ジョナサン・ヘフラーさんの書体デザインTwitterアドバイス#2
またへフラーさんがすごい勢いで投稿していたので紹介したい。Hoefler&Co.アカウントがへフラーさん。（例によって要点だけ抜粋して書きます。「」で書いてても超意訳です）
今回はJosh Apostolopoulosさんが制作中の書体。
Ahoy, @JoshApos! I really like where your typeface is going. It’s an interesting moment to look at this together, because your drawings are in great shape, but there’s a missing piece that will make your life easier. (And I have an S trick to share.) —> pic.twitter.com/Fvg5uBV7Eh
— Hoefler&Co. (@HoeflerCo) February 26, 2020
「方向性すごく好きだな」「ラクにすすめる方法を教えるよ！」
I’ve added a couple of words to your proof that might be illustrative. (Ultimately you’ll want lots more.) Take a look at the word ‘monorail’: to my eye, there’s something funny happening in the rhythm of m/o/n/o: —> pic.twitter.com/wUoOUfq8CV
— Hoefler&Co. (@HoeflerCo) February 26, 2020
わかりやすい単語をテスト組みに追加。「ぼくにはm/o/n/oのリズムがちょっと変に見える」
It feels to me as if the M and N are falling behind, and need a push to the right: —> pic.twitter.com/YTxiAQjhBP
— Hoefler&Co. (@HoeflerCo) February 26, 2020
mとnをちょっと右にやるべきかも。
This btw is a useful string for seeing how flats & rounds are getting along: it’s a line of flat characters (n), a line of round ones (o), and an even mix in the middle. Let’s look at the n/o/n/o part: —> pic.twitter.com/ZUnfSOh1nK
— Hoefler&Co. (@HoeflerCo) February 26, 2020
両側がまっすぐの文字（n）と、丸い文字（o）の調和をみるためにこんな風に組む。
One conclusion could be that yes, the N needs to shift right, in order to feel optically centered... —> pic.twitter.com/aJZqHGN9z3
— Hoefler&Co. (@HoeflerCo) February 26, 2020
視覚的にずれて見えるので、nを右に。
...but if you focus on the ‘non’ part of the line, perhaps it’s the O that needs to shift left? Thankfully, since we know the O should have the same side bearings left & right, you can start there, and once you have this solid foundation, adjust the N. —> pic.twitter.com/oKR9rukzAF
— Hoefler&Co. (@HoeflerCo) February 26, 2020
でも、oは左に。oのサイドベアリングは両側同じになるはずだから、先に完成させて、それからnをすすめる。
In theory — I’ll qualify this in a moment — once you’ve settled on a fit for the N and O in which they’re both centered, and produce the same color and rhythm, you can evaluate all the other letters in this context: nn_nono_oo: —> pic.twitter.com/18IhaXQbJN
— Hoefler&Co. (@HoeflerCo) February 26, 2020
nとoがうまくいったら、他の文字にすすむ。
Here fwiw are some “control strings” from some of our fonts, in which I was especially pleased with the fit. The thing is, though, there’s only one way of confirming your conclusion, and that’s to add one more letter: —> pic.twitter.com/pXLDao4K1W
— Hoefler&Co. (@HoeflerCo) February 26, 2020
「うちの書体の『コントロール文字列』の例で特に気に入ってるやつ」
the lowercase P. The idea is that the flat left side of the P should share the same sidebearing as the flat left side of the N, and its round right side should match the O. (Easier on a sans, of course — and only if the shapes of these bowls match, which they seldom will.) —> pic.twitter.com/dVOFYiLl43
— Hoefler&Co. (@HoeflerCo) February 26, 2020
で、pをいれる。pの左側のサイドベアリングはnと同じはずだし、右側のサイドベアリングはoと合うはずだから。（右側は正確には合わないことが多い）。
What’s so tricky about this is that the P may often seem to lean right between Os, and lean left between Ns, on first blush. I think there’s a whiff of this in your B right now, a decent proxy in a pinch, but I’d go ahead & draw the P. —> pic.twitter.com/g9cZ6MkHNv
— Hoefler&Co. (@HoeflerCo) February 26, 2020
pはoにはさまれると右にかたむいて見えやすいし、nにはさまれると左にかたむいて見えやすい。見本にあったbでもいいんだけど、ぼくはpをすすめる。
Other tricky letters to fit... There’s the A, which I think here might be either leaning left, or just too loose on its right side. (Tip for another time: you can always skew the lc A forward, so its stem actually slants: see Adobe Garamond, Hoefler Titling, etc.) —> pic.twitter.com/wX3G6B3Gl8
— Hoefler&Co. (@HoeflerCo) February 26, 2020
aもむずかしい。この場合ちょっと左にかたむいてみえる。（aは常にちょっと右にかたむけておくとよい）
In every typeface, the lc G is, famously, a real bastard. In addition to the control string “nngnonogoo,” I like to see “nnggnonoggoo”, which can be revealing. I think yours might be loose, though you might prefer the address this in the drawing, rather than the spacing. —> pic.twitter.com/GfzH35PhDi
— Hoefler&Co. (@HoeflerCo) February 26, 2020
小文字のgはいつもすごく厄介。「nngnonogoo」に加えて「nnggnonoggoo」もテストするとわかりやすい。この場合、ちょっと字間が広い。でもスペーシングじゃなくて、字形を調整するのがいいかも。
Btw I absolutely love your lc F: it’s sporty and compact, and will save you from having to draw ligatures. I wonder what happens if you treat the R with this same economy? Could look sharp; you’d have to try it to see. —> pic.twitter.com/qgJUDp55MF
— Hoefler&Co. (@HoeflerCo) February 26, 2020
「ところで小文字のFがすごくいい。スポーティでコンパクト。これならリガチャもいらない」
rもこれにあわせたらどうだろう。
And finally, a thought on the S. I wondered if it was tipping backward, —> pic.twitter.com/7nu6a7NKih
— Hoefler&Co. (@HoeflerCo) February 26, 2020
sが左にかたむいてる。斜め補正するといいかも。（ポイントがおかしくなるけどそれはあとで直す）
...try a word like this one, to see how you feel about its angle, fit, and weight. Here are my thoughts on the current draft; I wonder if you’re seeing the same? # Finally, a trick. In the S, —> pic.twitter.com/yK0LLD7ESi
— Hoefler&Co. (@HoeflerCo) February 26, 2020
こんなワードでテストする。
Before you start adjusting the shape, try eliminating the two “inflection points” in the center, where the curves tip over from concave to convex. If you can get close to matching your original shape without them — or, once you’ve refined the shape — try this... —> pic.twitter.com/28WBiZyxiv
— Hoefler&Co. (@HoeflerCo) February 26, 2020
Sの調整前に、真ん中のインフレクションポイント（カーブの凸凹の向きが逆方向に変わる場所のポイント）を削除してみる。それで調整してみて無理がなさそうにできたら……
Draw a line between the opposing off-curve points that define each half. The location where this line intersects the curve is the place to drop your inflection points. :) Usually works, or indicates something about the curves that needs attention. —> pic.twitter.com/30cBfI4RXr
— Hoefler&Co. (@HoeflerCo) February 26, 2020
Sの上と下のカーブの頂点の両側のポイントのオフカーブポイント（ハンドル）をつなぐように直線を引いて、Sの真ん中のカーブと交差する場所にあたらしいインフレクションポイントを追加する。たいていうまくいく。
I hope some of this is useful to you. Let me know how things turn out! Regards, Jonathan
— Hoefler&Co. (@HoeflerCo) February 26, 2020
「役立つといいな。どうなったか教えてね！」
いいなと思ったら応援しよう！
