Thank you to all of you who took our latest survey—over 650 of you! We have been crunching numbers and reading your comments and feedback religiously.
Soberana typeface sample
We gave away three big prizes via random drawings!
Our First Prize winner is Dimitri Fontaine of Graphic Identité in Nantes, France. They are a design agency specializing in identity, branding and packaging, as well as industrial design—and yes, that really is his last name. They use Fontographer, more to modify, improve and complete existing fonts than design entirely new ones. They will use the prize to get an additional license for Fontographer, including future upgrades.
Our Second Prize winner is Iván Moreno of México. Ivan already uses FontLab Studio, so he is going to save his prize to use to upgrade to version 6 when it comes out. He looks forward to produce commercial and professional fonts for custom and retail use when he finishes his Master’s degree in type design from Centro de Estudios Gestalt, Veracruz, México (Maestría en Diseño Tipográfico), and says this prize is “just what he needed.”
Our Twitter Prize (for somebody who tweeted about the survey) goes to Cristóbal Henestrosa of Estudio CH, also in Mexico. Cristóbal is a graphic designer and an established type designer, having been recognized in the TDC competitions in 2008 and 2010. His last typeface was Soberana, a custom typeface for use throughout the Mexican government, created in collaboration with Raúl Plancarte, using FontLab Studio. He will also use his prize for a future upgrade.
Although we didn’t get to 1000 responses to trigger the grand prize, we were happy to see so many responses. Thanks again to everyone who participated and gave us useful feedback!
Type Industry Veteran to take on VP job
Port Angeles, WA, May 1, 2014 — FontLab announced today that Thomas Phinney has joined the company as its Vice President. Mr. Phinney brings more than 15 years of experience in digital fonts, type design, product management and working with type designers to FontLab, where he will initially assume responsibility for customer relationships, evangelism and distribution for the company, as well as advising on product development and processes.
Phinney spent his last five years at Extensis as Senior Product Manager for Fonts and Typography, dealing with web fonts and font management solutions. Prior to that, he was at Adobe Systems from 1997 to 2008, ultimately as Product Manager for Fonts & Global Typography, where his work included evangelizing best practices for font creation and coordinating and evangelizing the OpenType font format standard. He is involved in the technical, design, historical, forensic and business aspects of fonts.
Phinney is also a board member of ATypI, the International Typography Association, a frequent speaker at font and typography conferences, and a regular contributor on fonts and typography to Communication Arts magazine. He has an MBA from UC Berkeley, and an MS in Graphic Arts Publishing, specializing in Design & Typography, from RIT.
“Thomas will be an invaluable addition to our team.” said Ted Harrison, President of FontLab. “His wide experience, extensive connections, effective management style, and depth of knowledge made him the best candidate for this job. We’re very happy to welcome him to Fontlab.”
For over 20 years, Fontlab Ltd., doing business as FontLab, has stayed at the forefront of digital font software by remaining devoted to developing advanced font editors and digital type products. Their full line of products is dedicated to solving the most complex digital type issues. These products include: BitFonter, FogLamp, FontLab Studio, Fontographer, ScanFont, TypeTool, TransType, FontFlasher, FONmaker, SigMaker and CompoCompiler. More information on all FontLab products can be seen at www.fontlab.com.
Although Fontlab Ltd. debuted the Photofont technology some 8 years ago, the typographic community did not show much interest for multi-color fonts or typography. In 2013, it changed. Actually, this started a few years ago with Apple introducing the color emoji font into iOS, and then Mac OS X 10.7. Now, all major industry players (Apple, Adobe, Mozilla, Google and Microsoft) have proposed their formats, which aim to extend the OpenType font format by the ability of including color glyph information. The proposals differ in many aspects. Below is a discussion of the proposals along with some personal comments.
This article is very technical. No completeness or correctness of the information presented below, and all views are personal.
The video tutorial by Adam Twardoch accompanies this article by providing a more practical take on color font creation issues.