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peter sikking
Lives in berlin
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peter sikking
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notes of interest from granshan

Susanne Zippel, The art of multilingual layouting
- no spaces in scripts like chinese, japanese, korean (so watch out how our specimens works for them)
Thomas Phinney, New Writing Systems: Amma & Adlam
- a script with 3 ascender lines, 2 cap heights, 2 baselines, 3 descender lines
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peter sikking
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notes of interest from talking to Sonja Stange, hinting ninja at typetogether (truetype hinting, mainly):

- got explained the system of hinting for all sizes (assigning extreme nodes to H/V stem groups) and for specific sixes (move points, also the curvature-defining points)
- in fontlab, “it is still 1995” in workflow
- takes a ~day for a single font (sometimes half that), each font in a family individually from scratch
- would kill for interpolation of hinting
- the goal is equal stems and even vertical metrics, as seen for different display sizes (in a waterfall)
- Sonja does not like to touch the curvature-defining points, does it all with position points (this may be personal, we’ll see)
- postscript hinting is much more global (less power but much faster to get done)
- displays are going retina and this may reduce the need for hinting, but a lot more lo-res screens are popping up everywhere (think: internet of things)

I have more questions for Sonja (and other hinting ninjas) but that will happen when it gets opportune
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peter sikking
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notes of interest from granshan

Ben Mitchell, What can Thai teach us about Latinisation?
- more structural variation (i.e. skeleton) across fonts in thai then in latin
- remember, the loops in thai (loop style) are not serifs
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peter sikking
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notes of interest from granshan

Gerard Unger, Letterforms from the edge of Europe, 700–1200
 - designing a font to be ‘together’ (fully harmonised) is not the only way; there is also the opposite end of aiming for the eclectic (ps; but without chaos, so still together)

Vaibhav Singh, Pictures of things: context in the time of global design
- “letters outside their textual context mean nothing.” (ps: well there is glyphs as material used by graphic designers)
- “development of typefaces always had a strong political idea behind it.” (in the context of development of type design in india)
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peter sikking

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to competently drive, and stop, a car, one really does not have to know that the brake system is hydraulics-based #techshallbeinvisible
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peter sikking

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blog, blog, blog, blog
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yes, that is what I am blogging.

it is complicated, so getting it right on paper is taking time
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peter sikking

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I suspect some boorish compiler devs are thinking the same as some boorish devs at adobe: ‘users should $%^&* learn how this really works’
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peter sikking
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Discussion  - 
 
notes of interest from granshan

Titus Nemeth, Harmonised type design revisited
- the harmonisation of different scripts (for mixed use) does not necessarily mean that these scripts are designed with very similar strokes (i.e. stroke geometry &  parameters)
- the latin fit-in-an-em-square approach does not work well for all scripts in the world
- harmonising is not about making other scripts be ‘like latin’
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peter sikking
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notes of interest from granshan

Jo de Baerdemaeker, Sherpa: the writing systems of the Himalayas
- this script was never printed in woodblock or metal
- “each artist has the freedom to express themselves within the different styles” (in the contest of hand-made prayer wheels in Nepal/Bhutan)
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peter sikking

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dutch holiday weather (<20° + rain) today in berlin.
we already had the complimenting pancakes
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haha, no; dutch pancakes and strawberries usually do not go together.

but now that you mention it, we had brunch at an american bakery last sunday and my partner had… strawberry pancakes!
(did not make the connection then)
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peter sikking

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contemplating a #KPI that bridges the fundamental quantity–quality orthogonally—run a project by KPIs? then quality will only be known after shipping.

this KPI is set (daily) by the lead designer and shows how far the team is in shipping a great product. a normal target value would be 90%.

(actually by negotiating the target value at the start of the project, the designer can gauge how serious the team is; are they low-balling? then walk away)

50% of the KPI is #design wholeness and completion; 50% is implementation. external meddling in either is reflected directly
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not just for artists, but also required reading for the budding and accomplished #designer
We are in the midst of sea change -- a tidal wave might be more accurate -- within the medium of photography. While the lens is still firmly fixed to the c
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Have them in circles
288 people
Roger J. Joyal's profile photo
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Eben Sorkin's profile photo
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Filip Zajac's profile photo
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Currently
berlin
Previously
amsterdam - london - ulm - tampere
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designs interaction for creatives + solutions with a wide impact on society
Introduction
Peter Sikking is an experienced interaction architect. He unabashedly puts shipping great products at the centre of his design practice. He is known for his work for Google, Nokia, the Metapolator & GIMP open source projects, and startups.

Peter is sought out by executives who have no use for average results. With a design-led process he shapes the success they are after. He also collaborates with ambitious product makers, bridging the void between their vision and their engineers.

Peter designs interaction for creatives. With deep insight into how these masters work, he creates tools that deliver the power and freedom to create. He also designs solutions with a wide impact on society. Peter brings focus to problems of near-wicked complexity and delivers solution frameworks that allow his clients to design, execute and ship.

Peter designs for global use. Increasingly his projects have a clear, sometimes even exclusive, focus on emerging and developing countries.

Peter teaches, mentors, lectures and publishes. He enjoys working with small teams in an international setting, but also the fact that his work can be found on half a billion mobiles and creates billion‐dollar revenues.
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Peter lives and runs his firm in Berlin, Germany. He was born in 1969 in Hilversum, Holland and grew up in Amsterdam. His other interests include: typography, design, architecture; street photography; playing drums, producing music; designing + constructing ultra‑fi gear.
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founder + interaction architect, m+mi works
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