Category Archives: Collaboration

Some designers’ thoughts about iKern.

Mark van Bronkhorst

MVB Fonts logo

Mark van Bronkhorst, MVB Fonts: «Igino handled the spacing and kerning of the Sweet® Sans familiy for me. His iKern service meant that I could focus on design. There was a bit of back-and-forth to get settings just right, a process I found positive, as I could guide how the spacing and kerning were applied. Once the settings were in order, large character sets fell into place quickly. His method applies remarkably consistent sidebearings (not just kerning). Instead of manually applying sidebearings, then kerning by hand for days on end, one gets to a place that’s 90-percent-something “done”, the focus shifted from doing drudgery to making adjustments. I’ve always felt that font metrics could be automated, particularly with fairly regular typefaces. Finally someone has figured out how to get it right. Igino works fast, and I appreciate that his fees are affordable.»

Angus R. Shamal

Arstype logo

Angus R. Shamal, ARS Type: «Most people who use high quality typefaces in their profession choose them because they know they can rely on them to perform effortlessly and consistently well in the tasks they were designed for. An important factor in building such trust in a typeface, is good letter spacing and kerning.My collaboration with Igino Marini and his iKern system started at the last stages of my redesign of ARS Maquette Pro. Early on I knew this will be a complex project that involves not only over 1200 characters per style, but also many alternates and a Display cuts, which would require different types of spacing — all coexisting within each single style of the family. This proved to be a challenging process to both myself and the iKern system. In order for this to work well, it needed a good grasp of the design and its theories — something that mathematics alone would not achieve. Igino understands this — and thanks to his true professional and hands-on approach in this project, we were able to pull it off in a reasonable amount of time avoiding undesirable compromises. The iKern system excelled as an invaluable and flexible tool that is able to adapt even to the most complex of tasks. Hopefully the results speak for themselves.»

Henrik Kubel

A2 logo
Henrik Kubel, A2-TYPE: «Igino’s iKern service enabled us to finish and release a large amount of faces to a high standard: FM, Maximum, Grot10, Outsiders, Typewriter, Battersea, Klampenborg, Kunstuff, Vogue Paris et al. The iKern system is now an integral part of how we space and kern our fonts – most importantly it gives me time to concentrate on other parts of the design. Great thanks to Jos Buivenga for recommending Igino to me at the ATypI conference in Dublin – it’s literally the best thing that happened in 2010, font wise.»

Brian Jaramillo

LetterCult logo
Brian Jaramillo, type designer, Veer, MyFonts, co-founder of «I feel like I was fortunate to discover Igino’s service. I’ve sent him more than a dozen fonts for spacing and kerning and all of them have come back technically perfect in a timely manner. I don’t know how he does it, but every typeface I’ve sent has come back perfect, to my eyes. Instead of days spent spacing and kerning, I can devote more time to creating. Thanks Igino.»

Karsten Luecke

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Karsten Luecke, Karsten Luecke Type Foundry: «One thing that repeatedly strikes me is a rather abstract discussion, and vehement rejection, of automatic spacing. Whether spacing is done manually or automatically is not relevant. It is spacing theories which are relevant because it is them that determine results — regardless of whether these theories are applied manually or automatically. And while manual spacing usually means “just doing it”, automatic spacing is not possible without having formulated a theory which then can be checked, refined, even be replaced by another theory.
When discussing iKern spacing with Igino, which discussion is an essential part of the process, the type designer needs to consider the typeface’s spacing as a system. It is not about adjusting this or that specific pair. It is about adjusting one or more global parameters which has an effect on a number of visually similar specific pairs. For Igino, as master of his theory, the discussion means that he needs to decide whether adjusting some parameters (as anticipated by his theory) will do or whether (part of) his program (and thus the theory itself) needs to be reconsidered and rewritten.
The question is not: manual or automatic? but rather: what effects does the theory produce? The iKern theory, judging by the results, looks pretty sound. And where not, being a theory formulated as program, it is open for discussion and refinement. Compare this to the “gut feeling” driven designer who may still be wondering whether he got this or that specific pair right …»

Philip Bouwsma

Philip Bouwsma logo
Philip Bouwsma, Canada Type: «Calligraphers are ever concerned about marrying math and calligraphy. Igino Marini’s way of doing things seems to do just that in a very good way. His work on my Lorenzo calligraphic text family helped speed things up tremendously.»

Livius Dietzel

Livius Dietzel logo
Livius Dietzel, Studio Livius Dietzel: «Igino’s iKern is a programme, but it doesn’t feel like one. The rhythm of the kerned fonts look like they were carefully done by hand. Thanks also for the technical help.»

Thomas Schostok & Stefan Claudius

Cape Arcona Logo

Thomas Schostok & Stefan Claudius, Cape Arcona Type Foundry: «We at the Cape have a wonderful life. Half of the day we are lying at the pool and drinking cocktails and the other half we work on typefaces. We love working on fonts, but love cocktails a little bit more. Everyone will understand, that each hour that we could spare of working on spacing and kerning is of great value and can be invested into “action at pool”. Igino’s iKern was the solution to our problem! iKern did a wonderful job and is surly the proof that machines can take on man made work. We love iKern and the professional results it creates. Before iKern we thought of this part of font production as somehow old-fashioned. You see, human mankind shot rockets to faraway planets; probes land on asteroids and came back to earth, but type designers still doing spacing and kerning by hand. For Cape Arcona, iKern is the NASA of kerning.»

Stefan Willerstorfer

Stefan Willerstorfer Logo

Stefan Willerstorfer, Willerstorfer Font Foundry: «Collaborating with Igino is a very professional experience. During the goal-oriented correspondence there is always enough time for discussing various details and for considering alternative solutions. I am very impressed by how well his iKern service works and how capable he is of applying even slight changes we have agreed upon. I appreciate Igino’s opinion and his expertise during our collaboration and I am very pleased with the final results – typefaces that are perfectly spaced and kerned. The results of iKern can even bear up against very critical eyes.»

Oguzhan Ocalan

Logo GravitartOguzhan Ocalan, Gravitart: «In type design, time and an experienced eye are always very important. The iKern service allows designers to focus more on designing and achieve good results faster. To Those who design typefaces but are not experienced in font development or don’t have the time to do the development themselves, I can truly recommend Igino’s service. Not only is he a very nice and helpful person, he’s also doing a great job and will definitely deserve big thanks at the end.»