Great to hear from you, Gene Ann, and to get more background on your dad’s story.

Hi Dikko! The link should still work. See it in my article above.

At the TYPO SF 2012 conference Jim was in top yarn-spinning form. Letterform Archive holds the TYPO Talks archive, including this recording:

In 2016, to celebrate Jim’s 75th birthday, his wife Dorothy — an incredible artist in her own right — made this miniature book featuring his typefaces and photo portraits:

Velvetyne foundry: https://www.velvetyne.fr/fonts/pilowlava/

Affable. Cuddly. Black Forest Kuchen. Delicious.

We’re still committed to supporting indigenous language use and revival, though, and, instead of ILLA, we are getting ready to launch pay-what-you-want licensing for indigenous language products. At the moment, these are limited to our Canadian Aboriginal Syllabics and Cherokee fonts. Defining a useful indigenous language Latin subset is something we’re working on.

In his post on behalf of Tiro Typeworks (co-founded by Ross Mills), John Hudson linked a GitHub page. Four years later, the page is no longer available, but it has been archived by the Internet Archive.

I quote from it:

Tiro Typeworks’ draft Indigenous Language font user license agreement.

This is a new kind of license agreement that will be used for some of our fonts to make them available at no cost and no restrictions on numbers of installations, web views, etc. so long as they are used for indigenous language content.

The goal of this license is to encourage language preservation and education, and to support quality typography in indigenous language publishing.” (new paragraphs added)

I hope that charitable foundations consider supporting such projects.

Thanks in advance for the guidance.

Greg, you’re welcome. But what is Proj. Charles?

Is this image helpful in clarifying how to do stacked charts? https://assets.vectrotype.com/share/Chartwell-HowToStackedBars.png

If not, can you point to exactly what you’re trying to achieve, and also which style of Chartwell you’re using? Bars, Bars Vertical, or Floating Bars Vertical? Also which directions are you referring to?

You can also email me at travis@vectrotype.com

What’s the trick? I’ve watched a bunch of videos, searched for instructions, and no one seems to be answering this? HELP!

Hi Maureen. In the most recent version, it will accept decimals to one place. However it just rounds to the nearest integer.

I hope that Typographica will pick up steam again. I’m already looking forward to the next round of reviews as well as to future additions to the Library.

BTW, this just in:
https://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_weo_by_matchstic.php

I value some chapters more than others. I appreciate Argetsinger’s historical context for his style constraints. The chapter on the modifications he commonly has to make to achieve his work’s look is alone worth the price. I love the specimen section, ordered chronologically, stopping at Walbaum and not trifling with sans-serif type or modernism or anything after.

The section on Greek types was pure gold for me personally, having started from zero knowledge in that department. The ornament chapter was also invaluable and features some exclusive Granjon ornament revivals by none other than Matthew Carter.

As I read it, I noticed the page numbering fell back sometime in the first quarter of the book, basically giving us bonus pages, but I can only imagine the noise Mr. Argetsinger made when he caught it just after the final press run. I really felt bad for him, because that’s the kind of dumb error I’ve made more than once and caught after it was too late. I also caught one or two typos, misspellings and font mis-identifications, but it did not stop me from buying two copies of this book (one for me and one for a gift) nor will it stop me from buying more. I read it cover to cover.

I hope this book sells out its first press run and gets a new corrected and expanded edition à-là Bringhurst’s Elements, next to which it sits on my shelf.

Hi Marine, you can get any of the Marlet styles directly from Parachute.

It would be interesting to read more about how the renewed TDC competition positions itself with respect to past efforts by ATypI (Bukva:raz, 2001 and Letter 2, 2011) and the ongoing Granshan (2010 onwards).

In the meantime, 🙌