This week’s festivities have thus far included attending IUC38 in Santa Clara, California. I presented twice, both times about Source Han Sans and Noto Sans CJK development.
For those who were unable to attend this excellent conference, the slides for my two presentations, Developing & Deploying The World’s First Open Source Pan-CJK Typeface Family and Building Source Han Sans & Noto Sans CJK, are now available.
P.S. The image shown above, which was used on page 47 of my first presentation to describe the Super OTC deployment configuration, became popular during IUC38, and was used by at least three other presentations. ☺
In the spirit of team-building and developing new skills, my manager, David Lemon, invited Chris Stinehour of Christopher Stinehour Design to give the Adobe Type Team a two-day workshop on letter cutting in stone. The workshop took place on Wednesday and Thursday of this week. The result of my efforts, which most definitely involved learning a new skill, is shown below:
Now that the Version 1.001 update for Source Han Sans (源ノ角ゴシック), in the form of sources and installable fonts, is under my belt, my attention has now turned to my IUC38 (38th Internationalization & Unicode Conference) presentation, which is entitled Deploying & Developing The World’s First Open Source Pan-CJK Typeface Family. Much of what was involved in building these fonts—to include some of the hurdles that needed to be overcome—will be detailed in this presentation.
For those who use social media, you can follow IUC38 developments via the #IUC38 hashtag.
Oh, and I am also pleased to state that Adobe is once again a Gold Sponsor of this event, for the eighth year in a row.
I will be attending IRG41 in November, meaning that I will be in Tokyo for the latter half of November. Airline tickets have been purchased, and hotel reservations have been made. This is made possible because Adobe is a Full Member of The Unicode Consortium. I enjoy every visit to Japan, meaning that I am looking forward to spending almost two weeks there.
One of my goals during this trip is to enjoy at least one lunch at ガンジー (静岡県焼津市), and one dinner at とんき (東京都目黒区).
Seriously, the primary focus at IRG41 clearly will be on Extension F, which is now in full progress.
10月10日水曜日、香港で開催されたATypI Hong Kong 2012にてAFDKOワークショプをおこないました。とても専門的な内容にもかかわらず、多くの方にご参加いただきありがとうございました。
３時間のワークショプの前半２時間は、Ken Lundeによる「Manipulating CID-Keyed Fonts Using AFDKO Tools」が行われ、後半１時間「Turning CID-Keyed Fonts Into OpenType Fonts Using AFDKO」を私が担当しました。
I had the opportunity this morning to present at ATypI Hong Kong 2012 about Kazuraki, specifically the details about its OpenType implementation. Hence, the title of the presentation is Kazuraki: Under The Hood. The purpose of this article is simply to make the presentation available.
Yesterday—meaning Wednesday, October 10th, 2012, Hong Kong Time (UTC+8)—I had the honor and privilege to present the first two hours of a three-hour ATypI Hong Kong 2012 workshop entitled Manipulating CID-Keyed Fonts Using AFDKO Tools. When I did a rough count, there were nearly 30 people in attendance. I’d like to use this opportunity to thank those who were able to attend, which meant that they made the effort to travel to this conference, and also chose to attend this workshop in lieu of attending presentations from the Typography & Reading and Typography & Culture tracks, or other concurrent workshops. I’d also like to provide to those who attended, and to those who were not able to attend, the presentation that I used to drive these two hours, which includes material that can be studied and referenced.
In addition to installing the latest-and-greatest version of AFDKO, the workshop attendees were also provide with the actual sample font data that I used to demonstrate the various workflows and techniques.
My hope is that these materials are useful to those who attended this workshop, and to those who were not able to do so. Enjoy!
Speaking of enjoy, that is what I plan to do for the remaining four days of this five-day conference. ☺
ATypI Hong Kong 2012 takes place next week, starting on Wednesday, October 10th, and ending on Sunday, October 14th. I will be there for all five days, and very much look forward to meeting many people face-to-face, some for the first time.
I will be speaking twice. The first time will be on the afternoon of October 10th, for the first two hours of the three-hour Manipulating CID-keyed Fonts Using AFDKO Tools workshop. My colleague, Masataka HATTORI (服部正貴), will be speaking for the last hour of the workshop.
The second time will be on the morning of October 11th as a twenty-minute presentation entitled Kazuraki: Under The Hood that immediately follows another twenty-minute presentation by two colleagues from our Tokyo office, Taro YAMAMOTO (山本太郎) and Ryoko NISHIZUKA (西塚涼子), entitled Kazuraki: Its Art & Design.
I declared my presentations final this morning, and the materials for the workshop have been prepared and were provided to those who registered.
I am excited…
One of the most useful bits of feedback that I received from my portion of the June 25, 2012 AFDKO Workshop was that I include workflow diagrams that visually explain how various tools and control files work together. While preparing to present the same material at ATypI Hong Kong 2012 on the afternoon of October 10, 2012, I spent last Friday and this week creating additional presentation slides that include such workflow diagrams.
I spent part of this week staging the data for some minor glyph corrections for our Kozuka Mincho and Kozuka Gothic fonts—and those that are derived from them—and was reminded that the techniques I described in the February 27, 2012 article are incredibly useful and indeed time-saving. These same techniques were also conveyed during the AM session of the June 25, 2012 AFDKO Workshop, as shown is the presentation slide below:
I just spent a few minutes perusing the ATypI Hong Kong 2012 program. OMG. This is a literal dream come true for those interested in East Asian (aka CJK) typographic issues. Never before has this collection of experts gathered in a single location. My only regret is that I am unable to clone myself, because there are concurrent sessions in which I interested, or sessions that are taking place at the same time I am scheduled to present.
Again, if you’re on the fence about attending ATypI Hong Kong 2012, I urge you to attend. Such an opportunity is unlikely to present itself for a long time.
For those who are already planning to attend ATypI Hong Kong 2012, or are considering it, the program has just been posted. The Keynote Speakers were announced a small number of weeks ago.
Given that this is the first time that ATypI will take place in East Asia, the number of CJK-related presentations is relatively high, and this should be expected considering its venue. To those who are on the fence about attending, I urge you to attend because ATypI is not likely to take place in East Asia for many more years. It is an opportunity that should not be missed. And, like other conferences, one of the greatest benefits—not listed on the program—is the opportunity for one-on-one interactions with others in this industry.
As a side note, I am very much looking forward to speaking at and attending ATypI Hong Kong 2012, and meeting new and familiar faces while there.
Once again, to those who were able to attend the Tokyo AFDKO Workshop that was held at Morisawa‘s Tokyo office on June 25th, thank you for your participation! Not counting those from Adobe and Morisawa, a total of 21 people attended. (Details about the AM session were covered in the previous article.)
For those who attended, and for those who could not attend, the presentation for Masataka Hattori’s (服部正貴) portion of the workshop is now available for download. Besides demonstrating how to build OpenType/CFF fonts based on the Adobe-Japan1-x and Adobe-Identity-0 ROSes, one of the highlights of Masataka’s presentation was demonstrating how to build a font that includes fully-proportional kana glyphs, based on the proven techniques which were used to develop Kazuraki (かづらき) that are detailed in Adobe Tech Note #5901 (Special-Purpose OpenType Japanese Font Tutorial: Kazuraki).
To those who were able to attend the Tokyo AFDKO Workshop that was held at Morisawa‘s Tokyo office on June 25th, thank you for your participation (and for enduring my poor Japanese speaking abilities)! I hope that you learned new ways in which particular AFDKO tools can be used to make your CID-keyed font production work (or workflow) more effective and less time-consuming.
I am currently in Gyeongju (경주시/慶州市), Republic of Korea (ROK), attending IRG 38. For those who are not aware, the IRG (Ideographic Rapporteur Group) is an ad hoc subcommittee of ISO/IEC JTC1/SC2/WG2 (aka WG2), and is charged with all matters related to CJK Unified Ideographs. In other words, all CJK Unified Ideograph repertoires, the latest being Extension D, are the direct result of work by the IRG. I am attending IRG 38 as the sole US and Unicode delegate, and this is the fifth IRG meeting I have attended. IRG meetings are week-long working meetings, and are held twice per year.
I don’t travel very often as part of my work at Adobe, but when I do, it is always to East Asia. (I have never been to Europe.) The last time I traveled as part of my job was two years ago, to attend IRG 34 in Nagaoka, Japan.
For those who signed up to attend the AFDKO Workshop that takes place on the 25th of this month in Tokyo, be warned that I will be conducting my portion, which is from 10AM until noon, in Japanese, or at least in my rendition of Japanese. ☺
Seriously, though, I hope that my Japanese skills, or lack thereof, don’t serve as an impediment for those who attend this workshop. My focus will be to demonstrate how particular AFDKO tools, such as tx, mergeFonts, rotateFont, autohint, and so on, can be used to not only build, but also to directly manipulate CID-keyed fonts. My hope is that I can convey useful information that can serve as inspiration for making font production workflows more efficient and less time-consuming.
For those who are attending, note that materials will be provided that will be based on a small subset of Kozuka Gothic Medium. If any attendee wants to use their own font data for this purpose, I suggest that you bring along an Adobe-Japan1-0 or greater OpenType/CFF font or CIDFont resource. I have prepared scripts that will quickly create the same materials, but using a different base font.
Wish me luck in finishing the accompanying presentation, which currently has 24 slides. In Japanese.
I am very much looking forward to meeting everyone who has signed up to attend this workshop!
I am spending most of my time preparing for the Tokyo AFDKO Workshop that Morisawa is hosting at their Tokyo office on the 25th of this month, which is a Monday. At this point, most of the sample data is ready, and I now need to prepare the accompanying presentation slides.
This will be my first opportunity to engage a larger number of font developers, and to convey to them useful tips, tricks, and techniques for several AFDKO tools, particularly tx, mergeFonts, and rotateFont. My portion of the workshop, which will consume the entire morning, will be about building and manipulating CID-keyed fonts, to include controlling the assignment of CIDs (glyphs) to FDArray elements. I will also cover the use of the special-purpose Adobe-Identity-0 ROS. I am very much looking forward to this event, and working directly with many font developers.
Note that this workshop will be conducted in Japanese.
弊社のAFDKO（Adobe© OpenType©フォント開発キット）を利用されてフォント制作を行われている開発者の方々を対象としたワークショップとなります。それぞれのツールについて有効な利用法について、弊社米国本社のKen Lunde（ケン・ランディ）を含む弊社スタッフが説明する予定です。ぜひご参加ください。
As alluded to in the February 8, 2012 CJK Type Blog article, there is a good chance that an AFDKO Workshop will take place in Japan, very soon. Please stay tuned to this blog for details, which may emerge in less than a week.