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Elements of Typographic Freedom: Open Sources of Extraordinary Design

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was to the pleasure to be here I should say this is my very 1st reprographics meetings and firsthand Russell's and my name is chris Radames and from
Taiwan and and in the limit of a unique position within the publishing industry because I had the opportunity to edited books design books and and type the books myself whereas we normally see this sound complete division of labor with the publishing industry has this is my 1st time about reprographics meaning I thought I would actually start with something a little bit dust simple maybe almost Introduction to fonts and that's what I would consider what you need to know in order to uh free your own typographic design so I tell my talk the elements of typographic freedom which is a play on a very well known book called the elements of typographic style by Robert Bringhurst and why don't assumed to have it's a knowledge of that type history I do consider myself a little amateur type story so I hope I can share some of my knowledge with here I thought actually a better title after I came here might be degrees of typographic freedom since
we normally talk about 9 elements of freedom a degree of freedom meaning the freedom to change direction your freedom to of movement in in a way and so I wanted to put together a little bit of a guide for foreign to since I know a lot of people here the time of software detectable little bit about fonts we haven't really gone to into detail about what makes a good free font and what are the free fonts that are available to you might want to look at so before we look at the other the I thought I would might describe what these degrees of typographic freedom of our and I think there are a number of important ones
1st is the freedom to own and this means that the font is available words for sale and in fact there is quite a large number of from given commercial fonts that are no longer available either because the company has lost the license or it's been discontinued or the desire just decided actually I don't really like the font and I don't want anybody to use it so the examples like this such as the collection by bit stream of the ITC fonts these are now no longer available you can license can buy them this is a bit of a problem and imagine if you had not put your entire corporate identity based on 1 of these fonts and all of a sudden it's off the market and you have to change identity change all of your material in your collateral and potentially be out a lot of money from so this freedom to own is 1 that is so important for even normal graphic designers right entitlement open source said the next freedom I would talk about is the freedom to use a font and this is normally we think about a free font being something that says you have to pay for you can download it and some good examples of this are the FontShop will give every month has free fonts you can download a storm type has put out a fire caused video that's sort of like times new roman but doesn't suck the next freedom is 1 actually that hits me a little bit more since I'm willing to pay for commercial fonts and this is the freedom to embed and normally this means PDF traditionally having now with web fonts is becoming also an issue about embedding of font in a web page as soon with for PDF for Adobe is quite liberal about this you can embed you can even embed you find in a commercial product in a new book or something it's no problem of font font which is very well known in the foundry is now offering some their and sort of in web format and now we're seeing a lot of this type things like this were able to buy that freedom to use the following the way we need to get our products into if ever the eyes of our readers the next 1 the next freedom I think is but interesting what I call the freedom to screen the reason for this is because you can take a brilliantly engineered font and you can put on a web page of put on a PDF for some of you in a looks terrible and there is actually very few fonts that will perform on the screen Adobe is 1 company that thinks about this line and actually Microsoft to has probably thought more about topography and Bennett benefited more people with their the fonts they put out of such as Georgia Vedanta this sort of screen fonts that we know are designed by Matthew Carter for them but most boundaries don't really think about this too much maybe with web fonts asserts think about more it is a sort of just the use of a problem there was a lot of designers they by a foreign to the devil 1 the thing they discover finally it's missing something that they need and so I think the freedom to extend the font is important 1 by extended just means make some minor changes without changing the graphs or anything like that and this often means things like spacing things like adding accents Adobe also gives you the freedom to do this and paratype also is the founder of allows freedom sometimes you have to be careful about whether the sound you allow you to change the font and for those of you who were graphic designers you know there are other ways to introduce spacing modifications are to move accents just with your with your mouse to get to where you need them but sometimes will find the font is missing something more important such as a character we need and so in this case we need the freedom to redraw the fonts to actually get in there to draw new glyph to drawn in character and it's also the same thing Adobe inherit hybrid few that actually allows us to do this the problem is that you have to be capable of trying to get a letter other ways the end result may not be so good but I think this is where these freedoms that talk about is where for the commercial world we sort of reach a limit of what were allowed to do so the last freedom that I think we all believe in is the freedom to share after you've made all these changes are defined the kind of fun you need I you might want to be able to let others benefit from them and it's really only with the open font license that were or other free licenses they're allowed to do this at google as we saw this morning from gave now on board and offering finds under these liberal license and MIT open forum library is also a place where you can I get a chance to find that are free to share and free to change no it's always a little bit of a legal problem now I mostly use commercial fonts from my work and unfortunately there's not quite enough India opened fire field that is so professional-quality although the latter part of my presentation spend showing you which points are so whenever I don't wanna find a new find that I want tonight clicked by I was had this moment of tension where I think was better check the license 1st to seed what I'm allowed to do and this License we call that the Euler end user
license agreement well what is the Euler usually trapped you lose but you can you should check the you up before deciding to purchase a font to check the freedoms at about line to see if you're allowed to do some of certain things you be surprised a lot of countries don't let you bed in PDF which is something that we feel like we need to do now In order to share our work so I think of this morning we we
got a bit of a some previous some free fonts and I know this issue has come up a little bit about what is a free find me now we know if you ask the normal everyday commercial graphic designer what is a free fonts the probably go back to the 1st freedom the 2nd frame that I mentioned about them don't have to pay for it but that is we know I think there are other more important freedoms so I put together what I think are some of the best free fonts free as in they actually have all the freedoms that I mentioned including freedom to share this is a little bit of that type history for all of us so I think the font that most people think of when talking about a free fall is drawing from the center
of and technically exemplary fine following well hinted it works well on screen comes a range of weights and styles I'm only showing the Sun's but there's also a serious but from a designer's perspective it kind of reuse something lacking it's not really good for for printer for identities and it's just you know just not that debt and convincing from a design perspective now another font is peachy science from paratype also a little bit
like signs in a way but it offers a number of I would say regular narrow and then a caption and what the caption is for it is actually they're giving you I designed it works at a slightly different size that let's say the regular and you can see the changes between the regular and the caption we have slightly bolder we have a slightly larger the aperture which just makes it more readable and make it small and so this is something that I when I look as the designer is saying there's a little bit more possibility for using this to solve some kind of design problem I could even potentially think about you know doing a book with some of the biggest if I need a caption weight than that so available forms but this is just the beginning 1 of the best fonts if you're looking to do a book is a
charter by Bitstream and the history of this sponsors is a little bit interesting back in I think the late nineties bitstream so in the early nineties I guess is designed in 1987 by Matthew Carter is probably the best font designer and the it was originally designed for low-resolution printers which would make us think maybe it's not so good for today's technology I was donated in 1992 to the x consortia which is a windowing system in in Unix and it has a number of future to fall for 4 books were the very compact font but it has a pretty large x-height on which you know allows you to it's a set a little bit tighter and aligned with the light height and this is a very sturdy yeah the overall good book font Soviet thinking I want design a book using an open source fonts modern bitstream Charter is probably your best bet since then bitstream has extended the font and to open type which is the free version is not entire including things that real but designers need like old-style figures and uh small caps and ordinals and fortunately these things are missing from the free version so were we can use it but we're still missing a little bit of something because it was a free font however the font was extended by SIL International became charts and then a switch back and forth between the 2 so you can you can see the changes that they made you might think well not really much of a difference between those 2 but this is the case I think where as sailed didn't quite an important change to the font and I think they undertook a very good example of what I would say taking a free font and somehow making it better what they've done is they've just change the spacing a little bit and extended a little bit and they've increased the weights just enough to make it really work well on the today's printing technology so if you wanna look at a model of you know how to do a good extension of font thing charts is a good example of that no sale we also know and another the famous project from Gentium and of the the purpose of this fund was to create a very large character which coverage to cover multiple languages and there's some obviously all of the the European languages in use in Latin alphabet is also in Greek and this was the just an extraordinarily successful design it's it's very very convincing it's really well thought out and if you look at it it's sort of based on the study of calligraphy and it's a humanist face sort of means that looks like it was drawn a little bit you can see the sort almost like at the stroke of a pen name had to produce these letters it's quite solid that's a quite robust phase and it's really indebted to a lot of the the greatest type designers such as hands often Robertson Walker Matthew Carter and it does include a Greek which are not showing here but this would be a really great find if you need to a good book phase also a large character coverage and overall really well really well that designed the next font is actually by a real well known font designer and ends up maybe some of you have heard of him but this is classical by your W but it's actually optimal was it was renamed because your w is not allowed to to use that name again this was part of a fund that was put into those script and it was just that releases of a PostScript fonts and you you can find OpenType versions but unfortunately is missing a lot of the things we would really need to make it usable but however I do say it's a very good sign is also the potential find to be extended in some way another designed by Hermann Zapf was Plataea also known as set Palatino under different names but this this was originally a foundry fonts develop designed in the early 19 fifties went through quite a lot of evolution and was also included in the ghost script project and uh we saw example of an earlier today that has been extended into many many different projects but if you're looking for it really classically designed font this is a big 1 there is 1 more fun that I I don't have this slide for this also from your interview it's called Nimbus ions and the reason I don't have a slide is because members science is Helvetica and I I don't use of that and I should but another another good design from hands out is we
learn from the American Mathematical Society and this was an old font that was sort of included in our lot tech it was based on the handwriting of a mathematician and the interesting feature about it that makes it a little bit unique in an open font library open for is that it was designed a different point sizes so here's an example the font at 5 . 7 . in 10 . and you can see between these 3 at the changes in the spacing well we put things at 5 points quite small might be helpful to to space of the font a little bit but when we have something larger 10 point we can have a little bit finer details I we can tighten up the spacing and this is something very interesting idea that is really missing from free fonts this idea of having a font that is designed to be seen at a particular time this was through the entire history of type design this was the way it was done you cut a letter at 6 points so it's been pretty printed 6 . us or up to 72 . exposed to look that way well maybe 10 . doesn't give us quite the range of what I'd like to see is that this idea being taken up more about free font designers because I think especially as we go into web fonts and screen rendering it's going to become essential to have designs that are meant to be seen in a particular size and perhaps even within font formats and websites going forward will need some kind of specification web browser will display the crack fonts depending upon the size of which is being viewed the next 1 diminished show it's actually not a free fonts but it uses a similar idea and it's sort of Multiple
Master fonts from Adobe actually original Multiple Master font the if you remember Multiple Master it was sort of modified postscript format except instead of having multiple fonts for let's say condensed or extended where things were bold we would have won design that includes basically all the designs across these axioms and what this allows us to do is a designer is that were not not bound by what foundry gives us we can actually generate our own funds for the correct with the correct weight and even for some designs the crack size it's not for myriad before it's a minions you can choose a 6 point font where you can choose a 72 . 4 now Adobe is basically given up this idea and band the technology but it still works and it's still usable in free software such as what so that's sort of another freedom and I think finally I want to just mention 2 more fonts there that are not for landed from Greek from the Greek find society and they've put
out a number of really excellent designs and new Hellenic is quite famous design what when we look at it we think it's sort of a sans-serif but actually Greek doesn't have this concept of a surface on serious of this was digitized by the Greek Foreign Society in the early nineties originally from design 1927 announced built to us and another 1 from the Greek Foreign society is of course in the Greek and this was originally designing the turn of the 19th century released by Monotype in 1913 and it's a available from the Greek Foreign society as well so 1 more project I just want to show you a
man of the wrapped up is a book that I this is the
1st sort of free software that I did that photo book Our called free souls out by tell and I don't
have time to get into it in a wrapper but I was sort of
left for this problem this was all done in in
design and I had this problem of I I needed to extend it I needed to make it available on the web and because it was locked in his proprietary format you know I had no way to share with people so I spend the time and you know
you really doing the book and this was all done in in a lot Tech to make this something that was available to me to be shared and also eventually will be in open source project that will let other people actually take the source files and books from 7 years and you should be
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Metadaten

Formale Metadaten

Titel Elements of Typographic Freedom: Open Sources of Extraordinary Design
Serientitel Libre Graphics Meeting (LGM) 2010
Teil 12
Anzahl der Teile 46
Autor Adams, Christopher
Lizenz CC-Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen und nicht-kommerziellen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen und das Werk bzw. diesen Inhalt auch in veränderter Form nur unter den Bedingungen dieser Lizenz weitergeben.
DOI 10.5446/21511
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract Type is a tool. This talk aims to give an inspiring overview of excellence in the typographic arts, with a special emphasis on fonts and world-class book design using free software.
Schlagwörter Libre Graphics Meeting (LGM)

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