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Eben Sorkin
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I am the owner of Sorkin Type Co. located in Boston, MA, USA. I hold an MA in Typeface Design with distinction from the University of Reading, UK. My MA typeface design is called "Arrotino". My dissertation included an experiment measuring reading speed in text which was negatively tracked. I am interested in empirical methodsʼ potential to contribute to typography and type design.
I am the owner of Sorkin Type Co. located in Boston, MA, USA. I hold an MA in Typeface Design with distinction from the University of Reading, UK. My MA typeface design is called "Arrotino". My dissertation included an experiment measuring reading speed in text which was negatively tracked. I am interested in empirical methodsʼ potential to contribute to typography and type design.

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Elson is the best underwear I have ever worn. I am in the process of converting to it exclusively. I am definitely not easily won over either.

Peter - It looks like you have spoken to Octavio about curving the interpolation. That’s great.  Now I also hope we can allow interpolation curves to be assigned to specific parameters of the glyph. 

I also see that the pen tool I was thinking of in my comments is in fact not not Noordzij-like with Metapolator but Knuth-like. So I don’t need to worry about an overly deterministic quality taking hold via ‘pen’. 

Here are the things that seemed especially worth while to bringing up next.

• Unlike Latin type which moved somewhat away from a relationship to writing most non-Latin scripts still have a close relationship to the written form. 

This is why I would also love for there to be an option or ability to render strokes via a Noordzij-like pen because so many non-Latin scripts would benefit from it. 

You might say - “How important is that?" So allow me give a bit of context. Whereas today there are more Latin Type designs than can be reliably counted, non-Latin scripts sometimes have only four styles to choose from if they are lucky, and more often there are two, one, or even (shudder) no fonts at all. There is a real poverty of options. Also this isn’t just a Libre fonts issue. It is true for but all the different kinds of licenses.

While I am personally very excited about Metapolator for Latin for a series of purely selfish and also intellectual reasons I have to admit that in terms of doing the most good for the most people in the world, the biggest win is almost certainly in making design and design for families of a Non-Latin scripts more likely. Having a Noodzij Pen option with the ability to deviate afterwards would make this more likely.

Having multiple styles in non-Latins has huge value. One really big reason is that having multiple styles to choose from makes a huge difference to the ability to auto-translate texts. This is because implied semantic distinctions that are signaled by the change in type style can be better, or in an ideal case, totally retained. 

Changes in style are useful in order to create enhanced function from an purely optical perspective as well. Tiny text can be read better; large letters feel more comfortable; white letters on a dark background seem to have the same weight as the dark ones when illuminated - and so on. These are all things we take for granted as readers of Latin script but which are impossible for scripts with no or a severely constrained number of typefaces.

* I have been thinking a lot about the value that parameters give us as designers. So while I think Peter and others may be doing this already but I wanted to check:

- Will we be able to assign a relationship of one parameter to another? For example: It would be great to set the stem of the I and then use that stem again in the H but use the stem at say 96% for the R. How many levels deep could this go? I suspect that 10 or so would cover all but 1-2% of design scenarios. 

- It would be great to be able to assign these relationship differently in different masters or states. Let’s use the stem example again. It would be great to assign it to 100% in the R (Same as the I ) for a very thin weight but to a smaller % than 96% still in a very heavy weight.

- It would be great to be able to lock a part of a component to another part for interpolation purposes. For example we might want a terminal to always grow larger from a baseline and never cross it. This might be solved by making sure of the relationship in all masters but it would be nice to be able to assign an absolute rule. 

- A related idea - It would be great to allow movement of points but only within in a constrained space. 

- It would be nice to be able stack parameters in terms of priority. The simplest example is an angular serif and the distances between points. One might assign a set of values to each part but sat some point one of these values might conflict with another one. If we allow priority of one parametric assignment over another then higher priorities can be respected. This would allow the user to err without breaking the design.

- It would be great to allow for discontinuity. For example perhaps you are designing for very large and very small sizes. You might want to opt for one kind of terminal for the very small optical sizes. As you rise in size it may make sense to swap to a different one altogether. This would mean not having to have multiple metapolations for a family.

• I love the way that Peter is taking about an organic UI that lets you stay "in one place” while calling up access to tools for testing letter relationships, adjusting outlines, and tweaking contrast. If I can be helpful in testing please let me know. Perhaps I can helping to figure out how to stack up what is revealed and at what view.

I hope some part of this is useful.

Best wishes!

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A 3 day Type Design class called Crafting Type is coming Jan 10-12 @ the offices of FontShop International in north beach in SF.

http://craftingtype.com/

The event is designed to give someone who works with type insight into the why and how type is so powerful. We do this through short targeted lectures and direct hands on making of fonts. It is both a theoretical and a technical class. The event is intensive (all day for 3 days). It is admittedly a bit challenging because it is a lot of information to assimilate but also very rewarding and ultimately quite fun. Usually the class is 40 people but this time because of the limits of our host it is just 20.

If you have questions feel free to write back or call 1-617-309-8243.

Our instructors are 

• Dave Crossland who consults with Google for their Web Fonts project and
• Eben Sorkin who has provided numerous fonts for the Google fonts library including Merriweather and Merriweather Sans.

Both instructors have MA degrees in Type Face Design from the University of Reading.

This class has been taught in Seattle, Boston (2x), Kiev, Singapore, Dublin, Chicago (2x) and Edmonton.

Note: We are giving AIGA members a $100 discount.

The location is 

FontShop International Inc.
149 9th Street, Suite 402
San Francisco
California, 94103

The event is sponsored by TYPO SF, Fontlab and FontForge

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A 3 day Type Design class called Crafting Type is coming Jan 10-12 @ the offices of FontShop International in north beach in SF.

http://craftingtype.com/

The event is designed to give someone who works with type insight into the why and how type is so powerful. We do this through short targeted lectures and direct hands on making of fonts. It is both a theoretical and a technical class. The event is intensive (all day for 3 days). It is admittedly a bit challenging because it is a lot of information to assimilate but also very rewarding and ultimately quite fun. Usually the class is 40 people but this time because of the limits of our host it is just 20.

If you have questions feel free to write back or call 1-617-309-8243.

Our instructors are 

• Dave Crossland who consults with Google for their Web Fonts project and
• Eben Sorkin who has provided numerous fonts for the Google fonts library including Merriweather and Merriweather Sans.

Both instructors have MA degrees in Type Face Design from the University of Reading.

This class has been taught in Seattle, Boston (2x), Kiev, Singapore, Dublin, Chicago (2x) and Edmonton.

Note: We are giving AIGA members a $100 discount.

The location is 

FontShop International Inc.
149 9th Street, Suite 402
San Francisco
California, 94103

The event is sponsored by TYPO SF, Fontlab and FontForge

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Crafting Type is making the rounds again and is landing in Chicago soon and then in Boston. It is a lot of work and last 3 full days. That said people have a great time and leave feeling proud, insightful and more skilled!  Check it out and get your tickets!

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Members of Seattle's Henry Art Gallery, AIGA and AIA all get $100 off Crafting Type in Seattle, Sept 19th-21st
http://craftingtype.com/

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Joana Correia's web font Cantata broke the 1 million uses per day barrier today! Well done Joana! tinyurl.com/9rmnbvm
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