sign in my building foyer, and the sign seems to use the Futura without an (R). How do I specify the right one??
Monotype does not offer an explanation.
Monotype seems to own: Monotype, Linotype, ITC, Ascender, and Bitstream. I suppose that that means that Monotype might have ended up owning more than one foundry's version of Futura. If that is the case, should they not offer Futura with the initials of the foundry that made that version of Futura (say, Futura MT or Futura BT)?
I saw on another site, someone saying that there were 7 different foundries that made Futura and discussing which was better. That thread did not mention the Monotype thing and didn't mention the obvious width-of-the-U thing either. I am eagerly awaiting hearing your wisdom. I love this site.
(Apologies for the length. For the short but incomplete version, just follow the bolds. )
It seems that typographic criteria are an important factor in how philosophers distinguish scholarly from non-scholarly philosophical papers. First, scholarly articles use black text only. Probably because it is too expensive to print, I have never seen color in the body text of an academic journal. Second, visual structuring of the text is kept to an absolute minimum. The clearest visual cues to semantic or logical structure likely to be found are the numbers in sequentially numbered arguments. Lastly, diagrams are rare, always sharply separated from the body text, and usually redundant—clarifying as they do material already expressed in the body text. These tendencies reflect a desire to evade the influence of design on inquiry, to present the content of philosophical inquiry as somehow free from the constraints of having a visual form.
To make things complicated for myself, I’ve come to want to defend a conception of philosophy that demands I question the typographical norms of the academy. (In short, since philosophy seeks knowledge of self-consciousness, it cannot deliberately ignore the necessity of its products being physical and visual things. I will likely develop some of these ideas on my blog, rather than in a discussion forum thread.) But when I expressed interest in writing on this topic for my honors thesis, such that I would use the design of my paper as well as the written words to convey its argument, it generated somewhat of a controversy. Responses ranged from interest and encouragement to the warning that if my paper did not show up to the ball wearing a suit and tie, it would not even be admitted.
Consequently, I tried to find contemporary examples to justify my project: contemporary philosophical works that use their visual presentation as an integral part of their meaning. But except for Derrida’s Glas and Wittgenstein's works—hardly contemporary anymore—my search turned up nothing in the scholarly realm.
What seems to be the case most of the time is that when an artist or designer creates a text as an art or design object, they use whatever visual techne they can to construct a meaning as complex or simple as they desire to; but when it comes to writing as a scholar, the complexities and layers of meaning—or even improvements in clarity and reader engagement—that can be developed this way are immediately abandoned.
I can infer a number of reasons why this might be a practical requirement of articles that are to be printed cheaply in academic journals and their equivalent, not the least of which is that good design takes a lot of time. But it is unclear how one would justify these practical considerations as law, as practices both good for their own sake and definitive of philosophical practice. One would either have to maintain a Platonic distinction between ideas and their expression, or an arbitrary distinction between historically diverse forms and contemporary narrow forms of philosophical writing, or that philosophical inquiry is no different than scientific research (scientific papers being the exemplars of the scholarly journal article).
I apologize if this seems like a strange thing to post on the typophile discussion boards. Without offering my reasons for why I think the visual structure of a philosophical work is philosophically relevant, it might not seem very important. That having been said, my question to you is this:
Do you think there are scholars (especially philosophers) who do as I say—not just write about visual aspects of philosophical writing, as many unintelligible French authors do, but write inquiry visually—or do you think there are good reasons to maintain a mutual exclusivity between inquiry and design?
I've attached an example of a book that I think exemplifies one way graphic design can perfect inquiry: Das Bildnerische Denken by Paul Klee, designed by Robert Büchler. Here Klee’s writings and diagrams are given perfect expression by Büchler’s layouts and diagram redesigns. Obviously not everything could be produced at this level, but I don’t see this as a philosophical argument against trying.
This is something I've been thinking about lately.
What was the first digital typeface to have optical sizes?
I think the first digital font to have them was ITC Bodoni
(released in 1994, according to Daidala). But, it's a
So. What was the first original typeface, created with
digital technology, to have optical sizes?
Maybe something from Adobe, back in the days of MMs?