Hyun-Guk, Ryu and Aaron Bell discuss Hangeul’s incomplete transition from a traditionally vertical script to a horizontal script. From the 2013 ATypI conference in Amsterdam While the regular and rational nature of Hangeul makes it easier to change direction, artefacts such as proportional syllable height still bias the script toward vertical use. Additionally, in modern… Continue reading Directionality in Korean type design
Craig Eliason examines the term ‘humanist as it has been applied to type. From the 2013 ATypI conference in Amsterdam. The classification of type designs seems to be a problem that is perennially addressed but never solved. Some writers reinforce inherited classification schemes and others propose new ones to replace them. However, preservationists and reformists… Continue reading The history of ‘humanist’ type
Yanone introduces his software ‘Speed Punk’, a learning tool made to better understand the nature of Bézier curves. From the 2013 ATypI conference in Amsterdam. Speed Punk is an add-on tool for modern type design applications such Glyphs.app and RoboFont that illustrates the curvature on top of the Bézier outlines — while designing. It has proven… Continue reading Speed punk
Victor Gaultney leads a discussion panel about open or collaborative font projects. From the 2013 ATypI conference in Amsterdam. “Over the last eight years, the number of open or collaborative font projects has gone from a small handful to over 600, and even major foundries such as Adobe are releasing fonts under open licenses. What… Continue reading Open and collaborative font design in a web fonts world
Presentation by John Hudson to ATypI Letter.2 in Buenos Aires on 4 October 2011 Most of the time, the shapes of letters do not affect their meaning. An A is an A is an A, regardless of whether it is roman or italic, light or heavy, serif or sans serif. For scholars dealing with historical… Continue reading Athena Ruby: when shape has meaning