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Practical Font Design The Revised and Expanded Third Edition BUT Practical Font Design With FontLab 5 is the final edition. A rewritten, expanded 3rd edition including the second edition of part one and part two (on building book font families) plus new materials giving a practical walk through the process of designing a font and families. This is not about artistic considerations, but the practicalities of putting a font together. On the other hand, the design approach is fine art. David's training is as a fine art printmaker: etchings & stone lithography. The basic procedure we use for font design is found in this book. It is a step by step following of new font designs with tips and comments along the way. A book to help graphic designers design fonts Here at the foundry, we use FontLab 5 in the production of our fonts. Over the years we have developed over a hundred fonts. In the process, we have picked up a lot of experience in the process of designing a font efficiently. This is not a book for programmers and scripters. This is a book for graphic designers and typographers who love type and want to make their own fonts-either for themselves or to sell. In the process of writing this book, several things were developed that you might find useful in your design process. In general, these are pieces of copy or FontLab files that will save you the time required to make your own. There are lists of composite glyphs to generate, and OpenType features file, and a text file to use when generating metrics and kerning tables. You can find them on this page. Here's a condensed table of contents for you to see what is in the book Why a 3rd edition?xv Because I've learned so much since I wrote the first twoxv This is a small one-person low budget operationxvi Welcome!To the 3rd edition of practical font design1 Defining typography2 A Practical Approach To Classifying Fonts9 Type drawing tools33 The creation of a font47 A step by step procedure47 A new unilateral serif font49 Begin with a new or base font50 Scan & trace67 Letterspacing109 Some definitions109 The decisions needed for good letter fit110 Basic methodology110 FontLab's Metrics panel111 Typical adjustments to spacing115 Display or Text?118 For Practical Font Design: Part Two I went much more traditional118 Generating fonts for testing123 Making composite glyphs127 Generating the basic characters127 Adding OpenType Features133 What is an OpenType feature?133 Writing an OpenType feature134 How a feature works135 Using classes136 Adding features to our new font138 Ligatures146 Kerning your new font151 The Metrics window151 The need for a kerning text document152 The kerning process154 what to kern & by how much?156 Using real words159 Classes160 Tracing drawings & artwork163 Placing into Illustrator164 Make sure the scan is clean164 Live Trace in Illustrator166 Designing font families171 Let's start traditional171 Book font family characteristics175 Text versus display175 The need for text and display versions180 The need for a sans version180 Kerning & Assembling the family237 Generating the fonts241
Practical Font Design has built a niche for itself among graphic and Web designers who want to build their own fonts: especially with the first book. I learned a lot since I wrote that first book. This radically revised, updated, and expanded third edition combines the first two books. They are rearranged so they make a lot more sense and some brand new material is added. This is a quick introduction showing a workflow to build new fonts using FontLab 5. Fourteen fonts are developed in this book including an 8-font text family and a companion 4-font sans serif for headers. The techniques are simple and easy to understand. The results are completely under your control.
Why do you want to use Fontographer?For the fun of it!When I received the opportunity to go back to my roots, and see what the new Fontographer was like, I was a little concerned. I had just spent nine years painfully teaching myself to letterspace by hand, to write OpenType features, and to become accustomed to the tool set of FontLab. Don't get me wrong, FontLab is a great program. There are still a few features of FontLab that, as a professional font designer, I cannot do without. But I was taken by surprise.Fontographer brought the fun back!It is still the same marvelous program with which I first learned to design fonts. The drawing interface is still clean, clear, and elegant. It still works the way I have learned to work over the past two decades of digital graphic design. I found pleasure in drawing again. Fontographer is a wonderful drawing experience. It has been a real joy to experience that again. After nearly a decade in FontLab, font design is fun again.
This book uses Fontlab 5 to design a new OpenType font of 600+ characters, step by step. The focus is on practical design tips and techniques for those of us who do not like nor want to do coding. The author has been designing fonts since 1994 and has over 100 fonts on the market at Myfonts.com and the Monotype family of sites under the Hackberry Font Foundry banner.
This is the final edition of Practical Font Design using Fontlab Studio 5. It shares and demonstrates the latest, most efficient, basic font production workflow for single fonts and font families. David has spent over twenty years refining his font design techiques. This book does not offer a lot of intellectual design help. This is focused on - "How the heck do I do this?" and - "How can I quit spinning my wheels?" and - "Why is this taking me so much time?" These techniques will enable you to enjoy font design by letting you focus on the actual drawing of characters with a clear plan and a workflow which does not get in your way. More than that, these techniques will enable you to control the consistency so your font works as a whole. The book will teach you what a companion font is and how to design one. It will teach you an easy letterspacing technique which will allow you to simply control whether you are designing a text font or a display font. The book is a wealth of tips and techniques shared over the author's shoulder as you watch him develop his fonts. He's not teaching his method, but showing you how to develop your method of working. The book develops fourteen fonts in four font families, focused on book design. These Librum/Bream families are available at MyFonts.com, fonts.com, linotype.com, fontspring.com, and through his website: bergsland.org The book will change your life as a font designer.
Typography is a very powerful design element. Whenever we have a typographic system in place, we can use it to structure content, communicate ideas and even enhance meaning. However, employing it in a way that masters that delicate balance between being unobtrusive (catering for a pleasant reading experience) and engaging enough (keeping the reader’s interest on a page) can be quite a challenge. With the help of this eBook, you can learn how to train and sharpen your eyes to recognize specific typographic details which will be sure to guide you in your own projects and make it easier for you to make design decisions. After an initial stroll through type terminology and classification, this eBook reflects on the quality of fonts (including web font providers, of course) and explores typographic design patterns as well as current practices. These practical considerations and a plethora of real-world examples are bound to be a valuable companion throughout your adventures when designing with type. TABLE OF CONTENTS: Understanding The Difference Between Type And Lettering Making Sense Of Type Classification (Part 1) Making Sense Of Type Classification (Part 2) A Critical Approach To Typefaces Taking A Second Look At Free Fonts Dear Web Font Providers Typographic Design Patterns And Current Practices (2013 Edition) Creating Exciting And Unusual Visual Hierarchies Type Makes A Difference: An Exploration Of Type-Focused Websites
The subject “Computer-Aided Design” is basically meant for the application of computers to make engineering design and drawings more accurate, less time consuming, and increase productivity of designers involved in Civil, Mechanical, Architectural, Automobile engineering fields. The content of this book basically covers the topics related to fundamentals of Computer-Aided Design using software such as AutoCAD and SolidWorks 3D modeling. It consists of understanding and practicing basic 3D commands of both parametric and non-parametric environments of SolidWorks and AutoCAD respectively. The basics of graphic transformation with illustrative examples and exercises are also included as fundamental information of computer graphics. The information regarding various basic hardware devices is also included in order to highlight the CAD workstation requirements. The contents also highlight the step-by-step procedures to follow the command instructions to run the software on a more practical basis with illustrative examples and a case study. Overall I can conclude that all students pursuing their diploma programs and degree programs and practitioners involved in mechanical parts modeling, assembly modeling, engineering drawing, drafting, and designing can get benefited from the contents and sub-contents of the book.