Posts in Category "Non-Latin"

November 20, 2013

From Slavophile to Typophile: The cultural journeys of Paul D. Hunt

Paul and big P
Paul D. Hunt joined Adobe as a typeface designer in 2009, but his path to San Jose has been anything but typical. Valedictorian of his high school graduating class of 25 (just down the road from a famous Route 66 landmark), Paul was well on his way to a high-powered career in international business. But he fell in love with language, then type, somewhere along the way. And the rest, as they say, is history.

How did you make your debut on Planet Earth? 

I was born in Winslow, Arizona (from the popular Eagles’ song). I wasn’t born on the corner, though—I was born in the hospital! I grew up in a rural town called Joseph City and went to public school there. With just 1,200 people in the town, there weren’t many opportunities to do much of anything interesting, but when there were, I tried to maximize them. For example, when our school briefly offered some satellite courses through UW in foreign languages, I took that opportunity to start to learn Russian.

Aside from the incredibly easy task of learning Russian, what else did you do for fun growing up? 

I was involved in dancing, in the form of clogging. My younger sister and I did it for many years throughout my youth. I worked at the school auditorium doing light and sound and stagehand stuff. I was in choir, and I did a little bit of acting in community productions. Our show choir did Oliver! and I played the villain, Bill Sykes, when I was a senior (probably because I was the only one who could grow a beard and pull the whole thing off).

In 1995 as Dickensian villain Bill Sykes in his high school’s presentation of Oliver!

So how did you transition from aspiring clog dancer and super-villain to type designer?

I was always interested in language and culture—and later, design—and how these things all come together. I wanted to continue with dance and studying Russian—part of the reason that I chose to attend Brigham Young University was because they have very good language programs and an international folk dance ensemble. In the summer of 2000, I was part of a team that toured around elementary schools in Utah doing all kinds of dance—Ukrainian, Hungarian, Polish, French Canadian, Israeli, Bulgarian—a lot of Eastern European stuff, which is what I like most. Bulgarian rhythms, costumes, and music always make me excited. That’s my favorite, just because it’s so energetic and completely different from [what people usually] think of European folk dancing. Continue reading…

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November 6, 2013

The mysteries of Type Quality Engineering explained (or how a font gets out the door)

Ship_It

This article was written by my co-worker, Ernie March. Ernie has been our font QE guy for almost 20 years. After some subtle hints (no pun intended), I was finally able to talk him into writing something about all the work that goes into making sure we deliver high-quality fonts to our customers. This is Ernie’s first post on our blog, and I certainly hope it won’t be his last.

No, we don’t just throw it over the fence!
When it comes to font development, our design and production team spends a good deal of time making choices: deciding what the font should look like, what sort of language coverage it should have, what OpenType features it will contain, etc. Then they get down to the serious business of actually creating the font.

The team does a lot of testing during this process, and asks for input from experts in languages/scripts where we don’t already have expertise in-house. Rather than just throw them over the fence once they think they’re done, my co-workers send the fonts over to Quality Engineering (also known as my desk). I test the look, accuracy, and functionality of everything imaginable. This testing involves checking the validity of all the tables in the font file using Adobe Font Development Kit for OpenType tools, including a separate check of the outlines, plus the language coverage and Unicode values. Once the files pass these critical tests, a set of visual proofs are created and carefully examined. Among other things, this proofing includes creating waterfalls in order to check stem hints and alignment zones at a variety of sizes—both onscreen and in print—and glyph dumps to check shapes and accent/mark placement. Continue reading…

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September 30, 2013

Adobe fonts for Indian languages

It is with great personal pride and relish that I announce the release of two new Adobe font families for Indian languages. Adobe Tamil and Adobe Gujarati were both released over the weekend, bringing the number of Indian writing systems supported by the Adobe Type Library to a total of four. Each of these families consists of two styles: a regular and a bold. The designs have been completed with print work in mind, as traditional publishing is still very much a vibrant industry within India. These new type families follow the release of two other Adobe type families for Indian languages, Adobe Devanagari and Adobe Gurmukhi, which have already been available for some time. All of these families are currently available for purchase in the Adobe Type Store.

Adobe Devanagari typeface sample

Continue reading…

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April 1, 2013

New type specimens are now available

The Adobe Type team is often asked for more details on how we go about designing typefaces; what sort of historical elements went into the design, was there a specific approach that we took, and what problems we were trying to solve. Very often, a combination of factors like historical precedent, language coverage, stylistic trends and media target (print, web, UI, app, etc.) can be interesting to our customers.

With the typophile in mind, and others who are interested in font design, we produced our latest set of type specimens. These specimens, now available as PDFs on www.adobe.com/type, delve into the design of four recent Adobe Original typefaces – Trajan Sans, Trajan Pro 3, Myriad Arabic and Myriad Hebrew. We hope you enjoy reading this material and learning more about these typefaces.

 

 

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January 22, 2013

Adobe type design workshop, India 2013

For a second year, Adobe is proud to be one of the sponsors of the Indian Institute of Technology’s Typography Day, this year at their campus in Guwahati. In connection with this event, Paul D. Hunt of the Adobe type team will be presenting on the process of developing Adobe’s newest non-Latin font offering: Adobe Gurmukhi.

This year, Mr. Hunt will also be hosting a three-day type development workshop directly after the conference in Guwahati from 11–13 March, 2013. The workshop location is currently slated for Guwahati, however if there is not enough interest at this location or if there is more interest for a workshop in Delhi, the location is subject to change. Therefore applications are now being considered for both Guwahati and Delhi and the final workshop location will be decided by popular response. This workshop is targeted at helping to foster local type designers and engineers within Indian subcontinental region and will thus be limited to persons residing in this area.

The workshop is intended to be an in-depth review of the font development process to assist typeface designers in taking their design and font development skills to the next level. Whether you are a novice who wants to turn letter drawings into type, or you have had some experience designing and developing fonts, this workshop will present a range of topics that will help you to improve the technical quality of your font output. During this workshop series Mr. Hunt will demonstrate general type design principles using FontLab Studio 5 and the Adobe Font Development Kit for OpenType (AFDKO), however these principles will also be applicable to other type design environments.

Continue reading…

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May 15, 2012

Myriad Extensions: Arabic and Hebrew

‘Myriad’ in Arabic and Hebrew scripts

‘Myriad’ in Arabic and Hebrew scripts

The ever-popular Myriad type family now has new Arabic and Hebrew members! These have recently been added as part of a suite-wide effort to provide better support for languages of the Middle East and North Africa (MENA). These new typefaces were designed and developed by the Adobe type team in San Jose and have already be recognized for their excellence as one of the winners of the Letter.2 competition conducted by the Association Typographique Internationale. A core set of styles from these type families is bundled with Adobe Creative Suite 6 applications. This core set includes four basic styles: Regular, Bold, Italic, and Bold Italic. However, the type styles bundled with CS6 include only a small subset of the new Myriad Arabic and Myriad Hebrew type systems that were created to provide a wider range typographic options for designers. To preview and purchase additional styles or the full families, see our pages for Myriad Arabic and Myriad Hebrew. In the future, these pages will include glyph complement showings for the fonts, likewise full digital specimens with text showings are still forthcoming.

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