Apostrophes don’t swing both ways

I admit it. I have a serious apostrophe pet peeve. I hate to see backwards apostrophes used in place of omitted letters.

Example: I’m really into rock ‘n’ roll, especially from the ‘60s.

Those reversed marks get me every time. Might as well just stick the sharp end of an apostrophe in my eye. Whenever I see the marks used improperly on television signage, I fire off e-mails to the shows’ “contact us” links. I yammer on about the correct use of these marks to my visual communication students. I seek out examples to scan or photograph that illustrate this common mistake.

And recently, after delving into the subject of apostrophes in even greater detail than I ever anticipated, I felt ready to sign up and join the club on some Web sites I stumbled upon, including: The Apostrophe Protection Society (a site “with the specific aim of preserving the correct use of this currently much abused punctuation mark…”) and Apostrophe Abuse (a collection of “links and visuals illustrating an orthographic pet peeve.”

Who knew that the apostrophe could generate such impassioned pleas for proper usage?

The mark is a simple one, and Wikipedia offers a succinct description of it typographical characteristics: “The apostrophe originates in manuscript writing, as a point with a downwards tail curving clockwise. This form was inherited by the typographic (or typeset) apostrophe ( ’ ), also called the ‘curly apostrophe.’ Later sans-serif typefaces had stylized apostrophes with a more geometric or simplified form, but usually retaining the same directional bias as a closing quotation mark.”

For some people, it’s difficult to figure out where and when to use an apostrophe to indicate the possessive in nouns and pronouns (Is it the peoples’ or the people’s clubhouse?), but at least the apostrophes in these cases usually hang correctly (if they’re there at all).

An apostrophe is an apostrophe is an apostrophe, I tell my students. When used to indicate omitted letters that fall on the left side of the letters than remain, don’t turn it into a right closing quotation mark (like you see in this slice of Boston Cream Pie I ate recently, above). It’s as simple as that.

Another Wikipedia tidbit: “Misused apostrophes are sometimes referred to as ‘idiot’s apostrophe,’ a literal translation of the German expression ‘Deppenapostrophe,’ which criticizes the misapplication of apostrophes.”

“Idiot!” is exactly what I want to shout out to the professional writers of TV shows who don’t have a clue which way the apostrophe swings.

I’ve witnessed apostrophic (“of or characteristic of apostrophe,” says one online dictionary) occurrence on national television a few times recently, which prompted me to fire off a couple of e-mails to Court TV and the E! Channel. (Even The Daily Show with Jon Stewart used an apostrophe incorrectly in the name of a book title on a sign that sat behind the host’s desk — but I let that one go.)

The response to my e-mails (from my perspective, a huge copy editing favor?) Zilch.

Deppenapostrophe!


I’m not over the edge yet. But when I am, I may have to seriously consider joining The Apostrophe Abolition Campaign (www.killtheapostrophe.com), a Web site “for those who want to remove the apostrophe from the English language, on the basis that it serves only to annoy those who know how it is supposed to be used and to confuse those who dont.”

[Julie Elman is an assistant professor at the School of Visual Journalism at Ohio University in Athens, Ohio. Before moving to Athens in 2005, she worked in the newspaper business for 15 years as a photojournalist, picture editor and designer.]

Download this article as a PDF!

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I wonder whether anyone can name the typeface used in the first image — to set ‘60s.

So you want to create a font. Part 2

Choices, Choices, Choices

[So You Want to Create a Font — Part 1]

The sheer number of fonts out there (MyFonts.com sells over fifty-five thousand) is a testament to the fact that there are nearly an infinitude of creative choices that can be made when designing a font. Of course there are the basics: serif vs. sans serif (and the numerous subcategories of each of these); handwritten vs. precision print-quality; wide vs. narrow; bold vs. light. But beyond these obvious choices are some specifics you may not have thought of:

  • closed or semi-open or open 4?
  • three-line or two-line Y?
  • descended or base-lined J?
  • two-storey or one-storey g?
  • two-storey or one-storey a?
  • crossed or joined or rounded W?

Examine a bunch of your favorite fonts to get ideas about these specifics and others—see if there’s a method to the decision-making of others. Do three-line Ys seem more traditional to you? Is that what you’re going for with your own font? Does a descended J fit your font, or are you just trying to force it in there?

Here are some other issues you may not have pondered:

  • the height of the horizontal bar of your e
  • the number of points in your *
  • the degree of the slant of your #
  • do your y and q have tails?

Don’t get so bogged down in details that you never get to the actual font-creation. But it does pay to think about some of these things before you dive into creating your font. A little well-spent time outside of your font creation software can save a lot of time inside of it, correcting problems or recreating glyphs.

Vertical Metrics

Another set of decisions to grapple with concern vertical metrics: the measurements that define the heights of your glyphs. Here’s some terminology for you:

  • The Ascender line defines the position of the top of lowercase characters (usually the topmost point of b)
  • The Caps Height defines the height of the uppercase characters (usually the height of H)
  • The x-Height is the height of most lowercase characters, like v
  • The Baseline is where your glyphs sit
  • The Descender line defines the position of the bottom of the lowercase characters (usually the bottom point of p)

Questions regarding vertical metrics you should definitely address before you start creating your font include:

  • Will your tall lowercase letters ascend to a line higher than your capital letters? (Many fonts do this, but not all.)
  • Where will your x-height lie? (You can achieve interesting effects by raising or lowering the “standard” x-height.)
  • How low will your descender go?

There are also some rules of thumb to consider when dealing with vertical metrics of your font.

Glyphs that curve at their bottom generally descend a small amount below the baseline. Likewise, glyphs that curve at their top generally ascend a small amount above the standard x-height or caps-height.

These rules of thumb are in place because generally speaking if a rounded glyph doesn’t ascend or descend more than a straight glyph, it appears to the eye that the rounded glyph isn’t the same size as its straight counterparts. That said, there’s no law that says you have to observe this. If your font works better where all of the glyphs are on exactly the same baseline and heights, than that’s what you should do. But doing it because you didn’t know any better isn’t really a great strategy.

Horizontal Metrics

You will be spending a great deal of time dealing with the horizontal metrics of your font. The major horizontal metric—kerning (to be addressed below)—can take many hours of fastidious work to get right. (Surely you’ve read Johno’s article on kerning, right? No? You really should. Go ahead. I’ll wait here.) But before we get to kerning, we should think about sidebearings.

Good sidebearings can help make for easier kerning, saving you some of those precious hours you’ll be spending at getting your horizontal metrics just right.

U Sidebearings

Sidebearings are the spaces on the left and right of your glyphs. In the image above, the “U” has the same symmetric left sidebearing as right. This is generally the case, but needn’t be. In some cases, one sidebearing can be positive and the other negative—that is, one sidebearing can be inside the font:

j Sidebearings

Notice that the left sidebearing (LSB) for the j is inside the boundary of the actual glyph — it actually cuts off part of the glyph. Why would you want to do this? Well, here’s how this j interacts with neighboring letters:

j Sidebearings

The inside-sidebearing tells your computer to render the j closer to its left neighbors than it would otherwise be. If the sidebearings were more symmetric, the spacing between the j and its left neighbors would be vast and unappealing:

j Sidebearings

This could all be fixed with kerning, but if the j is always (or nearly always) meant to be closer to its left neighbors, then having the negative left sidebearing means that you have less kerning to do, and that for users who don’t use kerning (most word processors, sadly, turn kerning off by default), the letters will be reasonably well-spaced.

Kerning

Having read Johno’s article on kerning, you’re up to speed on the basics, right? Well, here are some specifics about how kerning will pan out for you as a font designer.

Having good sidebearings is like having a head-coach who has a good overall gameplan — you’re preparing your font for those who don’t use kerning, and making it presentable in most cases — but to really make things work beautifully in specific cases, you’re going to have to have a good offensive coordinator who gets his hands very dirty with the details — you’re going to have to kern.

One thing I like to do right after setting up the sidebearings is print out a list of my font’s pairs and visually inspect it for trouble spots that will need kerning help. In fact, I wrote a script to generate an Open Office document with these pairs; the document is available here for downloading. Just open in it in Open Office, select all of the text, and change the font to your font. Print and examine.

Kerning Test

Once you’ve identified problematic pairs, it’s time to get your hands dirty and fix things. Here’s an example of one of my fonts, and how the V-e pair looked after generating sidebearings, but before kerning. Notice how big the gap is between the glyphs.

V-e Pre-Kerning

And here’s how it looks after kerning:

V-e Post-Kerning

The idea is to make the letters flow naturally from one to the other. I often like to think of kerning as making my glyphs snug against each other.

A couple of things to keep in mind about kerning:

  • If you find yourself making kerning adjustments to every pair in your font, you might have a problem with your sidebearings. Good sidebearings should generally mean that some of your pairs are set up not to need individual kerning.
  • People will tell you that you only need to kern the most used pairs. For instance, with q you’ll only need to kern qu and maybe qa, not qz, because who the heck is going to be using qz in print? I, for one, kern every pair I can, no matter how obscure. Purists may faint and/or gasp in horror. But who am I to constrain the users of my fonts to only having standard pairs be beautifully kerned? If someone wants to print out qz, they should have qz print out beautifully.
  • Most font-editing programs have an auto-kerning feature. This can be a good place to start, but the received wisdom is that after auto-kerning you should really still go in and tweak things by hand. There’s no algorithm that the human eye can’t best.

Scratching the Surface

We’ve really just scratched the surface, here. And, if left untreated, font-itis might set in. I hope it does. After a couple of years of font designing, I still learn something new every time I fire up FontLab Studio. And I hope I always do.

[Alec Julien is a web developer and amateur typographer living in Vermont, US. He dreams of someday living somewhere warm, and typesetting a novel.]

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Sunday type: Spiekermann

Erik Spiekermann is the HighLander of type. He was no doubt present when Gutenberg got his finger stuck in one of his prototype presses; and he’s still here—his enthusiasm for all things type has not waned. Designer of numerous typefaces including the huge FF Meta family, ITC Officina, FF Unit and many others; “information designer”, author, winner of the Federal German Design Prize, and certified typomaniac, Spiekermann is…well, it’s difficult to sum him up in a sentence, so you decide.

If you have no idea who Erik Spiekermann is, then, well, I don’t know what to say—go stand in the corner. Alternatively, take a look at this video:

http://www.spike.com/video/2906180

I have never met the man, so I’d be interested in hearing from those who have.

Tomorrow we have the second instalment of Alec Julien’s hugely popular So you Want to Create a Font. That article has been viewed almost 40,000 times thus far. To ensure you never miss out, Subscribe to I Love Typography, and feel the love that only type can bring.

A big thank you to everyone who has read and commented and sent me emails. Another big thank you to Ebsen who is working tirelessly on the iLT Wiki—he’s a true type trooper. More news on the Type Wiki soon; and to Hamish who’s putting his programming skills to work on a new and much improved Fontometer.

If you can read German, you might want to head over to the FontBlog where iLT is mentioned for it’s recent review of Made With FontFont. And it looks as though they are considering offering a money-back guarantee on the book! Though with my 12 words of German, I could be mistaken.

And finally, lots of people mailed me to ask if they could have a high-res version of a photo I used in the Made With FontFont article, for use as a Desktop Wallpaper. So here it is:

Made With FontFont

BOOK REVIEW

Made With FontFont: Type for Independent Minds is a celebration of 15 years of the FontFont type library. The low-down (why do we never say “the high-up”?): it’s big, it’s yellow, has 351 pages and it’s divided into an introduction and five sections.

Introduction

A brief history of the founding of type distributor FontShop by Spiekermann in 1989; the beginnings of the FontFont type library and of FontShop International (FSI), the font publisher.

1 Thinking FontFont

An anthology of essays and type critiques.

2 Talking FontFont

Interviews with five FontFont designers. My personal favourite is Christopher Burke on Type (pages 132–145), the type designer behind faces like FF Celeste and FF Parable, and author of Paul Renner: The Art of Typography.

3 Making FF

Type designers visualise their motives, methods and sources. Includes a short and entertaining piece by Nick Shinn on A Brief History of Fontesque.

4 Showing FontFont

A collection of contemporary type specimens. Too many to list here; and anyway that would spoil it for you. Some of my favourites are in there: Scala, Eureka (I always think of Eureka as the typeface that punches you in the face, then throws water over you to rouse you from your knuckle-induced stupor). Eureka Serif is in my opinion the French Madam of serifs. Use it; you’ll fall in love with it—the face, not the French Madam, that is.

5 Made With FontFont

FontFont Fonts in use in the ethereal and prosaic worlds. An essential section. Type specimens are great, but it’s not until one sees a typeface in use—in the real world—surrounded by noise and nonsense that it really earns its keep.


I have recently finished re-reading this bright yellow type tome, and have concluded that it’s one of the very best books on type. Initially, I was reluctant to buy this title because it’s a book about a single type library, However, the FontFont library is pretty big.

I also thought that perhaps it’s nothing more than a big ad for FontShop aimed at flogging more fonts. Sell more fonts it will undoubtedly do, but reading this book will reveal its true intentions.

Behind this book, and woven through its pages is a passion for type—I guess that comes as no surprise when one sees Spiekermann’s name on the cover. If enthusiasm for type were hard currency, then he’d be the richest man in the world.

If you were to quickly flick through this book, then you might easily mistake it for yet another one of those insipid follies, those coffee table adornments, the kind of books you could put together from the ad pages of Vogue, and other flotsam. Made With FontFont is different, and is worth spending your money on.

My only criticism is the cover. Don’t get me wrong, I love yellow—and it’s very yellow; but I hate the cover design and the silly paint dribble nonsense on the spine. However, behind the awful cover (you may love it) is a 350-page type feast, so go on gorge yourselves. You’ll find that you’ll just want to lick some of the pages (I hope I’m not the only one suffering from such urges).

Made With FontFont is many Things: it’s a history of the founding of the FontFont library; it’s an inspiration with its numerous examples in as many faces and design styles; and you’ll come away from it with a greater appreciation for type and typography.

From a personal perspective, some of the examples of type use have helped to dispel some of my own type prejudices; and brought me to look at some long-disdained typefaces in a completely new light.

And Finally…

Perhaps it’s a small thing, but I think it’s important: you all know dummy text or filler text, that lorem ipsum and other equally unintelligible nonsense?

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam id mauris. Phasellus hendrerit. Vivamus egestas mi in nisi. Quisque nibh. Aenean ipsum nulla, fringilla ut, rutrum in, feugiat ultrices, ante. Nunc nec diam quis odio laoreet tristique. Mauris tempor venenatis neque.—Anonymous

Well, this book’s dummy text is not a dummy at all. Most of it makes for interesting reading; some of it contains some real gems:

Advertising and design serve to amplify the value of useful things.—originally from Ellen Lupton’s Mechanical Brides.

So rather than the dummy text being a brazen waste of good white space, instead it’s filled with readable and informative copy. That’s the crux really—it’s readable. How many of you read the lorem ipsum paragraph above? My guess is that none of you read it (unless you’re insane or very bored or both, in which case you’ll need to flick through another yellow book until you reach the 0800 SHRINK section).

Type only comes to life when we read it. Our “reading” eyes do to type what Jesus did for Lazarus—they resurrect it. Lorem Ipsum is the dead fish of type—it’s useless and it smells. Now you know why it’s really called “dummy text”. (for some alternatives see Dummy Generators, or use copy from public domain books.)

And finally, finally, if you want a great type book, buy Made With FontFont. If you don’t like it, I’ll give you your money back (did I really say that?).

Have you read it? What do you think?

Coming soon we have the second part in our hugely popular So You Want to Create a Font, by iLT’s US correspondent Alec Julien; and lots, lots more type goodness. If you haven’t already done so, then Subscribe to I Love Tyography and fill your RSS reader with typographical loveliness.

So you want to create a font. Part 1

So you’re a brilliant designer, a master calligrapher, and you’ve learned all about serifs, side-bearings, and kerning. Now you want to create your own font. (What! You haven’t learned all about serifs, side-bearings, and kerning? Well, make sure you read all of the articles on iLT before you embark on font creation! You’ll need all of the knowledge you can get if you plan on being successful! And if you’re not a brilliant designer or a master calligrapher, well, don’t worry—you can still create some beautiful fonts with a little hard work, a lot of knowledge, and a little inspiration.)

The Crux: Font Editing Software

All the brilliant design, precise calligraphic work, and deep knowledge of kerning won’t mean anything if you can’t translate your work into a computer-friendly format, which is why you’ll need a good piece of font editing software at your disposal. Font editing software comes in a variety of strengths and prices, and works on a variety of platforms. The major players are listed below:

Font Editing Programs

  • FontLab Studio is what I use to make my fonts. It is more or less the industry standard, and, as such, isn’t exactly cheap, coming in at $649 (US). A 30-day free trial is available, if you want to try before you buy. It’s available for both PC and Mac. I’ve used FontLab Studio pretty extensively, and can vouch for its excellence, and the vibrancy of the user community.
  • FontForge can ostensibly do everything that FontLab can, and it’s free and open-source. That said, installing FontForge (at least under Windows) is not exactly a simple matter (you’ll need to install Cygwin first). Also, the program is not as well documented as FontLab. There was an interesting thread recently over at Typophile about FontForge that you might want to read, if you’re considering taking the open-source plunge. FontForge is available for PC, Mac, and Linux. (If you’re a Linux user, FontForge is more or less your only choice.)
  • For those rolling in cash, DTL FontMaster can do everything FontLab can, and more, but it’s quite expensive. FontMaster comes as seven different modules, which I find altogether cool and intimidating. It’s available for PC and Mac.
  • FontCreator is another choice, more affordable than FontLab. The program works only with TrueType and OpenType fonts—no Type 1 fonts—and is for Windows only.
  • TypeTool from FontLab is a more entry-level product along the same lines as FontCreator. The company says that TypeTool is “for students, hobby typographers and creative professionals who occasionally need to create or customize fonts”. PC and Mac.
  • The original king of font editing software is Fontographer which languished in non-development purgatory for years until FontLab bought the code and recently updated it for the Mac. The last version was really showing its age even in the late 1990s, so I’m hoping that Fontlab did an impressive rewrite for its new version. It’s half the price of FontLab Studio, but I can’t vouch for its new user interface, not having tried it. Fontographer is available for PC and Mac, though only Mac users get the latest version.
  • [update:] Glyphs app for Mac.
  • [update:] RoboFont (Mac OS X 10.6.6+).

All of these programs operate on the same principles, differing in specifics, interface, and levels of options and power. So do some research before you buy—download and try some demos, read the rants and debates of other font creators out there, and figure out which font editor works best for you. One path I’ve read about some people taking is to start with TypeTool, see if this whole font-creation thing is something they genuinely love, and then eventually upgrade to FontLab Studio once the limitations of TypeTool become an issue.

Once you have a good font editing program, there are three basic routes to creating a font.

Method 1: Draw it on paper

Tools You’ll Need

Are you artistic? Have cool handwriting? Well, get a good pen, a stack of good paper, and start drawing your alphabet. (Don’t overlook your choice of pen. Is your font going to be something thick and juicy? Try using a Sharpie. Or will it be calligraphic? Break out your calligraphy pen set. Will it be thin and delicate? Pick a fine-point precision pen for your work.) Draw big, so there’s plenty of detail to capture, and make sure your characters are all the appropriate height (you might want to add ruled lines in pencil to your paper before you begin). Don’t forget to draw all of the characters a good font needs! That means punctuation, tildes, accents, parentheses and brackets, and numerals. You’ll also want to include obscure characters like the thorn and eth. Create a new font in your font editor before you put pen to paper, and look at the standard glyph table it presents you with. There will be characters there you’ve never heard of, but there are typesetters out there who will be expecting to see those characters in your font!

Scan your beautiful work into Photoshop, and then turn your image into a bitmap (black and white—no shades of grey).

Almost there. Open your bitmap image in FontLab’s ScanFont. This nifty little program (which comes bundled as part of the Mac version of FontLab Studio—lucky Mac users!) allows you to take bitmap images and convert them into font glyphs. (Font editing programs work with outlines, which are basically vectors like those used in Illusrator. Scanners and programs like Photoshop work with bitmaps. ScanFont bridges the gap between these two media.) Once this is accomplished, you can either save your font in ScanFont, or copy individual glyphs from ScanFont into FontLab Studio. (Hey, nobody said this would be easy!) And once you have all of your glyphs in FontLab, you can begin the long, arduous, fun process of editing your font towards perfection!

Method 2: Draw it on a tablet

Tools You’ll Need

You can skip many of the above steps by using a Wacom tablet to draw your font glyphs directly into a vector graphics program like Adobe Illustrator. FontLab Studio, for one, supports copying and pasting directly from Illustrator. One cool thing about using Illustrator to draw your alphabet is that you have a wide range of brushes to choose from, so that you can change the style of your entire alphabet with a couple of mouse clicks. One thing I’ve discovered is that, as good as tablet technology has gotten, there’s really no substitute for pen and paper—an alphabet drawn on a tablet will be different from the same alphabet drawn on paper.

Method 3: Draw it in your font editing software

Tools You’ll Need

  • Mouse
  • Font Editing software of your choice
  • The Steady Hand and Patience of a Deity

I’ve created a couple of fonts entirely in FontLab Studio, with just my mouse, a steady hand, and a healthy amount of invoking the Undo command. It can definitely be done, and you’ll potentially be able to generate more precise fonts this way, as opposed to drawing your glyphs outside of your font editor and then importing them. There are, as you might expect, lots of tools in font editing programs that are geared to this process: tools that generate straight lines and perfect curves, and guides that help you align everything with the utmost precision.

Coming Up Next…

Now you’ve got the tools of the trade, the desire to create a font, and a basic idea of the process involved. Of course, the devil is in the details. In the next installment I’ll address some of the specifics of font creation and editing. Read So You Want to Create a Font--part two.

[Alec Julien is a web developer and amateur typographer living in Vermont, US. He dreams of someday living somewhere warm, and typesetting a novel.]

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Sunday Type

Fuel Injected Links
I was oh so tempted to post the first in our series of So You Want to Make a Font, but it’s Sunday; and Sunday should be one of those easy days. And what’s more Sunday is my day off (from iLT, at least), so on the odd Sunday, I’ll post some type-related links for you to click and enjoy. So while the kids play in the traffic and the cat purrs on your lap, lean back and…

Free Fonts Of The Month: Moderna, Mido, Liberation

And here’s a site that uses type pretty well. Very clean, simple and ordered. I like it:

Erik Spiekermann’s blog (just in case you haven’t seen it); not updated that frequently, but lots of gems in the archives:

The redesigned web site of Hoefler & Frere-Jones. Not sure what to make of the design, but boy do they make beautiful typefaces.

If you like your Ligatures, then you’ll love this beauty from H&F-J:

They also have a great article on What’s OpenType? Is it right for me? and a great blog.

Don’t forget to swing by on Monday for the first part of So You Want to Make a Font. Or to save you swinging by to check, simply subscribe to I Love Typography. For those of you who have no idea what an RSS feed is, or think that it might have something to do with a car’s fuel injection system, then learn all about feeds by watching this great video from Common Craft:

YouTube Preview Image

Have a great day. See you tomorrow.

Ellen Lupton The Movie

Don’t (dumb) Quote Me
As there was so much interest in Ellen Lupton’s book Thinking With Type, I’d like to share this video of a lecture she gave for Escola Superior de Artes E Design (ESAD).

If you can’t afford the book, then it’s a great educational piece; and, even if you have read the book, you’re sure to take something away from it. It’s just over an hour long, so pour yourself a glass of something, pull up the pouffe, sit back and enjoy:

http://www.spike.com/video/2904416

I’d be interested in your feedback on this one.

Thanks to Dumitru for reminding me of this great video.

On Monday we have the first in our series of “So You Want to Create a Font”. To ensure you don’t miss out on that any many more great articles to come, subscribe to I Love Typography — and join the type revolution.

Have a great week weekend, everyone.

Subscripts: Type News and Links 2

Lisboa, Leopards and Links
Typeforyou.org

Oddly enough, this is a type site I only recently discovered. Type For You has a great interview with Ricardo Santos the designer of Lisboa Sans (amongst others), and lots of other type-related news, views and links.

You might also want to take a look at my Flickr Group Typographic Inspiration. I don’t moderate this group, so the quality may vary, but I do plan to pick out the best and feature them right here; so if you have some typographic inspiration that you’d like to share, then, well…share it. It doesn’t need to be your own work; could be a photo of some type in a book, or of a road sign — so long as it’s type-related, you can add it to the group.

There’s another wonderful Flickr set put together by Vernon of New Typography: Flickr New Typography Set. Moreover, be sure to check out his other sets on the wonderful Typotect Piet Zwart (1885-1977) and the Typeface Design set.

New Typography

Typographica

Stephen Coles has been writing on Typography since the 1930s — or at least it feels like it. Insightful news items and never scared to express his opinion on type-related matters. A true Type-Trooper (try saying that with your mouth full). Great discussion around his article, “Embedded” Web Fonts Return. Uh-oh. If you’re both a TypeNut and a MacNut, you’ll want to read “Grading the New Font ‘Features’ in OS X Leopard”. It’s also worth digging around in the archives. You’ll unearth some real gems. Stephen is one of the unsung heroes of type; that’s given me an idea: anyone care to write a type-related Stephen Coles song? You write the words, and I’ll choreograph the dance routine; the other people at FontShop could be the backing singers… (enough! [Ed.]).

iLT news:

Work has begun on an iLT Typography Wiki. I already have a couple of willing volunteers. We need a few more people willing to devote a couple of hours a week, writing and editing entries. You don’t need to be Stephen Bringhurst to help out; if you’d like to be involved, then wing me a mail through the ether at m{AT}ilovetypography{DOT}com, or wing it via the contact form. (I like the word “wing” today, by the way).

I’m also considering starting an I Love Typography Forum. You see, I receive about 100 emails each day; a number of those ask for my opinion on type, to suggesting a typeface for a project. Now, it’s impossible for me to write for iLT and answer 100 emails a day, so I thought a forum might be a good way, not only to build community, but to have you — the famed iLT readers (enough flattery?) — get involved in answering questions and expressing your opinions on type-related matters in a forum. Let me know what you think. I thought we could have the forum divided into sections; for example:

1. Font/Typeface questions;
2. Identify a font;
3. Request feedback on own work;
4. A found type section, where anyone can upload “type they find”, photos, etc.

Would love to hear what you think. If we go with it, it will be your forum, so your input is imperative.

There’s also an iLT page of Type-related videos. If you find others, then leave a note and link in the comments to the Video Page.

Coming up soon is “Getting Started Designing Type — Part One”, and some great tips to improve your web typography. To stay forever tuned, become part of the Type Revolution and subscribe to I Love Typography today.

For iLT’s numerous German-speaking readers, there’s a great podcast on CSS and embeddable web fonts entitled, Technikwürze 94 - Die Webkrauts sind los! It must be good because I listened to the entire podcast, and I don’t speak German. However, Thomas Schaaf of Technikwürze kindly sent me a summary of the podcast in English. Thanks, Thomas.

And finally, to discover who won the Kinescope Font give-away, just follow the link.

Kinescope Font Winner

Eu amo tipografia
Thanks again to everyone who sent in their answers to the Kinescope Font Competition (a little over 400 entries).

The last prizewinners were from the US and Canada. Today’s winner is Kazuo from Brazil where they say “Eu amo tipografia.” The question was,

Mark Simonson Studios has one typeface in its portfolio named after something you might find in the kitchen. Name that typeface.

And the answer is of course, Refrigerator.

Kinescope on I Love Typography

Kazuo is a Physicist with a penchant for:

I really wish I could afford to give more away (the prizes come out of my own pocket, by the way, and iLT does not make a profit — in fact it runs at a loss); and although the random integer generator didn’t pick them out of the proverbial hat, these few deserve at least an honourable mention for their entries:

Refrigerator is Simonson’s typeface named after something that might be found in a kitchen… though in my kitchen you’re also likely to find a Felt Tip pen. You’re not likely to find a Coquette, but then, my wife is neither vain nor trifling (and not always in the kitchen anyway). — Joey

On the question regarding a font called after an item in a kitchen, I was a little confused as I have more than once used Sharktooth and on occasion I have been in need of a Grad, but I’ll settle for Refrigerator, (I won’t mention the bottle of Kandal I have tucked away somewhere). — Ko van Hespen

Near my Refrigerator the Felt Tip Woman — a recent Grad - gave a Snicker. What a Coquette! — Anonymous — (John Nolan)

And, what the heck, a couple more honourable mentions:

Refrigerator! R-E-F-R-I-G-E-R-A-T-O-R! Refrigerator! — Erica Heinz

Well, presumably you’re looking for “Refrigerator” — but my wife and I have several academic degrees, so there’s usually a “Grad” in our kitchen. Our daughter cooks a lot and has astonishing gifts for the arts; she’s sort of a “Changeling” in that respect. My wife likes chocolate, so we occasionally have “Snicker“s. We have candles, but not “Kandal“s. And “Kinescope” is indeed lovely. — AKMA

Thank you to everyone who took part. I read every single entry, and everyone without exception got the answer right. I’m working on getting many more prizes (I can’t afford to buy them all, so I’m begging various companies to donate prizes — wish me luck).

Subscripts: Type News and Links 1

super size my type
Recently I promised some short ‘newsy’ pieces. Meet Subscripts a new and ‘irregular’ feature, where I’ll list some typography resources, web sites and events. First to pop Subscripts’ cherry is:

Smashing Magazine’s

super-size me feature, The Showcase of Big Typography, which lists a number of sites, that…you guessed it…use big type. I like some of the examples; however, what most of them demonstrate is the power of type. Good type standing alone can make quite an impression. You certainly won’t need to use your screen reader with most of these sites, so even your grandmother will be happy.

However, something that really baffles me with a number of these sites, is their use of Flash and text as image (TAI). Text at large sizes on the web works pretty well, so why not use browser text? For example the yellow Designer Shock web site, could easily be turned into plain old XHMTL and CSS site (or even use sIFR) — and, if they wish to keep the clock, then that too can be achieved with real browser text and a little JavaScript. What do you think?

Type Radio

Hundreds of podcasts of interviews with people in type. Sometimes it crosses the twilight zone into the surreal, but overall it’s pretty entertaining and informative. There are interviews with the incredibly talented type designer and former Type Director of Linotype Akira Kobayashi, (designer of FF Clifford, Conrad and the ITC Woodland typeface, among many others; he also worked with Hermann Zapf, and with Adrian Frutiger on the redesign of Avenir); and also interviews with Gerard Unger and even one with Helvetica (yes, an interview with Helvetica the typeface).

If you’d like to learn more about Letterpress, then take a look at British LetterPress, a new site about getting started with Letterpress — with everything from where to buy equipment to assembling type. Even if you don’t plan on buying a a 2-ton letterpress and 100kg of lead type, then it’s a wonderful educational resource. Many thanks to Manuel Martensen for the link.

There’s also a wonderful Flickr set of photos on Letterpress Composition, Make Up and Proofing that’s an absolute must-see. I’m hoping to interview Michael of Interrobang Letterpress next month, so stay tuned.

I’ll announce the winner of the Kinescope Font Giveaway in the next article. More than 300 of you have already entered. I really need to get some more prizes for you all!

I was recently interviewed for SheUnlimited in what is becoming known as The 10,000 Toilet Rolls Interview (why did I have to go and say that? Well, you live and learn). I hope that’s enough to sate your typographic thirst. Let me know what you think of these links, and feel free to send me your own via the contact page.


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