Better Glyph Point Placement for Better Fonts
with Thomas Phinney
Tuesday 9 February 2016 9:00 am Pacific / noon Eastern / 18.00CEST FREE Live Webinar Register now
Learn how to construct better outlines for fonts, and why it matters.
Make your fonts render quicker and better on screen, and your glyphs easier to edit.
Discover why so many designers think they have points at extrema when they don’t.
Note: to submit a font for live feedback during the webinar, write to “info” at the obvious domain (fontlab.com).
Why outlines matter
What to do
Tools for Better Outlines
LIVE feedback and example outline corrections on several real users’ fonts
Thomas Phinney is a type designer, educator, and font geek who used FontLab for 20 years before joining FontLab in 2014, and becoming President in 2015. Previously he worked at Extensis (web fonts and font management tools) and Adobe (product manager for global fonts and typography). Thomas teaches typeface design with Crafting Type, and has been a repeat guest lecturer for MA Typeface Design at the University of Reading. He is also secretary of ATypI, the international typography association. His typeface Hypatia Sans is an Adobe Original with over 3000 glyphs per font.
There are a limited number of seats available for this webinar, so don’t be disappointed: Register now
Superfamilies of closely related typefaces have become a common feature of typography in the twenty‐first century. Sumner Stone talks about their history and conceptual background, and examines and discusses examples from his own work and that of other type designers, both historical and contemporary.
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.”
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.
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!!!
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.
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