Today the Adobe Type team launched a new pilot program for Community Translation. This program is aimed at getting translations for Adobe’s typeface notes and will reward contributors with free fonts. The team will be using an internal Adobe tool, the Adobe Translator application, to get translations for their 400+ typeface notes (also referred to as typeface histories). These typeface notes provide users additional information about the typeface and often include information about the history of the typeface. On average, these typeface notes are about 100 words in length. Continue reading…
Posts in Category "Type"
Hoping not to detract from the attention that Paul Hunt‘s Source Sans Pro, Adobe’s first open source typeface family, deserves, I’d like to use this opportunity to point out that another font, a single typeface design with a very small number of glyphs, was Adobe’s first entry in the open source world, in terms of font offerings. Kenten Generic was released on November 4th, 2010 at the Open @ Adobe portal. It includes only thirteen glyphs—ten of which are functional—that are intended for use in typesetting emphasis marks, which are referred to as kenten (圏点) in Japanese, hence the font’s name. The easiest way to view its glyphs is to download its Unicode-based glyph synopsis.
I just received good news, in the form of confirmation that both of my ATypI Hong Kong 2012 presentation abstracts were accepted, which means that I will definitely be attending this conference. I alluded to this in the March 30th, 2012 CJK Type Blog article. One of the abstracts is for a 30-minute presentation entitled Kazuraki: Under The Hood, which will immediately follow a 30-minute presentation entitled Kazuraki: Its Art & Design, that will be presented by my colleagues Taro Yamamoto (山本太郎) and Ryoko Nishizuka (西塚涼子). For those who are not aware, Ryoko is the typeface designer of Kazuraki (かづらき), which is the centerpiece of both 30-minute presentations. The other is for a three-hour workshop entitled Manipulating CID-keyed Fonts Using AFDKO Tools, which will be co-presented by my colleague Masataka Hattori (服部正貴).
I am very much looking forward to attending an ATypI conference for the first time, and meeting many people. If you are planning to attend ATypI Hong Kong 2012, please be sure to introduce yourself to me, in case I don’t introduce myself to you first.
In my work, I need to deal with character codes on a regular basis, such as Unicode scalar values and hexadecimal values for legacy encodings. This includes writing documents that include them. For most purposes, especially when used in tables, tabular figures work best because they are monospaced. Of course, one could simply choose to use a monospaced font. But, unless a different font is actually desired for character codes, using the same typeface design is usually preferred, because it better matches the surrounding text. The issue is that very few, if any, fonts include tabular glyphs that support hexadecimal notation, specifically referring to ‘A’ through ‘F’ (or ‘a’ through ‘f’ for lowercase). Luckily, I was able to solve this particular dilemma.
Almost three years ago, in a September 2009 article on the sister blog, Typblography, we showed a poster for our Kazuraki (かづらき) typeface, which was designed by Ryoko Nishizuka (西塚涼子), who was also its typeface designer. A request came in today for a PDF version of the poster, and instead of posting it into that relatively old (and now buried) article where it would not likely be noticed, I figured that it’d be best to post it here, today.
Click ☞ here ☜ to get the PDF version of the Kazuraki poster.
Enjoy! And for those in Japan, have a safe and enjoyable Golden Week!
[I’d like to preface this article by stating that it was written and contributed by our esteemed colleague, Taro Yamamoto (山本太郎), who manages our Japanese typeface design efforts in our Tokyo office. — KL]
We were very pleased to hear the news that Morisawa announced the Morisawa Type Design Competition 2012 to be held this year. This triennial competition was held from 1984 to 2002, and this announcement means that they have reintroduced it. The type design categories for entries are Kanji and Latin.
本周Christopher Slye(Adobe Type Team Lead) 在 Adobe typblography blog 中宣布了Adobe 和Typekit的合作，介绍了Adobe 新的字体形式：Adobe Web Font。翻译如下：
很多制作网站的人都听说过网络字体(Web Font)这个名词, 目前常用的浏览器都支持网络字体发布(通过CSS @font-face)，这为设计人员提供了比以往任何时候都丰富的排版选项。在Adobe 我们一直在寻找一种最佳的方式去传递我们最受欢迎的设计给您，在此我们非常高兴地宣布和Typekit的合作，Typekit是位于旧金山的网络字体开拓者，从去年开始，他引领了网络字体技术和应用的开发。
在二十多年前，Adobe原创字体就在数字化字体领域竖立了一种标杆，它们不仅是经典、获奖无数的设计，而且其技术质量使它们成为了设计师和排版人员值得信赖的工具。网页质量和印刷质量同样重要，对于那些喜欢使用我们字体输出的用户而言，当您使用Adobe 网络字体时，会发现相同的质量和可靠性被呈现在网页中。 Continue reading…
Kazuraki (かづらき)是一款具有开创性的日文OpenType字体，现已正式上线销售。该字体由Adobe高级字体设计师 西塚涼子 设计，曾获得2002年日本森泽国际字体大赛银奖。作为一款假名日文字库，它不仅包含完整的片假名和平假名，同时也包含1,082个汉字、符号及标点符号。
Adobe CoolType不是字体名称，而是一种在LCD上清晰显示文本的字体还原技术。基本原理就是通过解析子象素来提高屏幕显示文本的清晰度，使屏幕字形清晰易读、接近印刷效果，该技术早已被成功应用到了Adobe CS系列产品中。
You’ve seen it in the “mnemonic logos” and splash screens of Adobe’s Creative Suite 3 and 4, and perhaps you wondered what that typeface was. After more than 25 years in the type development business, Adobe decided to have its own corporate typeface family. The Creative Suite uses were early versions of a family designed by Robert Slimbach. Now that it’s been officially adopted at Adobe, I can tell you about our latest design, called Adobe Clean. There’s no plan to make it available for licensing, but you’ll be seeing more of it in Adobe materials and products as time goes on.
Please click here to read the original article.
The twelve Japanese “Pr6N” fonts that are bundled with CS4 provide an unprecedented level of functionality in terms of what Japanese fonts typically offer. These fonts come in two typeface families, Kozuka Mincho and Kozuka Gothic, and are available in six weights each, ranging from ExtraLight to Heavy. These fonts are special in that they are based on the Adobe-Japan1-6 character collection, are JIS2004- savvy, and included support for Ideographic Variation Sequences. This article will briefly touch upon these three areas.