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Indices : Video
Helvetica, a film about graphic design in the second half of the 20th century, using Helvetica as an example to explore various themes.
Linotype, a film about the Linotype machine.
Making Faces: Metal Type in the 21st Century, a film about the work of Jim Rimmer.
Typeface, a film about the Hamilton Wood Type & Printing Museum.
Adobe Font Development Kit for OpenType (AFDKO) is a freely-distributed set of libraries and Python bindings by Adobe for working with OpenType fonts. Available for Windows and Mac OS. Comes with a suite of command-line tools, and is also used by FontLab and TypeTool, among others, for supporting some of OpenType's more sophisticated features.
Presentation at Robothon'09
Indices : Libraries
Digital Libraries on-line
World Digital Library
Biblioteca Nacional Digital, Brasil
Biblioteca Nacional Digital, Portugal
Biblioteca Digital Hispánica, Spain
Biblioteca Virtual de Andalucía, Spain
Biblioteca Valenciana Digital, Spain
Pen, ruling pen, Rapidograph, brush, paint, knife, straightedge, swivel knife, pencil, Amberlith, visualizing paper, and a host of other devices preceeded today's digital tools in the design of type faces. Some are still used today for preliminary design work.
Writing system devised by J.R.R. Tolkien to express the written languages of the peoples he invented in his novels including The Lord of the Rings. Tengwar can also be adapted to write other languages, with different orthographies being referred to as "modes."
Tengwar Font Development
A set of symbols (specifically letters) that are used to signify language in written form. Ideally, each letter or grapheme corresponds to a specific sound or phoneme; this is not always the case. Each language typically has its own alphabet that is tailored to its specific needs in terms of representation of the language in written form.
See also Alphabets.
The set of shapes upon which we all loosely agree on that carry certain alphabetic meanings and cues, which can be expressed with different glyphs and typefaces, as long as it shares enough of the commonly recognized shapes that it is recognized as a meaningful symbol.
Blog site of Adobe's Type Development team. This blog content covers a wide range of typographic topics from the pros and cons of different type conferences to the technological issues of PostScript Type 1 and OpenType fonts. This blog was named in a contest right here on Typophile.
Kris Sowersby is an independent type designer, typographer and graphic designer. Based in Wellington, the capital of New Zealand, he runs the Klim Type Foundry. Three of his typefaces have been awarded TDC2 awards. National in 2007, Hardys and Serrano in 2008.
Kris has designed or collaborated on the following typefaces:
In grammar - The name for the intentionally omitted words or letters from a sentence or word.
In printing terms - the name for the symbols inserted in to a sentence or word to indicate a missing **** or l*tter.
In both cases the the key is that the sentence or word is still understood. The fact that it may be that some readers insert an incorrect word or letter is irrelevant. "fish" or the letter "i" may seem the perfect choice in the previous paragraph to some people!
Also ellipsis can be used to indicate that the writers thoughts are drifting off and.....
Legit free fonts. As always, please respect the EULA when using free fonts:
"Some are licensed for unlimited use, some only for private use but not for commercial jobs. You don’t want to take advantage of the kindness and generosity of the people who designed them; it’s really bad for your karma. And you don’t want to risk that, do you?" --Yves Peters
Why doesn't this page list freeware font websites?
The Cyrillic alphabet is an alphabet used for several East and South Slavic languages, as well as many other languages of the former Soviet Union, Asia and Eastern Europe. With the accession of Bulgaria to the European Union on January 1, 2007, Cyrillic is now the third official alphabet of the EU.
Hinting, more accurately called instructing, is a method of specifying how digital fonts display at small sizes on low-resolution devices, usually for on-screen usage. This is accomplished by providing instructions in the font file that define which pixels are turned on when producing bitmap images.
Generating TT OpenType Fonts
To autohint, or NOT to autohint...
Hints, good or bad? Is it really needed?
When is the better time to hint?
Legend of Raster: Glyph's Quest for Pixel Solace
Chris Lozos began life as a lover of letters. As a teenager, he earned pocket money lettering mail boxes and trucks. He studied Design at Carnegie Mellon University (called Carnegie Institute of Technology at the time) where he earned a BFA in Graphic Design. While at CMU, he studied with calligrapher Arnold Bank who brought out a love of historic letterforms, learned to set hot metal type in the Laboratory Press established there by Jack Stauffacher. Chris also was influenced by guest professors Hermann Zapf, Rudy DeHarek, Martin Krampen and Gui Bonnsieppe (of the HfG Ulm). His greatest influence was typography proffessor Ken Hiebert, a student of Emil Ruder.
Metafont, while barely used today, was extremely innovative in its day, and has had much influence on mainstream technologies. The first version was developed by Donald Knuth in 1977, and it continued to be refined for many years, with a particularly significant revision in 1985 in conjunction with his PhD student John Hobby. It is this version which is documented in Knuth's books "Metafont: the Program" and "The Metafont book". It is the font-design counterpart to TeX, Knuth's groundbreaking typography system.
Two Books and One Exhibition.
The books/exhibition deal with the history of Blackletter typefaces, the nationalist tendencies that became associated with them, and those typefaces that were intended to embody this.
The first monograph, published by Princeton Architectural Press, is a series of essays contributed by authors such as Hans Peter Willberg and Christopher Burke; the second book is the exhibition catalogue, published by the American Printing History Association as part of its journal Printing History. Copies of the monograph are available from Peter Bain and Paul Shaw.
The exhibition was held in 1998 at the Herb Lubalin Study Center of Design and Typography at Cooper Union.