m, M, w, W, %, @ and i, l, ! (and so on) are the letters that create a challenge (or a room for creativity/individuality) ad they are so wide or so narrow. Wide letters often get cramped as they need to share se witdh as narrower letters. iA thought they could just modify those “extreme” glyphs to increase legibility (and readability)
It is more legible than your average "font-family: sans-serif” (aka Arial, Roboto, Helvetica) but it’s not that much of an “original idea”. For example Frutiger by Adrian Frutiger, a type family that a lot of airports use as it’s designed with legibility at long distances, or even the Verdana by Matthew Carter, ubiquitous web font that powers this and a lot of other websites’ typography that has specifically designed for legibility on low resolution screens, aren’t that less legible than this font. Still, I like the idea that some people on Braille Institute has decided to commission a typeface with a “free” license.
Aegean sea has seen a lot of military exercises with both Greece and Turkey, I remember the Medusa-10 exercise with Greece, France, Egypt and UAE (and yeah, these are the sides which clash against Turkey-backed official government in Libya) NATO Allied Land Command (in Izmir) tweeted the exercise with hashtags: #WEARENATO and #StrongerTogether. I would normally say such a weird timeline we live in but it has been like this for decades.
Traditional RAW* wouldn’t be a black-and-white mosaic. It just would be data. RAW’s need to be demosaiced to be seen visually, which makes it dependent on software (or algorithm).
TLDW: Operating system appends hash everytime the file is copied, making it possible to track the original source of file without requiring another tracking mechanism (ie. internet)
Type design is never finished business. We do new faces, and sometimes just for the sake of novelty.
It is even not needs to be new. Helvetica was designed by Max Miedinger and released by Haas Foundry in 1957. Then it was revised in 1983 as Neue Helvetica. Later, in 2010, it was digitally revived for Bloomberg, with faith on Miedinger’s original designs, and now considered to be best digital design amongst designers (you can even see it’s been mentioned in this thread too). Is it a bad thing that it was revived, even though there were a lot of digital designs(Nimbus Sans and such)? I don’t feel so.
True but some foundries have had unrestricted licenses (i.e Swiss Foundry) or has recently changed (ABC Dinamo). I completely agree with the webfonts mess though, it’s just so hard to license it as opposed to licensing desktop fonts.
Most foundries offer perpetual licenses though, only foundries that offer yearly fee _that I’m aware of_ is Font Bureau and Dalton Maag, compared to maybe hundreds of foundries which offer non-expiring licenses. I agree there is some quirks with license system though.
You’re missing a very important point: Designing fonts always cost money. The thing with Google Fonts (and/or with other free fonts) is the price was paid beforehand by Google (or of course, with hobbyists free time).
https://www.idownloadblog.com/2016/01/31/ryan-petrich-treadm...