Asian Record, side B
Its akward, it’s unconfortable, but we want to put ourselves in a position of welcoming a happy accident, a trong ruì có may.
(Tomorrow, not forget :
— reformat usb sticks
— osm account)
We make a tour with GPS and cameras to chase stencil letters in priority, and some hand-painted letters.
Participants ask what is so interesting in those daily life pictures. Pierre Marchand says that, this is exactly daily life as they say, but if they learn how to look at it and how to change it, then it will change radically this daily life/landscape.
We work with bare feet
Maybe are we at the meristem (Méristème) where cells are not yet specialised – where we are in danger
The professor illustrator who draws beautiful curves so easily on Coreldraw ask for more step by step operations
(Tape, Ferrer maybe)
Connecting with the city, with the territory
– Bring a flat surface to be able to work less bended
We are making fonts based on previous day pictures. The morning we learn how to use gimp/inkscape/fontforge to autotrace a letter from a picture and how to produce a font.
“Unicode’s normative definition is not as informative as it might be (many of the Greek accents are “unified” with Latin accents that the don’t really look like, the result is that following Unicode slavishly will yield the wrong glyph). So in some cases FontForge will use a slightly different set of glyphs than the normative decomposition.” — Georges Williams (http://fontforge.sourceforge.net/accented.html)
“Too much excited to put the vietnamese diacritics everywhere, Nhan Nguyễn and the 2 Pierres decide to spent the afternoon in the garden of the “3D Café” in Can Tho under the endless loop of vn muzak (http://www.youtube.com/watch?v=igqtCvoBXck seems a must) impossible to avoid if you want to have access to an electrical outlet. Prince prepared a py + qt script to inject automatically the needed
Nhan propose some ways to draw them and Pierreh lost himself in the osp-foundry to find the source files. Organically, after editing most of our fonts, all more or less experimental in some way, we’ve been attracted by our old chap Din, and ends up by editing most of the diacritics to make them fits best with the Din principles (from what font came the previous ones?). The night falls suddenly -near-equator-style- without finishing, but with all the actors ready for tomorrow’s first activity of the morning : the “up, more down, a bit less at the right, slightly to the left” collective game of positioning ready-to-use component diacritics. Back to the hotel with a discussions about the iterative but programmatic process of producing a font, itself a program, a script in some way, or more mathematically, factorisation… Let’s go for another motor ride in town, now.”
Morning: We are practicing LiteralDraw in groups. Participants draw letters.
We take advantage of the crazy fluidity of riding a motorbike in the city. Some of the participants ride their motorbike and go draw letters in the city, communicating by phone their position and movements to the ones staying at the working space. Those ones report the instructions in LiteralDraw to make letters in order to make a complete font.
First series of letters ended up being quite easy to do — only skeleton of letters, instructions given by phone were not so clear. Second series: we want a real letter with skin and flesh, why not serifs or stencil letters?
We add a LOGO/Turtle mode to LiteralDraw.
Chien lost a complex LiteralDraw drawing yesterday for he didn’t save it. Discussions around the missing fishing net when you quit without saving. Is LD a software like the others, or a more rough tool, an in-between commandline and GUI tool?
LD was modified yesterday in two interesting ways.
For an even more “direct” or “straightforward” mode : no need for an end anymore.
line 40 60
will not wait for a
to draw the line (of course the end instruction is still very useful to separate shapes)
For our rides in the city hunting letters shapes, we introduced the turn instruction, with right, straight, left arguments, the distance and a nuance (a deviation from the main direction)
Maybe more important is the introduction of variables, with the var instruction! So we’re now able to write
change turn tourne var 150 unpeu var -10 presque
tourne R unpeu presque
which is not real natural language programming, but which sounds quite poetical for me.
Pushing it a bit, to go to typed variables to be able to
tourne àdroite unpeu presque
tourne à-droite un-peu presque
tourne à droite un peu presque
using non-breaking spaces between “un” et “peu” as a trick. So we introduced number and string as replacements for var. LD is more and more deeply connected to language.
The extention of OSP-DIN is a neverending work.
Sometimes we’ve used previous week’s dictionary
change line dòng change stroke bút change end trở—lại change move di—chuyển change cubic cong change close đong change fill điền—vào change transform biến—đổi change text văn—bản change font kiểu—mâu biến—đổi 0.6 0 0 0.6 0 -300 bút 180 0 200 1 điền—vào 250 100 100 di—chuyển 135.00 732.00 cong 134.00 691.00 178.00 660.00 241.00 659.00 cong 290.00 661.00 328.00 701.00 328.00 755.00 cong 378.00 665.00 441.00 643.00 521.00 677.00 cong 524.00 681.00 576.00 759.00 497.00 889.00 cong 496.67 891.67 411.67 960.00 330.00 986.67 cong 230.00 926.67 163.33 845.00 133.33 735.00 trở—lại đong di—chuyển 135.00 732.00 kiểu—mâu 30 0 0 Alfphabet văn—bản we
Lilly Nguyễn Thong Tran Thanh Tri Loi Kim Trung Tran Minh Ngân Trương Dat Huynh Phat Nam Pham Quoc Nam Chien Phan Quoc Vansau Duong Kiet Le Lê Quốc Tuấn Xuan Phuong Nhan Nguyễn Minh Đương Nguyễn
La participation OSP de l’Open Design Week a été rendue possible grâce au soutien de l’OIF