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I am making an display font for a studio to use in-house on a very short run of signs.
The font is a basic sans serif with a decorative inline.
It will be caps, numbers and basic punctuation only.
However, there will be several alternatives to most of the characters in the alphabet, 4 /K/s for example, 6 /B/s, only 1 /O/, and so on. In fact there won't really be a definitive version of each character, only different iterations. The overall shape of each character will remain the same and the variation between them only affects the inline element - changes to the blackness of each glyph will be negligible so I am going to use the same side bearings and kerning throughout.
The question is how and where to place all the alternates in a font. I want them to be as accessible to the studio as possible but without going overboard with the solution as the use of the font will be so limited. A neat enough work around is all that is needed for this problem I think. The studio suggested accessing the glyphs via the glyph palette in InDesign so they are not concerned about typing as such, rather selecting alternatives to fashion words in favourable combinations. I think this is fine for the extent of the font's use, still, I'd like this process to be as neat for them as possible.
Any thoughts? Simple and neat solutions for a graphic designer acting in his best capacity as a type designer to aid workflow in-house.