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Ascenders usually exceed the cap-height by at least a little, especiually in text designs. In example above, the x-heights have been matched in order to illustrate the relative difference in ascender heights. In the sample above, the size of the H has been adjusted so that they match. T he letters on the right are from EB Garamond, which has a smaller x-height. T he letters on the left come from Playfair, which has a large x-height relative to its cap-height. In the example above, the white line inside the letters indicate the approximate construction suggested by the shape of the letters themselves. T he kind of construction you use is arguably one of the most important questions to think about, because the construction implies so much about the remaining choices, particularly if your design is going to feel somewhat familiar to readers. Let's begin by identifying the main systemic characteristics in type design.Ĭonstruction refers to the underlying strokes that form a particular glyph. However, getting used to these ideas is the key to a faster, more effective, and satisfying type design process. It may seem intimidating or excessively abstract to think about the design of a font in this way. It is also useful to recognize that these characteristics not only help to create a font’s voice or atmosphere, but also determine what the font will or will not be useful for, and they sometimes help detemine the technological contexts for which a font is suitable. ![]() T his typeface design is mostly about designing the characteristics applied not just to the common forms we all recognize but to the characteristics that occur the most often. T his mistake can be easily avoided if you realize from the start that what is most meaningful in a typeface are the parts of it that repeat the most. Often designers get stuck in letter-specific thinking. Finding the just right amount to change in order to excite but not to alienate a reader is a tricky thing. Our task as type designers is not so much to create an utterly new form but rather to create a new version of an existing form. T he other oddity in type design is that to very large extent the forms we are designing are already significantly established. Characteristics which span letters become the things we want to focus on particularly at the begin of the design process. T his need to prioritize with the system rather than with any single part also leads to a need to analyse our design process on the level of the system. In other words we must think about the group and how it will perform together and prioritize this over any question of what is wonderful in a single letter. T hese compomises mean that we can best think about typeface design as the creation a wonderful collection of letters but not as a collection of wonderful letters. #Fontforge change postscript font name series#T his often means that the design and spacing of each part of the typeface ends up being a series of careful compromises. WHAT IS A FONT? What makes typefaces different from handwritting, calligraphy, lettering, and logos? T he single biggest issue that makes type design different is the need for every glyph in the typeface to work with every other glyph. ![]() T he authors of this book hope that you not only benefit from using it but that you contribute to making better by giving feedback or even by contributing content and fixes to future editions.Ģ. ![]() #Fontforge change postscript font name how to#T his book is partly meant to offer technical help and partly meant to offer general insights into planning a type design project, and also offers advice about how to make your workflow more efficient. It is also highly capable and is rapidly improving at the time this book is being written. T hat said, FontForge is not just a beginner's tool. It is certainly a fairly ideal platform in which to begin. #Fontforge change postscript font name free#Partly this is because of free access to excellent tools such as FontForge. However it is easier to begin making type now than ever. T ype design is visually complex as well as highly technical. INTRODUCTION T his book has been produced to help make the process of type design available to anyone. ![]()
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