Showing posts with label font. Show all posts
Showing posts with label font. Show all posts

Thursday, 22 January 2015

Tengwar - Transliterating Font

This blog post is about a Tengwar font I designed. It automatically converts text as you type into accurate Elvish script. You can download it for free here.  Just make sure you enable ligatures, contextual alternates and kerning for best results!






While writing his Middle Earth books, JRR Tolkein invented an entire alphabet for the elves called Tengwar. His attention to detail was incredible, Tengwar is a fully functioning writing system. This is the famous Elvish writing seen all through Lord of The Rings and the Hobbit.

Tengwar is an alphabet, not a language, and can be used to write many languages. This is like, for example, Latin and Greek alphabets; the word English word “ring” is normally written in the Latin alphabet but could also be written in the Greek alphabet as “ρινγ”. The two sound the same, it is just a different way of writing the sounds of the word “ring”. The process of transferring a word between two different alphabets is called transliteration.

In Middle Earth, Tengwar is one of the major ways of writing. Many languages were written in Tengwar: two Elvish languages called Sindarin and Quenya, the Black Speech of Mordor (on the One Ring), and the language of men (English). Tolkein gave detailed notes on how to write English in the Tengwar alphabet. In Tengwar “ring” is written:


Writing in Tengwar follows simple rules but quickly gets complicated, so I designed a font that does it automatically! You can download it for free here.  As far as I know this font is unique, all other Tengwar fonts are just collections of symbols you have to manually mix and match.

To use this font you just need to download and install it. Once it is installed, just select it as the font and start typing as normal. The font will automatically transliterate the text you type into accurate Tengwar, based on Tolkein’s rules about writing English in Tengwar.

To make sure the font is working accurately you need to make sure three settings are enabled: kerning, contextual alternates and ligatures. For example, in Microsoft Word you can do this through the advanced font settings:


So how does it work? Basic Tengwar is similar to the Latin alphabet, with two classes of symbols representing the sounds of different consonants and different vowels. At the simplest level, to write the word “ring” the font just selects the four symbols for “r”, “i”, “n” and “g”:


Unlike the Latin alphabet, there are special rules for how vowels are written. Instead of always being a separate letter, if a vowel comes immediately before a consonant it is written as an accent on that consonant. In “ring” the “i” comes immediately before the “n” so the font writes it as an accent on the “n”:


There are some special rules to use for some consonants, depending on where they are in a word. “r” is one of these letters. If it is followed by a vowel then it should have a different symbol, which the font automatically selects:


Finally, some common combinations of consonants that have a single sound (like “th” as in “the”, “ch” as in “church” and “gh” as in “ghost”) have their own single symbol. “ng” is one of these pairs and, again, the font automatically makes this substitution:


And that is how the font automatically writes “ring” in Tengwar. These are not the only rules though, there are also other ones built into the font that involve double vowels, double consonants, the letter “n” preceding another consonant, whether a “y” is used as a vowel or a consonant, whether an “e” is voiced in a word or is silent at the end of a word, etc.

The key feature of my font is that it takes all of these rules into account automatically and lets you simply type away as normal and get an accurate, readable result in Tengwar. You can also just select an existing chunk of text and apply the font to it to transliterate it to Tengwar, but make sure the text is all lower case for best effect. It does make a few very small mistakes, but Tolkein would understand it!

Tengwar is a beautiful and concise alphabet. The way vowels, double letters and letter pairs combine make many words very short and elegant:


The overall flow of a paragraph is also excellent, with the letters falling into self-symmetric curves and alignments.

(This is the first paragraph of Lord of The Rings, converted to Tengwar by just changing the font to my Tengwar Transliteral font.)

If you are interested in playing with Tengwar text for any kind of design please consider downloading the italic and script versions of the font here. These cost a few pounds/dollars/euros.

If you are interested in reading Tengwar, or manually translating it, then the excellent “Tengwar Textbook” Chris McKay is available online for free: Tengwar Textbook.

There are also excellent simple guides on writing in Tengwar (like this one), but why do that when you could just download my font and type your name?

Software used:
Inkscape: Glyph design
Fontforge: Font design

Tuesday, 16 July 2013

Marista - my second professional font!

It has been over a year since I released my last font. This new one, Marista, has actually been sat on my hard disk for over 9 months so it is about time it saw the light of day! You can take a look at the interactive previews here: http://www.myfonts.com/fonts/zephyris/marista/


Marista is a bit of an unusual design. It is a monospaced font meaning every symbol is equal in width (like found on a typewriter; Courier is the classic example) but unlike most monospaced fonts it is designed to be a stylistic cursive script, within the constraints of the even letter width. It is actually based on a real and popular typewriter font used in the 1960s-70s, and I designed it to try and capture some of the light irregularities which characterise real typewritten fonts rather than their computer equivalents. The name itself is a derived from Maritsa, the name of the major Bulgarian typewriter company; it was a Maritsa typewriter sample which first introduced me to this text style.





It is a very distinctive, yet readable, font and I designed it with the intention to be used in a block of text. Both normal and italic variants are available, though the original typewriter fonts are more similar to the italic. At very large scales the subtle irregularities which make it look authentically typewritten can look awkward, but in a block of text this slight irregularity really captures the typewritten feeling. Try writing your next letter or invitation in it!

Software used:
Inkscape: Outline design
FontForge: Glyph coding and font generation

Wednesday, 3 October 2012

Dynamic word mapping

Word maps or word clouds are a great way of mapping out the important words in a paragraph of text. Words that appear more often (excluding very common words) appear larger, concisely summarising the paragraph.

This dynamic word map:
Is the word map from this paragraph of text (from Wikipedia):
A mind map is a diagram used to represent words, ideas, tasks, or other items linked to and arranged around a central key word or idea. Especially in British English, the terms spidergram and spidergraph are more common, but they can cause confusion with the term spider diagram used in mathematics and logic. Mind maps are used to generate, visualize, structure, and classify ideas, and as an aid to studying and organizing information, solving problems, making decisions, and writing.The elements of a given mind map are arranged intuitively according to the importance of the concepts, and are classified into groupings, branches, or areas, with the goal of representing semantic or other connections between portions of information. Mind maps may also aid recall of existing memories.By presenting ideas in a radial, graphical, non-linear manner, mind maps encourage a brainstorming approach to planning and organizational tasks. Though the branches of a mindmap represent hierarchical tree structures, their radial arrangement disrupts the prioritizing of concepts typically associated with hierarchies presented with more linear visual cues. This orientation towards brainstorming encourages users to enumerate and connect concepts without a tendency to begin within a particular conceptual framework.The mind map can be contrasted with the similar idea of concept mapping. The former is based on radial hierarchies and tree structures denoting relationships with a central governing concept, whereas concept maps are based on connections between concepts in more diverse patterns. However, either can be part of a larger personal knowledge base system.


There are some very cool online tools, like Wordle, for making word maps like these, but they are not "dynamic". I wanted one where it constantly updates as you type the words in... so I made one! Try it out here.

The logic for making the word map is quite simple. Imagine making a word map based on each word that appears in this sentence, what would that word map look like?

  1. Take the input: "Imagine making a word map based on each word that appears in this sentence, what would that word map look like?"
  2. Filter out the 100 most common words and all capital letters and punctuation. This leaves: imagine, making, map, based, appears, sentence, map
  3. Count the number of times each of these words occurs: imagine (1), making (1), map (2), based (1), appears (1), sentence (1)
  4. Starting with the most common word add them to the mind map. For each word start in the middle and spiral outwards, placing each word at the first place where there is a big enough space for it (based on its bounding box):
This is a really simple way to summarise text in a surprisingly accurate way, this is the word map of the abstract from my PhD thesis:
I think it summarises what I worked on very well!

Websites:
Dynamic word mapper at richardwheeler.net

Sunday, 13 May 2012

FatFonts

FatFonts are a great new concept by Miguel Nacenta, Uta Hinrichs, and Sheelagh Carpendale for presenting numerical data in an easy to understand way, but while leaving the numbers readable.

The idea is that numbers with a large value appear fatter and darker than numbers with a small value which appear thinner and lighter. This means that if you want to plot something like a height map, where each pixel has a value equal to its height, you can just write out the numbers and they build the image for you. The really clever bit is that if you have a multiple digit number, like 8242, the 8 (8 thousand) appears biggest, the first 2 (2 hundred) appears a bit smaller, the 4 (4 tens) appears even smaller and the last 2 (2 units) appears tiny.

It is always easier to explain concepts like this with a picture, so here is some data:


It is hard to look at this and see the shape of the data, but if you use a FatFonts presentation (this font is called Miguta):


You can now actually see the shape of the data, where the bigger numbers are and where the smaller numbers are. This example is of the number 8242 I mentioned above:


The 8 is biggest (8 thousands), the 2 is nested inside it (2 hundreds), then the 4 (4 tens) and finally the last 2 (2 units) is too small to see.

I have coded a couple of fonts (Miguta and 7 Segments) for Miguel Nacenta to make this technique really easy to use. Check out the FatFonts 'how to use' guide for more information.

Update: 17/05/2012
And here is an example of my FatFonts 7 Segments design in action; http://studiolakmoes.nl/datavisualisatie-met-fat-fonts/

Software used:
Inkscape: Managing Miguel's glyph designs
Fontforge: Font preparation and contextual alternates coding

Tuesday, 17 January 2012

Treatise - my first professional font!

It was about time I started to try and make some money from my plethora of hobbies... Today my first professional standard font goes on sale! You can take a look at the interactive previews at myFonts.com:


Treatise is serif (with the sticky-out-bits (: ) font with some fun quirks. It has very big round terminals on the top of letters like r, c, k and s and a big blob in the top of the o. These all work together to make it look a bit more handwritten. It also uses the single storey a and g (i.e. like you write them, not like you type them) which also helps maintain the handwriting feel. Treatise uses some fancy Opentype features which let you adjust the way letters appear depending on what neighbours them. I have used this to make the long tail on the capital R and Q nestle neatly around curved letters like u, e, a, etc. It also means that letter combinations like ff and fl where the f can crash into the top of the next letter are replaced with a nicer looking character combination.




While it has some cheeky little design features which make it very unlike most serif fonts it is still subtle enough to sit happily in a paragraph of text. Having said that it also has enough character to make a title interesting. All in all I am pretty happy with it as a design!

The software used to design and code this font was entirely free and open source:
Sketching - Gimp
Outline design - Inkscape
Glyph coding and font generation - FontForge