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2023 | OriginalPaper | Buchkapitel

The Professional Practice of Type Designers in the Design of Variable Fonts

verfasst von : Maíra Woloszyn, Berenice Santos Gonçalves

Erschienen in: Perspectives on Design and Digital Communication III

Verlag: Springer International Publishing

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Abstract

The insertion of technologies in the professional practice of design has provided new areas of activity. The fields that support the professional design practice are different, such as typography, responsible for transmitting written messages and creating typefaces. The typographic scope was also boosted by computerization and digital tools. As a result, font formats began to be developed to allow greater flexibility and the use of typefaces in digital media, such as variable fonts. This format consists of a technology where different widths, weights, slopes, and many variations are incorporated into a single file. There are a lot of ads about variable fonts. However, studies that point out their development processes are still scarce and fragmented. In this perspective, this study aimed to identify indicators and components of the design process of variable fonts. For this purpose, a prospective qualitative investigation was carried out based on the application of questionnaires and interviews with type designers and specialists from different locations and experiences. As a result, it was possible to identify, distinguish and characterize specific components and procedures of the production process of the variable fonts, such as carrying out tests and verifications, structuring the design space, the relevance of adopting a flow for the process, and defining the context of the use of fonts and the contribution of external agents to the type designer in the production of variable fonts.

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Fußnoten
1
The current specification consists of the 1.8.4 version, with the 1.9 version being ready since May 2021. Available online at https://​docs.​microsoft.​com/​en-us/​typography/​opentype/​spec/​otvarcommonforma​ts.
 
2
Kerning is the process of adding or removing spaces between specific letter pairs.
 
3
Information contained in the fonts that modify the shapes of the characters when presented in low resolution, adjusting the quality of the typographic design to the rasterization matrix.
 
4
TrueType was the first public font file type that provided a scalable font technology, which allowed for a much better display of on-screen type compared to pre-made bitmaps in fonts before this one [17].
 
5
Glyphs are specific designs that each character or sign can assume. In turn, a character is the smallest semantic unit of the language. In this way, a character can assume several glyphs—such as more than one variation for a letter—or even a glyph can contain more than one character—for example the ligature “ffi” [18].
 
6
The type revival can be understood as the reuse of a typographic design created and used originally from old technologies, normally already in disuse, for application in contemporary technologies. A font designed from a type revival seeks to preserve the essence of the original design to different degrees, being able to only reproduce the types or reinterpret them maintaining their main characteristics.
 
7
Glyphs are all graphical representations that configure characters. That is, a character is a semantic unit, while the glyph has a graphical meaning. A font can have different glyphs to represent the same character [26].
 
8
Metadata involves the file name and variable font family, authoring data, font version, and naming and configuring instances and styles.
 
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Metadaten
Titel
The Professional Practice of Type Designers in the Design of Variable Fonts
verfasst von
Maíra Woloszyn
Berenice Santos Gonçalves
Copyright-Jahr
2023
DOI
https://doi.org/10.1007/978-3-031-06809-6_9