I ran across this FontLab 5 webinar perusal on YouTube today. The recording quality is poor. But it might be helpful. At least there’s a bit of a face and voice with the name. The basics of a Fontlab workflow: new font
Continue reading →Self-publishers trade publishing dreams need excellence to provide better hopes. There are realistic, if remote, possibilities of being picked up by a “real” publisher. But only if you can demonstrate excellent sales, a sizable following, or ongoing usage (like coursework, regularly scheduled seminars, and the like). I thought the image of Victorian woodtype might help drive home the concept of tradepub being a step back to a time which really doesn’t exist any more. Traditional publishing as we … Continue reading →
Today I’m pleased to announce that Hackberry Font Foundry has released Biblia, Biblia Serif, new book production fonts for my friends. This is specifically designed for my cohorts, writers and publishers of Christian fiction and non-fiction. That’s why they are named Biblia. I’m working on a companion sans named Draetha, which is Welsh for preach. These fonts have a long history. In the early nineties, I fell in love with the look of a font named Minister. I … Continue reading →
I’ve put this off for years, but it just seemed time. Briskly: new font release is a font made from one sample of my handwriting. An ASCII font (256-character), it will work well for desktop, Web, and ePUB. The only place you will be able to buy it with included ebook licenses is here on this Website. Briskly: new font release is here! There are some interesting aspects to this font. First, some of the characters have a unique slant … Continue reading →
Book designers often dread converting books to ebooks — the process of changing a greyscale printed book to various full-color ebooks: downloadable PDFs, ePUB FXL and Reflow, & Kindle books of various flavors from e-ink to large Fire tablet. It often seems a bit like wizard work requiring incantations, lots of smoke, and mirrors. Sad to say, on the Kindle end of things, that’s fairly accurate. Yet things are not as they seem, as InDesign CC has … Continue reading →
One of the main troubles we have in setting books for readability is the set of largely subconscious rules we’ve learned over the years. In an entertaining and useful article today by Jonathan Hoefler named: How to Use Clashing Fonts He gives us several examples showing why it is necessary to break common “rules” in the interest of both style and readability. In the example he gives above, he shows the use of two virtually identical Dutch Old … Continue reading →
The basic parts of type Again, we need some more basic language definitions. You can see above how the point size of the type relates to the ascender, cap height, x-height, baseline, and descender. More importantly, you get a glimpse of things that are important in the world of typography. This illustration is from my font design book, Practical Font Design With FontLab 5, which is available in print as well as ebooks at iBookstore, NookBooks, Kobo, Scribd, and … Continue reading →
Even after over forty-five years, there’s still that little thrill when you see a finished book for the first time. It’s too bad that Amazon won’t carry them. But, they are the best choice for the classroom or self-study. The spiral-bound workbook I had to cut out the Christian marketing section to get the page count below the 470 page maximum for spiral-bound. The only thing I really miss are the color graphics. To get that (and … Continue reading →
I’ve published a sample of the new book on the Adobe servers. It’s about 75 pages of the various sections of the book. If you are interested in a review copy I recommend the PDF is reader’s spreads with the full color graphics. Let me know if you are interested. Here’s a link to the page with more information and purchase links. If word processor book production is taking up too much time and the results are … Continue reading →
Hoefler&Co. posted an excellent article this morning about italic fonts. It covers a dozen varieties (though it seems like more), plus it explains some of the reasons why italics end up with the designs which seem so far from normal.
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