Linotype Typotechnica 2003

Bruno Steinert

Bruno Steinert

Bruno Steinert is the Managing Director of Linotype.

Welcome!

Jill Bell

Jill Bell is involved in many forms of letter crafting: calligraphy, handlettered logotypes and icons for advertising, packaging and entertainment, as well as type design. She also does web and print design and has maintained a website of her own for nearly a decade.
Technology, along with its ramifications, social implications, and impact on the future (embracing science fiction), has always piqued her interest.
A graduate of UCLA (English) and Otis/Parsons (Advertising/Graphic Design), Jill worked as a calligrapher, a signpainter and as a production artist for Saul Bass before going into business for herself in Los Angeles in the 80’s. She has designed and digitized original typefaces for Adobe, ITC, Agfa/Monotype and for clientele as diverse as Disney and Johnson & Johnson.

My dream of a perfect type tool

Hopes, wishes and ideas for today’s type technologies ... and fantasies about tomorrow’s. Included in this presentation are the perspectives and observations of a variety of people who deal with type on a daily basis. It concludes with some projections about what the approaching typographic landscape may look like on board the ever-accelerating vehicle of technology.
Hermann Zapf
Frank Jonen

Hermann Zapf & Frank Jonen: Zapfino Photofont

About Hermann Zapf

Hermann Zapf is one of the best-known font designers. He designed classics such as Palatino™, and the modern bestseller Zapfino™.

Frank Jonen about himself:
"Originally I’m doing icon and interface designs for various media, from Macintosh OS-X application icons, over to Windows XP, icons for PalmOS and of course websites. The red shoes that got me into the industry were my first freeware OS-X icons, a set called "The StarBags", you can even buy them as posters, really. As an educated typographer I never really left the world of type to dwell entirely in illustrations. My latest major activity in the field of icon design was to participate with foundation of the "International Iconists Guild" a worldwide organisation that brings iconists across the globe together in technical and artistic concerns, somewhat like ATypI is for type, the IIG is for icons, only smaller. In the area of Font Technology I’m curently involved in the creation of Photofonts and the development of the BitFonter software from FontLab."
Harold Grey

Harold Grey

Harold Grey is the group product manager for Type at Adobe Systems Incorporated. Harold’s interest in type began at the age of 12 as a newspaper boy for the New York Daily News. Though allergic to newspaper ink, he earned a B.A. in English from Brooklyn College, and then worked as a writer for a local New York newspaper and special-interest magazine before joining Letraset GDS, where was he was the product manager for FontStudio, LetraStudio and the Fontek display typeface collection. He then spent several years at International Typeface Corporation in New York, where he managed the company’s typeface development program and launched the company’s web site. In 1999, he joined Adobe Systems Incorporated, where he oversees western and far eastern type product marketing.

Support for OpenType in applications

Typographic functionality in Adobe InDesign, Illustrator, Acrobat, and Photoshop will be the thrust of Grey’s talk, as he demonstrates using OpenType fonts with these applications, and previews how Adobe’s developers are trying to "revive the lost art of typography."
Bill Davis

Bill Davis

Bill Davis is Vice President of Marketing for Agfa Monotype, and is leading the company’s efforts to promote responsible font usage and create new font licensing programs to address new technologies.

Fonts at Risk

Type Designers may not understand all the new software applications and technologies that allow End Users to distribute fonts on the Internet. Thi presentation will demonstrate new software applications that use Flash, SVG and others. Fonts are more at risk now than ever before compared to traditional forms of piracy. How will this impact the font EULA and our font licensing business?
Ted Harrison

Ted Harrison

Dr. Ted Harrison is the president of Fontlab Ltd. He spends his time trying to find and fix problems for typographers and type designers.

TypeTool in use

The new version of TypeTool brings new tools, new Unicode™ compatibility, and 2-byte font compatibility. Ted Harrison struts the stuff of the PC version 2 and shows how you can do a lot with even a basic font editor.
Yuri Yarmola
Yuri Yarmola
Akira Kobayashi
Akira Kobayashi
Jean-François Porchez
Jean-François Porchez

1. Yuri Yarmola: How to make cool Bitfonts/Photofonts
2. Yuri Yarmola: Fontlab 4.5 on PC
3. Yuri Yarmola & Ted Harrison: TypeTool or Fontlab?!
4. Yuri Yarmola & Akira Kobayashi: Design Features of Fontlab 4.5
5. Yuri Yarmola & Jean-François Porchez: Fontlab 4.5 (Mac) in use

John Hudson
John Hudson

John Hudson

John Hudson moderates an open discussion on co-operation between font developers and the makers of text and layout software. Over the past two years the ATypI Technology Committee has identified and pursued initiatives (e.g. a standard for XML representation of font data) to provide a common basis for font tool development, font testing and quality assurance, and documentation of font and software dependencies. These worthwhile projects are often delayed by organisational problems and limited volunteer resources. Commencing with a report from the ATypI Technology Committee meeting on February 20th, this open forum will discuss ways to overcome these problems and develop a model for future co-operation in the type industry.

1. Using VOLT in OpenType production

This workshop will focus on the strengths of VOLT as an OpenType development tool, identifying important features and lookup types that cannot be implemented using other tools such as FontLab and the Adobe FDK.
Special emphasis will be given to integrating VOLT into a workflow with other tools. Although VOLT was designed for making TrueType flavoured fonts, a process will be shown for making CFF (PostScript) OpenType fonts using VOLT.

2. Overview of ATypI Font Technology Committee activity
Planning glyph repertoires for large fonts. The most valuable tools in font production are Microsoft Excel and a good text editor. Learn how to plan large fonts using a spreadsheet, and how to manipulate and leverage glyph set data in a variety of production tasks, including controlling glyph order, building OpenType Layout tables, and generally preventing your head from exploding when you have 2,000 glyphs to think about in a single font.

3. Open forum: a co-operative model for font technology
Fidel Peugeot
Fidel Peugeot

Fidel Peugeot

Fidel Peugeot, born 1969 in Switzerland, is one of the most wanted font and interface designer in Europe. Peugeot studied communication design, typography, font design, film and video at the Schule für Gestaltung in Basel. The designer published the first digital handwriting fonts (www.lomofonts.com). Since 2000 Peugeot has been working as VP creation for Telepong Communications GmbH, which aims at developing and marketing target group specific mobile terminals, applications and content. In 2002 Fidel Peugeot founded together with Karl Emilio Pircher the product and design base Walking-Chair (www.walking-chair.com)
Peugeot shaked hands with Pipilotti Rist in 1987.

Type Design for Mobile Devices

"I will talk about my experience in developing »Type Design For Mobile Devices«. For the last 2 1/2 years I have been developing ideas for the mmobile industy with Telepong. This includes the development of fonts (copy & headline) for the 2 inch screens.
I will also present new speach- and communication ideas we developed with Telepong."
Lorenz Kunze
Lorenz Kunze

Lorenz Kunze

Professional background as UI- and Product Designer.
Works as User Interface Designer at Siemens ICM.
Responsible for Screendesign Concepts and Guidelines.

Siemens Mobile fonts and icons – what´s required to design and manage cell phone fonts

The presentation is focussed on the specific requirements and prespectives for font and icon design for mobile devices. Considering not only the technical and software related issues but also usability, visual design and internationalisiation questions.
Furthermore there will be an overwiev on how font management and design is embedded in the software and UI-development process for Siemens mobile phones.
Thomas Phinney
Thomas Phinney

Thomas Phinney

As Adobe’s program manager for western language fonts, Thomas has been helping manage the conversion of the Adobe Type Library to OpenType for the last two years--a process which is now nearly complete. In his spare time, he is finishing an MBA at Berkeley, designing a new typeface, and writing a primer on the history and classification of typefaces.

1. Testing & Proofing OpenType Fonts

Testing OpenType fonts in applications, such as InDesign. Using Adobe’s OTF proof, OTF compare, and Compare Family tools.
Common errors in font building: how to catch and fix them.

2. OpenType Class Kerning Adventures
How OpenType class kerning works.
Effects of class kerning on font size, and how to keep it from growing.
How the system font driver subsets class kerning for legacy applications.
How class kerning is represented in the OpenType feature language in the OpenType FDK and FontLab.
How to use the Edit OpenType Metrics (EOM) plugin with InDesign to edit FDK kerning.

David Glenn

Font Development at Microsoft/Microsoft Quality Approach

Paul Nelson
Paul Nelson

Paul Nelson

Paul is the Development Lead in Microsoft’s Typography group. His passion is to help type designers have the ability to make quality OpenType fonts that are usable in the widest range of applications possible.

1. Font validation to ensure font quality

This session will provide information about the importance of validating fonts as a recurring step in the font development process. Font validation is the process of making sure the data in the font follows the OpenType specification. The session will also demonstrate using Microsoft’s Font Validator, one tool that is available to help with this task.

2. Microsoft Office and Fonts
What has Mocrosoft been doing to make sure fonts work as well as possible in coming versions.

Bob Campbell

Bob Campbell has been in the creative software business for more years than he cares to remember! Graduating from University with a Degree in Design and Marketing, Bob went into design management and soon found himself working for Letraset (the UK based Type maker as well as many other things) in charge of catalogue production and later software sales and marketing in both distribution and manufacture roles.
More recently Bob has worked in companies like Fractal and MetraCreations (Painter, Bryce, Kai’s Power Tools) and more recently Extensis. Now responsible for the European and Middle East business, Bob is closely associated with type and type issues through Extensis’ top selling Suitcase Software.
Bob Campbell is European Business Director.
Extensis Europe
First Floor, Century House, The Lakes, Northampton, UK
tel: +44 (0)1604 636300
fax: +44 (0)1604 636 366
For more information on Extensis products go to: www.extensis.com.

Font Management with Suitcase for Windows XP and OS X

Bob Campbell will speak on the issues surrounding fonts in Mac OSX and show the benefits of using technologies like their award winning Suitcase an Suitcase Server. Suitcase Server now supports technologies which can assess how many copies of a font are being used on how many machines - ideal for tracking font licenses ...
David Lemon
David Lemon

David Lemon

Best practice in OT Font Development

Lucas de Groot
Lucas de Groot

Lucas de Groot

Jelle Bosma

"I work for Monotype since 1992, initially hired to head up TrueType production and hinting projects in the Salfords UK office. Currently I am working for AGFA Monotype from home near The Hague in the Netherlands, dividing my time between programming font tools, type design and type production projects.

Recent work:
The design lead of a corporate typeface family for Nokia, including bitmaps to be used in the new generation of mobile phones.

I have been producing and designing OpenType fonts for several of the (complex) scripts used in India for customers such as IBM and Microsoft.
These projects required to write the software to manage and create the OpenType layout tables for these fonts.

Extending my TrueType editor FontDame into a tool to design "Stroke-Based fonts".

OpenType for India: how to make fonts for complex scripts

This presentation can be used to learn more about how to make Devanagari and
Telugu Opentype fonts. But the talk is using the production of these fonts as a showcase of our approach to making fonts in general. With this example I can talk about planning a large glyph set, hinting, merging separate hand hinted fonts into one file, direct editing of binary font files and I can give an insight into the power of OpenType Layout tables, beyond what you can do with VOLT, Adobe FDK or FontLab. And if this doesn’t appeal, there is a chance to learn about how it is possible to write, not only by putting the
next character after the previous, but also by putting the next character on top, below, inside, joint together, in front or on both sides of the previous.
Just van Rossum & Erik van Blokland
Just van Rossum & Erik van Blokland

Just van Rossum

Design Robots with Python

Akira Kobayashi
Akira Kobayashi

Akira Kobayashi

Type Director, Linotype. Recently completed Optima nova font family (40 weights) with Professor Hermann Zapf.

A demonstration of a pre-release version of Avenir Next.

In the autumn of 2002, the original designer Adrian Frutiger and Linotype began a redesign of Avenir typeface. The new Avenir family will be expanded, with such variants added as Avenir Ultra Light and Avenir Condensed. This presentation explores the process of developing Avenir Next family.
Thomas Caldwell
Thomas Caldwell

Thomas Caldwell

Thomas has been with Linotype since 1991. For the last two years he has been improving the workflow of font development in large font projects and implementing a quality management system for Linotype. (These tasks belong to the category "never ending").

Linotype Design Guideline for Latin character sets

Over the years there have been several aproaches to a Design Guideline. So why do another one? Well, one reason is: The previous guidelines usually only held true for the glyphs in the region the designer was knowledgable of - with unsatisfactory results for regional taste and peculiarities.
The database approach allows multiple entries by different designers and different designs to make the result more valuable for developing OpenType fonts with large Latin character sets.
The approach is expandable to non-Latin glyphs as well, but, we should walk before we try to run.

Atila Korap

"I started working for Linotype in February 2000. First I was a student (of information sciences) with a part time contract, but in July 2002 I became a permanent employee. In the department of Process and Quality Management my job is to optimize the processes of production and quality assurance. This at least means providing automated solutions to my colleges in production and quality assurance of fonts."

Basic Python with FontLab

In my little workshop ’Basic Python with FontLab’ I’ll try to give novices and newbies an introduction to the usage of Python scripts from inside of FontLab.
We’ll see why Python is a very good choice for a macro language, what FontLab needs to work with it correctly, and how we can use Python from inside of FontLab. In doing so we’ll have a look at some sample scripts.



"I started working for Linotype in February 2000. First I was a student (of information sciences) with a part time contract, but in July 2002 I became a permanent employee. In the department of Process and Quality Management my job is to optimize the processes of production and quality assurance. This at least means providing automated solutions to my colleges in production and quality assurance of fonts."