Matthew Carter is arguably the foremost living type designer of our time. He has an extensive background in typography, working with some of the great designers in our field. Matthew has been part of the transformation of the industry since the days of metal type.
He has worked for many foundries, including Linotype, and was the founder of the Bitstream font foundry. He has designed many of the fonts that we use every day, including Bell Centennial used in our phone books. He is the creator of Verdana, Snell Roundhand, and Carter Sans as well as many adaptations of fonts such as Galliard, Bodoni, etc.
Matthew will be doing an interview and answering questions during this webinar. But we are limited to 200 attendees — so register ASAP! If you don’t make it into the webinar there will be an online recording you can register for later.
Here is the link to register for the free February 25th, 11:00 am CST webinar:
Click here to register for the webinar on anymeeting.com
Jimmy (Der Fontmeister) raves:
Yesterday morning we had a spectacular webinar with David Bergsland (Author of Practical Font Design – link: http://www.fontlab.com/typographic-resources/font-typography-books/)
I gotta say, after many years of handling font tech questions, I’ve never seen anything like what Dave does. I am grateful to the many genius designers I’ve learned from but nobody has ever blown my mind like this guy did.
He nonchalantly shared some tips about using the font blue zones and font mask to overlay his parts library on top of the glyphs as he develops them. Suddenly, problems stand out like a sore thumb! Hinting and optical illusion issues are avoided, etc. etc. I COULD go on –suffice it to say the audience gave him a standing ovation via the chat window!!!
This is a MUST SEE… In case you missed it here’s the registration link to watch the recorded version:
If you’ve already registered you can view the recording at:
In our first cyber Monday sale ever Fontlab is going to cut the price of TypeTool, our basic font editor, by half. Now’s your chance to get a great holiday present for budding type designers — kids, friends, family, etc.- (or for yourself) at the lowest cost ever. For just US$47.99 you’ll get the full Macintosh or Windows version of the font editor used by hundreds of colleges and universities — and with our standard 60-day money back, can’t lose, guarantee.
On Monday, 2 December 2013, just click here to place your order at this fantastic price!
Joe Treacy will give our December webinar “The Fevered Brow of a Type Designer: Font Design from Concept to Completion”. In this webinar (Tuesday, 3 December at 11:00CST) Joe will take us through the steps of designing a font from beginning to end. He will describe the tasks of creating glyphs and building a typeface from a parts library. He’ll share his unique approach to setting the metrics for a font and make some suggestions on the final product target in various font formats.
If you ever wanted to get the benefit of experience (without actually having to go through the experience) this is your opportunity to look over the shoulder of a seasoned pro and see how the total font design process works. Joe’s presentation will give you the inside scoop on what it’s really like to prepare a commercial font from scratch.
There is a small fee (US$24.99) for this webinar and we are limited in the number of places, so sign up early by clicking here.
Joe Treacy is President & Director of Typography and founder of Treacyfaces, Inc. having designed and sold original and innovative fonts globally since 1978, and online continuously since 1993.
Treacy has designed hundreds of typefaces sold to thousands of firms globally. He was a recipient of Typefaces of the Year Award alongside Adobe in 1990, in addition to receiving prestigious gold and Effie awards for his advertising communications work.
Joe’s work in design and typography has been featured in The New York Times. He lectures regularly on electronic publishing, quality typography and design. He’s written articles on type and design trends for major magazines such as HOW, I‑D Industrial Design, Verbum and Personal Publishing.
From Concept to Completion
All current FontLab products have been tested with Mac OS X 10.9 (Mavericks). No problems were discovered by our staff, and there have been no reports of problems from any of our customers.
Specifically, the following “Mac Intel” products are fully compatible with Mac OS X 10.9 Mavericks:
- FontLab Studio 5.1.4
- Fontographer 5.2.3
- TypeTool 3.1.2
- TransType 4.0.0
If you’re using an older version, we recommend updating or upgrading it.
The following products work properly in Mavericks when using the “Lion Compatibility Pack” edition of the product:
Other products and older versions of the products listed above are not or may not be compatible.
November’s webinar will be a freebie. We’ve persuaded Jim Kidwell of Extensis to expand on the talk he recently gave at TypeCon: “The Evolution of Font Licensing Comprehension in the Creative Community”. In this webinar (Tuesday, 12 November at 11:00PST) Jim will get into the heads of font licensees and see what they really want. Fortunately he has some very interesting data from a survey on this topic that Extensis did of its users.
Whether you’re a font maker or a font user you’ll want to hear about
- what font EULA’s could and should do for you.
- how web fonts are changing the game.
- how the typographic community can engage the rest of the creative community in the licensing discussion
Jim will share his analysis of the survey results and his own experiences and opinions. You can chime in with your own questions and observations as well.
As a writer, speaker and general software nerd, Jim Kidwell evangelizes the effective integration of fonts in creative workflows. Jim has shared his unique perspective with audiences at SXSW, Future of Web Design, WebVisions and more.
The Evolution of Font Licensing Comprehension in the Creative Community
No payment, just
Click here to register for the Webinar
12 Nov 2013, 1100PST/2pm EST/2000CEST
Those who left early on Sunday (not too many judging from how full the ballroom is) missed some excellent presentations on the modern use of type — i.e. typography rather than type design. John Berry, Mark Barratt, Claus Eggers, and Nick Sherman gave us some very interesting insights about the design of books, websites and “content” in general on the plethora of electronic devices available now and in the future.
A few tidbits;
— URLs as a substitute for page numbering
— rollover flyouts for marginalia
— Scripta, The Typographic Institute (John’s new project: www.typoinstitute.org)
— the conversational document
— dynamic type format
I believe all the talks were recorded and I heard some mention in the board meeting of getting these recordings (and others from previous meetings) into a form and place where they will be accessible to members. Let’s hope it happens.
Our “Hinting” webinar this last Tuesday went off very well, with several of the attendees asking for more. Well you can’t reduce ten years of experience into just a single hour, so Monika will be back early next year with another hinting webinar — this one on more advanced topics.
Many people have asked about the webinar recordings. Yes, they are available. They are not up on the website yet, but they are available by direct link.
For the “Beyond Basics” webinar, people who have already registered can browse to
and you will have immediate access to the recording.
For those who have not registered you will need to register first at
and then you will be directed to the same URL as above to view the recording.
Similarly for the “Hinting” webinar, registrants can just go directly to
while others can register first at
and then go to the recording.
P.S. Remember if you have trouble registering that the system doesn’t tolerate popup blockers well, especially in Safari or Chrome. You might want to try registering using Firefox or IE.
It’s official — the 2014 ATypI conference will be held in Barcelona, Spain. The dates are September 17 – 21. The first two days will be at the BAU School of Design and the last three at the Museu del Disseny (Design Museum). The museum has an auditorium capacity of 350, so there will be a limit on number of attendees next year. Register early 🙂
Greetings from Amsterdam! The annual ATypI conference kicked off here yesterday with near record attendance. We haven’t seen a crowd this size since the early 00s.
Day 1 had three tracks — one on non-Latin type and another on technology — and an all-day workshop on Indic type design. Unfortunately I didn’t arrive until the afternoon, but by that time the meeting rooms were full and the vibes were good. In the latter part of the afternoon Frank Griesshammer explained new changes in the Adobe kern feature and a bunch of neat scripts for font manipulation; Adam demonstrated colour fonts and their use in overlays using the new version 4 of TransType; and David Lemon and Werner Lemberg talked about the ongoing development of the Postscript rasterizer for mobile platforms.
In the evening we gathered in the Aula, Oude Lutherse Kerk, a beautiful historic church a few blocks away from the hotel, for some short presentations about interesting items from the EYE archives.
Day two also had three tracks: science, history/education, and workshops/meetings. The science track was mostly about legibility research. Albert Jan-Pool talked about the new DIN 1450 signage standard just out in April. It seems that the new gold standard for height reference in legibility research is visual angle of the x‑height. No more fussing around with point sizes and the like. If you look at signage from this point of view the glyphs are actually smaller than much fine print. Takeaway: they have to be optically scaled to be more legible, just like other small print.
Continuing with the theme, Ann Bessemans told us about her development of Matilda, a font for children with poor vision. Significant finding: kids with visual impairment read fonts better if they have slightly more heterogeneity of rhythm than normal. The opposite of normally sighted children.
Sofie Beier and Mary Dyson showed their legibility research technique called RSVP, which they used with a new font called neutral test designed by Sofie to determine whether and which font design changes resulted in better legibility (Bold is worst). Sofie has even written a book on the subject, “Designing for Legibility”.
Nadine Chahine presented similar legibility research on Arabic Naskh script and came to the conclusion that increasingly complex (and beautiful) scripts actually decrease legibility.
At the end of the day we all adjourned back to the Oude Lutherse Kerk to hear Alice Rawsthorn give a great talk on where design meets life. Pithy quote: “Design can empower, or disempower, us in every aspect of our lives.” TDC then awarded Gerrit Noordzij their medal (to standing ovations) and finally it was off to the Bijzondere Collections for drinks and the opening reception.