The tg Font Collaboration Thread

[mwenz]

Gary,

A question or two. Would you like the glyphs as I get to them (individual XAR files), as a master XAR file (containing each glyph from the scan I have), as individual EPS files tested and ready to import to TT/FL, or ?

And...just how perfect would you like the glyphs? I noticed on the first one I did that while there are some vagaries from printing, there is variation in the design itself (say from the left / right sides, repeating elements not exactly the same shape, etc).

Take care, Mike

[Gare]

Me, I'd prefer the glyphs stacked over one another in a single Xara file, Mike, because I have my own wonky workflow to get them into FontLab.

Here, I'll attach my idea of several gylphs that are ready to go, and if you don't mind the gang here watching over our shoulders, attach what you did to a post after this one, so I and others can look at it, and I'll comment on it to get 'er where she needs to go, eh?

-g

[mwenz]

Just for you I'll combine a couple on a page and upload it...

I find it easier to work with a single page for each glyph. But I'll combine into a temp file for uploading here. Only did two for now. Gotta hit the keyboard some more today on something else.

Take care, Mike

mike_temp.xar

[angelize]

Hi guys, I think this is a great idea, for the next few days I'll be away from the forums, once I am back and at it though I would love to do a few glyphs if you still need any done then. I wish I could help you guys out more.

[Barbara B]

In case anyone is interested, The Celebrated Burgeon Stamp Collection, is older than Gare remembered. This catalog dates from around 1906 to 1912.
Which, for us, is really good news; because creative, copyright protected work that was published before 1923, is now in the public domain.

About 10 years ago I spotted this catalog at a local garage sale for $4.00. I bought it and stuck it in a bookshelf and basically forgot about it. In 2006 I came across it again (in my own bookshelves ) and got curious about it. I Googled around and found a Reusche & Co. in Colorado who still sell glass and china painting supplies. I wrote them and asked them if they were the same folks and did they know when the catalog would have been published, and got this kind reply.

From:

Jon Rarick

Sent: Wednesday, April 19, 2006 3:48 PM
Subject: RE: L. Reusche & Co. of 12 Barclay St. NYC Stamp Catalog Question

L. Reusche & Co. was started in 1906 with sales offices in N.Y. It was moved to Newark, NJ in 1929 until I moved it to Colorado in 1996. This catalog would be around 1908-1912. Hope this helps.
Jon Rarick

[Christine Farrelly]

I'm happy to help.

Christine

[Gare]

I'm happy to help.

Christine

Then let me help you to be happy. Christine!

Attached is No. 4.

One more talented Xara volunteer, please. We will reserve one for Frances as she is currently on unpaid sick leave as Moderator. I want to bring this up at the next Moderator union meeting, by the way. And a dental plan.

If someone else wants in, you're not too late. I figure we can either strike a "Son of Bergeon Ornaments", a sequel font, or put 15 more gylphs in this one to cover !#$%& and so on. Looks like comic book swearing doesn't it?


-g-

[Gare]

Mike, when I opened your file, I gasped at how precise and beautiful your traces are!

And...we need a few revisions. Actually I did them on page 2 of the attached, but nobody learns anything if I just correct people's work covertly.

1. You had one or two nodes at extremes. That is, the control handles were way too long and the arc of a curve went way past a recommended 45 degrees. The fix is to put another node (control point) right next to the first one at high magnification, and make the connection between the two a straight line segment.



2. You got a few non-essential nodes along the outline, probably because you used a Boolean operation which will produce 'em unless shapes are perfectly overlapped (and they never are!). My own solution is to put a copy on the guides layer, delete the superfluous nodes, and then correct the outline back—because shapes change when you delete control points) using your guides layer as your...um, guide.



3. An oval at the bottom of one glyph had some superfluous nodes at its top. I see it's not exactly a circle, but it would have been wicked hard to just delete these control points without un-shaping the oval. So I matched the oval shape with the Ellipse tool, deleted the control points that made up the oval (which didn't change the rest of the design), and then used the Boolean Add command to the oval I made.




4. You had two areas where a path crossed itself. It cannot, because when typed out, it will have a gap in the "loop" portion. Also, it could fault a PostScript printer. Paths must not do a figure 8 on themselves. You accomplish the effect when it's intentional by using two shapes closely arranged together. In this case, it's an error and not deliberate so a support control point can be added (I did this) to reinforce the apogee of the curve.



I think your work is artistically stunning, Mike, an example for the unfortunate few, such as myself, who will have to follow to make this the best picture font in existence! People, please download the attached Xara file and take a look at a craftsman's intelligence, grace, and mindfulness in action.



-g-

[Barbara B]

Look how easy you have it, drawing your glyphs in Xara.

See how Eric Gill had to do it in 1928 when he was making Gill Sans.
Go to the 100 Best Typefaces of All Time, which is a pretty cool list to begin with, and Click on Gill Sans to see how he drew the lowercase g on graph paper.

[Soquili]

Thanks for the link Barbara. We do seem to take forgranted how much easier our lives have become with the aid of a computer. Fifty years ago in high school art class I can remember the teacher showing us how to use graph paper in a similar manner to how Eric Gill drew his font.

Edit: Had to remember I am older and it was high school and not junior high.