Podcasts about OpenType

Includes: Favorite font tricks Interview with Theresa Jackson InDesign 20.1 Obscure feature: Match Pasteboard to Theme Color News: 20.1 is in release rollout multi-find/change is now free Old (but still relevant!) InDesign Magazine articles, now on site: Designing Photo Albums in InDesign by Khara Plicanic Getting Started with GREP Styles in InDesign by Steve Caplin Working in Microsoft Word by Jamie McKee Designing with Type: Grunge, Punk, and Futurism by Nigel French InDesign Nightmares by David and Anne-Marie Theresa Jackson: Articles and videos Old (but fun!) Interview Font Tricks: How to change the underlying default font for a document (see Don Ayer's comment at end for an easier solution) OpenType text and text frame adornments Obscure Feature: Match Pasteboard to Theme Color

Show DescriptionRiffing off the CSS Wrapped 2024 list from the Chrome team, we're talking field-sizing, animate to height, anchor positioning, custom scrollbars, cross-document view transitions, scroll-driven animations, and more! Listen on Website →Links CSS Wrapped 2024 Introducing TODS – a typographic and OpenType default stylesheet | Clagnut by Richard Rutter OpenType SponsorsBluehostFind unique domains, web hosting, and WordPress tools, all in one place. Empower your business or digital agency with Bluehost.

《字谈字畅》走过了九年，感谢听众一如既往的支持。本期节目将与大家分享 Eric 近期应邀撰稿的内容，回顾近二十年来中文字体产品的发展景象。 同时，感谢来自八岁半年轻听众的声音和祝福。 参考链接 字谈字畅 080：三周年庆特别节目 The Type 纪念 T 恤 Hiiibrand Awards 2024 设计竞赛开始征集作品，截止时日期为 2024 年 10 月 31 日（超级早鸟），11 月 30 日（早鸟），12 月 31 日（常规） 森泽字体设计竞赛作品征集已截止，评奖结果预计 2025 年 2 月发布 第十三届「方正奖」设计大赛启动，作品征集日期为 2024 年 9 月 21 日至 2026 年 2 月 28 日 TDC71 设计竞赛开始征集作品，截止日期为 2024 年 11 月 1 日（早鸟），2025 年 1 月 31 日（常规），2025 年 2 月 28 日（最终） Inscript Experimental Typography Festival 将于 10 月 16 至 20 日在线上举办 Unicode 16.0 于 9 月 10 日正式发布，新增 UAX #53 和 UAX #57，以及 Emoji v16.0 等；核心规范（Core Specification）部分同时以网页版形式发布 新出版的日文设计期刊 C-GRAPHIC INDEX 于今年 8 月面世，Eric 应邀发表文章《从二〇〇〇年代开始的汉字设计风景》（二〇〇〇年代からの漢字デザイン風景） Unicode 3.0 于 2000 年发布 GB 18030—2000《信息技术　信息交换用汉字编码字符集　基本集的扩充》 谭沛然所撰《参数化设计与字体战争：从 OpenType 1.8 说起》，2016 年刊于 The Type 方正铁筋隶书，朱志伟设计，2003 年发布 方正兰亭黑，齐立设计，2006 年发布 方正雅宋，朱志伟设计，2007 年发布 冬青黑体（简体中文版），字游工房设计，2007 年发布 方正静蕾体，徐静蕾设计，2007 年发布 方正金陵（简体中文版），今田欣一设计，2016 年发布 华康翩翩体，华康字型出品，2012 年发布 信黑体，柯炽坚设计，2011 年发布 汲古书体，应永会设计，2017 年发布 字谈字畅 047：汲古新字 空明朝体，许瀚文设计，2022 年发布 汉仪尚巍手书，尚巍设计，2016 年发布 锦华明朝体，薛天盟设计，2023 年发布 字谈字畅 176：茉莉芬芳沁锦华 思源黑体，Adobe、Google 合作设计出品，2014 年发布 杜甫所作七言律诗《至日遣兴奉寄北省旧阁老两院故人二首》 汉仪杰龙桃花源，张杰龙设计，2022 年发布 主播 Eric：字体排印研究者，译者，The Type 执行编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

多文种字体家族在设计方法与技术细节上存在着诸多复杂性。如何在商业委托或品牌定制中，协调并推动多文种字体家族的设计项目，又是另一门复杂的学问。 今天我们有幸请到方正字库的定制业务负责人张依晨、字体设计师何诗旸，与我们分享多文种字体定制项目背后的故事。 参考链接 字谈字畅 204：塞纳河畔阿蒂皮 字谈字畅 230：袋鼠肉是此行最大的遗憾 方正字库定制字体案例 方正少林功夫体，少林寺品牌字体，方正字库出品 OpenType 特性 mark 和 mkmk Borna Izadpanah，雷丁大学字体排印与平面传达专业讲师 大曲都市（Toshi Omagari），多文种字体设计师 vivo Type 和 vivo Sans，vivo 品牌定制字体，方正字库出品 HONOR Sans，荣耀品牌定制字体，方正字库出品 PICO Sans，PICO 品牌定制字体，方正字库出品 方正兰亭黑 Pro Global，方正兰亭黑家族的多文种扩展 方正雅意黑 FT DIN，方正字库出品的西文字体家族 嘉宾 张依晨：方正字库定制字体业务部负责人 何诗旸：方正字库字体设计师，英国雷丁大学字体设计专业硕士 主播 Eric：字体排印研究者，译者，The Type 执行编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

话接上回，今天的节目将继续回顾近期字体排印领域的要闻，并与大家分享听众们七月的来信。 参考链接 一派 vol. 111：探索播客世界：你的收听清单里都有哪些栏目？ GB 18030—2022《信息技术 中文编码字符集》计划于今年 8 月 1 日开始实施 GB 18030—2022《信息技术 中文编码字符集》第 1 号修改单（第二次征求意见稿）征求意见 字谈字畅 184：十七年等一回 阿里巴巴普惠体 3.0 的 regular 字重完整支持 GB 18030—2022 几经修改的「CJK 统一汉字扩展 I 区」议案在 Unicode 技术委员会第 176 次会议上获得通过 Unicode 15.1.0 计划于今年 9 月发布 ATypI Brisbane 2024 计划于 2024 年 4 月 16 至 20 日在澳大利亚布里斯本举办 Microsoft 在今年 7 月正式上线新版默认字体 Aptos Steve Matteson，美国字体设计师，曾任职于 Monotype；为 Microsoft 设计过多款系统字体，也是 Aptos 的设计师 蒙纳于今年 7 月 19 日宣布收购日本字体公司 Fontworks 字谈字畅 148：博物字（三）市谷之杜时钟台 佐佐木活字店去年报废的日文 Monotype 铸排机 日本「笹っぱ活字館」展出的日文 Monotype 铸排机 知乎上关于中国印刷历史中铸排机应用相关的讨论 字谈字畅 146：书名号居然是个九〇后 Bobo_alcazar 针对文言的字体显示给 Mozilla 报的 issue OpenType 规范中对文种、语种的定义以及特性与查找机制的解释 OpenType 规范：语言系统标签 W3C 国际化文档：HTML 与 XML 中的语言标签 HTML 规范对包括 em、strong 等文本级别语义元素的定义 字谈字畅 185：山外有山，字外有字 苟文手天在 Bilibili 发布的文章《方正字体在 InDesign 等软件里使用时，获得正常的标点间距的方法》 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

Font Engineering und die Welt der Programmier-Schriftarten.Wie wichtig ist die Wahl der Schriftart für die Programmierung? Welche Möglichkeiten und Vorteile bietet die richtige Schriftart in deinem Editor? Macht es Sinn für verschiedene Programmiersprachen andere Schriftarten zu wählen? Worauf kommt es eigentlich an, wenn wir uns über Schriftarten für die Programmierung unterhalten? Wie entstehen eigentlich Schriftarten, was ist Font-Engineering und was bedeuten die Begriffe Ligaturen, Hinting und Kerning?Über all diese Fragen sprechen wir mit dem Wahl-Berliner Philipp Acsany. Als Font-Engineer und Python Programmierer hat er an vielen Schriftarten von großen Firmen mitgearbeitet. In dieser Episode gibt er uns einen Einblick in die Welt der Schriftarten mit einem speziellen Fokus auf das Programmieren.Bonus: Warum es völlig OK ist, in Comic Sans zu programmieren.Das schnelle Feedback zur Episode:

今天我们邀请老朋友张暄和微梨做客嘉宾，介绍亲身参与 ATypI 2023 的体验。本期节目将继续为大家分享嘉宾和主播印象深刻的演讲、讨论及参观活动——在国际化与包容性被反复讨论的设计思潮中，字体排印同样不可缺席。 参考链接 Unicode 15.1 开放公共测评（beta review） TikTok 于今年 5 月发布品牌字体 TikTok Sans，由 Grilli Type 协同设计 Discord 于去年 12 月起，启用新字体 gg sans TDC Ascenders 2023（新升奖）公布评奖结果 大曲都市著、刘育黎译．《街机游戏字体》．同济大学出版社，2021 年 ATypI 2023 法国国家印刷所参观活动（Imprimerie Nationale visit） 法国国家印刷所（Imprimerie nationale） 蒙纳铸排机（Monotype system） 用树莓派控制蒙纳铸排机 弗兰克·雅洛（Franck Jalleau），法国最后一位字冲雕刻师 “The Weight of the Ink”（油墨的重量），Véronique Vienne 在 ATypI 2023 开幕式后的主题演讲 “VR Calligraphy Performance: New medium, new possibilities, new perspectives on the art of writing”（VR 书法表演），ATypI 2023 开幕式现场表演 “Designing Fonts for 2 Billion People”，Héctor Mangas 和 Peter Biľak 在 ATypI 2023 的演讲 Typotheque 的文章集合，包括天城文各种区域不同字形的调查报告 国王的希腊字（Grecs du roi） Paul Shaw. Revival Type: Digital Typefaces Inspired by the Past. Yale University Press, 2017 Michael S. Macrakis. Greek Letters: From Tablets to Pixels. Oak Knoll Press, 1996 “Decolonizing Ascenders and Descenders: Resisting homogenization and encouraging diversity”，Borna Izadpanah 在 ATypI 2023 的演讲 “Typeface Legibility and Low-vision Readers”，Sofie Beier 在 ATypI 2023 的演讲 “Titans of Transfer Type”，Dan Rhatigan 在 ATypI 2023 的演讲 字谈字畅 106：观看《平面之道》之道 “It Started as a Typeface for Post-digital Letterpress Printing, and Then it Became Much More”，Ana Sofia Mariz 在 ATypI 2023 的演讲 微软公司的 ClearType 技术 “Power in the World of Type”，Ann Bessemans、Laura Meseguer、Lynne Yun、Nadine Chahine 和 Veronika Burian 在 ATypI 2023 的演讲 “OpenType 2.0 Panel, 2023 Edition”，ATypI 2023 的专题讨论 Boring Expansion，HarfBuzz 起草的字体格式规范扩展第一部分 “Script Meets Tech: Responses to materiality in some ancient and medieval letterforms”，Marc Smith 在 ATypI 2023 的演讲 “Filiation: Nurturing a pedagogy of type design in France”，Alice Savoie 和 Thomas Huot-Marchand 在 ATypI 2023 的演讲 本次巴黎年会举办地点为由巴黎第四与第六大学于 2018 年新合并而成的索邦大学朱西厄校区 阿拉伯世界文化中心（Institut du monde arabe），为法国建筑师让·努维尔（Jean Nouvel）设计 ATypI 2024 年会将于 6 月 3 至 8 日在澳大利亚布里斯班举办 ATypI 2023 off program（非正式活动） 法国国家图书馆举办的特展 “Imprimer ! l'Europe de Gutenberg” 拉雪兹神父公墓 普朗坦–莫雷图斯博物馆位于比利时安特卫普 嘉宾 张暄：前「燕京城外夜玫瑰」，汉仪字库资深字体设计师 刘育黎（微梨）：字体设计师、平面设计师，atelierAnchor 锚坞联合创始人 主播 Eric：字体排印研究者，译者，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

It's the beginning of spring here in Canada. And with spring comes a desire to put all the messes of winter behind us and clean things up as we prepare for summer. That's where the term Spring Cleaning comes from. However, today, I'm not talking about packing away your sweaters and pulling out your shorts. Nor am I referring to cleaning the yard or washing the grime off the windows. Although, it is time to do all of those things. No. I'm talking about doing some spring cleaning of your design business. More specifically: Cleaning Your Computer Cleaning Your Office Cleaning Your Business Cleaning Your Branding Cleaning Up Your Computer. Spring is an excellent time to review your computer and see what you can clean up. Clean up your Backups. The first thing I suggest is examining your backup strategy. Are you doing everything possible to ensure your important files are adequately backed up? Do you have a good in-house as well as an online backup strategy? The price of hard drives is one thing that doesn't seem to be affected by inflation. You can get large-capacity hard drives for great prices these days. Paired with Time Machine on Mac or an equivalent solution for Windows or Linux can ensure you always have your backups on hand. I recommend Backblaze, a much more reliable backup system for online backups than Dropbox, OneDrive or Google Drive. And priced as low as $65US per year makes peace of mind very affordable. Speaking of backups. When was the last time you double-checked to ensure your backup files were backing up? You'd hate to have something happen only to discover your most recent backup is months old. Whatever backup strategy you're using, take a few minutes to ensure the backups are functioning and are current. Clean up client files. Clients come and go. So do design projects. After a while, you tend to accumulate a lot of outdated and even redundant files on your computer. Take some time to review your client files and see if you can get rid of anything. Delete or move files off your computer for any client who isn't in business anymore. If you want to keep something for nostalgia, keep the finished files which are often smaller. There's no reason to keep large working files for something you'll never use again. The same is true for old projects from active clients. If you don't think you'll ever need them again, get them off your computer. And all those stock images files you accumulate. Did you know that once you acquire them from a stock image site, you can re-download them anytime without paying again? So there's no reason to keep them on your computer. Clean up your Client List. One thing that can get out of hand in our business is our client list, especially if you do a lot of one-off projects. Depending on the system you use to keep track of your clients, you may want to divide them into Active and Inactive categories. It makes managing it much easier if you don't have to scroll through dozens or hundreds of inactive clients to find the one you're looking for. Clean up your email mailboxes. You may not realize how much hard drive space email takes up, especially in our field, where attachments weigh in at multiple megabytes. Chances are you save any attachments you receive to their respective client folder. It's the smart thing to do. But that means you have two copies of that attachment on your computer. One is stored in the client folder, and one is still attached to the email message. The same goes for attachments you send to clients. On a Mac, a duplicate copy is stored in the Library folder for your mail client. You can easily clean this up by highlighting a group of emails and telling your email client to delete the attachments. Clean up your Mail Lists. Another thing you may want to clean up is the email lists you're subscribed to. It's gotten to the point where you can't enter your email anywhere online without being subscribed to some email list. Take a few minutes to see what's in your inbox that you don't need, and unsubscribe from them. If you want to make it easy, look at unroll.me. Sign up to quickly unsubscribe from email lists you're no longer interested in. And get an easily consumed digest of the ones you want to keep. Clean up your Fonts. The next thing you may want to do is clean up your fonts. As of last year, Adobe software no longer supports PostScript version fonts. If you've been in this business for a while, you've probably accumulated many PostScript fonts. Since they're no longer usable, either get rid of them or convert your old PostScript version fonts to OpenType fonts using TransType 4 from FontLab. Clean up the rest. You can clean so many other things this spring on your computer. Take a few minutes to review your applications folder and delete any you don't use. Remove seldom-used icons from your Dock. Cull down your bookmarks. And update any passwords that need updating. And although it's not your computer. When did you last take inventory of the apps on your phone? If you're anything like me, there are probably a few you can eliminate. Cleaning up your Office. This one is probably the easiest since it's mostly visible. Although, in my case, not necessarily the quickest. Look around your office space and see what you can clean. What do you have on your desk, shelves, and other exposed surfaces? Do you need all of it? There's a fine line between well-decorated and cluttered. I know. I cross it all the time. That's why one of my biggest spring cleaning projects this year is cleaning my office. But it's not just about what you can see. How well organized are your closets, cabinets and drawers? Do you toss things into them to get them out of sight? If so, now may be the time to go through and organize what you need to keep and get rid of what you don't. And, of course, once the clutter is taken care of. A good dusting and maybe washing of windows can help keep your office space as a place you enjoy being in. Man o man, just looking around my office. I have a lot of work to do this spring. Cleaning up your Business. There's no time like spring to look at your business and see where you can tidy up. Clean up your Resume. If working for yourself isn't your goal, then refreshing your resume is something you may want to look at. Clean up your Portfolio. What about your Portfolio? The one on your website, or perhaps Behance or some other online platform? Are the projects you're showcasing up to your current design skills? If not, take them out and replace them with newer work. Clean up your expenses. Is there anything you're paying for that you don't use? Now is a great time to look at your expenses and see if you can cut back on unneeded expenditures. Do you need to pay for all of Adobe Creative Suite if Photoshop is the only application you use? What about your web hosting? Are there better options out there you can move to? BTW, feel free to use my SiteGround affiliate link if you decide to move there. It's where I host mine and all my clients' websites. Look at what you're paying monthly or yearly and see where you can save money. Clean up your Branding. It's pretty standard for designers to neglect their branding. After all, you spend all day working on other people's projects. You don't always have the energy or desire to work on yours. But if you neglect your branding, you may lose out on potential clients. Take time to review things like your website. Besides the ordinary things like updating themes and plugins, you may want to check for broken links and ensure you've done everything you can for SEO. It's also an excellent time to review your content. Does the wording need refreshing? Read Building a Storybrand by Donald Miller. It's a great book to help you compose your brand story. Is your about page giving the proper impression? For more on creating a great about page, listen to episode 52 of the podcast. What about your social media profiles or profiles on Upwork, Fiverr or any other platform? Does your profile photo need updating? What about your description? Sometimes a minor tweak can make all the difference. You'll feel better after you clean. So there you have it—Spring Cleaning for Your Computer, Office, Business, and Branding. Of course, there are many more things you can clean. And everyone's environment is different. But you get the idea. Spring is in the air, and the desire for freshness comes with it. And that can start with a little bit of cleaning on your part. Ensuring your workspace is a clean and enjoyable place to work and go a long way in helping you succeed. So get cleaning.

Gutenburg shipped the first working printing press around 1450 and typeface was born. Before then most books were hand written, often in blackletter calligraphy. And they were expensive.    The next few decades saw Nicolas Jensen develop the Roman typeface, Aldus Manutius and Francesco Griffo create the first italic typeface. This represented a period where people were experimenting with making type that would save space. The 1700s saw the start of a focus on readability. William Caslon created the Old Style typeface in 1734. John Baskerville developed Transitional typefaces in 1757. And Firmin Didot and Giambattista Bodoni created two typefaces that would become the modern family of Serif. Then slab Serif, which we now call Antique, came in 1815 ushering in an era of experimenting with using type for larger formats, suitable for advertisements in various printed materials. These were necessary as more presses were printing more books and made possible by new levels of precision in the metal-casting. People started experimenting with various forms of typewriters in the mid-1860s and by the 1920s we got Frederic Goudy, the first real full-time type designer. Before him, it was part of a job. After him, it was a job. And we still use some of the typefaces he crafted, like Copperplate Gothic. And we saw an explosion of new fonts like Times New Roman in 1931. At the time, most typewriters used typefaces on the end of a metal shaft. Hit a kit, the shaft hammers onto a strip of ink and leaves a letter on the page. Kerning, or the space between characters, and letter placement were often there to reduce the chance that those metal hammers jammed. And replacing a font would have meant replacing tons of precision parts. Then came the IBM Selectric typewriter in 1961. Here we saw precision parts that put all those letters on a ball. Hit a key, the ball rotates and presses the ink onto the paper. And the ball could be replaced. A single document could now have multiple fonts without a ton of work. Xerox exploded that same year with the Xerox 914, one of the most successful products of all time. Now, we could type amazing documents with multiple fonts in the same document quickly - and photocopy them. And some of the numbers on those fancy documents were being spat out by those fancy computers, with their tubes. But as computers became transistorized heading into the 60s, it was only a matter of time before we put fonts on computer screens. Here, we initially used bitmaps to render letters onto a screen. By bitmap we mean that a series, or an array of pixels on a screen is a map of bits and where each should be displayed on a screen. We used to call these raster fonts, but the drawback was that to make characters bigger, we needed a whole new map of bits. To go to a bigger screen, we probably needed a whole new map of bits. As people thought about things like bold, underline, italics, guess what - also a new file. But through the 50s, transistor counts weren't nearly high enough to do something different than bitmaps as they rendered very quickly and you know, displays weren't very high quality so who could tell the difference anyways.  Whirlwind was the first computer to project real-time graphics on the screen and the characters were simple blocky letters. But as the resolution of screens and the speed of interactivity increased, so did what was possible with drawing glyphs on screens.  Rudolf Hell was a German, experimenting with using cathode ray tubes to project a CRT image onto paper that was photosensitive and thus print using CRT. He designed a simple font called Digital Grotesk, in 1968. It looked good on the CRT and the paper. And so that font would not only be used to digitize typesetting, loosely based on Neuzeit Book. And we quickly realized bitmaps weren't efficient to draw fonts to screen and by 1974 moved to outline, or vector, fonts. Here a Bézier curve was drawn onto the screen using an algorithm that created the character, or glyph using an outline and then filling in the space between. These took up less memory and so drew on the screen faster. Those could be defined in an operating system, and were used not only to draw characters but also by some game designers to draw entire screens of information by defining a character as a block and so taking up less memory to do graphics.  These were scalable and by 1979 another German, Peter Karow, used spline algorithms wrote Ikarus, software that allowed a person to draw a shape on a screen and rasterize that. Now we could graphically create fonts that were scalable.  In the meantime, the team at Xerox PARC had been experimenting with different ways to send pages of content to the first laser printers. Bob Sproull and Bill Newman created the Press format for the Star. But this wasn't incredibly flexible like what Karow would create. John Gaffney who was working with Ivan Sutherland at Evans & Sutherland, had been working with John Warnock on an interpreter that could pull information from a database of graphics. When he went to Xerox, he teamed up with Martin Newell to create J&M, which harnessed the latest chips to process graphics and character type onto printers. As it progressed, they renamed it to Interpress. Chuck Geschke started the Imaging Sciences Laboratory at Xerox PARC and eventually left Xerox with Warnock to start a company called Adobe in Warnock's garage, which they named after a creek behind his house. Bill Paxton had worked on “The Mother of All Demos” with Doug Engelbart at Stanford, where he got his PhD and then moved to Xerox PARC. There he worked on bitmap displays, laser printers, and GUIs - and so he joined Adobe as a co-founder in 1983 and worked on the font algorithms and helped ship a page description language, along with Chuck Geschke, Doug Brotz, and Ed Taft.  Steve Jobs tried to buy Adobe in 1982 for $5 million. But instead they sold him just shy of 20% of the company and got a five-year license for PostScript. This allowed them to focus on making the PostScript language more extensible, and creating the Type 1 fonts. These had 2 parts. One that was a set of bit maps And another that was a font file that could be used to send the font to a device.  We see this time and time again. The simpler an interface and the more down-market the science gets, the faster we see innovative industries come out of the work done. There were lots of fonts by now. The original 1984 Mac saw Susan Kare work with Jobs and others to ship a bunch of fonts named after cities like Chicago and San Francisco. She would design the fonts on paper and then conjure up the hex (that's hexadecimal) for graphics and fonts. She would then manually type the hexadecimal notation for each letter of each font.  Previously, custom fonts were reserved for high end marketing and industrial designers. Apple considered licensing existing fonts but decided to go their own route. She painstakingly created new fonts and gave them the names of towns along train stops around Philadelphia where she grew up. Steve Jobs went for the city approach but insisted they be cool cities. And so the Chicago, Monaco, New York, Cairo, Toronto, Venice, Geneva, and Los Angeles fonts were born - with her personally developing Geneva, Chicago, and Cairo. And she did it in 9 x 7.  I can still remember the magic of sitting down at a computer with a graphical interface for the first time. I remember opening MacPaint and changing between the fonts, marveling at the typefaces. I'd certainly seen different fonts in books. But never had I made a document and been able to set my own typeface! Not only that they could be in italics, outline, and bold. Those were all her. And she inspired a whole generation of innovation. Here, we see a clean line from Ivan Sutherland and the pioneering work done at MIT to the University of Utah to Stanford through the oNLine System (or NLS) to Xerox PARC and then to Apple. But with the rise of Windows and other graphical operating systems. As Apple's 5 year license for PostScript came and went they started developing their own font standard as a competitor to Adobe, which they called TrueType. Here we saw Times Roman, Courier, and symbols that could replace the PostScript fonts and updating to Geneva, Monaco, and others. They may not have gotten along with Microsoft, but they licensed TrueType to them nonetheless to make sure it was more widely adopted. And in exchange they got a license for TrueImage, which was a page description language that was compatible with PostScript. Given how high resolution screens had gotten it was time for the birth of anti-aliasing. He we could clean up the blocky “jaggies” as the gamers call them. Vertical and horizontal lines in the 8-bit era looked fine but distorted at higher resolutions and so spatial anti-aliasing and then post-processing anti-aliasing was born. By the 90s, Adobe was looking for the answer to TrueImage. So 1993 brought us PDF, now an international standard in ISO 32000-1:2008. But PDF Reader and other tools were good to Adobe for many years, along with Illustrator and then Photoshop and then the other products in the Adobe portfolio. By this time, even though Steve Jobs was gone, Apple was hard at work on new font technology that resulted in Apple Advanced Typography, or AAT. AAT gave us ligature control, better kerning and the ability to write characters on different axes.  But even though Jobs was gone, negotiations between Apple and Microsoft broke down to license AAT to Microsoft. They were bitter competitors and Windows 95 wasn't even out yet. So Microsoft started work on OpenType, their own font standardized language in 1994 and Adobe joined the project to ship the next generation in 1997. And that would evolve into an open standard by the mid-2000s. And once an open standard, sometimes the de facto standard as opposed to those that need to be licensed. By then the web had become a thing. Early browsers and the wars between them to increment features meant developers had to build and test on potentially 4 or 5 different computers and often be frustrated by the results. So the WC3 began standardizing how a lot of elements worked  in Extensible Markup Language, or XML. Images, layouts, colors, even fonts. SVGs are XML-based vector image. In other words the browser interprets a language that displays the image. That became a way to render Web Open Format or WOFF 1 was published in 2009 with contributions by Dutch educator Erik van Blokland, Jonathan Kew, and Tal Leming. This built on the CSS font styling rules that had shipped in Internet Explorer 4 and would slowly be added to every browser shipped, including Firefox since 3.6, Chrome since 6.0, Internet Explorer since 9, and Apple's Safari since 5.1. Then WOFF 2 added Brotli compression to get sizes down and render faster. WOFF has been a part of the W3C open web standard since 2011.  Out of Apple's TrueType came TrueType GX, which added variable fonts. Here, a single font file could contain a number or range of variants to the initial font. So a family of fonts could be in a single file. OpenType added variable fonts in 2016, with Apple, Microsoft, and Google all announcing support. And of course the company that had been there since the beginning, Adobe, jumped on board as well. Fewer font files, faster page loads.  So here we've looked at the progression of fonts from the printing press, becoming more efficient to conserve paper, through the advent of the electronic typewriter to the early bitmap fonts for screens to the vectorization led by Adobe into the Mac then Windows. We also see rethinking the font entirely so multiple scripts and character sets and axes can be represented and rendered efficiently.  I am now converting all my user names into pig Latin for maximum security. Luckily those are character sets that are pretty widely supported. The ability to add color to pig Latin means that OpenType-SVG will allow me add spiffy color to my glyphs. It makes us wonder what's next for fonts. Maybe being able to design our own, or more to the point, customize those developed by others to make them our own. We didn't touch on emoji yet. But we'll just have to save the evolution of character sets and emoji for another day. In the meantime, let's think on the fact that fonts are such a big deal because Steve Jobs took a caligraphy class from a Trappist monk named Robert Palladino while enrolled at Reed College. Today we can painstakingly choose just the right font with just the right meaning because Palladino left the monastic life to marry and have a son. He taught jobs about serif and san serif and kerning and the art of typography.  That style and attention to detail was one aspect of the original Mac that taught the world that computers could have style and grace as well. It's not hard to imagine if entire computers still only supported one font or even one font per document. Palladino never owned or used a computer though. His influence can be felt through the influence his pupil Jobs had. And it's actually amazing how many people who had such dramatic impacts on computing never really used one. Because so many smaller evolutions came after them. What evolutions do we see on the horizon today? And how many who put a snippet of code on a service like GitHub may never know the impact they have on so many?

Für die zweite Episode in 2023 traf ich – leider nur virtuell – Ulrike Rausch. Sie ist Schriftgestalterin, Designerin, spricht auf einer Vielzahl von Veranstaltungen und schreibt nebenbei auch noch Bücher. Man merkt: Stoff für nur mehr als eine Episode. Für ihren ersten Besuch hier im Podcast, habe ich einmal einen Rundumschlag mit ihr gemacht und bin zusammen mit ihr einmal quer durch ihre Karriere geflogen.

Raymond Larabie (born 1970) is a Canadian designer of TrueType and OpenType computer fonts. He owns Typodermic Fonts, which distributes both commercially licensed and shareware/freeware fonts.

In this episode… News CreativePro Week 2023 registration includes InDesign and more Recordings available for the Design & Accessibility Summit  Go to our Events page to see 4 new online summits for 2023 CreativePro Magazine December 2022 issue dives deep into fonts and the Pantone color aggravation Good Grief: Goodbye to Type 1 Fonts and bundled Pantone spot colors Interview with Marcus Radich, chief tech officer of PageProof Obscure InDesign Feature: Select Unused Parents Sponsor for this episode: >>PageProof is the top online proofing workflow platform for your creative process: InDesign, Photoshop, Illustrator, Powerpoint, image files, and more. It's free for reviewers, and flat rate pricing for you and your designers makes it easy to get started! We interview Marcus Radich, CEO, in this episode, and you can hear David's more in-depth interview in this CreativePro Conversation on YouTube.  Links mentioned in this podcast: LinkedIn Learning Video Series for InDesign users InDesign Tips for Design Geeks InDesign Secrets (over 300 videos!) End of PostScript Type 1 Support Adobe's note on end of life for Type 1 Fonts How to Tell Which Files Use Type 1 PostScript Fonts How to Find Files Using Type1 PostScript Fonts in InDesign How to Convert PostScript Fonts to OpenType with TransType Pantone Libraries Disappearing What are Pantone colors? What are spot colors? Claudia McCue explains it all for you: https://creativepro.com/working-with-spot-colors/ Adobe's Pantone Colors Fade to Black: Users Turn Rubine Over Removal of Libraries from Creative Cloud 2023 Pantone Connect add-on in Adobe Exchange A Pantone-like library (Freetone) What is the Trumatch CMYK process color swatch library? https://creativepro.com/indesign-trumatch-system/ Parent pages: How to make running heads that change without using multiple parent/master pages: https://creativepro.com/indesign-how-to-automate-chapter-headers/

听众朋友早上好，今天是 2022 年 2 月 1 日星期二，壬寅年正月初一，欢迎收听全球字体新闻联播。 新春之际，我们将从技术规范、排版工具、设计作品等方面，回顾海内外新近要闻，一览字体排印领域的动向。2021 年我台播送了 2348 分钟，今岁，期待与每一位听众继续同行。 参考链接 OpenType 规范发布 1.9 版 OpenType 彩色字体（COLR 表）相关规范；Chromium 自版本 98 开始支持 COLR v1 的彩色渐变矢量字体 字谈字畅 064：Kerning Panic·字谈字串（六）Emoji（再次）拯救世界 2021 年 10 月，Quark 创立四十周年庆 Adobe Illustrator 推出字形对齐功能（Snap to Glyph），以智能参考线的方式交互；该功能也支持东亚文字 MIUI 13 搭载新系统字体 MiSans，由汉仪字库联合开发 CSS font-feature-settings 属性，可用于调用 OpenType 特性 东京 TDC 2022 公布评奖结果： 视频艺术作品「名曲专辑＋Requiem」获全场大奖，由影像艺术家大西景太创作 Altesse 字体获字体设计奖，由 Jean François Porchez 设计，Typofonderie 出品 GT Maru 迷你网站获 TDC 奖，由 Thierry Blancpain 和 Noël Leu 设计，Grilli Type 出品 「幕升幕落」展览海报获 TDC 奖，由劳硕维设计 Signifier 字体获提名，由 Kris Sowersby 设计，Klim Type 出品；该字体也用于 Klim Type 博客文章的正文 Resial 字体获提名，由 Nicolas Bernklau 设计 能指和所指 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 欢迎加入 The Type 会员计划，每月可通过会刊获得本节目更多图文扩展阅读，并享受礼品赠送、活动优惠以及购物折扣等权益。

新年伊始，ATypI 2021 余韵未竭。照例，我们邀请了老朋友 Mira 做客嘉宾。今天同在嘉宾席的还有 ATypI 中国代表、本届线上会议主持人之一的程训昌。接下来的一个半小时，且听三人畅聊印象至深的主题演讲，分解线上大会的精彩内容。 参考链接 ATypI (Association Typographique Internationale)，国际字体协会 Jo De Baerdemaeker，比利时字体设计师和研究者，ATypI 副主席及比利时国家代表 Crystian Cruz，巴西裔平面设计师和字体排印研究者，ATypI 副主席 《字谈字畅》第 167 期：再度线上阿蒂皮 “Happy Fifth Anniversary, Variable Fonts”，Peter Constable 在 ATypI 2021 的演讲 “Bété Type Design”，Adam Yeo 在 ATypI 2021 的演讲 科特迪瓦（Côte d’Ivoire）法语意即「象牙海岸」，但应该国政府要求，中华人民共和国采用音译的「科特迪瓦」 贝得语音节文字（Bété syllabary） “Multiple Perspectives, One Family: A Reflective Case Study of Anek”，Noopur Datye 在 ATypI 2021 的演讲 “Crazy, Chaotic, but Interesting CJK Font Production” ，Soohyun Park、Yona Kim 和 Ma Kichan 在 ATypI 2021 的演讲 “Hanguel Metal Typefaces Are the Sailing Boat That Carries Our Spirit, Culture, and Technology” ，Ryu Hyunguk 在 ATypI 2021 的演讲 Adobe-Japan1-6 字符集 OpenType ‘ital’ 特性 小林剑博士 2017 年针对为什么思源系列没有真正的意大利体斜体的回答，以及包含意大利字形的 CJK 字体的封装思路 大曲都市设计的 Noto Serif Tibetan 原名为 Noto Sans Tibetan ATypI 2021 每日快报，The Type 出品： 从埃及到斯洛文尼亚的文字风景 | ATypI 2021 第一日 旧历史与新表达 | ATypI 2021 第二日 超级字族与考据派 | ATypI 2021 第三日 嘉宾 Mira Ying：译者，平面设计师，西文书法爱好者；The Type 编辑；译著有《当我们阅读时，我们看到了什么》《字体设计艺术：西文字体排印五讲》《西文书法的艺术》和《编辑设计》等 程训昌：英国雷丁大学在读博士，ATypI 中国代表 主播 Eric：字体排印研究者，译者，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 欢迎加入 The Type 会员计划，每月可通过会刊获得本节目更多图文扩展阅读，并享受礼品赠送、活动优惠以及购物折扣等权益。

思源黑体、思源宋体的中文标点，在一些排版环境中会显示为半字宽——这样的现象可能也会出现在其他一些 CJK 字体上。如果你曾因此而费解，或许本期节目能给你些许帮助。如果你还对「等比公制字」这样的「Adobe 语」而困惑，那么我们就在今日一小时的闲聊中尝试为你解疑。 参考链接 展览「排版造型　白井敬尚」展期延长至 2021 年 12 月 31 日 展览「等待激活 TO BE ACTIVATED」由 3type 与 MORE studio 共同策划，于 2021 年 11 月 6 日至 12 月 12 日在上海 OPEN MORE 空间展出 展览「再纺东亚系列一：手中的罗盘」于 2021 年 11 月 27 日至 2022 年 2 月 27 日在香港 CHAT 六厂展出；期间，讲座「文字纺造与织物编写：字体作为媒介」将于 2021 年 12 月 4 日下午 3 时在 CHAT 客厅及线上同时举办 兰阳明体开始众筹，截止于 2022 年 1 月 13 日 23 时 59 分；关于兰阳明体的故事，参见 justfont blog (1) (2) (3) OpenType 特性： palt (Proportional Alternate Widths) vpal (Proportional Alternate Vertical Metrics) kern (Kerning) vkrn (Vertical Kerning) 思源黑体和思源宋体都使用了 palt 和 vpal 特性 macOS 系统的字体面板中内含「字体排印」设置选项，其中调取 palt 和 vpal 特性的选项被翻译做「备选成比例的宽度」 Adobe Illustrator 中 kerning（「字距微调」）和 proportional metrics（「等比公制字」）相关的设置 Adobe InDesign 中 kerning（「字偶间距」）和 proportional metrics（「等比量度」）相关的设置 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 欢迎加入 The Type 会员计划，每月可通过会刊获得本节目更多图文扩展阅读，并享受礼品赠送、活动优惠以及购物折扣等权益。

承接上期，我们特别邀请到汉仪玄宋项目的另一位重要设计师张暄，为我们解密玄宋家族的另一面——汉字之外的字符字形，OpenType 排版特性，以及这些设计背后的理念、意图和不易为人所知的创作历程。 参考链接 Windows 10 Insider Preview Build 21376 装载了 Segoe UI 可变字体 Microsoft Office 计划更换默认字体，目前有五个备选字体，并在社交网站上征求意见 汉仪玄宋 GB 18030—2005《信息技术 中文编码字符集》 Windows-1252 苏州码子 字谈字畅 076：数，不胜数（〥） 注音符号 字谈字畅 054：ㄨㄛˇ ㄞˋ ㄓㄨˋ ㄧㄣ 平假名 片假名 Eric 所撰《Wǒ ài pīnyīn!》，刊于 The Type 字谈字畅 090：巴黎城内加拉蒙 Sabon，Jan Tschichold 于 1967 年设计的衬线体 日文长音符 OpenType 'palt' 特性 OpenType 'ital' 特性 OpenType 'calt' 特性 嘉宾 张暄：前「燕京城外夜玫瑰」，汉仪字库资深字体设计师 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 The Type 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

延续两周前的话题，嘉宾 Bobby 将继续与我们进一步讨论与中文排版相关的 CSS 特性。此外，我们今天还有幸同时邀请到 Firefox 贡献者 Xidorn。 本期节目将侧重介绍这些 CSS 标准的历史和进展，以及它们在浏览器中的实作状况。 参考链接 CSS Counter Styles、CSS Ruby Layout，Xidorn 曾为 Firefox 排版引擎实现的相关特性 Adobe Fonts 在 2021 年初扩展了多文种字体，方正字库和字由入驻 日本写研将与森泽共同开发 OpenType 格式字体 字谈字畅 103：行高行距行行行（hángháng xíng） W3C Process Document CSS Writing Modes Level 3, Level 4 CSS Logical Properties and Values Level 1 CSS Fragmentation Module Level 3 CSS Paged Media Module Level 3 CSS Line Grid Module Level 1 CSS Rhythmic Sizing CSS Ruby Layout Module Level 1 ルビ（ruby） CSS Text Decoration Module Level 3, Level 4 字谈字畅 122：上下左右下划线 CSS Text Module Level 3, Level 4 International Layout（CSS Text Module 的前身） CSS 属性 text-align-last CSS Inline Layout Module Level 3 《中文排版需求》的发布版本以及最新的编辑草案 嘉宾 董福兴（Bobby Tung）：W3C 传道士 、《中文排版需求》编辑、数字出版专家 权循真（Xidorn Quan）：软件工程师、Firefox 排版引擎贡献者 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 The Type 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

今日のニュースはビックリしました。ベルリンの壁崩壊レベルです。 とりあえずモリサワのプレスリリースはコレです。 モリサワ OpenTypeフォントの共同開発で株式会社写研と合意 | ニュース&プレスリリース | 企業情報 | 株式会社モリサワ https://www.morisawa.co.jp/about/news/5280 株式会社写研のプレスリリースはありません。会社のWebサイト自体がありませんから…。 あらゆる仕事が一斉にデジタル化した1990年代のスタートラインに立たなかった写研が、30年の遅れを一気に取り戻せるのかと言えばムリだと思います。 なぜ、今更デジタル化するのかは軽くググった感じではIT嫌いの社長が亡くなったからみたいです。いろいろエピソードには事欠かない方みたいで、軽くめまいがしました。 【2020/10】フォントメーカー「写研」、最近の動き | 鉄道プレス http://207hd.com/?p=8797 配信日 2021-01-29

本期节目将继续回顾 ATypI 2020 环球线上全天候的会议进程。同去年一样，我们再次邀请 Mira 和 Richor 为大家介绍印象深刻的演讲及工作坊，分享关于精彩内容和一些「意料之外」的感想。 参考链接 第十届「方正奖」字体设计大赛获奖作品 汉仪第四届字体之星设计大赛获奖作品 OpenType specification 更新至 1.8.4 版本；新增的 CJK 相关特性包括 chws 和 vchw 等 ATypI 2020 All Over 借助 Bizzabo 平台在线上举行 “Typographic Selfie + CODE”，Yeohyun Ahn 主讲的工作坊 “Storytelling and Visual Narrative through Experimental Typography”，Sreekumar Vivekanandan 主讲的工作 “Building Custom Type for Logotype Design: The Matter of Making Unique Solutions for Design”，Jose Luis Coyotl Mixcoatl 主讲的工作坊 “Alternative Digital Methods: Rhino and Grasshopper 3D for Dimensional Typography”，Taekyeom Lee 的演讲 “Font Bakery”，Dave Crossland、Viviana Monsalve、Lasse Fister 和 Felipe Sanches 主持的工作坊 BBC 制作的纪录片 The Secret History of Writing 「ATypI 云端速报」，The Type 在 ATypI 2020 会议期间的每日简报 灵感生成、3D 建模、标准检查……多款工具助力字体创意与开发 文字倩影：从华沙到圣保罗，从音乐到建筑 本地文字，全球话题 多文字景观被浪漫化了吗？复刻字体多大程度上被高估了？ 跑火车、砍木头、脱口秀、万圣趴……这里依然是文字设计大会 The Type 会员专刊 T 27，内含 ATypI 2020 特别报道 “The Italic Design Process”，Victor Gaultney 的演讲 “Reconsidering Revivals”，Robin Mientjes 的演讲 “Making Wood Type from Alien Tree Species”，Marko Drpić 的演讲 “Neon/Font: A Torrid Typographic Affair”，Stephen Coles 的演讲 “Why Music Fonts Haven’t Evolved for the 21st Century”，Dave Lawrence 的演讲 “Unvoxing the ATypI Classification”，Manuel Sesma 的演讲 ATypI 2020 Hangout Space “CJK Typefaces: Friendly Neighbors Far, Far Away”，Ye-Jin Wi 的演讲 嘉宾 Mira Ying：译者，平面设计师，西文书法爱好者；The Type 编辑；译著有《当我们阅读时，我们看到了什么》《字体设计艺术：西文字体排印五讲》《西文书法的艺术》和《编辑设计》等 Richor：日本武藏野美术大学学生，The Type 撰稿人 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 The Type 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

字距是文字排版的又一基础概念。与行距类似的是，它存在着术语名称的混杂；与之不尽相同的是，「字距」时常指代着多个可调的参数。今天我们将围绕中西文排版的实践，一窥字间字隙。 参考链接 《中文文字设计研究选集》（Collection of Research on Chinese Typography），The Type 编撰出品 文鼎字型（Arphic Types）在 Adobe Fonts 平台上架字体产品 Monotype 收购 Fontsmith；Fontsmith 是一家位于英国伦敦的字体厂商，出版有杂志 TypeNotes Letter-spacing（常译作「字距」「字母间距」） 西文的 tracking（常译作「字距调整」，Adobe 软件译作「字符间距」） 西文的 kerning（字偶距） 字体设计中的 side bearing（边距） CSS 定义的 letter-spacing 和 word-spacing 属性 Hellvetica，基于 Helvetica 的恶搞字体，Zack Roif 和 Matthew Woodward 合作出品 Erik Spiekermann & E. M. Ginger. Stop Stealing Sheep & Find Out How Type Works. Adobe Press, 1993 (2nd Edition, 2002). Typophile 论坛曾讨论过「steal sheep」这一措辞的来源及争议 OpenType palt 和 vpal 特性 Adobe InDesign 的「版面网格」 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 The Type 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

Webtoons is a popular platform for independent comics publishers. But with practically no options for reader outreach, is it worth the effort? But first, Dave shares his vacation waterslide adventure... and his lack of fandom for FreakazoidQuestions asked and topics covered...The Far Side — we called itClip Studio Paint doesn't have OpenType support — and that needs to changeShould you be building your audience on Webtoons?Do you want to know why a reader left your comic?Obsessing over an audienceLimited-edition ComicLab enamel pins are now available at newevilbook.com and sheldonstore.com!You get great rewards when you support ComicLab on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast$10 — Record an audio question for possible use on the show AND get the exclusive ProTips podcast$50 — Sponsor the show! We’ll read a brief promo for your comic/product and read it twice during the show AND you get the exclusive ProTips podcastBrad Guigar is the creator of Evil Inc and the editor of Webcomics.comDave Kellett is the creator of Sheldon and Drive.Listen to ComicLab on...Apple PodcastsGoogle PodcastsSpotifyPandoraStitcherComicLab is hosted on Simplecast, helping podcasters since 2013. with industry-leading publishing, distribution, and sharing tools.

为什么要请一个去过敌台不止一次的嘉宾来我们这儿再聊一下？你只需要听前 17 秒钟的节目就知道原因了。当然大家也不要被我们的「哄堂大笑」给吓尿，汉仪字体设计师夜玫瑰还是在之后的节目里非常正经地跟我们探讨了一下作为字体设计师的自豪、哭闹和日常，而且从本集极长的参考链接列表长度你就可以发现，我们并不是单纯聊屎尿屁了~PS. 本年度上海站线下活动继续预订中，同时也再需要 1 - 2 名志愿者朋友~ 有兴趣和我们一起组织活动的请点此报名~ 继续谢谢大家的支持！ # 本期嘉宾张暄，汉仪字库西文字体设计师。学术端正，为人粗野，吃的是屎，挤的是字体。# 内容提要00:10 · 请不要被一上来的「哄堂大笑」劝退，本期大部分主题还是很专业的04:27 · 张暄的职业生涯从「一期一会」开始13:13 · 方正和造字工房是如何错过本期嘉宾的故事17:56 · 字体公司一般的产品开发流程25:25 · 本期节目聊了很多关于可变字体的内容54:30 · 话题开始「屎尿屁」化57:46 · 凭本事花的钱，凭什么我要去玩65:20 · 夜玫瑰英文 ID 的出处# 参考链接嘉宾的微博以及很多平台常用 ID 是 DrizztVII 0:08苏州河边小测老的出处是这一集 1:41教育机构火星时代 5:38水晶石 5:45嘉宾的导师 Charles Bigelow 7:43Bigelow 非常重要的作品 Lucida 家族 9:46更正口误（给 Eric 看）：Office 的数学字体是 Cambria Math 11:29本期的 BGM 均来自嘉宾的歌单《夜玫瑰上头严选》 11:29美国 H-1B 签证 13:40Hoefler&Co 字体公司 13:53Monotype 字体公司 13:56方正出品的字体管理软件字加 17:40汉仪的字体客户端软件字由 17:42汉仪尚巍手书字体 18:08非常流行的字体设计软件 Glyphs 20:14另一款字体设计软件 FontLab 20:15方正字迹系列字体 20:31我台聊到纪录片《Abstract》的那一期节目 23:12字体设计公司 Font Bureau 24:50可变字体 25:08HD DVD 和蓝光的格式之争 27:42Adobe MM 多母版字体 28:05老一辈的字体设计大师 Matthew Carter 28:25大师主要作品之 Georgia 28:34大师主要作品之 Tahoma 28:36大师主要作品之 Verdana 28:37在 Font Playground 上可以体验到很多可变字体，包括嘉宾说的 Decovar 和 Amstervar 30:39目前各大浏览器对可变字体的兼容性 34:33大厂之间关于字体格式的斗争：《参数化设计与字体战争：从 OpenType 1.8 说起》 37:01「You have phones?」梗的出处 38:24在 MIUI 11 的介绍页面里你就能体验这个假的「无极可调」字重 39:19参数化字体设计工具 Prototypo 50:26FontLab 新版中的 Power Brush 功能 53:58ATypI 2019 东京大会 的介绍可移步友台节目《江户城下阿蒂皮》 56:26嘉宾张暄在大会上的发言《To Be, or Not to Be Read?》 56:29We are dicks 的出处《美国战队：世界警察》57:34小岛秀夫今年的新游戏《死亡搁浅》 58:07MGS 即是小岛秀夫的成名作品《合金装备》 58:30RPG 巨制《巫师 3》 59:10动作 RPG 游戏《怪物猎人》 59:30被遗忘的国度 63:38被遗忘的国度战役设定衍生作品主人公崔斯特 63:50罐头笑声 67:52假面骑士 68:01假面骑士的这个必杀技出处 68:05假面骑士的原作者石森章太郎 68:33疯狂怪医芙兰 68:58# 会员计划在本台官网(Anyway.FM) 注册会员即可 14 天试用 X 轴播放器和催更功能~ 开启独特的播客互动体验，Pro 会员更可加入听众群参与节目讨(hua)论(shui)~

Network without a face-to-face meeting. Networking is an essential element to grow your business. In part 1 of this two-part series, I shared advice for getting out and interacting with people face-to-face to promote your design business. But to many people, the thought of networking is intimidating. That’s why I suggested you don’t think of it as networking, but instead think of it as relationship building. When you adjust your mindset, it alleviates a lot of the burden that comes with trying to grow your business. However, meeting people face to face isn’t the only way to network. There are other ways to build those relationships. Here are some less intimidating methods of reaching out to people. Network with Email You may not realize it, but every time you send out an email, you’re building relationships. And since relationship building is a crucial element in your business’s growth, you should consider upping your email game, especially when you’re just starting. The best advice I can give you as a new design business owner is to email everyone you know. Not just family and friends. I’m talking Former co-workers Former bosses Other designers Printers Former classmates Your neighbours Email everyone in your contact list. Let them know you’ve started your own design business and explain how you’re helping people solve their problems through your design services. Then ask if they know anyone who could benefit from working with you. That’s a secret trick to networking. Don’t ask if they need your services, ask if they know anyone else who does. This way, you’re asking for their help, which goes much further towards relationship building than asking them if they need a designer. It’s implied that if they need a designer, they can hire you. Email is also an excellent way to grow an established design business. It can never hurt to reach out to people. Just change your message from “I started a design business” to “I’m looking for new clients for my design business.” Don’t just ask them if they know anyone who could use your services, ask them for that person’s contact information so you can reach out to them directly. Most people won’t give you that information, but it shows them you’re serious, which will make them less likely to delete your message and instead ponder your question and possibly forward it on to someone. Network with Social media Networking is all about building relationships, which is the driving force behind social media. The trick to networking on social media is to interact with people positively. Join groups and communities where the type of people you want to work with hang out and help them. If you work in a niche, then you’re all set. Join niche related groups and start engaging. If you don’t have a niche, try to figure out the type of client you want to work with and go to where they hang out online. Once you find a group, start interacting. Answer people’s questions whenever you can. Leave comments on people’s posts. Post useful information and tidbits that will benefit people. Let people know you're there. For example, as a designer working in the podcast niche, I’m part of several podcast-related communities. I scan those communities regularly for people asking questions about podcast artwork, or websites, and I try to answer them in the most helpful way I can. I don’t offer my design services unless it’s directly related to their question. Instead, I offer advice free of any sales pitch. I’m building relationships. On Instagram, I comment when people post their new podcast artwork. My comment usually goes something like this. “Hi, I just wanted to let you know how much I like your new artwork. I design podcast artwork and websites, but you obviously don’t require my services. Good luck with your new podcast.” Why do I bother when they already have artwork? Because maybe that person has their cover art done, but they still need a website. Seeing my comment may make them check out my website and hire me. That’s what happened with one of my clients. She saw a comment I left about her friend’s new podcast artwork and reached out to me for help with the social media branding for her show. The other reason I do this is that from time to time, someone will ask a question on facebook or LinkedIn such as “does anyone know where I can get my podcast cover artwork designed?” Inevitably, someone usually ends up mentioning my name before I get a chance to reply. Why? Because they’ve gotten to know me through my interactions in the group. And when the person who asked the questions receives a dozen different designer names, I’m hoping they recognize my name from all the times I’ve helped other people in the group. I’m building relationships. And you can too, all it takes is a tiny bit of time and the willingness to help. Network with a Newsletter Another great way to build and strengthen relationships is with a newsletter. Andrew, a member of the Resourceful Designer Community,has a fabulous newsletter he shares with his clients. In every issue, he shares useful business advice that may or may not relate to his services. He also shares some personal information about what he’s been up to lately and talks about a project or two that he’s recently completed. He always finishes his newsletter with a question. This question allows him to engage with his clients should they answer it. A newsletter is a great way to keep in touch with current and past clients, which in turn will keep you front of mind should they hear of someone who is looking for a designer. Networking with printed material If you're running a design business, you should have a business card. I know, I know, we’re living in a new world where you can tap a button on your phone and someone’s contact information is instantly added to your contact list. Don’t get me wrong. I love how easy to use our phones. When I was at WordCamp Ottawa, a presenter asked us to open LinkedIn, and with the press of a few buttons, I connected with over 40 WordPress enthusiasts in attendance. But still, there’s nothing like having a conversation with someone and then handing them your business card. Or better yet, giving them several cards and asking them to share the extra with people who would benefit from working with you. Let them do the networking for you. Business cards are not the only way to network with printed materials. You could try postcards, door hangers, pens and such. Anything that can be picked up is a form of networking, relationship building. Get out there and build relationships. So there you have it, four ways to network without having to meet people face to face: email, social media, newsletters and printed materials. Get out there and spread the word. Build relationships and watch your design business grow. What's your experience with networking? Let me know by leaving a comment for this episode. Resource of the week Font Macherator According to the FontSpring website, The Macherator is the most robust font detection tool available. It offers powerful technology and features under the hood and allows you to match OpenType features. Something WhatTheFont doesn’t provide. I’ve been using WhatTheFont for years. I have the app on my phone and have used it several times while I’m out and about and spot an attractive font. However, WhatTheFont is not infallible. There are several times it couldn’t identify a font for me. That’s why it’s nice to have Matcherator as a new player in the game for font identification. If you want to give it a whirl, visit https://www.fontspring.com/matcherator Listen to the podcast on the go. Listen on Apple Podcasts Listen on Spotify Listen on Android Listen on Stitcher Listen on iHeartRadio Contact me I would love to hear from you. You can send me questions and feedback using my feedback form. Follow me on Twitter, Facebook and Instagram I want to help you. Running a graphic design or web design business all by yourself isn't easy. If there are any struggles you face running your design business, please reach out to me. I'll do my best to help you by addressing your issues in a future blog post or podcast episode here at Resourceful Designer. You can reach me at feedback@resourcefuldesigner.com

听众朋友早上好，今天是 11 月 26 日又一个星期二，农历冬月初一，欢迎收听全球字体新闻联播。 本期节目，首先回顾文字技术相关的消息、值得关注的字体设计竞赛以及海外知名厂商的动向；随后，我们将对比介绍国内手机品牌和操作系统的字体定制案例；最后，向大家推荐两份别具一格的出版物。 另，本台微信小程序已上线，由轻芒提供技术支持。在微信中扫码即可打开，也可搜索「字谈字畅」或「TypeChat」获取。 下面是本期内容的详细报道。 参考链接 新中国第一代字体设计师徐学成先生于 2019 年 11 月 1 日逝世，享年 91 岁 The Type 的「上海活字」栏目 UTC #160 会议上，位于扩展 G 区的 4939 个 CJK Unified Ideographs 字符被确认收录至 Unicode 13 IRG #25 会议上通过决议补录 13 个中国科技用字 Greg Hitchcock 撰文纪念 TrueType 技术发布三十周年 Figma 官方博客撰文介绍部分 OpenType 特性及其在 Figma 软件中的应用 Updike Prize for Student Type Design（Updike 学生字体设计奖） Granshan 2019 字体设计奖公布；郭永祥的作品「风骨楷」获三等奖，逄格会的「翻滚积木字库」、厉致谦的「行楷 Next」获提名 微软推出编程字体 Cascadia Code，并在 GitHub 开源 Typotheque 纪念 20 周年庆，全场五折 Adobe Fonts 登陆 iOS 13 Adobe Creative Cloud 旗下移动设备端 app 一览 Adobe InDesign 2020 (v15.0) 版本新特性 vivo 定制字体「vivo Type」发布，由丹麦设计机构 Kontrapunkt 及方正字库联合定制 OPPO 定制字体「OPPO Sans」发布，由美国设计机构 Pentagram 及汉仪字库联合定制 MIUI 11 发布「动态字体系统」，所用的字体家族「小米兰亭 Pro」由方正字库定制 「Smartisan T 黑」字体家族发布，基于方正悠黑家族定制 汉仪松阳体，浙江丽水松阳「城市字体」，吴勇主创设计，汉仪字库出品 阿根廷出版的西班牙语字体排印主题期刊 tipoGráfica，在网上免费公开过刊存档 Sincerity/Irony Heldane Specimen Book，Klim Type Foundry 出品的诗集兼字体样张 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 The Type 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

Kimya is a type designer from Mumbai with a passionate interest in Indic type design. Kimya interned with Linotype GmbH, Germany, in their font design department in 2010. Over the next several years she worked as a freelance designer for numerous type foundries catering to their multi-script requirements. Since 2015 she’s been a partner at Mota Italic focusing on Indic and Latin designs for retail and custom corporate projects. How has new technology and new software along with OpenType features, changing the face of Type design for Indian scripts? What has now become possible due to advancing technology?  You engage yourself in educating about type design. What are your observations about it?  You have been promoting and teaching importance of Indian typefaces, why? What value you see in it? How do you see things changing if type Design or taught in school and other primary educations institutes? We all know about the famous Oscar blunder due to bad typography. It’s not end of the world when it comes to Oscar, but its life and death when it comes to medicine and other important areas. Do you think better fonts can make a difference or it’s just better typography?  What are your thoughts and long term vision w.r.t spreading awareness about Indian Typefaces? How you and Mota are working towards it?  You have been working on 3D type faces recently. Can you tell us more about it?

行高或行距是文字排版的基础参数，也是排版品质的先决要素之一。本期节目我们以这一基本概念为主题，侧重介绍它的定义，及其在当下常见设计工具中的度量模型，以便听众更全面地了解「行」的行为模式。 TypeTour London 2019 开始招募，名额有限，欢迎报名。 参考链接 字体家族 Ping 获 2019 年欧洲设计奖（European Design Award）金奖 Affinity Publisher，Serif 公司出品的排版设计软件 2019 年森泽字体设计竞赛评奖结果公布 廖恬敏，独立平面设计师、字体设计师，现在纽约工作；曾在 Type is Beautiful 发表〈双语标准字：思路与实践〉 第十届「方正奖」字体设计大赛启动 Typographics 2019 演讲视频 Type@Paris 2019 演讲视频在 YouTube 陆续发布 TypeMedia 2018 学员作品发布；TypeMedia 是海牙皇家艺术学院（KABK）的硕士项目 Reviving Type，Nóra Békés 和 Céline Hurka 发起的图书众筹项目 Figma，一款支持多人协作的用户界面及原型设计软件；Anyway.FM 第 88 期对该软件有较多分析及评价 Figma 四月份更新了软件中行高设置的行为，同时发文详细阐释了相关细节 Leading，字面义为铅字排版所用的铅条，指代「行间距」，后也引申为「行高」 Adobe InDesign 帮助文档中关于「行距」（leading）的说明 Thinking with Type，Ellen Luption 所著的字体设计入门教材；其中关于 line spacing (leading) 的定义 OpenType hhea (Horizontal Header Table) 表内与字体默认行高相关的度量：ascender、descender、lineGap OpenType OS/2 (OS/2 and Windows Metrics Table) 表内与字体默认行高相关的度量： sTypoAscender、sTypoDescender、sTypoLineGap usWinAscent、usWinDescent CSS 标准关于「半行距」（half-leading）的定义 MDN 文档中 CSS line-height 属性相关的内容 郭斯恆．《霓虹黯色——香港街道視覺文化記錄》．三聯書店（香港）有限公司，2018． Xavier Dupré. Itinéraire typographique (Typographical Itinerary). Zeug, 2017. 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 Type is Beautiful 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

转瞬又是一年。本期，我们先花六十分钟来做听众反馈——随后，再为大家盘点近期海内外的新闻新事、新书新字。 依然期待未来的一年中，能继续有你相陪、与你相伴。 参考链接 《龙猫》（となりのトトロ）于今年 12 月 14 日首次在中国大陆地区院线上映；海报由黄海设计 OpenType name (naming table) 相关规范 听众 ruosi 在来信中附上的 Quora 和果壳的网站链接，以及 Les caractères de l'Imprimerie nationale 的书页照片 〈字谈字畅 059：数，不胜数（III）〉中讨论了数字「〇」的相关细节 米旮旯，一种九宫格双拼输入方案 速成输入法，仓颉输入法的一种简化版本 荷兰字体设计师赫拉尔德 · 因赫尔（Gerard Unger）于今年 11 月 23 日逝世，享年 76 岁 Gerard Unger. Theory of Type Design. Rotterdam: Nai010, 2018. Graphic Means，Briar Levit 导演及制作的纪录片，在 Vimeo 上可以购买或租借观看 Stockholm Design Lab 为诺贝尔奖（The Nobel Prize）设计了新的 logotype、品牌字体及相关的视觉识别系统 “Designing Greek typefaces”，Gerry Leonidas 撰写的希腊字母字体设计的教案 Berthe 字体，Charles Mazé 设计，ABYME 出品，基于 Deberny & Peignot 早年出品的 Série no. 16 字体而复刻；另有文章详细解读 Berthe 的设计 Heldane 字体，Kris Sowersby 设计，Klim Type Foundry 出品，基于早年荷兰出品的铅字而复刻 〈谈《金融时报》新字体 Financier〉，Klim 的案例介绍文章，Emily Yang 翻译，刊于 Type is Beautiful 今田欣一．『活字書体の履歴書［青春朱夏編］』．欣喜堂，2018 年． 汉仪字库于今年 11 月 23 日迎来创办 25 周年庆 方正集团于今年 12 月 12 日迎来创办 32 周年庆 ColorOS 6，OPPO 出品的 Android 操作系统；ColorOS 6 即将搭载新的中文字体 OPPO Sans，由汉仪字库联合设计出品 孙明远．《聚珍仿宋体研究》．科学出版社，2018 年． 〈孙明远谈《聚珍仿宋体研究》：「古典的回归」绝非单纯的拟古〉，厉致谦对孙明远博士的访谈，刊于 Type is Beautiful 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 Type is Beautiful 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

十月，我们迎来又一个字体之秋。本季，除了海内外新闻，我们将主要为大家报道在京举办的「字体与时代」主题论坛与工作坊，分享主播 Eric 参与其中的所见及所感。 参考链接 「Type Space｜字体空间相对论」主题沙龙将于 2018 年 11 月 10 日在上海进行，由文鼎字库主办，现可报名 字体设计师许瀚文荣获 2018 年 DFA 香港青年设计才俊奖之「创意智优青年设计才俊奖」 《经济学人》（The Economist）时隔十七年改版设计 QuarkXPress 2018 Pro 进入 Mac App Store，该版本与 QuarkXPress 2018 有所不同 Typekit 于今年 10 月改名为 Adobe Fonts 字加，方正字库出品的字体管理工具 字由，汉仪字库出品的字体管理工具 TrueType 简史；谭沛然所撰〈参数化设计与字体战争：从 OpenType 1.8 说起〉一文中，亦有字体格式发展历史的相关介绍 「字体与时代」主题论坛与工作坊，北京服装学院艺术设计学院字体工作室于 10 月 21 至 23 日举办 「字体与时代」现场演讲实录 鸟海修，日本字体设计师，字游工房主理人 小矶裕司，日本平面设计师，「字体与时代」演讲者之一 江户文字 《习近平谈治国理政》，有多种外语译本，外文出版社出版 Glyphs 提供的字体曲线绘制技巧 はるか（Haruka），JR 西日本的特急列车 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 Type is Beautiful 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

iPhone XS 和 iPhone XR 发布，机型名称中尾字母的大小写体例不同以往。今日，我们就来聊聊西文字体排印中的这一重要样式——小型大写字母。 参考链接 iOS 12 已发布，播客 app 亦有更新 Firefox 62 支持可变字体 金萱那提字体家族开始预购，justfont 设计出品 TDC 2018 字体设计及传达设计奖项已在网站公布 方正飞翔发布 7.1 版，方正飞翔是方正电子出品的桌面排版软件 Source Serif 发布 italic 变体 CSS Fonts Module Level 3 于今年 9 月 20 日发布为 W3C 推荐标准 Case 不是小 case，《字谈字畅》第三十七期 Apple 发布 iPhone XS 及 iPhone XR 小型大写字母（Small caps） Tiro Typeworks，John Hudson 和 Ross Mills 联合创办的字体公司 抬格 / 抬头 堂·吉诃德，西班牙语名 Don Quijote de la Mancha，原意为「来自曼查的骑士吉诃德大人」；Quijote 是他的姓，Don 是西班牙贵族的尊称，相当于英文的 Sir 或 Lord 小型大写相关的 OpenType 特性—— smcp (Small Capitals) pcap (Petite Capitals) c2sc (Small Capitals From Capitals) c2pc (Petite Capitals From Capitals) CSS 的 font-variant 和 font-feature-settings 特性 Unicode 收录的形似小型大写字母的字符，主要用于国际音标 Design 360° 杂志 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 Type is Beautiful 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

The Weekly Typographic — Episode 18 Overpass, Opentype, Buzzfeed & Cats

汉字的字形，随历史而演变。异体字的整理，汉字简化方案的提出及推行，以及各地区字形标准的差异，都为今日汉字的使用者和计算机软件的国际化，留下了不同程度的问题——当我们受惠于由繁入简的便利时，也不得不面对由简入繁的疑难。 参考链接 Type is Beautiful 更换域名为 thetype.com Windows 的「记事本」软件扩展了换行符的支持 《字谈字畅》第四十四期，讨论了换行符相关的问题 Microsoft Store 新增字体产品 macOS 系统上安装、管理和预览字体的软件「字体册」 Mac 上字体位置及其目的 异体字 GB/T 12345—90《信息交换用汉字编码字符集　辅助集》；另见知乎上关于 GB 12345 标准及字体产品的讨论 灵宝一高于 2017 年公布苏钰彤的文言文自荐信 《第一批简体字表》，中华民国教育部于 1935 年公布 《通用规范汉字表》，中华人民共和国国务院于 2013 年公布 《第一批异体字整理表》，中华人民共和国文化部和文字改革委员会于 1955 公布 汉字「里」与「裡」「裏」的关系 日语中的简化汉字，例如：渋、摂、缶、欠、知恵 二简字 UAX #38: Unicode Han Database (Unihan) GB/T 13000—2010《信息技术　通用多八位编码字符集（UCS）》，等同采用国际标准 ISO/IEC 10646:2003 OpenType 的 trad 特性 《字谈字畅》第二十三轮抽奖结果 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与联络信箱一致：podcast@thetype.com。

数，因书写系统及排版需求之差，表记方式各异，视觉形态多端。本台开辟专题一则，与听众分享「数」中不胜数之细节。本期聚焦阿拉伯数字。 今天也是《字谈字畅》开播两周年整。 第十四轮抽奖活动开启，截至 9 月 25 日零时前。本期奖品为东京印刷博物馆出品的明信片两套。 参考链接 2015 年 9 月 19 日，《字谈字畅》第零期上线 第九届「方正奖」字体设计大赛，将于今年 10 月 1 日至 12 月 31 日征集参赛作品 Font Purchasing Habits，一份关于字体购买习惯的调查问卷；Mary Catherine Pflug 在 Medium 发布文章介绍该调查结果 千位分隔符（thousands separator）和小数点（decimal mark），有多种书写习惯 在不同的英语书写体例中，数字书记规则也有所不同 阿拉伯数字的样式常分为 oldstyle figures 和 lining figures，另外还有 proportional figures 和 tabular figures 之分 OpenType 为四种数字样式分别定义了 tag： onum (oldstyle figures) lnum (lining figures) pnum (proportional figures) tnum (tabular figures) Microsoft Word 支持 OpenType 数字样式的设置 macOS 通过「字体」设置菜单中的「印刷字」选项，可调用 OpenType 特性 CSS 的 font-feature-settings 属性可用于开关特定的 OpenType 特性 《字谈字畅》第十三轮抽奖结果 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与联络信箱一致：podcast@thetype.com。

関連リンク 2017-02-14のJS: V8 5.7とES2015+のパフォーマンス、npm入門、TypeScriptガイドライン - JSer.info 私的TypeScriptとの関わり方ガイドライン - 角待ちは対空 Progressive Transpilation at Netflix and the road to running native ES2015 in production // Speaker Deck JavaScript Start-up Performance – Dev Channel – Medium node の security checkをするなら nsp が便利 - from scratch Mnemonist opentype.js – JavaScript parser/writer for OpenType and TrueType fonts.

听众朋友早上好，今天是 2017 年 2 月 7 日星期二，农历正月十一，欢迎收听全球字体新闻联播。 TIB 作者译著上架，Mozilla 品牌形象出炉。Monotype 花开遍地，Google Fonts 全库翻新。黑白军团果敢换标，伦敦交响持续前行。中西引号又惹评议，开源项目双双升级。另有实验字体一例，高低宽窄均可适宜。 第六轮抽奖活动开启，截至 2 月 13 日零时前。本期奖品由热心听众葛斌提供，《アイデア・ドキュメント：文字とタイポグラフィの地平》，仅限一册。 参考链接 《字谈字畅》专页，内含播客客户端的推荐 Type is Beautiful 的「相关书单」，内含字体排印领域内中、英、日文的推荐书籍 大卫·哈里斯著，应宁、厉致谦译．《西文书法的艺术》．天津：百花文艺出版社，2016 年． Mozilla Open Design，致力于更新 Mozilla 的品牌形象；今年 1 月，新版 logo 已确定；品牌字体 Zilla 由 Typotheque 设计 Fira 字体家族，Mozilla 主持的开源字体项目，用于 Firefox OS；Erik Speikermann 对其设计有重要贡献；开源编程字体 Fira Code 也基于 Fira Mono 发展而来 たづがね（Tazugane），Monotype 独立出品的第一款日文字体，小林章、山田和寛、土井遼太设计；产品网站上展示了「ツメ」（palt）特性的排版效果 OpenType 的 palt 特性，常被日文字体用作实现「詰め組み」（紧排）中所需的比例宽度的假名及标点符号等；在 CSS 中使用 font-feature-settings 属性，即可控制该特性的开关 HM Amperserif，H&M 委托定制的品牌字体，Monotype 设计师大曲都市及 The Studio 联合设计 Ampersand，即「&」符号，单词发音意为「and per se and」 Monotype 伦敦总部新办公室，由 Ben Adams Architects 和 SEA Design 联合设计 Beatrice Warde，字体排印领域的报道者、研究者，曾供职于 Monotype，以笔名「Paul Beaujon」在期刊 The Fleuron 和 The Monotype Recorder 上发表文章；代表作 “The Crystal Goblet” 阐述了她关于字体排印评价标准的观点 TDC Beatrice Warde Scholarship（字体指导俱乐部 Beatrice Warde 奖学金）由 TDC 和 Monotype 赞助，奖励热爱字体排印的本科低年级女性学生，奖金 5000 美元 英格兰足球超级联赛（Premier League）更新品牌形象，新的品牌字体 Premier Sans 由 Monotype 设计师大曲都市及 DesignStudio 联合设计 尤文图斯足球俱乐部（Juventus F.C.）更新品牌形象，品牌字体 Juventus Fans 由 Alessio D’Ellena 设计 伦敦交响乐团（LSO, London Symphony Orchestra）曾在 2004 年更新 logo，近期又发布新的品牌形象，前后均由 The Partners 设计；品牌字体基于 Klavika Condensed 定制 Fit，David Jonathan Ross 设计并开发的实验性字体项目，并给出了一套基于 OpenType Font Variations 技术的实作 Cowhand，大曲都市在 Monotype 举办的 Font Marathon 活动中设计的实验性字体 2016 年末，Google Fonts 对其提供的字体完成了大幅度的品质改进，并通过 GitHub 将工作流程公开化 Source Serif 发布 2.0 版；Source Serif 是 Adobe 主持的开源字体项目 STIX 字体发布 2.0.0 版本，字形设计基于 Times，由 Tiro Typeworks 设计并开发 STIX 是一个开源字体项目，致力于服务科学与工程领域 Glenn Fleishman. “Has the Internet Killed Curly Quotes?” The Atlantic, 28 December 2016. Lawrence Li. “Chinese Quotation Marks”. Medium, 29 December 2016. 简体中文图书《字体故事：西文字体的美丽传奇》在正文中使用了直角引号 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与联络信箱一致：podcast@thetype.com。

听众朋友早上好，今天是 10 月 18 日又一个星期二，欢迎收听全球字体新闻联播暨本台首次摇奖预告。 环顾京沪台日，产品发布、沙龙座谈、展览交流遍地开花。放眼东欧中欧，ATypI 华沙会议聚焦今秋。OpenType 标准升级，Noto Fonts 重放光彩；两种字体排印刊物新动向，两册字体设计图书可收囊。再眺太平洋之南，时报旧字焕新颜。 最后是抽奖环节——本期答谢过往捐赠听友，从中随机择取两位，鸿雁所至之处不拘地点，各自奉上大红书一册，截至 10 月 24 日零时前。 参考链接 《平面设计中的网格系统》 如何在多种平台的字处理软件中输入 em dash 和 en dash，以及在 Windows 系统中输入任意 Unicode 字符的方法 Sydney Cockerell 曾任 William Morris 的私人秘书，后担任 Fitzwilliam Museum 馆长 听众任宁来信分享了自己的播客《迟早更新》，第 17 期〈有些东西永远不会饱和〉谈到了 Type Pro 2016: Shanghai 的观后感 Gerrit Noordzij. The Stroke: Theory of Writing 方正字库于 9 月 23 日正式发布「方正鲁迅体」，纪念鲁迅先生诞辰 135 周年；字体由郭毓海设计 方正字库台湾之行，包括访问、展览及研讨会等一系列活动 汉仪字库于 9 月 24、25 两日在上海举办「中西文排版训练营」系列活动，高冈昌生先生受邀担任工作坊及沙龙的主讲人 汉仪字库于 10 月 2 日在北京举办「名师排版训练营——版式与文字之美」沙龙，瑞士设计师 Jonas Vögeli 及张暄、吴勇、刘宇、朱志伟、刘庆等嘉宾出席 汉仪第三届「字体之星」字体设计大赛启动，「汉字之美」全球青年设计大赛颁奖典礼也同步启幕 TypeTalks 第 37 期「中西混排和日西混排的思考 3」于 10 月 15 日在东京青山图书中心举办，Eric 主讲，高冈昌生作对谈嘉宾 Monotype 主办的 Type& 2016 将于 10 月 21、22 两日在东京举行 Monotype 出品的字体管理软件 FontExplorer X Pro 6 和 FontExplorer X Server 3 发布 ATypI (Association Typographique Internationale) 第 60 届年会于 9 月 13 至 18 日在波兰华沙举办，含多个工作坊、讲座及展览活动 OpenType 规格书 1.8 版发布之际，谭沛然撰文梳理了字体技术发展的部分历史 John Hudson 在第一时间撰文介绍 OpenType 1.8 中最重要的新技术「OpenType Font Variations (OpenType variable fonts)」；另有 Adobe Typekit 的新闻稿可供参考 Google Noto Fonts 项目近期经由 Monotype 的案例分析重新曝光 《字誌》发布第二期 Typographics，一本面向「字体人」的新杂志计划出版 The Insects Project，专注于讲解中欧语言所用字符的声调设计 Cristóbal Henestrosa, Laura Meseguer, & José Scaglione. Cómo crear tipografías: Del boceto a la pantalla. 原著为西班牙语，英译本即将出版 Financial Times（金融时报）的定制字体 Financier Display 和 Financier Text 公开发售，由新西兰字体设计公司 Klim Type Foundry 设计出品；2015 年获东京 TDC 奖；Emily Yang 曾翻译过该字体设计的案例分析 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与联络信箱一致：podcast@thetype.com。

Descripcion del programa Hoy contamos con un amigo del programa, Lole Román, diseñador UI y tipógrafo, apasionado de crear. Si no sabéis lo que importante que es el uso de la tipografía en la web este es tu episodio. ¿Quiéres iniciarte en el buen uso de tipografía en la web y sabes como aprovecharla al máximo? Hablamos sobre problemas técnicos que pueden crear o como solucionar el mal uso de la tipografía en la web. ¿Te lo vas a perder? Encuesta para pedir Feedback Posibles topics, entrevistados y duración del programa Recomendaciones Preguntas rápidas: Lole Román Quién me ha inspirado: ¡Su adorada mujer! Recomiéndanos un recurso: Modular Scale Recomiéndanos a un invitado: Manuel Sesma ¿Qué tema te gustaría que tratásemos?: Diseño Editorial Contacta con: Lole Román FonTown Web de Lole LinkedIn de Lole Twitter de Lole Links del programa Fedra tipografía Eduardo Manso TrueType vs OpenType Spiekermann Typekit Google Fonts Analyzing Web Font Performance Responsive Typography the Basics Font Loading Revisited with Font Events A comprehensive guide to font loading Using Web Fonts avoiding a @font-face-palm State of Web Type A Closer Look At Font Rendering OpenType variable fonts Optimizando Web Fonts Joan Quirós Recomendaciones de Ignacio y Gabi Typographyhandbook Practical Typography Professional Web Typography Typewolf Contacta con el programa Web de WeCodeSign Twitter de WeCodeSign eMail de WeCodeSign Web de Ignacio Villanueva Twitter de Ignacio Villanueva

Добрый день уважаемые слушатели. Представляем новый выпуск подкаста RWpod. В этом выпуске: Ruby Ruby 2.4.0-preview2 Released, Ruby: Hash default value – be cautious when you use it и Raise On Developer Mistake DeviceToken and turbolinks-ios, N+1 is a Rails feature, not a bug и Send SMS messages like emails in Rails with Textris Sidekiq 4.2.1, Graphql-Client - GraphQL Client is a Ruby library for declaring, composing and executing GraphQL queries, Swift 3.0 Released и Vapor - a web framework and server for Swift that works on macOS and Ubuntu JavaScript Angular 2.0.0 officially released, We Have Seriously Underestimated Angular, Dependency Injection in Angular 1 and Angular 2 и Introducing debugger.html Three JavaScript performance fundamentals that make Bluebird fast, Introducing OpenType Variable Fonts и A Nerd's Guide to Color on the Web React-game-kit - make games with React & React Native, Reframe.js - a javascript plugin that makes unresponsive elements responsive, GraphicsJS - a lightweight JavaScript graphics library with the intuitive API, based on SVG/VML technology и Dmitry Baranovskiy: Zen of JavaScript (video)

Typography is a huge and critical component of the Web. So what do you need to know about web fonts for your site? Designer Michellanne Li goes into the details. TRANSCRIPT AM: Hi again everyone, and welcome to The Secret Sauce, a short podcast by Palantir.net, that offers a quick piece of advice to help your business run smoother. I’m Allison Manley, an Account Manager here at Palantir, and today’s advice comes from one of our designers Michellanne Li, who is going to talk about web fonts. ML: Hello, my name is Michellanne, and I am a designer here at Palantir. Today, I am going to talk to you about web fonts: what are they, and why do you need them? How do you select fonts and implement them on your website? In the early days of the internet, browsers could only render a handful of typefaces, 5 of which became commonly used. Over time, however, browsers and font files have developed so that we literally have thousands of options when we look to select a typeface for a website. But, first of all what exactly is a web font? According to CreativePro.com: “A webfont is a font file downloaded from a Web server and used by the browser to render HTML text.” The desktop fonts that you use in Word or Photoshop are specifically encoded to be rendered by a computer. Desktop fonts come in the following file types: TrueType, PostScript, and OpenType. However, web fonts are created to be read by browsers. Web fonts come in: TrueType, WOFF, EOT, and SVG. So, from a technical standpoint, you need web fonts if you are building a website because they are specifically encoded for the web. But from a design standpoint, good web fonts have features that make them particularly suited to being read on a screen. For instance, they may have wider letter spacing, heavier strokes, or taller x-heights (which are the relative heights of the lower case characters). All of these result in greater readability on a screen. Users don’t spend a lot of time on each web page, so making smart design decisions is critical in ensuring that your content reaches it audience. According to the User Experience experts at Nielson Norman Group, “the first 10 seconds of the page visit are critical for users' decision to stay or leave. The probability of leaving is very high during these first few seconds because users are extremely skeptical, having suffered countless poorly designed Web pages in the past.” Now that we know what web fonts are and why you need them, let’s talk about the financial and technical considerations behind selecting the right fonts. The following are some guidelines to keep in mind: Free fonts are great! . . . sort of. In 2010, Google launched Google fonts, making hundreds of web fonts available to the public free of charge. To do this, Google has collaborated with designers in exchange for a flat fee and the promise of exposure. Google fonts can be a great option if you are on a really tight budget. However, the following are risks to consider: Unfortunately, Google fonts are not held to any external standards, both from an aesthetic and technical standpoint. Before choosing one, it’s wise to verify if it works in all major browsers. Unlike commercial fonts, many Google fonts do not come in a range of weights or styles, such as italics. Due to the Chinese government’s censorship of Google, Google fonts do not work in China. If you have an audience in China, this is important. Websites with Google fonts not only load slowly, they may appear “broken.” Although workarounds exist, they all come down to finding a different source for fonts. Some of the latest sources are Chinese services that host Google’s fonts on their own servers. Although this probably is not illegal, I would not recommend that clients use a fonts platform that did not pay for its fonts. It is, to say the least, poor form. Free fonts, including but not limited to Google fonts, get enormous mileage both in print and on the web. When it comes to simple classic typefaces, that’s not a bad thing. They are like the little black dresses of typography. But, if you’re looking for a high impact display font to differentiate your website, selecting the same free font that everyone else has already used to the point of exhaustion will have the opposite effect.All of this being said, Google fonts has some real gems and is a solid, budget-friendly option. So, why bother shelling out money for a commercial font? You should purchase a commercial font when the following are your priorities: Quality: Commercial fonts are held to high technical and aesthetic standards. The best typeface foundries put an incredible amount of thought and detail into their work and can answer questions about browser compatibility, usage scenarios, and the history behind each typeface. Brand consistency: If you have an existing brand that includes typefaces for print materials, it’s worth it to purchase the corresponding web fonts. In the event that you are just starting to establish your brand, now is a good time to ask if the typefaces you like have print and web equivalents and to determine how well these potential typefaces work in both kinds of media. When purchasing a commercial font, it is important to read the licensing agreement. Font designers and retailers place constraints on the scope of a font’s usage in order to protect the value of their product. So, at this point, you’ve picked your fonts, and you’re ready to start using them on your website. How does that work? One option is to use a hosting service for your fonts, which means that your font files will reside on the server of the company from which you obtained them, and your website will load those files. For commercial fonts, hosting is a subscription-based service. The advantages of this are: Implementing the fonts on your website is as easy as adding a single line of code. Web fonts get updated as the internet changes and grows. With a hosting service, your provider can push the latest versions of the font files to the cloud server, and they will be automatically loaded onto your website. You don’t need to keep track of the font files. Hosting services offer some great bargains. For instance, Typekit is a hosting service that is bundled into the Adobe Creative Cloud package. For no additional cost, this includes unlimited web font usage for up to 500,000 page views. All of that being said, Typekit isn’t really a bargain if you don’t need Adobe Creative Cloud to begin with.Self-hosting is another option. Self-hosting means that the font files exist on your server. The main advantage of self-hosting is the ability to subset fonts. This means editing the files to remove unneeded characters. Subsetting results in smaller files sizes, speeding up the load time of your website. In summation, web fonts are an important component in creating a website because they are specifically designed and encoded for the web. In selecting fonts, both financial and technical considerations should be taken into account. Once you’ve determined your fonts, you can choose to use a hosting service or to self-host. Even when we’re not conscious of it, typography is a huge part of the web. I hope this talk will contribute to making the web a more beautiful and user-friendly place! AM: Thanks for listening to this week’s Secret Sauce! For more great knowledge, visit our website at palantir.net, or follow us on twitter at @palantir. Have a great day!

承接上期，我台驻东京记者 Eric 为您发回 Type& 2015 相关的前线报道。 本期将介绍来自黎巴嫩、印度和日本的多位文字研究及字体设计专家，漫谈拉丁字母、阿拉伯字母、天城文和日文等文字在混合运用中所遇到的问题。 另附喜讯一则：《字谈字畅》获选 Apple iTunes 中国区「2015 年度精选」播客，再次感谢听众们的喜爱和支持。 参考链接 Adobe InDesign CC 2015.1 改进了 OpenType 替代字形调用以及 glyph 搜索界面 Morisawa Type Design Competition 2016（森泽字体设计竞赛）启动，征稿时间为 2016 年 5 月 1 日至 7 月 31 日，参赛细则将于 2016 年 1 月下旬公布 汉仪第二届「字体之星」字体设计大赛，2016 年 2 月 28 日截稿 方正第八届「方正奖」字体设计大赛，征稿时间为 2015 年 12 月 21 日至 2016 年 2 月 23 日 文鼎字库出品的「书苑宋」，获 2015 年「金点设计奖」年度最佳设计奖 Monotype 重新复刻了 Eric Gill 的一系列字体，包括 Gill Sans Nova、Joanna Nova 和 Joanna Sans Nova Rex Chen 曾翻译关于 Gill Sans 的评论，并撰文介绍 Eric Gill 生平 Joy Chen 曾撰文介绍 Gill 的老师 Edward Johnston Tobias Frere-Jones 复出，并发布新字体 Mallory Design Observer 旗下播客 Design Matter 近期访谈 Tobias Frere-Jones Matthew Carter 新作 Roster 字体家族在 Font Bureau 发售，基于Sports ​Illustrated 杂志定制字体 Wrigley 修订并扩展 「刘刻宁」 Adobe CJK Type 博客曾发布「关于字间距」的系列文章：〈字间距在字库中的设置〉和〈InDesign 的字间距调整功能〉 「大日本タイポ組合」在 Ginza Graphic Gallery（GGG，银座平面设计画廊）举办展览「字字字」 「以文字为了文字的文字网站」type.center，大日本タイポ組合开办 Type& 2015 Nadine Chahine 博士，黎巴嫩字体设计师，Monotype 阿拉伯语及文字易认性专家，于 Monotype 英国总部任字体设计总监 Type& 2015「書体視認性」（字体的易认性）讲座笔记，内含三篇学术论文的下载地址 《字体故事：西文字体的美丽传奇》 阿拉伯字母 维吾尔语，书写系统亦使用阿拉伯字母 天城体字母 / 天城文（Devanagari） 藏文 Vaibhav Singh，印度独立字体设计师、字体排印师 SST 字体项目，由 Sony 公司主持开发 意大利体（italic type） 鳥海修，字体设计师，现任字游工房总裁，日本京都精华大学设计学部客座教师 藤田重信，字体设计师，现任 Fontworks 字体开发部部长 小林章，字体设计师，现于 Monotype 德国总部任字体设计总监 红兰中楷体 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与联络信箱一致：podcast@thetype.com。

Dan Rhatigan is a type director at Monotype, based in New York. He works on custom type development projects and consults on typographic issues with customers, and from time to time he gives talks about type and typography. Prior to Monotype Dan worked as a publishing technologies analyst, as a designer in New York, and with numerous freelance clients. Over the years, he has also taught graphic design, typography, and branding. We talk with Dan Rhatigan about his role and tale as a type director at Monotype. We’re curious if they get a lot of submissions and if Dan also judges these himself. Dan also gives us his view on the major developments in the near future for typography and type design. We wonder how he looks upon the lack of knowledge some users have working with OpenType. He explains how he is regularly surprised how little the world outside of type design really understands about the sophistication of the tools that are being prepared for them. And of course we talk about Dan’s typographic tattoos and wonder if he has plans for a new one. Recorded at the Robothon 2015 Conference in The Hague, the Netherlands. Dan Rhatigan at Monotype :: Personal website :: Interview Eye magazine :: Interview It’s Nice That :: Dan on the Rhyman Eco font :: File Download (25:42 min / 47 MB)

三方始为鼎谈，《字谈字畅》首次请到重磅嘉宾。 本期，多语言字体技师梁海与我们同聊苹果新字体——苹方。从字形标准到风格争议，闲话各家；由字体基础架构至 OpenType 特性，离题万里。 参考链接 Apple 向用户介绍新字体苹方 威锋数位（DynaComware），原名华康科技 日本 BCM 奖 俪宋及柯炽坚先生的轶事 Droid Sans Fallback 可在 Android 开源项目内找到 Adobe 提供的 multiple master 字体相关的资料 Unicode block BMP (Basic Multilingual Plane) 思源黑体（Source Han Sans）项目在 GitHub 开源 TrueType PostScript fonts 「大家好，欢迎收听《内核恐慌》」 《IT 公论》在第 171 期中讨论了苹方 国字标准字体研定原则 香港汉字字形标准备查：港标中文网 Apple Bug Reporter：向 Apple 反馈软件问题的最佳途径 Adobe 提供的 CID 键控字体相关的资料 OpenType 高级排版特性 嘉宾 梁海：多语言字体技师，Type is Beautiful 撰稿人 主播 Eric：字体排印研究者，译者，Type is Beautiful 编辑 蒸鱼：设计师，Type is Beautiful 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠，账户与联络信箱一致：podcast@thetype.com。

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Brokken by Donald Beekman 2) Sound piece by Tumaj Talimy 3) Chinese whispered typeface by Sláva Jevčinová Sláva: “Who else got to watch cartoons for research? Lucky ME! The first seconds of Tumaj’s sound reminded me of this splendid genre. It inspired me to design a very simple cartoon typeface with handwriting flavour and specific features that resemble cartoon characters (big counters=big heads, thin weight=tiny body, long thin serifs=long feet). Nevertheless, The second part is a bit disruptive and carries a negative impression with it. The sound interprets a dwarf’s hard work of digging in the mines, therefore I decided to include certain OpenType features. Despite the disturbing part, the main goal was preserving playfulness for the project. That’s all Folks!” HBK Saar :: Type]Media :: File Download (0:39 min / 1 MB)

In this in-depth technical discussion, Dr. Ken Lunde helps Elecia understand how to internationalize her (memory constrained) device. CJVK Information Processing, Ken’s excellent O’Reilly book on internationalization [Note: there is a 40% off print and 50% off ebook coupon in the last few minutes of the show.] Basic Multilingual Plane (BMP) Images of the bone ideograph that is different between Chinese and Japanese (U+9AA8) can be found on Wikipedia. Other sources of information:  Ken’s CJK Type Blog at Adobe Unicode specification, surprisingly readable though large  An introductory tutorial  Elecia found helpful Open source type faces Source Sans Pro OpenType font family (for UIs) Source Code Pro OpenType font family (for programming environments) Adobe’s open source projects and Ken’s contribution to those: Adobe Blank is a special-purpose OpenType font, making webpages wait to load fonts until they have the correct one AGL and AGLFN (Adobe Glyph List) maps glyph names to Unicode values CMap Resources are used to unidirectionally map character codes CSS Orientation Test are lightweight and special-purpose OpenType fonts that map all Unicode code points to glyphs that indicate their orientation based on the writing direction. Kenten Generic OpenType Font  provides glyphs suitable for typesetting emphasis marks in Japanese. Mapping Resources for PDF are used to derive content from PDF files that include CJK (Chinese, Japanese, and Korean) information.  You can also reach Ken via lunde "at" adobe.com  

Have you ever tried to create a complex motion path in After Effects? This tip will show you just how well Illustrator and After Effects communicate using a simple copy and paste to the clipboard and transfer illustrations to motion paths in After Effects! Now you can make Illustrator's powerful drawing tools work as motion path creation tools in After Effects.

In this episode we'll take a look at how to use OpenType Glyphs in Photoshop by using Illustrator's Glyphs Panel. Terry will recreate the logo for http://renatamua.com

Lydia Zigomo, WaterAid's Head of Region - East Africa, explores the problems a lack of clean water and sanitation pose to children and how WaterAid works with them to improve their situation.Listen to Part 1, MP3, 8Mb, 8mins

CS4 Posters; Stolen Laptop; Tips from the Master Class; Obscurity of the Week: Isolated Form ----- Details below, or go to http://indesignsecrets.com/category/podcasts for Show Notes, links mentioned in the podcast, or to leave a comment! ----- Listen in your browser: InDesignSecrets-091.mp3 (15.9 MB, 33:33 minutes) The transcript of this podcast will be posted soon. InDesign CS4 Keyboard Shortcuts Posters! David's tragic tale: Dealing with the aftermath of a stolen computer New InDesign secrets we learned at the Master Class Conference Obscure InDesign Feature of the Week: Isolated Form -- Links mentioned in this podcast: InDesign CS4 Poster details page (or jump right to the store) SuperDuper back-up program (Mac only) CrashPlan off-site automated back-ups (cross-platform) David's post about the stolen laptop ... great comments! Anne-Marie's post about composition highlighting GRACOL home page Microsoft's page about developing positional form glyphs (caution: will make head explode) Karim Regular is an OpenType font that has isolated form glyphs

At last month's InDesign Conference in Miami, an unexpected blackout cut my typography session short, so my demonstration of OpenType features never saw the light of day (no pun intended). In this episode, I bring that missing part of the presentation to all of you and take a look at several useful OpenType features including Ligatures, Discretionary Ligatures, Contextual Alternates, Small Caps, and Titling Alternates.

Thomas Maier erläutert im Gespräch mit Tim Pritlove im Detail die Entwicklung der Buchdrucktechnik (Typographie) im Laufe der Jahrhunderte bis heute. Dabei werden eine große Zahl an Themen angeschnitten: die frühe Entwicklung von Schrift und Schriftzeichen, der Kupferstich als erste Drucktechnik, die Entwicklung der ersten automatischen Buchdrucktechnik durch Gutenberg, Aufbau und Konstruktion der Buchdruckmaschine, welche technischen Eigenheiten die Vorlage für heutige technische Fachbegriffe lieferten, wie der Buchdruck das Copyright hervorbrachte, die Entwicklung der Papierformate hin zur heutigen DIN-Norm, die Ablösung des Handsatzes durch Zeilenguss-Systeme und warum der Begriff "stereotyp" dem Buchdruck entstammt. Weiter geht es mit der Speicherung und Automatisierung von Schriftsatz durch Digitalisierung mit Lochstreifen, der Kopplung von Satzmaschinen mit telegraphischen Systemen, der Einführung der Tastatur durch Schreibmaschinen und es wird erklärt, wie die heutige Tastaturbelegung entstanden ist. Im Endspurt stehen die ursprünglichen Bedeutungen von Carriage Return und Shift, Nicht-proportionale Schriftarten, die elektrofotografische Kopie, der Offsetdruck, der Fotosatz, die Geburt gerasterter Schriftarten durch den Lichtsatz, die Weiterentwicklung zur Vektorisierung, Digitale Schriftarten mit PostScript, TrueType und OpenType im Mittelpunkt.

In this episode we'll see how to add a little flare to what would have otherwise been a pretty ordinary logo. OpenType is the hot new font standard and most of the CS3 apps take advantage of this new format. See how you can add a little punch to your designs by taking advantage of OpenType.

Thomas Phinney talks about technological font developments. Will SING, Adobe’s “next big font thing”, have the same as influence as OpenType in the past? SING, Smart INdependent Glyphlets, is a technology for dynamically extending fonts on the fly. Hear the story in a nutshell. Hypatia Sans, Phinney's first released typeface :: more about SING :: File Download (10:54 min / 10 MB)

OpenType fonts are the new standard! Any new fonts you buy today will most likely be in OpenType format and the beauty is that InDesign CS2 takes complete advantage of them. In this episode you'll see how to unlock the power of the OpenType fonts you already have!

Wes is enthusiastic about OpenType’s possibilities to convert graffiti into digital fontsFile Download (10:13 min / 9 MB)