If you’re in Antwerp on Tuesday, September 11, 2018 — join us at our free FontLab VI workshops that we host as part of the ATypI Antwerp conference! The workshops are free but you need to register.
In the morning, take either an intro to FontLab VI for FontLab Studio 5 users, or the FontLab VI class for everyone, then join us in the advanced workshop in the afternoon! Please bring your own Mac or Windows laptop. If you don’t already have a FontLab VI license, please download the 30‐day trial from http://fontlab.com/vi before the workshop.
If you’re participating in the main ATypI Antwerp conference, Thomas, Yuri and Adam will be there as well, so come talk to us if you have any questions about FontLab VI!
FontLab VI for FontLab Studio 5 users
Tuesday, September 11, 2018, morning (9:30AM – 12:30PM)
Are you a FontLab Studio 5 user who is ready to try FontLab VI? Learn what is new in FontLab VI, what is different, how your workflow can speed up with the new tools, and avoid that “who moved my cheese?” feeling with this half‐day workshop presented by FontLab’s Thomas Phinney and Yuri Yarmola.
Besides showing specific things you ask for, we will cover:
How Elements are better Components
Rapid tool vs Pen tool: why and when to use Rapid?
Metrics and Kerning workflows
How to use Power Nudge, Power Guides, Smart Corners, Tunni Lines, and other new editing tools
OpenType Variations support and workflow (replacing Multiple Master features)
Working with flexible Layers instead of just Mask and bitmap layers
Type drawing basics with FontLab VI
Tuesday, September 11, 2018, morning (9:30AM – 12:30PM)
If you’re just starting your adventure with type design, you need an idea, an eye, a tool and the skill and knowledge to use that tool. In this FontLab VI workshop, Adam Twardoch will help you acquire the latter aspects. Together, we will take an existing mini‐font that has just a few glyphs, and we will extend it while exploring the rich set of drawing, spacing and kerning tools offered by FontLab VI. Adam will answer questions and help you along the way, so when you get your own idea, you’ll be well‐equipped to efficiently turn it into a font.
Advanced type design and font creation with FontLab VI
In this workshop aimed at experienced type designers, Adam Twardoch and Yuri Yarmola will discuss the more advanced concepts of FontLab VI that can help you streamline your type design and font production process: drawing using guides, grids, smart nodes and open contours; creating font families through layers, masters and variation; spacing with expressions, kerning with classes; extending glyph sets with elements and anchors; and technological aspects like OpenType features, hinting, exporting final fonts and interchange with other font creation apps.
TypeCon in Portland is about two weeks away, August 1 – 5, 2018. FontLab will be there! I (Thomas Phinney) will be teaching “FontLab VI for FontLab Studio 5 users.” There are still a few spots left in this half‐day workshop (Wednesday August 1, 9 am — noon), so sign up now!
If you’re not in the workshop, feel free to ask me questions any time you see me, get an impromptu demo of some feature, or just say “hi!”
Conferences — including TypeCon in particular — are a great way to meet people of all levels in the type community. Even many of the top folks in fonts are amazingly friendly and approachable! Not to mention all the amazing talks and panels. Highly recommended!
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.
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.
There are still spots left! Just over a week until our intermediate‐level type design workshop with FontLab Studio 5 right after Typography Day in Pune India, with a coalition of expert font folks teaching. Join me, Adam Twardoch, Ted Harrison, Pradnya Naik and special guest Prof. Mahendra Patel for three days of intense font‐making goodness!