Monday September 22 is your last day to get the incredibly powerful and useful OTMaster 3.7 font editing tool from our friends at Dutch Type Library and URW++ is 50% off! For even more savings, you can save 25% on Fontographer 5 in a bundle with OT Master at half off!
From now until the end of August September 21, the incredibly powerful and useful OTMaster 3.7 font editing tool from our friends at Dutch Type Library and URW++ is 50% off! For even more savings, you can save 25% on Fontographer 5 in a bundle with OT Master at half off!
DTL OTMaster is a technical font viewer and editor that allows in‐depth examination and fine low‐level tuning of any OpenType font, TrueType font or TrueType Collection. Because of its non‐invasive nature, DTL OTMaster allows type designers and font developers to make small modifications to specific parts of an .otf, .ttf or .ttc font without changing other aspects of the font. It can also serve as an excellent font testing tool. Professional font users benefit from OTMaster’s ability to examine the fonts’ inner structures, and to fix some common technical problems. Software vendors and developers will find DTL OTMaster an indispensable tool that will aid their globalization and internationalization efforts.
Fontographer5.2 is our font editor for designers, easier than ever to use, but with industrial‐strength FontLab technology under the hood.
Both OTMaster and Fontographer are available on both Mac OS X and Windows.
We’ve been working hard on a brand new web site for FontLab and its software, and would love your feedback on the work in progress. Your opinion matters to us, whether you are our customers or our colleagues.
Right now it is still a preview: the main page and the TransType app page are the two that are more‐or‐less done, and we have folks working on the rest of it. We hope you’ll agree that these are a much‐needed makeover and give us a modern look.
David Bergsland’s first webinar on troubleshooting font creation in FontLab Studio got a standing ovation from the attendees! David’s no‐nonsense designer‐friendly approach is accessible to all. Now he is following it up with “Advanced Font Creation,” Tuesday June 10 at 9:00 am Pacific / noon Eastern / 18:00CEST. Register now!
As Jim Gallagher, our tech support and instructional guru says, “Most designers won’t give these kind of tips away, but Dave spills the beans! You will wonder why you never saw some of these things before.”
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 coördinating 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.
with John Downer & Paul Herrera March 11, 201411:00CST
The majuscules of Imperial Rome have obviously survived the test of time. In ancient times, the structures of capital letters followed a formula. That formula will be introduced by means of a demonstration, using a flat brush. The flat brush is believed to have been the tool used by Romans for writing on vertical surfaces. By seeing what kinds of marks the flat brush can make, observers will get a better idea of how capital letters acquired their shapes.
Questions which will be answered:
1. Can brush lettering be done without using a drafting table? 2. How long will it take me to learn brush lettering well enough to make money at it? 3. Have any of your former students become famous or successful? 4. Where do you get your brushes and materials? 5. Is it possible to run a profitable lettering business from home?
John Downer has been a journeyman sign painter for more than 40 years. He branched into the field of type design 30 years ago, and learned to use a Macintosh about 20 years after starting in the sign trade. His expertise in creating and critiquing letterforms is highly regarded. In addition, his best‐known typefaces — Brothers, Roxy, Iowan Old Style and Vendetta — all have distinct structural elements which come directly from his knowledge and practice of professional hand lettering.
Paul Herrera’s calligraphy and lettering training was done exclusively with Reverend E. M. Catich. Beginning as an undergraduate in 1967 and after a short interruption of military service, Paul worked as inscription cutter and calligraphy seminar assistant with Father Catich until the time of his death in 1979. At that point Paul was invited to teach Father Catich’s classes at St. Ambrose and would continue to do so until 1989. During that time Paul also served as a faculty member of five international calligraphy conventions. They include; “The Calligraphy Connection” held at St. John’s University in Minnesota 1981 and 1984, “The California Experience” held at Scripps College in Claremont, California 1985, “Innovations” held at Stevens Institute in Hoboken, New Jersey 1986, and “Calligraphy Northwest” held at the University of Portland, Oregon in 1987.
During his forty year career Paul has conducted numerous lettering seminars for calligraphy organizations throughout the Midwest and Canada. He continued inscription work for Wichita State University and an architectural firm in Chicago as well as individual clients. Additionally, he was watercolor and calligraphy instructor at the former Davenport Municipal Art Gallery from 1973 – 1984. He retired from civil service in January of 2009 and now works full time in his studio and offers workshops in calligraphy.
Typography Day 2014 was so popular that the organizers had to cut off registration when they reached 600. The venue, Symbiosis Institute of Design in Pune, India, just couldn’t accommodate any more people than that. And the popularity was quite justified too, as we just finished three great days of workshops and presentations which were packed with type aficionados from all over India and the world. Fontlab did a “Type Design 101” workshop on the first day of the conference (as we have done at previous TypoDays) which was also sold out. On Sunday we presented our paper on research into the unique aspects of Indic type design and today (Monday) we’re kicking off a three day workshop on Advanced FontLab Studio. The highlight of the final day of the conference was the Lifetime Achievement Award given to Aurobind Patel.
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:
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!!!