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18–20 September 2015: Meet us at Tÿpo St.Gallen

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We have not missed a Tÿpo St.Gallen yet, and we will not miss this year’s edition, ‘Tempo’, either. Meet us on the conference floor, and say hi in the breaks between talks, or at the infamous Tÿpo Apéros.

Tÿpo St.Gallen

  • When?

    18 through 20 September

  • Who?
  • Where?

    SfG St.Gallen, Demutstrasse 115, 9012 St.Gallen

  • How much?

    CHF 398

  • For whom?
  • Prerequisites
  • Links

    Tÿpo St.Gallen

Die Tÿpo St.Gallen geht in die dritte Runde! Das dreitägige Typografie-Symposium wird wiederum an der Schule für Gestaltung St.Gallen durchgeführt und findet vom 18. bis 20. September 2015 statt. Hochkarätige Referierende werden sich mit dem Tagungsthema ‹Tempo› auseinandersetzen.


12 August 2015: Meet us at TypeCon 2015

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Happen to be in Denver next week? Come join us for one of the pre-conference workshops, see us on stage in the Education Forum, or, for the first time, also during the main program. Or just say hello and have a drink with us.

Color Fonts with Glyphs 2

  • When?

    Wednesday, 12 August, 13:30-16:30

  • Who?

    Rainer Erich Scheichelbauer and Georg Seifert

  • Where?

    Art Institute of Colorado

  • How much?

    USD 50

  • For whom?
  • Prerequisites

    MacBook with Mac OS X 10.9.5 or later, and the latest version of Glyphs 2 installed

  • Links

    http://www.typecon.com/workshops

The Glyphs 2 user interface is ready for working with color fonts, be it a layered font for use in apps like InDesign or Illustrator, a COLR/CPAL font for the latest versions of Internet Explorer, or even a pixel-based Emoji font for iOS and MacOS. In this workshop, you will learn how to work in color layers, as well as preview, export, and test your colorfont.

Prior knowledge of type design or font production useful, but not required.

Participants are eligible for an extended trial version of Glyphs 2 and a discount on the full app license.

Webfonts & TrueType Production in Glyphs 2

Version 2 of the popular font editor Glyphs has significantly facilitated and streamlined the production of WOFF, WOFF2, and EOT. In this workshop, you will learn how to export your font into the webfont formats, subset it, and test it in various browsers. While we are it, we will optimize the font for the screen, thereby setting up autohinting and applying manual hints, for both PS and TT based formats.

Prior knowledge of type design or font production useful, but not required. Bring your own font, or use the demo font supplied.

Participants are eligible for an extended trial version of Glyphs 2 and a discount on the full app license.

Lessons from Teaching Type Design in High School

Is it possible? High school schedules only allow for limited time, the students are at a difficult age and have different interests, the subject matter is complex, and the student group sizes tend to be too large. I tried it anyway and taught type design to 17- and 18-year-olds at the Graphische in Vienna, a school with departments for graphic design, photography, multimedia and printing. This presentation is about how I approached teaching type design, how the material was condensed into the little time I had, and how some students extended projects for themselves. It is especially about what worked and what did not work, and how the students saw it. Course materials and results will be included.

Yes, But Can OpenType Do This?

Can animations be put into fonts? And what about games? Learn the answer to these questions, and how Turkish president Recep Tayyip Erdoğan sparked the gamification of fonts, in this short and fun presentation. This presentation contains no prepared slides, all typing is done live.

12–18 November 2015: Workshop Arabic Type Design

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A 7-day intensive Arabic Type Design workshop with Huda Smitshuijzen Abifares, Georg Seifert, Lara Assouad, and Khajag Apelian.

Arabic Type Design for Beginners

  • When?

    November 12 through 18

  • Who?

    Huda Smitshuijzen Abifares, Georg Seifert, Lara Assouad, and Khajag Apelian

  • Where?

    Tashkeel, PO Box 122255 Nad Al Sheba, Dubai

  • How much?

    AED 5500

  • For whom?
  • Prerequisites
  • Links

    Workshop Info

The programme for the fifth Khatt Foundation Type Design Workshop at Tashkeel will cover the complex process of Arabic typeface design: from the creative inception phase, to drawing the letterforms, and finally to learning font authoring tools and producing a digital Arabic font.

The workshop will consist of historical presentations and practical exercises on Arabic lettering and typeface design. It will introduce the participants to the basics of the Glyphs font authoring software. It will teach participant how to translate lettering into digital outlines, and how to develop and generate a basic functioning Arabic font.

14–17 October 2015: Meet us at ATypI São Paulo

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Meet us on Wednesday, 14th October, for the tech day tools lecture around noon, or, on the same day in the afternoon, for a fun workshop about what’s new in Glyphs 2. Or, throughout the whole conference, meet and greet us on the conference floor, or say hi in the breaks between talks.

Tech Day: Tools

  • When?

    October 14

  • Who?

    Georg Seifert and Rainer Erich Scheichelbauer

  • Where?

    Room B

  • How much?
  • For whom?
  • Prerequisites
  • Links

    ATypI Lecture Programme

Type tool gurus, including us, of course, will bring you up to date on font development and testing tool advances over the last year, and provide sneak peeks into what’s coming soon.

Workshop: What’s new in Glyphs 2.0

  • When?

    October 14, 2pm till 5pm

  • Who?

    Georg Seifert and Rainer Erich Scheichelbauer

  • Where?

    Rua Alagoas, 903, CEP 01242-902 - São Paulo, Brazil

  • How much?

    no extra charge

  • For whom?
  • Prerequisites
  • Links

    ATypI Workshops

In this workshop, Georg Seifert and Rainer Erich Scheichelbauer will take you through the most important new features of the font editor Glyphs, version 2.0. We will show you some tricks and how you can streamline your workflow, re-use shapes more efficiently, and produce pristine webfonts and TTFs.

12 December 2015: Glyphs Workshop in Munich

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This workshop is an introduction to Glyphs where you can design your very own font.

Workshop: Schriftgestaltung mit Glyphs 2

  • When?

    December 12, 10am till 17pm

  • Who?

    Rainer Erich Scheichelbauer

  • Where?

    Designschule München, Sendlinger-Tor-Platz 14
    Eingang West (Wallstraße), Raum 405/406
    80331 München
    Deutschland

  • How much?

    150€ for tgm-members
    210€ for non members

  • For whom?

    no prior experience required

  • Prerequisites
  • Links

    Workshop Info

Einführung in die Schriftgestaltungs-Software »Glyphs«. Im Workshop beginnen die Teilnehmer einfach eine Schrift und lernen dabei alle für die Schriftproduktion wichtigen Funktionen kennen.

27–28 November 2015: Introduction to Type Design in Lucerne, Switzerland

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At the end of November, we will hold an intensive two-day introduction to type design at Nuevo in Lucerne, Switzerland. The workshop will be held in German language. Many thanks to Patrick Kälin for making this possible!

Kickstart ins Type Design mit Glyphs

  • When?

    Freitag 27. und Samstag 28. November 2015,
    jeweils 9–17 Uhr

  • Who?

    Rainer Erich Scheichelbauer

  • Where?

    Nuevo Creative Office, Pilatusstrasse 19, 6003 Luzern

  • How much?

    CHF 500

  • For whom?

    Einsteiger und Umsteiger, keine Vorkenntnisse notwendig

  • Prerequisites

    MacBook mit OS X 10.9.5 oder neuer

  • Links

    Bald mehr Infos bei Nuevo

Sowohl für Neueinsteiger als auch für Umsteiger von anderen Programmen: Wir beginnen eine Schrift in Glyphs und decken dabei alle notwendigen Produktionsschritte ab, um einen guten OpenType-Font zu erstellen. Ausführliche Handouts erlauben eigenständiges Weiterarbeiten.

  • Buchstaben gestalten: optimale Pfade zeichnen
  • Zeichensatz ausbauen: Komponenten und Diakritika
  • Weissraum ausgleichen: zurichten und unterschneiden
  • Für den Schirm optimieren: Hinting
  • Glyphen ersetzen und versetzen: OpenType-Features
  • Farbe in der Schrift: Color Fonts

14–16 January 2016: Glyphs Workshop in Bremen

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Three days of intensive type design with Glyphs. If you happen to be in Bremen, don’t miss it. And order quickly, because there is only a very limited number of seats available.

Einführung in die Schriftgestaltung mit Glyphs 2

  • When?

    Donnerstag 14. bis Samstag 16. Januar 2016,
    jeweils 9.30 bis 16.30 Uhr (inkl. Pausen)

  • Who?

    Rainer Erich Scheichelbauer

  • Where?

    Hochschule für Künste, Am Speicher XI 8, 28217 Bremen, 2D-Werkstatt (Raum 3 11.070).
    Treffpunkt: 9.30 Uhr beim Empfang im Erdgeschoss des Speicher XI 8.

  • How much?

    EUR 340

  • For whom?

    Einsteiger und Umsteiger von anderen Schriftprogrammen; Achtung: nur sechs Plätze!

  • Prerequisites

    Eigenes MacBook mit OS X 10.9.5 oder neuer und die aktuellste Version von Glyphs 2. Teilnehmer erhalten eine verlängerte Probelizenz und können eine Volllizenz ermäßigt erwerben.

  • Links

Drei Tage Intensiv-Workshop zum Thema Schriftgestaltung: Wir beginnen einfach eine neue Schrift! Dabei werden alle wichtigen Teile einer modernen OpenType-Produktion durchlaufen.

  • Buchstaben skizzieren und digitalisieren
  • optimale Pfade zeichnen
  • alternative Buchstaben einbauen
  • Akzentbuchstaben zusammensetzen
  • Sprachenunterstützung ausbauen
  • Buchstaben zurichten (Spacing)
  • Buchstaben-Paare unterschneiden (Kerning)
  • Glyphs mit Scripts und Plugins erweitern
  • OpenType-Features einbauen
  • Bildschirmdarstellung mit Hinting verbessern
  • OTF, TTF und Webfonts exportieren

Es gibt Handouts für das eigenständige Weiterarbeiten an der Schrift.

20–22 November 2015: VolcanoType Workshop Istanbul

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VolcanoType workshops are intense 3-day workshops held around the world by a local and guest type designer. Everybody can attend – beginners will learn how to design typefaces, intermediate type designers can boost their skills. It’s all about the love of letters, so you do not need to achieve a professional career as a type designer afterwards.

VolcanoType Workshop Istanbul

  • When?

    Friday 20 through Sunday 22 November 2015
    10:00 to 18:00, including lunch breaks

  • Who?

    Peter Brugger and Onur Yazıcıgil

  • Where?

    Sub Karaköy (Terrace), Necatibey Cad. 91, 34425 Karaköy, Istanbul

  • How much?

    Students: 250€
    Professionals: 400€

  • For whom?

    Anybody can attend, you don’t need experience in type design

  • Prerequisites

    Bring a MacBook (OS X 10.9.5+) with Glyphs 2, attendees receive an extended trial license and can purchase a full license at a discount.

  • Links

    Workshop Info

‘The first VolcanoType workshop takes place in Istanbul from November 20th to 22nd. It comprises of lectures pertaining to the history of typefaces, demos on practical and technical skills, and one-to-one guidance by tutors Peter Brugger and Onur Yazıcıgil. It invites beginner level designers to explore the principles of type production, and intermediate to advanced designers to work on existing projects to further develop their typefaces for industry standards. The workshop will focus on two broad categories: Display Typefaces and Text Typefaces. Among these, various sub-categories will be discussed and each attendee will work on their preferred category and style of typeface.’

‘We keep the instructor/student ratio super low, averaging 10 students per tutor, so space is strictly limited to 20 participants (max.). We want the workshops to be accessible and affordable for everyone. The fee includes the participation in the workshop as well as drinks and snacks during the workshop time. On top every participant receives a font package for free including a selection of typefaces from the VolcanoType library for commercial and private use.’


30 September 2015: Glyphs Introduction in Berlin

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Am 30. September werden Ralph du Carrois und Georg Seifert eine eintägige Glyphs-Einführung in Berlin geben. Es sind noch ein paar Plätze frei, also schnell melden!

Glyphs-Einführung

  • When?

    Mittwoch, 30. September 2015
    10 bis 19 Uhr (mit zwei Kaffeepausen und einer Mittagspause)

  • Who?

    Ralph du Carrois, Georg Seifert

  • Where?

    Alphabet Type, Wartburgstraße 10, 10823 Berlin

  • How much?

    EUR 80

  • For whom?

    Glyphs-Einsteiger und Umsteiger von anderen Programmen

  • Prerequisites

    MacBook mit OS X 10.9.5+ und der letzten Version von Glyphs 2

  • Links

Schriftgestalter Ralph du Carrois und Glyphs-Programmierer Georg Seifert veranstalten eine eintägige Glyphs-Einführung. Der Workshop vermittelt alles Notwendige, um selbst eine OpenType-Schrift produzieren zu können. Themen:

  • Vektor-Werkzeuge: Optimale Pfade zeichnen
  • Diakritika: Arbeit mit Komponenten
  • Formen wiederverwenden: Smart-Komponenten und Eck-Komponenten
  • Glyphen-Set und Font-Info verwalten
  • OpenType-Features automatisieren
  • Bildschirm-Optimierung: Hinting für CFF und TT
  • Effiziente Produktion mit Benutzer-Parametern
  • Export-Formate: .otf, .ttf, .woff, .woff2, .eot

New Features in Glyphs 2.2

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This is going to be fun. Version 2.2 contains some great workflow improvements, and we think you’re going to like it. Here is the gist of it:

Paths and Clipboard

There are two things we improved regarding paths and the clipboard:

Firstly, when hitting Cmd-X on a selected partial path, it really cuts open the path now. I.e., the path is placed in the clipboard, removed from the glyph, and the remaining path is broken open:

glyphs22-cut

Secondly, when pasting a copied path segment to a different outline, it replaces the point selection. Sounds difficult, but this little animation should say more than a thousand words:

glyphs22-copypaste

New in the Context Menu: Layer Colors and Export Settings

While we are still in Edit view, we might as well right click anywhere in the canvas to bring up the context menu of the current glyph layer. Whoa, no less than two new additions there: Export and Set Layer Color:

glyphs22-contextmenu

The Export menu item allows you to check and set the current export status of the glyph that is being edited. No more going back and forth between Font view and your Edit tab, just to click on that little check box.

When the other option, Set Layer Color, is active, the following label color changes will be local to the layer, and not for the whole glyph. This allows marking glyphs that just need work in one master, but not in the others. If you like this feature, give Ermin a pat on the back the next time you see him. Because, we probably wouldn’t have added it without his persistence. ;-)

And this is what it will look like in Font view, from left to right: a, orange glyph color; b, orange glyph color and pink layer color; c, no glyph color and pink layer color; d, neither glyph nor layer color set. As you can see, layer colors take up the right half of the glyph cell, provided the layer in question is actually visible in Font view:

glyphs22-layercolors

Complex Corner Components

The implementation for corner component has been vastly improved. First of all, you can now use corner components for cupped or Tuscan serifs, too. That is because you do not need to keep the end of the path on the baseline anymore. You can have a leftor right anchor take care of that. Technically, they keep the fitting of the open path independent from the position of the end points. If that sounds too complicated, don’t worry, just try it. It’s so easy:

glyphs22-cuppedserif

But there’s more. Next to the obligatory open path, you can now add any number of closed paths in a _corner glyph. And yes, their path direction is preserved. So you can take part in nifty stuff like the long overdue return of the page curl:

glyphs22-pagecurl

And now you can mirror corner components horizontally and/or vertically. All paths will be reversed, and anchors adapted accordingly, just as if you had drawn a separate right _corner glyph. This is what we did with the cupped serif in the example above. And this is what the page curl looks like mirrored, note the –100% entry for the horizontal scale:

glyphs22-pagecurl_reversed

We do not know what kind of monster we are unleashing with this. But we are pretty sure it is going to be a lot of fun.

Glyphs Projects

We have a new window and a new file format in Glyphs! It is called a Project, it is for batch-managing instances and instance variants without modifying the original Glyphs file, it has the file suffix .glyphsproject, and can be set up via File > New Project:

glyphs22-projectwindow

What you do first, is click on the Choose button, and choose a Glyphs file. Its instances will then be displayed in the sidebar on the left. Then you can add, remove and rearrange the instances. And for each instance, you can add, remove, and edit custom parameters, much like in Font Info. When you are done, choose an export destination, and click Export, and boom your font family is exported with the settings you chose.

The best thing is, you do not even need to have a Glyphs file open. All changes and edits are saved in the Project file. This is going to be great for producing subsetted webfonts, producing font trials and all sorts of font family variants. Anything you can put in a parameter, you can do here too.

SVG Table Support

Glyphs can now embed SVG graphics in fonts! To be more precise, we are talking about OpenType fonts with an SVG table, not to be confused with the outdated .svg webfont format. The SVG table is the color font solution proposed by Mozilla and Adobe. To use it, all you have to do is add a new layer to any glyph, rename the layer to svg, drag your SVG file into it, and export your font. But beware, currently only Firefox supports this table. Therefore, this only really makes sense for .woff and .woff2 webfonts.

Oh, and SVG animations are supported too! But be careful, animations in fonts are very processor-intensive, it can make your computer fans go bonkers, and all mobile users will hate you for draining their battery. You have been warned.

glyphs22-svganimation

Screen capture from Firefox: The Glyphs logo and the rotating circle are embedded SVGs.

Guideline Highlights

Now, when a node happens to sit exactly on a guideline, you will see a little diamond indicator, much like the ones for the vertical metrics. And it works both for local and global guidelines:

glyphs22-1

Component Origins

Component origins are now indicated by a little hook in the bottom left corner in the Edit view:

glyphs22-3

Now it is easy to check if a component has been moved from its default position.

Kerning

Kerning indicator colors can now be customized! To do so, simply go to Glyphs > Preferences.

glyphs22-4

So, now we can finally have some bright pink and green kerning colors!

glyphs22-7

Instance Preview Parameter

Tired of that ‘Aang126’ in the Font Info? Guess what, you can now have your own custom instance preview! Pick an instance in File > Font Info > Instances, and click on the plus button to add a custom parameter. For Property, choose Instance Preview. Now, click in the Value field. A dropdown window should open, and that’s where you can write your own list of glyph names, like this:

glyphs22-5

There should only be one glyph name per row. Once you confirm the dialog, the specified glyphs will be used instead of the default ‘Aang126’.

Kern Group Name Validation

When entering a kerning group name, it will be validated upon entry. Try entering höhöhö for a kerning group, and see what happens:

glyphs22-6

Smaller Grid for Handles

Imagine a grid setting where the Grid Spacing is 50 and the Subdivision is 5. If you moved your nodes, both the on-curve nodes and off-curve handles would automatically snap to the grid, right? Well, as of now, handles are exempt from grid snapping:

glyphs22-8

See how the nodes sit on the grid, while the handles keep their position? Now you can use a grid without compromising on curve quality.

Custom Tool Shortcuts

You can now add custom shortcuts for all tools in the toolbar! Let’s assume, just for a brief moment, that you are fed up of accidentally triggering the Annotation tool with the shortcut A, because you have spent too much of your lifetime in a certain popular vector illustration app. Then it is a good idea to bring up Terminal.app, and type this:

defaults write com.GeorgSeifert.Glyphs2 AnnotationTool.Hotkey "q"

Hit the Return key to confirm. Now, the Annotation tool has the shortcut Q. The change should be effective immediately, so you do not need to restart the app. If you want to remove your custom shortcut and go back to the defaults again, type:

defaults delete com.GeorgSeifert.Glyphs2 AnnotationTool.Hotkey

The other tools work in the same way, just that you need to type a different tool argument in your command line. So, instead of AnnotationTool.Hotkey, you type one of these: DrawTool.Hotkey, HandTool.Hotkey, MeasurementTool.Hotkey, OtherPathsTool.Hotkey, PrimitivesTool.Hotkey, SelectTool.Hotkey, SelectAllLayersTool.Hotkey, TextTool.Hotkey, RotateTool.Hotkey, ScaleTool.Hotkey, TrueTypeTool.Hotkey, ZoomTool.Hotkey.

And instead of "q" another letter of your liking between dumb quotes. Cool.

Custom Glyph Data per File

Select one glyph in Font view, and choose Edit > Info for Selection (Cmd-Opt-I). The following dialog allows you to customize the Production Name, the Unicode value, Script, Category, and Subcategory of the selected glyph:

glyphs22-9

If you select more than one glyph, you can customize their Script, Category and Subcategory attributes in one go. The great thing about this is that the Glyph Data change stays in this file only. So you do not need to juggle various GlyphData.xml files anymore if you have different clients with different needs.

CJK Grid

You can now have a grid in your CJK glyphs. To do so, go to File > Font Info > Masters. In the Custom Parameter field, click on the plus and add CJK Grid as Property. Then add your Value, in our example it’s 5:

glyphs22-10

That means that we have a grid of 5 rows and 5 columns. And here’s my favorite Hiragana character, tu-hira, with a CJK Grid 5:

glyphs22-11

If that’s not enough accuracy for you, you can also add the parameters CJK Grid Horizontal for the number of grid columns, and CJK Grid Vertical for the number of grid rows:

glyphs22-12

Language Support

Support for many scripts has been improved: Tamil, Khmer, Kannada, Lepcha, Gurmukhi, just to name a few. Lots of little improvements went into the default glyph data. And, Thai and Burmese were added to the Dimensions palette! Ta-daaa:

glyphs22-13

At this point, we want to thank our users for their invaluable input in putting together the glyph database we already have and continue to improve! Do you have something to add? Make yourself heard in the forum!

Python Changes

Are you using Python scripts and plugins in your workflow? There have been some major changes in how Glyphs handles Python code now. Make sure you update your plugins via Glyphs > Preferences > Addons > Plugins and retrieve the latest version of the scripts you are using from GitHub.

If you write your own Python scripts, you have likely already noticed a lot of improvements in the API. Again, many thanks to Yanone for his continued hard work on the implementation. You can always see the current status on docu.glyphsapp.com.

Small Improvements

As usual, we have a number of bug fixes, stability improvements, and many existing features received a polish. Take a look in Font Info, and you will find many new useful custom parameters. You will notice, for example, that the Color Palettes parameter dialog works much better now. Or that you do not need to deal with those pesky warnings anymore when you choose to leave the Designer URL and Manufacturer URL empty. We are pretty sure you will come across a number of other subtle niceties in your daily workflow. You will find all the good new stuff in Help > Change Log.

One More Thing …

Oh, and this one is for the geeks amongst you. Georg just released the DrawBot for Glyphs plugin on GitHub! Download it, install it, restart Glyphs, and then choose File > New DrawBot to open a new DrawBot window. With the plugin, you can open and save .py files.

glyphslogodrawbot

And the best thing is, the complete Glyphs API is accessible through DrawBot just by adding from GlyphsApp import * at the beginning. If you ever wanted a macro window on steroids, well, it won’t get any better than this. Many thanks to Jens Kutílek for his help with the implementation!

Have fun with the new Glyphs 2.2.

4–5 December 2015: DiaTipo São Paulo 2015: Glyphs Workshop and Free Tickets

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We are happy to be sponsors for this year’s DiaTipo in São Paulo. For this special occasion we’re giving away three DiaTipo tickets! All you have to do is send an email to res (at) this website without www with your favourite portuguese pangram (extra points if it’s also a palindrome). The best three will be selected and contacted. Good luck! :)
Atendees get free trial licence for 3 months and can purchase a full licence at a discount.
There’s also a Glyphs 2 workshop you shouldn’t miss. It’s held by Eduilson Coan, brazilian type designer and founder of dootype.
See you there!

DiaTipo São Paulo

  • When?

    December 4 and 5 2015

  • Who?
  • Where?

    Senac Lapa Faustolo
    Rua Faustolo, 1347 - Lapa, São Paulo - SP, 05041-001, Brasil

  • How much?
  • For whom?
  • Prerequisites
  • Links

    DiaTipo Info

In 2015, the event's activities will be guided by the theme Ways of Typography. Lectures and workshops demonstrate the existing possibilities in the typography universe.

Glyphs 2 Workshop with Eduilson Coan

  • When?

    December 2 2015

  • Who?

    Eduilson Coan

  • Where?

    Senac Lapa Scipião
    R. Scipião, 67 - Vila Romana, SP, 05047-060, Brasil

  • How much?

    BRL 220

  • For whom?
  • Prerequisites
  • Links

In this workshop, Eduilson Coan presents Glyphs 2. With practical exercises, you can understand how the software works, its workflow and main shortcuts used in the design of a typeface.
Be quick! Seating is limited to 15 people.

4–5 December 2015: Typomad 2015

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We are very happy to be sponsors for this year’s Typomad. For this occasion we’ll be giving away two tickets for the Typomad conference beginning of december! Here’s how: Send your best Spanish pangram to res (at) this website without www until 20 November (extra points if it’s also a palindrome). Two lucky winners will be selected and contacted. Good luck! :)

Typomad 2015 Conference

  • When?

    Friday 4 and Saturday 5 December, 2015
    Registration open at

  • Who?
  • Where?

    Centro Cultural Conde Duque
    C/ Conde duque, 11. 28015 Madrid

  • How much?

    EUR 40

  • For whom?
  • Prerequisites
  • Links

    Typomad Website
    Conference Info

Two days of influential national and international professionals and also young talent related to a common theme: testimonies. We will not only discuss type design but also how it applies to different design disciplines, always maintaining a fun and innovative approach.

Introduction to Type Design Workshop

  • When?

    11 – 13, December 2015

  • Who?

    Octavio Pardo

  • Where?

    Medialab_Prado
    C/ Alameda, 15. 28014 Madrid

  • How much?

    EUR 160 (drawing material included)

  • For whom?
  • Prerequisites
  • Links

    Workshop Info

A three day intensive workshop. For those inexperienced in type design, you will learn the basics, and for those who have started already, you will have the chance to advance your knowledge of the subject. Through lectures and exercises, we will understand the structure of letters, how to manipulate design software and create a working methodology so that students can continue to develop their fonts after the sessions.

5–6 December 2015: Intro to Type Design: Glyphs Workshop

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Expierenced type designer Mattox Shuler from Fort Foundry will be giving an introductory workshop to type design with glyphs.

Intro to Type Design: Glyphs Workshop

  • When?

    Saturday 5 and Sunday 6 December, 2015
    Sessions start at 9am

  • Who?

    Mattox Shuler, Fort Foundry

  • Where?

    The Kristen Ashley Artist Shop
    127 N Jackson St
    Athens, GA 30601

  • How much?

    USD 295

  • For whom?

    Calligraphers, letterers, illustrators, or designers who want to create a typeface from their work, anyone interested in creating a custom typeface for a brand, campaign, or company

  • Prerequisites
  • Links

    Workshop Info

Have you ever wanted to create a typeface, but didn’t know where to start? The daunting task of finding and learning a type design application can often discourage designers from jumping in. This session will be all about breaking down those technical walls by learning the ins-and-outs of Glyphs. In no way is type design easy, but you’ll be able to walk out the door knowing how to create your own typeface. Note: It’s highly recommended you bring a MacBook to the session. Glyphs is only available for Mac, so unfortunately Windows and other users won’t be able to use the application. If you don’t have a Mac, you’re welcome to get a seat and watch as Mattox’s screen will be projected.

4 December 2015: Type Design Workshop at TDC in NYC

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This workshop will introduce you to the basic skills necessary for the wild journey into the super fun world of type design. You will learn the basics of designing and generating a typeface with Adobe Illustrator and, of course, Glyphs.

Type Design for Non-Type Designers

  • When?

    December 4, 2015
    8:30 am - 5:00 pm

  • Who?

    Matteo Bologna

  • Where?

    TDC headquarters
    347 West 36th Street
    New York, NY 10018 United States

  • How much?

    USD 291-370

  • For whom?
  • Prerequisites

    Basic Adobe Illustrator skills are necessary
    MacBook with OS 10.9.5 or later and a full or trial version of Glyphs
    No prior experience required

  • Links

    Workshop Info

In the morning session, we will sketch a few letters, digitise them, export the font, and use it in InDesign.
In the afternoon, we will add additional letters to the font, kern them, optimize them for the screen, add diacritics, and produce the combined letters. At the end of the day, we will not have a finished font, but a respectable start.

Space for this event is extremely limited, so make sure to register asap!

Making Small Caps

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So, you've finished all your uppercase glyphs, and you’re still not exhausted? Here’s a first step on how you can generate small caps off your uppercase.

Duplicating and Renaming

Glyphs employs a special naming scheme for small caps: a lowercase name plus the suffix .sc. Alternatively, there are the suffixes .smcp for lowercase to small caps, and .c2sc for uppercase to small caps.

First of all, you need to duplicate all the letters you want small caps for. Generally, that would be all uppercase letters which do not consist of components. You can easily filter them by clicking on the gear icon in the bottom left corner in the Font view, and selecting Add Smart Filter. Then, select Count of Paths, is greater than and enter 0:

smallcaps-8

Now, select your filter and Letter > Uppercase at the same time by holding down Cmd while selecting. That will give you all uppercase letters without components.

smallcaps-9

If your design requires it, don’t forget about small caps variations for figures, punctuation and marks. In this example, we will stick with uppercase letters. Select all your chosen letters and go to Glyph > Duplicate Glyph (Cmd-D). Now, all the duplicated glyphs have the suffix .001:

smallcaps-1

Now, you need to rename them, because small caps have the suffix .sc. But, you don’t have to rename them one by one. Just select all your .001 glyphs and press Shift-Cmd-F, or go to Edit > Find > Find and Replace. Enter .001 in the Find box, .sc in the Replace box, and press Replace.

smallcaps-2

To easily toggle the names of your glyphs from uppercase to lowercase, simply use the Lowercase.py script in the Glyph Names folder of mekkablue’s scripts. It automatically changes the names of selected glyphs to lowercase.

Or, for the geeks amongst you, there’s a cooler, built-in way to do it. You can do both renaming steps (adding the suffix and lowercase) at once with this little trick:

smallcaps-4

Again, select your glyphs, go to Edit > Find > Find and Replace (Shift-Cmd-F) and enter (.*)\.001 in the Find field. The (.*) means any number of any characters, and \.001 means a literal dot, followed by ‘001’. Then, in the Replace field, enter \L\1.sc. \L turns anything that follows into lowercase, \1 stands for the first expression in parentheses, in our case (.*). And .sc is our preferred name suffix for small caps. This time, you also have to check Regex, which means Regular Expressions, which in turn are these funny dots, asterisks and parentheses that mean something. Super easy!

Scaling and Fine Tuning

Well, it’s not really small caps if it isn’t small. So, you need to 'scale' your glyphs, but keep the stem width intact at the same time. Again, you don’t have to do that all manually. If you have more than one master on the weight axis, you can use the RMX Scaler feature of Tim Ahrens’ Font Remix Tools. But they actually do much more than just scaling: The RMX Scaler tries to preserve your stem width, which is what we want for small caps. But RMX cannot guess your stem width, so you need to define a horizontal and vertical stem width for every master in Font Info > Masters (Cmd-I).

smallcaps-6

Then select your prospective small cap glyphs in Font or Edit view, run Filter > RMX Scaler, and enter values that make sense for your design:

smallcaps-3

Every column represents one master. When you place your cursor in a column, RMX Scaler will switch the Edit view to the respective master, so you always get a good preview of what you are doing. You’ll probably want your Width value to be higher than your Height value, and the height of your small caps a little above the x-height. You can also change the stems’ Weight by specifying a unit value by which your outlines will be expanded. That is, in case your small caps appear too thin, which sometimes happens in small caps, at the end of the spectrum. Usually, small caps also need a little more spacing. Enter a unit value in the Adjust Spacing field. The Vertical Shift field is for superscript glyphs, so you can ignore it here.

Remember that while RMX is a great help, and it will get you very far in one step, it wont give you finished small caps. You will still have to do some fine-tuning manually.

So, this is what we achieved so far:

smallcaps-13

Small Cap Height

You have an x-height and a cap height, so you should also have a small cap height. Go to Font Info > Masters, add a new Custom Parameter and select smallCapHeight in every master. For Value, enter the height respective of your small caps. This way, you won’t need to clutter your Edit view with dozens of guidelines. Finally, don’t forget about your overshoots: press the refresh button for Alignment Zones and adjust them as needed, or add it manually with the plus button.

smallcaps-5

Now, whenever you edit a .sc glyph, the small caps height is displayed instead of the x-height in your Edit view:

smallcaps-7

Diacritics

If you also want your small caps to have accents and whatnot, there’s an easier way than to generate them all manually. We will add small caps for all lowercase components! Here’s how: Again, add a Smart filter, but this time, select First Master has components and Yes.

smallcaps-10

Now, select your filter and Lowercase at the same time, just like we did before with the uppercase. You know, by holding down Cmd. Select all these letters, right click and select Copy Glyph Names > Space Separated. Now all glyph names of lowercase components are in your clipboard.

smallcaps-11

Open the text editor of your choice, like TextMate, TextWrangler, Sublime, or BBEdit and paste it there. Use the Find and Replace function to replace every space with .sc plus space.

smallcaps-12

This should turn aacute, abreve, acaron, … into aacute.sc, abreve.sc, acaron.sc, …. Copy your new list and switch back to Glyphs again. Go to Glyph > Add Glyphs (Shift-Cmd-G), paste the list and press Generate. Glyphs will then build your small cap glyphs and prefer .sc components wherever possible. Done!

You can also add glyphs manually by pressing the plus button in the bottom left of the Font View, and rename them. For example, name the small cap variant of the a with the dieresis adieresis.sc, and go to Glyph > Make Component Glyph (Opt-Shift-Cmd-C). Now the glyph will be put together with the components a.sc and dieresiscomb.sc. Glyphs prefers glyphs with the same suffix, wherever possible. So, if you don’t have a dieresiscomb.sc in your font, it will default to dieresiscomb instead.

Open Type Features

For adding a small caps feature, go to Font Info > Features and click Update, then Compile. You should now have an additional feature called smcp. Yay!

And after all that hard work, you want to know if it actually works. Read more about testing your fonts in Adobe programs.


18–19 February 2016: Introduction to Python in Reading, UK

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Python plays a significant role in the realm of type technology, and Glyphs has a handy Python API, which allows you to easily automate tasks in the font editor. And as of popular request, there will be an intensive, two-day Python workshop at the University of Reading in the middle of February. If you have found yourself doing the same thing over for a thousand times, and you don’t feel like wasting your time again, then this workshop may be just for you.

Seating is limited, so be quick to sign up if you’re interested!

Introduction to Python

  • When?

    Thursday 18 and Friday 19 February, 2016

  • Who?

    Rainer Erich Scheichelbauer

  • Where?

    Typography Department, University of Reading

  • How much?

    GBP 210 without taxes (please provide your VAT number), discounts available for students

  • For whom?

    Professionals in the field of type design and students of type design

  • Prerequisites

    MacBook with OS X 10.9.5+, Glyphs, and a text editor

  • Links

This hands-on workshop is supposed to get you up and running in the programming language Python. The focus will be on automating tasks in Glyphs.app, but the skills you will acquire allow you to do other tasks as well. You will not know everything by heart, but will know where to look and thus be able to write Python scripts on your own. Keep in mind that this workshop is intended to get you started, and that good command of the language comes with practice.

  • MacBook with OS X 10.9.5 or later and the latest version of Glyphs installed
  • A Python-ready text editor installed; I recommend:
      - TextMate 2: approx EUR 46, currently free beta
      - Sublime Text 2: approx EUR 51
     Personally, I use TextMate 2.
  • No prior knowledge of Python (or any other programming language) required.
  • It is assumed that you have used Glyphs before.

4–5 March 2016: Python-Einführung mit Glyphs in Frankfurt am Main

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Ein bisschen Programmieren schadet nie. Kann man eine lästige Aufgabe automatisieren, erspart man sich Zeit und vermeidet obendrein Fehler.

Anfang März gibt es zwei Tage intensive Einführung in die Programmiersprache Python in Frankfurt am Main. Kleine Gruppe, kleine Häppchen, viele Wiederholungen: Nach zwei Tagen können Sie selbstständig Python-Scripts schreiben.

Achtung: maximal 6 Teilnehmer

Python mit Glyphs

  • When?

    Fr 4. März 10.00 – 18.00 Uhr
    Sa 5. März, 9.00 – 16.30 Uhr

  • Who?

    Rainer Erich Scheichelbauer

  • Where?

    Büro Schultzschultz, Koselstraße 37, Frankfurt am Main

  • How much?

    EUR 275, Studentenpreis auf Anfrage

  • For whom?

    Glyphs-User mit geringen oder keinen Vorkenntnissen im Programmieren

  • Prerequisites

    MacBook mit Glyphs 2 und einem Python-fähigem Texteditor (z.B. TextMate 2 oder SublimeText 2)

  • Links

In diesem Workshop erlernen Sie die entscheidenden Grundkenntnisse in der Programmiersprache Python. Zwar liegt der Fokus in erster Linie auf der Automatisierung von Aufgaben in Glyphs.app, aber Sie werden mit Ihrem neuen Wissen auch andere Aufgaben lösen können. Kein Auswendiglernen: Sie werden wissen, wo Sie nachschlagen müssen, also Python-Scripts selbstständig erstellen können.

Freitag

  • 1×1 des Programmierens: Statements, Werte, Variablen, Schleifen, Abfragen, Funktionen
  • Spezielle Aufgaben: Python-Bibliotheken ansteuern
  • Ein Report-Script schreiben
  • Schrift-Attribute verändern
  • Glyphen erzeugen und bearbeiten
  • Wiederholungen

Samstag

  • Q&A: Wiederholung der Inhalte von Tag 1
  • Typische Fehler vermeiden und Fehlermeldungen verstehen
  • Python Objective-C Bridge: Programmfunktionen direkt ansteuern
  • Vanilla: ein einfaches Benutzer-Interface erstellen
  • Ein einfaches Glyphs-Reporterplugin schreiben (Erweiterung für das Menü »Darstellung«)

Voraussetzungen:

  • MacBook mit OS X 10.9.5+ und der aktuellen Version von Glyphs 2
  • Ein für Python geeigneter Text-Editor; ich empfehle:
       - TextMate 2: ca.EUR 46, derzeit kostenlose Beta; selbst verwende ich TextMate
       - Sublime Text 2: ca.EUR 51
  • Sie müssen keine Programmierkenntnisse besitzen.
  • Sie haben Glyphs schon einmal verwendet.

18–19 March 2016: Advanced Glyphs Workshop in Zürich

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Zurück in Zürich: Die eigene Schrift ist begonnen, jetzt muss sie «nur noch» fertiggestellt und technisch gut produziert werden. Wir bauen unsere Schrift in Glyphs zur Schriftfamilie aus und durchlaufen die notwendigen Produktionsschritte, um verkaufsfertige OpenType-Fonts zu erstellen.

Für Teilnehmerinnen und Teilnehmer der Basiskurse von letztem Jahr oder Gestalterinnen und Gestaltern mit Erfahrungen im Schriftenzeichnen.

Weiterführungskurs Schriftgestaltung mit Glyphs

  • When?

    Fr 18. und Sa 19. März 2016,
    jeweils 09.15 bis 16.45 Uhr

  • Who?

    Rainer Erich Scheichelbauer

  • Where?

    Impact Hub Zürich, Sihlquai 131, 8005 Zürich

  • How much?

    Kostenlos oder CHF 140 für syndicom-Mitglieder, CHF 550 für Colab-Mitglieder, CHF 1170 Vollpreis, Kurskosten-Details auf der syndicom-Seite

  • For whom?

    Alle, die selbst einen Schriftentwurf begonnen haben und ihn ausbauen und fertigstellen wollen, sowie professionelle Schriftgestalter, die auf ein modernes Tool umsteigen wollen, und Teilnehmerinnen und Teilnehmer der ersten beiden Kurse

  • Prerequisites

    Erfahrung mit Font-Editoren (Glyphs, Fontographer, FontLab, Robofont), eigenes MacBook mit OS X 10.9.5 oder höher mitbringen

  • Links

    Alle Infos auf der Kurs-Seite

Die eigene Schrift ist begonnen, jetzt muss sie «nur noch» fertiggestellt und technisch gut produziert werden. Wir bauen unsere Schrift in Glyphs zur Schriftfamilie aus und durchlaufen die notwendigen Produktionsschritte, um verkaufsfertige OpenType-Fonts zu erstellen:

  • Eigene Schrift besprechen: individuelles Feedback in einem kurzen «Type-Crit»
  • Vektoren überprüfen: Pfadfehler finden, Outlines korrigieren, nützliche Gestaltungstipps
  • Ziffern gestalten: die für viele grösste gestalterische Hürde bezwingen
  • Satzzeichen und Symbole: lästig, aber sie müssen sein
  • Schriftfamilie: mit einem zweiten Master eine Interpolationsachse erstellen
  • Eigenheiten beachten: Sprachausnahmen und spezielle Formen abdecken
  • Weissraum optimieren: Zurichtung (Spacing) und v. a. Unterschneidung (Kerning)
  • TrueType-Hinting: Bildschirmoptimierung für Windows
  • Alle Formate abdecken: OTF, TTF und Webfonts erstellen
  • Schriften in Word und im Web: Was funktioniert wann, wo, wie? Was muss ich beachten?

  • Weiterführende Handouts für eigenständiges Weiterarbeiten

Reusing Shapes: Component Tricks

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You already know that you can build serif components, smart components and corner components. Still craving more components? Here are some tips and tricks.

Build your Q

Basically, the Q is just an O with a tail in some designs. So, to make things easier, and if your design allows for it, you can use your O as a component for your Q. Open your Q in Edit view by either double-clicking it in Font view, or typeing it in Text mode. Go to Glyph > Add Component (Shift-Cmd-C) and select O. Then, draw a nice tail. This is ours:

tricks1

But, you shouldn’t mix components with paths, because if you do, automatic alignment will be turned off. That means, when you shift your O, the tail and the O will get out of sync. So, we also make the tail a component. To do so, just press Cmd-A once to select all paths, right click to bring up the context menu, and select Component from Selection. The name of the new glyph is arbitrary, just make sure it makes sense to you and that there is an underscore first. That way, the glyph will be set to non-exporting straight away. We’ll call ours _tail.Q.

tricks2

To stick the tail to a certain place of the O, just add an anchor in your O. You can do that by opening the context menu and selecting Add Anchor. The name will be automatically selected for you to rename.

tricks14

Name it something striking, like qtail. Select it and drag it to where you want your tail. Then, in your _tail.Q, add an anchor and name it the same as in your O, but with an underscore in front of it. The underscore tells the anchor that it is linked to the qtail anchor.

tricks3

Ta-daah! There’s your all-component Q:

tricks7

Build your y

Just like the Q, you can also construct the y with a tail and your v, if it makes sense for your design or workflow. In my experience, designs that are modular, geometric, light, high-contrast, or aimed at low-resolution screens can be candidates for such an approach. Sure enough, you will have to have your eye judge if it really works or not. But also in other designs, this construction can be useful at an early design stage, where you eventually will decompose and apply optical adjustments. But until that point is reached, making use of components and automatic alignment helps maintain consistency when you are still changing a lot.

Open your v in Edit view by double-clicking it in Font view or type it in Text mode. Again, go to Glyph > Add Component (Shift-Cmd-C) and select v. Draw a nice tail to go with your v. To make sure that the tail matches the v, here’s a little trick: select two nodes on your v-stem. Now, right-click to open the context menu and select Add Guideline.

tricks8

Now, a blue guideline should appear over the two selected points:

tricks9

Select the guideline and copy it by pressing Cmd-C. Then, open your _tail.y and paste the guideline by pressing Cmd-V. That way, you can easily match the tail angle with the stem. Make sure anchors and points are on the same coordinate to avoid shifts in the unit grid.

The tail should stick to the v, so we’ll add an anchors to the v. This time, we’ll call it ytail, but again the name is arbitrary. You can copy the anchor by pressing Cmd-C. Open your _tail.y and paste the anchor with Cmd-V, then double-click it to rename it. Again, this one should have the same name as your v anchor, but with an underscore at the beginning.

tricks6

This way the anchors are on the same height, which is important, because the both components share the same y coordinate. By having them on the same height we avoid the risk of vertical shifts in the compound y.

Just like with the Q, we make the tail a component. Press Cmd-A to select all paths, right click and select Component from Selection. Again, the name of the new glyph can be arbitrary, it just needs to have an underscore at the beginning so that it won’t export. Ours will be called _tail.y.

tricks5

That’s it. Yay!

tricks10

Other Glyphs

Depending on your design, you can also build other glyphs out of components. For example Eng out of N and a descender part, ae out of an a part and e, oe out of an o part and e, w out of a w part and v, and if you have a sans-serif font you can also build eng out of n and a descender part or thorn out of p and a stem part.

tricks11

But wait a minute… take a closer look at ae, oe and w in the screenshot. They are a little different from the above examples.

Ligature Compounds

In fact, they are ligatures of multiple shapes. So, in order to make the most of automatic alignment, we could build special ligature letters, adjust the sidebearings where necessary, and simply build a ligature by adding them as components. That way we do not even need anchors.

E.g., you can build ae out of a special a.ae and an e. Into the a.ae, you copy the paths of the a, remove the spur, and perhaps adjust the stem width a little. The a.ae needs an =a as metric key for the LSB, and a negative RSB, just as much that it would form a nice ligature with e. Open your ae, and add a.ae, then e as components. They should align automatically.

tricks12

And because the a.ae should not export, go into the glyph, right-click to open the context menu, and select Export to remove the checkmark.

tricks13

The glyph name a.ae is the name of a letter plus a suffix. This name structure allows automatic alignment in the ligature compound, but requires this last step of turning off export. Since version 2.3, you can also do it the other way around: create _a.ae, which will be created as non-exporting because of the preceding underscore, and then, inside ae, you can force alignment by right-clicking on it and choosing Enable Automatic Alignment from the context menu.

Sample Font: Sephora Serif by Mucca/Schriftlabor
Update 2016-01-18: added some explanatory lines, thanks to Benedikt Bramböck and many others for their valued input.

22–24 April 2016: tga Schriftlabor 2016 in Vienna

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Zweieinhalb Tage Intensiv-Einstieg in die Schriftgestaltung mit Glyphs bei der typographischen gesellschaft austria mit Rainer Scheichelbauer, dem Autor des Glyphs-Handbuchs. Wir beginnen einfach eine neue Schrift! Dabei werden alle wichtigen Schritte einer modernen OpenType-Produktion durchlaufen. Ideal für Anfänger und Umsteiger von anderen Programmen.

tga Schriftlabor Frühjahr 2016

  • When?

    Freitag bis Samstag, 22. bis 24. April 2016
    Fr: 13.00 – 17.30 Uhr
    Sa: 10.00 – 17.30 Uhr
    So: 9.30 – 16.00 Uhr

  • Who?

    Rainer Erich Scheichelbauer

  • Where?

    FaceType-Studio
    Otto-Bauer-Gasse 24/27
    1060 Wien

  • How much?

    EUR 300
    EUR 200 für tga-Mitglieder und Studierende

  • For whom?

    Einsteiger
    Umsteiger von anderen Programmen

  • Prerequisites

    Eigenes MacBook mit OS X 10.9.5 oder neuer und die aktuellste Version von Glyphs 2. Teilnehmer erhalten eine verlängerte Probelizenz und können eine Volllizenz ermäßigt erwerben. Keine Vorkenntnisse in der Schriftgestaltung nötig.

  • Links

    http://typographischegesellschaft.at/schriftlabor.html

Für Pausen mit ausreichend Kaffee ist gesorgt, am Freitag und Samstag gibt es eine einstündige Mittagspause. Auf dem Workshop-Programm stehen:

  • Buchstaben skizzieren und digitalisieren
  • optimale Pfade zeichnen
  • alternative Buchstaben einbauen
  • Akzentbuchstaben zusammensetzen
  • Sprachenunterstützung ausbauen
  • Buchstaben zurichten (Spacing)
  • Glyphs mit Scripts und Plugins erweitern
  • OpenType-Features einbauen
  • Bildschirmdarstellung mit Hinting verbessern
  • OTF, TTF und Webfonts exportieren

Als Teilnehmer erhalten Sie Handouts für das eigenständige Weiterarbeiten und eine verlängerte Trial-Lizenz. Sie haben außerdem die Möglichkeit, eine Volllizenz ermäßigt (−10%) zu erwerben.

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