April 11, 2012
Industrial Design Centre at the Indian Institute of Technology Bombay
Hot on the heels of Todd Macfie’s report on Type Camp India, which I was privileged to attend in December 2009, I decided to publish my experiences from my most recent trip to India. It has been just over two years since I traveled to Chennai for my first visit to India. As part of the Type Camp group, I was there very much in the capacity of learner to study the Tamil script and to document its forms with my own amateur photography.
However, my return trip was to focus on imparting some of the knowledge that I have attained in the intervening years since my initial visit. In particular, I was honored to be able to present at Typography Day 2012. It was an inspiring event to see the state of the art in India in terms of typography, publication design and typeface design. I was somewhat surprised at how much type design was showcased at this conference, which I fully expected to be more focused specifically on typography. It was encouraging to me to see many students active in learning the essentials of type design.
April 3, 2012
The Robothon conference in The Hague is always an exceptional event, bringing together designers and developers interested in the technical aspects of type design. While it is a great opportunity to meet people and exchange ideas, it is also a place to hear about the latest developments in type technology. This year, many presentations focused on hinting, two of which were presented by members of the Adobe Type Team. Continue reading…
March 6, 2012
At the ATypI conference 2011 in Reykjavík, I gave a talk entitled “Pitfalls of Pi fonts.” This presentation was the culmination of a project that involved the creation of keyboard layouts for all of our dingbat fonts. The ultimate purpose of this project was the desire to replace obsolete Type 1 (T1) fonts with more current OpenType fonts (OTFs), which was necessary for various reasons, the most important of which being that T1 fonts lack proper Unicode information. On another hand, this shortcoming in the T1 font format was also its greatest advantage: virtually all the glyphs were easily accessible from the keyboard.
March 2, 2012
Today marks Robert Slimbach’s 25th anniversary with Adobe. Robert joined Adobe’s Type staff on March 2nd, 1987, as Adobe’s nascent program for original typeface design took shape under the guidance of Sumner Stone. Since then, Robert has accumulated awards and accolades for his work, including the Prix Charles Peignot in 1991, and numerous Type Directors Club awards. In 2006, Robert became Adobe’s first Principal Designer — a title he probably earned in spirit long before that.
February 24, 2012
On Tuesday, Adobe’s Typekit office hosted the west coast premiere of Linotype: The Film with two back-to-back screenings. A few of us on the Adobe Type team were there and share our thoughts about it:
Linotype historian Frank Romano showing original font drawings for the Linotype.
David Lemon: I really liked Frank Romano’s historical perspective. I’d come across a lot of that material before, but had never learned what inspired Ottmar Mergenthaler to create the first Linotype machine. And as a Type person, I appreciated Nadine Chahine’s point that the machine’s great commercial success supported the development of the world’s preeminent font library – which has long since outlived the machine.
Frank Grießhammer: What I liked is that really all the aspects of the machine were illuminated, from the history of its creation, to the pinnacle of its success, to its replacement by other technologies. Even the Linotype’s value in terms of scrap metal was mentioned, and the difficulties (in sheer personal investment and energy) that are to be taken to keep a Linotype running today. All those facts were embellished with a wealth of ancedotes, e.g. the fascinating story of “etaoin shrdlu.” A great movie, which I can easily see being interesting to festival-goers that are not necessarily 100% type nerds.
Christopher Slye: Honestly, I was grinning for half the film. It’s ambitious enough to make the case that the Linotype was just about the most important invention for human knowledge following movable type itself… but it also finds that the people who have spent their careers operating or otherwise depending on them are smart, proud and funny. It helps that it’s all nicely filmed and briskly paced. A few familiar faces put it all in context for the type enthusiasts and professionals, but it turns out the Linotype — quirky, complex and slightly dangerous — has more universal appeal than expected.
February 16, 2012
The AFDKO (Adobe Font Development Kit for OpenType) tools are available only for Mac OS X and Windows, but we have heard some interest in having a Linux version as well. If you would use the AFDKO tools if a Linux version were available, or a version for some platform other than Mac OS X and Windows, please let us know, and for which environment. (Note that only binary versions would be supported for the near future, as the AFDKO tools contain some Adobe intellectual property.)
January 23, 2012
I am pleased to announce that this year Adobe is one of the sponsors of the Indian Institute of Technology’s Typography Day at its Industrial Design Centre in Mumbai. In connection with this event, I will be presenting on the typesetting capabilities for Indian scripts in Adobe InDesign. This will only be the beginning of my journey….
In order to benefit individuals active in the field of typeface design, I will also be hosting a series of one-day type development workshops in several Indian cities. These workshops will be targeted at helping to foster local type designers and engineers within India and will thus be limited to persons residing in the region.
December 20, 2011
Our holiday card is supposed to set you in the right mood for a sparkling holiday time; click on the image above to experience a truly starry experience! Close observers might even get a glimpse of an unreleased typeface – which has been obfuscated using a seasonal Python script. Continue reading…
November 10, 2011
Twenty five years ago I worked my first day at Adobe. It was quite exciting; there were about 75 people at the company, all crowded in a small building in East Palo Alto. Continue reading…
November 4, 2011
Even though InDesign’s linguistic support is reasonably extensive, it covers only a few dozen of the world’s languages. Out of the box you’ll find support for most Western languages, from Bulgarian to Ukrainian, and if you happen to be using a Middle-Eastern (ME) version, you’ll also have support for Arabic, Farsi and Hebrew.
List of the languages supported out of the box by InDesign CS5.5
But what about other Arabic languages such as Urdu and Uyghur? Or Indian languages such as Hindi or Tamil? Or even other European languages such as Gaelic? Is it possible to enable those? The answer is yes, and there are two ways of doing it.