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Lexicon (designed in 1992 by Bram de Does) is pre-eminently suitable for output on laser and other low-resolution printers and for typesetting in small sizes.
Lexicon is therefore the perfect typeface for use in office correspondence) and applications that require highly economical setting (dictionaries, Bibles, timetables, encyclopedias etc.). Lexicon has been used for example in Van Dale's Het Groot Woordenboek der Nederlandse Taal.
I have set up a wiki dedicated to the technicalities of font production and their related topics. I invite you to join, add and edit content. Please use your real name and include a short description of who you are when signing up. You have to be signed up to edit the content, but the content is readable by everyone. The project is fully non-commercial, but you are of course free to use the information in the wiki to produce commercial fonts. Don't worry about entering complete data, editing is what the wiki system is good at.
Feel free to spread the word about http://fontstandards.org/.
Hope to see you there!
Claus Eggers Sørensen
The Font Company was based in Phoenix, AZ and owned by Dan Barthel. The company scanned and digitized fronts from filmstrips as well as conversions of Alphatype faces in the late 1980s.
Font Company faces were distributed by the Precision Type Company until it closed its doors in the mid-2000s.
The Font Company closed in the 1990s.
Letter identification is believed to be one of the two probable ways that information is processed by the eye. Researchers are divided between word shape recognition and letter identification as the process by which information is processed during reading.
Letter identification theory posits that a reader identifies and recognizes a word through a part based pattern matching process. Perhaps identifying whole letters or parts of letters rapidly until the word is identified and comprehended.
The fovea is the central two degrees of vision in which information is processed during a fixation.
The parafovea is the five degrees of vision either side of the fovea, and the peripheral is the remaining vision either side of the parafovea. The majority of the information processed is done so in the fovea. Only low level information is able to be garnered by the parafovea and the peripheral.
A fixation is the time between saccades where the eye remains relatively motionless. It is during a fixation that the eye processes the information being viewed through either a word based or shape based (often referred to as Bouma on Typophile) recognition process or part based letter recognition process.
This information is processed in the fovea of the eye.
Saccades are fast, frequent and irregular eye movements which progresses the eye from one reading position to the next.
Saccades have been recorded at up to 500 degrees per second. At this speed, visual input is reduced and no information is processed.
Prof. Todor Vardjiev (born in 1943 at Blagoevgrad, Bulgaria) is a bulgarian graphic and type designer. He was a student of Albert Kapr and he is teaching at National Academy of Arts, Sofia. http://www.nha-bg.org
additional German info about him:
Nick Shinn, 1999
Type designer Nick Shinn writes about his design: "During the early part of this century, prior to the ascendancy of sans serifs as the standard bearers of the avant garde, the leading edge types were oldstyles. Today, of course, their very outrageousness seems quaint, and their once daring construction has become too familiar to sustain interest. Yet at the time, typefaces like Goudy's 'Kennerly', Benton and Cleland's 'Amsterdam Garamont' and Koch's 'Antiqua' were truly radical. For the design of Oneleigh, I took a little inspiration from each of these, mixed with some ideas of my own. The main goal was to produce an 'alternate history' 1920s typeface, with lots of original letterforms and details, and considerably more roughage than the majority of today's PostScript oldstyle revivals, or the slew of bland 'new' oldstyles. Oneleigh is based on the assumption that, then as now, it is quite possible to remain within the bounds of the oldstyle genre, and yet take sufficient liberties to create a genuinely different type".
Indices : Best of Typophile
This wiki entry exists solely to link to notable (profound, helpful, humorous, &c.) posts on Typophile.
Evert Bloemsma, 2003
Official FontFont Description
The most striking characteristic of Evert Bloemsma's new typeface FF Avance™ is the use of asymmetrical serifs in the Roman weights, something we're only used to seeing in an italic. Upper as well as lower case letters have serifs in the upper left and lower right corners, remnants as it were of the connection between hand-written letters. In Bloemsma's earlier family FF Cocon™ these relics of handwriting were left away entirely. With Avance he rediscovers* the expressive qualities of such details which emphasize the movement and direction of reading.
Interpolated Nudge from Christian Robertson
Font Remix Tools from Tim Ahrens
Automatic Text from Antonio Cavedoni
PixelBrush from Hartmut Bohnacker
OpenType Production scripts from Karsten Luecke
'Oded Ezer' is an Israeli typographer and type designer, who specializes in typography for branding and publications. His work includes experimental projects that push the boundaries of typography towards the realm of installation art.