Page 7 - Februaryt 2014
P. 7

Giles Edwards (10659)

logos. The skill of TT to develop and expand     simple mouse click
the funcƟonality of a custom font design,        (dependant on
that funcƟons as a fully fledged alphabet, is     the DTP soŌware
brilliant.                                       package used in
The VAG typeface was iniƟally chosen by          the font). Peru's
designer Cesar Cesio to be developed for         country brand,
Voltswagen AG adverƟsing in 1979. TT             designed by
developed the same typeface for the Pomera       FuturBrand uses TT's own customised version
Maderas (see below) forest management            of their Bree typeface, basing it's ornamental
company's logotype. Extending leƩers with        shapes—featured in their logo—on drawings
a greater horizontal proporƟon, in keeping       from the Nazca lines. These custom ornamental
with the jeweled leƩer 'O'. Horizontal strokes   shapes are only part of a pallet of capabiliƟes to

carry a heavier weight and the rounded           hand for a typographic designer using this font
terminals are a bit more squarish. These         format. Some of the others, being DiscreƟonary
subtle character differences become the           Ligatures for single keyboard entry, Contextual
starƟng point that ensures a visual coherence    AlternaƟve and StylisƟc Sets, saves a big
throughout the brand.                            chunk of layout Ɵme brand matching final
                                                 leƩershapes from custom sets of type. This
OpenType was introduced in 1997, a plaƞorm       is one of TT's most cost-efficient ways of
independent, digital font format based on the    markeƟng a tailored font— creaƟng a custom
Unicode standard, covering nearly all of the     modificaƟon to an exisƟng retail typeface.
world's languages through mulƟ-byte character
encoding of over 65,000 glyphs. Although,        In recommending the importance of selecƟng
out of the ten most widely spoken languages,     the right font for the job, TT have formulated
only three of them use the LaƟn alphabet!        a four-step conceptual framework, seƫng
And within LaƟn typography, there are a lot of   quesƟons that assist the customer in making
fonts that don't support Central or Northern     an informed decision in the selecƟon process.
European languages. TT adopted OpenType as       HighlighƟng the Role and purpose, Technical
a single file with lots of available typographic  Requirements, AestheƟc ConsideraƟons
features built into each font. These features    and Budget and Licensing issues, eases the
can easily be acƟvated or deacƟvated (via        complexiƟes.
numerous StylisƟc Set combinaƟons) with a
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