First Moon Base Built By Honda Corp Aliens Astounded!

I don't believe in 'Aliens' but...

If a technologically, advanced race of them came down to Earth in some spontaneously, waaaay over the top, intergalactic curtain call, I doubt humankind would be judged by this IGHT - (Intergalactic Good Housekeeping Team) based upon the softline ergonomics of our moonbase kitchen nooks - or for that matter, by anything other than our percerverance as a species in traversing the great communication divides always

The Honda logo/emblem is a smart vision of the past, present and future. The logo is thick and steady at the base/bottom. It's heart (or middle) is sturdy and showing more sophisticated signs in it's geometric and gradient attack upon the top - the future!

As far as the company name appears, it's every bit as smart and as sleek only in a more collusive way.

Egyptian faces or 'slab' serif types always get slighted and I for one feel they are entirely under rated and used. If you notice, - the Honda emblem is in contrast to the Honda name design spelled out. Yes! - those are slab serifs but they are also eloquently bracketed. The design effect is to achieve overall balance between the two.

The slabs themselves are elements of time-tested stability, the minds eye is beckoned to both an Egyptian meets Roman, cross-temporal sharing of the gaurd and big, sturdy 'Hoss' from a ranch called 'Ponderosa'.

Is this a case of a company living up to it's graphic corporate identity? It is a little known fact that Honda revamped their emblem around 1989-90 to coincide with what was perhaps their most furtile and prolific time as an automobile manufacturer.

It is at least possible that a company like Honda would be a part of building the first moon base. If so, would you feel safe living on the moon?

I for one would. - eat my shorts Doctor Evil!

Serif Page Plus X3 allows you to import PDF files,edit them and republish them as a PDF!

PDF is our friend. It is of course the genius extension of the PostScript Page Description Language.

Postscript describes/defines how text, lines, images (graphics) are supposed to appear on a page.

It gained prominance as an EOE (Equal Opportunity Explainer) of what's supposed to happen on a computer rendered page - kind of a dual Sherpa meets interpreter for your design exploration and intent. It functions regardless of local explored or language spoken.

Like the great and legendary comicbook artist Jack Kirby, PostScript rendering language starts in one corner and works out from there! It renders the visual commands using a precise measurement map in terms of points (of points and picas fame) - (usually) and that's good news for our understanding it!. It is however, also flexible enough to interpret/represent other measurement types and allow options we nary need with printing as our objective.

So along comes the PDF and specifically PDF X-1a which adds some print healthy restrictions. We're flyin' along as designers for print primarily, - the PDF adds a way to 'embed' the fonts we choose and use in our design in such a way that our intent is read as we intend it to be - regardless of the computer, operating system and likewise - human eyes recieving it!

Major breakthrough! But as cool as it is - sometimes a little too cutesy for basic print. We have abilities to freeze our work in option rich ways we don't even know about - but ours is a print neccesity. - Do we really need all the fru-fru options? That's where PDF X-1A comes in (specifically PDF X-1a 1.4). It simplifies things so there are no (or far fewer) mistakes in the printing phase!

As you design your pages with Serif Page Plus X3, The graphics on your hard drive are being replaced in the design/layout phase by lower resolution versions. This helps things move along much faster as you design!


PDF X-1A inclusion inside Serif Page Plus X3, eliminates the question of whether the graphics you are sending to the printer are the higher of the resolutions in existence between those used to design in Serif Page Plus X3 and that of the original on your harddrive/network server. The linking or 'standing in' of lower resolution files created by the smooth and intuitive Serif Page Plus X3 interface, are not at issue once you set the PDF X-1a preferences contained within the Serif Page Plus X3 program.

Say goodbye to prepress nightmares and hello to high productivity and effortlessly,smooth workflow!

The Perfect Storm - Windows,Serif and Fontcraft

I (yours truely and dotingly) am old enough to know better however still too young to care. I began this column/blog out of a sheer fondness for the arts (in general) - Typography - specifically. I feel truely lucky.

I feel at this time that I will name 3 resources which can and will do the job entirely well and then spend the rest of the time getting down to nitty-gritty typography for the sheer love of it.

Serif Software/Fontcraft Scriptorium and Microsoft

I believe these to be the 'Perfect Storm' - allowing anyone - regardless their neccesity or interest, to create the most powerful pages and publications bar none - for the price and for the ease of doing so.

If we were all heirs to the throne we would probably not blink in using Quark Xpress or for that matter, proclaiming it as the official PRS of the kingdom.

ITC and Linotype have certainly made their contributions within the constantly accelrating maelstrom of digital/internet technologies.

It's just that I can't see (or in good concience - pretend to) any better or more empowering vehicles than Microsoft - operating systems, - software and ISP AIO.

Fontcraft Scriptorium - AIO professional, fantasmic art and font resource!

Serif Software - AIO publishing /production powerhouse.

So to move on to some of the many reasons for these selections, I wish to start with Serif Software.

Serif's latest 'Image Cutout Studio' is being touted across the web by users as the most exact and effective to come down the pike in a long time.

"Image Cutout" or - the ability to remove a background in an image has always been with us. The progression of available tool selections to accomplish this, sped from basic vector point 'Free-Form Selection' and 'Scissors' tools, to Magic Wands and 'Masking Brushes' as image resolution grew with processing speed. Setting the tolerances of a magic wand or brush paintflow/opacity in masking, allowed the artist control over individual pixcel valuation to their individual taste and eye.

It's not so much the benefit of having an Image Cutout tool to your avail, -but it's availability at a click inside a professional caliber desktop publishing program that holds such promise and attraction - and for such ultra low ka-ching!

If we're talking about workflow, - pure gold! - but when combined with the ability to customise toolbars and keyboard shortcuts (both latest improvements in the Serif Page Plus X line),-It's priceless!

Serif 's intent is clearly to provide superior workflow, individual control and artistic flexibility - not only in the many rich options offered, but in affording you the ability to build your own publishing/production suite as your business needs or artistic growth require. - They both undoubtably will!

"Reverse Video" Technology

I've never been one to drink alcohol before an eye doctor appointment but for some reason - today I was. I won't bore you with the somewhat sporatic details but it sufficeth to say there there was at least one awkward moment which keeps insisting it's "thug-life" nature into my memory - and frankly... How Rude!

I was standing there before God,Country and a quasi-well meaning optometrist (yeah - I guess in that order) - when the latter of the three informed me with a most somber look upon his face that he suspected I was suffering from 'Double Vision'!

"Oh No! I thought to myself

not again?!?!

Inscensed, I began calling into question his very wall ornamenting credentials from both Yale and Harvard Universities.

"I demand a second opinion" I wrinched and stomped.

It was then that the kind Doctor stood over to my left and said:

"You have double vision".

The good news is that we all do! Don't worry - rumor has it that lions do to (and they're the King/Queen of the jungle!). They see things in black and white. In fact, zebras benefit tremendously from this!

Zebras tend to horde together wherever they go - at the watering hole and in travel across the African expanse. Whenever they stop for any reason, they stand 'head to tail' to each other in large groups. This is an amazingly potent defense mechanism against the lion, who basically - don't mean em no good.

It's the same ol' strategy played out over too many millenia perhaps to quantify, - lions lay in wait for a nice big thick herd of black and white striped dinner, and at precicely what they feel is their most opportune/adventageous time, - they come trouncing. As the zebra scurry, the maelstrom of their stripe patterns is irresistable to the lion while simultaneously confusing the hades out of them visually. It is a one, two punch - perhaps nature's most formidable defence - (if only I could apply it to my chess game).

Black and White are the two most contrasting colors in the human visual spectrum. they can be used to great, attention getting effect!

We used to call "reverse video" (inverting black and white values) is now so easily done that it's seldom usage in lieu of less visually effective 3-D, shadow effected, miscreations is somewhat suprising.

I once worked with a guy named -oh let's call em' 'Mac', - who use to swear by a thing he called "The Bandit" "Use the Bandit" he would say..."bandit that title" etc... What he was refering to, was the inverting of a set thickness or strip of the cover page or really, anywhere else he wanted to grab attention. The strip bleeds to edge or perhaps is just a large box teasing the margins. That was the very early 90's and I have yet to see the 'bandit' rivaled in grabbing the readers attention.

Mac would come in late in the morning, b.s. for a good hour while he made and drank 2-3 cups of coffee all before finally getting his bearings, sitting down at the 'compugraphic machine' and lighting his 1st cigar. He made/billed $40 an hr for his services and despite his driving everyone crazy with his cigar smoke, His setups for government proposals were they which brought home the bacon.

He once plainly remarked to me "ya see this? (pointing to the bandited title at the top of the page) - this is as visually communicative as it gets...and it's why I make the big bucks!

He was a professional from the "Felix the Cat" school of type compositing. He had a big bag of tricks but knew which of them worked most effectively!

The Art of Brenda Gordon

It's not often you meet someone with an intellect and personality you find entralling and then over time, discover there is so much more...

I've known Brenda for about 10 years. As privaledged as I have been in getting to know the ultra-cool person, I was also privaledged enough to have a job developing and printing images she had taken of her work. In getting to know her on an that entirely different level - I could only give pause (a little bumper between admiration and the inclination of worship), I studied her work and realized that it spoke to me in so many different ways!

I stopped by Meadowlark Gardens in Vienna,Virginia. If you've never been there you really should. It's always been a must see gem in Fairfax County but if you visit there, you will find the most incredible attraction of all - One of Brenda Gordon's exquisite murals gracing the entrance!

I thought that I could do no better with my column here on examiner.com, than to let any one curious or crazy enough to read my musings, know about this local artistic treasure - whom I have been so fortunate to call friend.

I had some questions for Brenda which I thought may be of interest to her many
fans as well as those newly discovering her work. (I was also very curious) I must admit to being a little suprised by the slightly non-glamourous,realism provided in her answers. It's one of the reasons I find her so interesting as a person!

The 'interview' went as follows:

MT : What is your earliest memory/awareness of having an interest in the arts? What single moment or event can you cite as having lead to the inspiration of your interest in art? (was it at an early age?)

BG: When I was 2 my appendix ruptured. I spent many days in the hospital. A young boy in the room with me had both his legs broken in a car accident.
My parents brought me some coloring books and crayons to keep me entertained. Every time the Doctor came in to check on the boy he would start screaming and I would color faster and faster. That is my earliest recollection some of that information was told to me by my Mother. I suppose the coloring relieved my stress when the boy screamed. It kept me occupied and all was well.

Later just about beginning High School my father would ask me from time to time "What do you want to do with your life?"
I didn't know, meanwhile I had been drawing the entire time. One day I woke up and said, "I know..I want to be an artist" From that day I worked toward fulfilling my goal.

MT: I've gone and visited some of your artwork available in public display. Your inimatable talent for using color and lighting in creating both dramatic mood and intense message is well known. What is it about a subject or study that attracts you into seeing it potentially as powerful as you will render it on canvas?

BG: Art is about creating a feeling - capturing a moment in time which often exists in the blink of an eye. I'm trying to render what happened when my viewer blinked. To me,long shadows and intense lighting appeals to our my mind's eye. I try to grab that fleeting moment - and create a mood that will speak to the fraction of a second you may have missed. - You never want to miss it - I won't let you.

MT: (laughter) - I know - I know...but still, - you add an incredible amount of detail to subject work which is not inherently there to begin with. Your artwork is a bit risky and avant gaurde in that respect. It takes a chance on the viewer's eye and ability to appreciate the subtleties. You give your viewers alot of credit - are they worthy of it?

BG: Yes! - Absolutely. They are...

MT :(interrupting): - have you ever had to "dumb down" your work to a clients taste?

BG: Not at all... most of my clients go by first impression of a painting - they seem to see it instantly. Although I can't tell you how many times people will call me and say "Wow! - I didn't notice this or I didn't see that and - did you put this in on purpose? " - My paintings grow on the viewer, the more they look the more they see and appreciate. I find personal satisfaction in that - a relationship ... sharing.

MT: How do you see your interpretations years from now? - do you feel you are continually growing and learning as an artist?

BG: Y'know - I look at some of my paintings and all I can think of is how I could've made them better - all I can think about is how I would change it to make it more interesting for the viewer. Other paintings I am still satisfied with, art is constantly a growing process - the more you practice hopefully, - the better you get.

MT: Which single work are you most proud of and why? (including any of your public displays and those on your website).

BG: I have to say The Hershey Park mural at the Chocolate Towne Cafe - 2500 Square feet and 22 feet high completed in 31 days. (it's HUGE! - MT ) When I saw the site in person for the first time I was terrified - " Holly Mackerel ! - what have I gotten myself into? "

All planning and correspondence were elevation drawings, the site was under construction, so when I got there and looked around I almost ( expletive)...(expletive)...(again - expletive!).

That night I called my Dad to get a pep talk, I cried, I was scared to death!

The next day I was on a cherry picker. 31 days later the mural was finished. It came out great. I overcame my fears and produced an award winning mural.

More Power to You Brenda! and more power to US! - That award winning mural is now an American icon! - a giant-sized treasure seen by people the world over!

We really are extremely fortunate to have such a uniquely perceptive and prolifically, visionary artist living right here in the Washington DC/Metro area! A person, a puzzle inside the discerning paradox of our own artistic perceptions, a hero constantly capturing the split moments between truth and dream. Asking us if they are indeed one.

Don't take my word for it however, - check out Brenda Gordon for yourself by visiting her website HERE!

I'd like to thank Brenda for her time and consideration. I hope you get a chance to discover the rich, wonderment that is Brenda Gordon Art!!!

A Letter to Words

Remember learning the alphabet? That process we all went through in learning how to read and write? It's a distant, happy memory for alot of us - of making letters appear by connecting various lines and curves together in relationship with ourselves making the connection. Although some of us (or probably just me) were content with having it end there, the thrill of achievment in individual letter rendering was soon replaced by the next level of challenge - constructing words with the letters we had mastered.

Gee Golly Woshadonna! - Does it ever end? - I mean...

... the answer is NO and

it's all our fault! Somewhere along the line it has to be. We just could'nt leave well enough alone could we? NOOOO! - we had to use our newfound powers! Now, - not only did we know what words sounded like and meant (many of them), but we knew what they looked like and even how to make them appear on paper!

AVARICE! - Complete and total AVARICE!!! - "Whoopee! - Look what I can do!"

Yeah - it was pretty cool! - and even cooler was our ability to to recognize words as patterns but ah haaa! That was mostly due to a conformity by consensus of learned letter forms.

Without standards of shape and form, instantaneous recognition of whole words soley by their shape would not be possible (or extremely difficult - just look at a Grateful Dead Poster). We were taught to write our letters within predetermined/acceptable parameters but what made the predetermined parameters "acceptable"?

If you can read this - Thank a Teacher...(and your Lucky Stars)!

Early on in the development of written language, the conceptual good fortune of having letters represent individual, phonetic sounds lent itself not only to the construction of known words, but the pronunciation and even translation of those unfamiliar inter-dynamically! - But it all goes back to letter construction.




Of all the typestyles available, most were accepted due to the way they looked when assembled into words. Improvements were constantly being made with many being modifications of those typefaces already in use however modified or supposedly made better so as to lend themselves more fluidly to word recognition.

But there is a vice versa effect - in fact there are several which are subjects for future entry.

Friend or Font?

Remember the Adam Ant song 'Friend or Foe"? - Great Song! It was around the time of that song and I think it was Ronald Reagan who was credited with uttering the following quote
(pearl of wisdom) :

"Surround yourself with good people, delegate authority and don't interfere!".

Regardless of the quote's historical or political context (or ramifications), if you think about it, It's really true! You should surround yourself with good people, delegate authority and don't interfere -

UNLESS ...

...you're General Custer at the Battle of Little Big Horn - you're surrounded by good people, they just happen to be Indians.

- you should just play dead and let your horses run interference.

Most graphic/type artists settle down into using only a handful of fonts (or less). Often they have developed an entire style based on their familiarity with and use of certain fonts. This can be independent of any page rendering system. Over time and experience they have come to know the nature and allowances of a specific typeface - backwards and forwards - and so have surrounded themselves with good fonts, delegated authority to them and interfere only when neccessary.


Getting to know a font is much like getting to know a person. The context may be only professional at first but over time, you have them over for a tennis match and a beer (not neccessarily in that order)

Using Icons as Bullets

In 1996, a good friend of mine helped clarify the way I thought about websites.

"A website is just an answering machine". He Said

The more I thought about it, the more I realized he was right. At that point in time websites were till somewhat anti-climactic in there visual delivery and every bit as stoic in their capabilities and yet, - many of those old jalopies still exist on the www.

Having the entire internet as a source of design inspiration is very cool. I often find myself visiting random websites/pages just to see how they were layed out and which editor/environment was used in their creation. The vintage is also indicated by the design elements used.

I find Google and Gmail to be perfect examples of highly effecient web design. Everything is streamlined, the most important information is broken into concise sectors - ultra-utilitarian and with rudimentary complement of graphics (which help speed things up). Everything you need however, is right there and easily found.

I was starring at my gmail page and realized that I have been taking all of this for granted! I also decided to point out a major feature of Google design: simple icon usage!

(above) icons are used as bullets.Point titles are bolded.

As usual, a very good example of design got me thinking. It opened the floodgates and all those thoughts from the inspiration came raging into the space of my mind like a crack-addicted chimpanzee hell bent on destruction...

...I can use this. (more often)

There are so many useful tips right in front of us! Most Page layout programs and website builders offer us templates where we just plug in or add whatever graphics we want. Customizable stylesheets and formatting is better than it ever has been before - there are at least 2000 ways to skin a cat now digitally (not that we have a need to at this moment - it might prove crucial later though).



...and it's only getting better!

How Type Saved Civilization! (the Irish are still extremely cool though)

That the history of type is no less than history itself cannot be argued with any due sensibility. All we know from history was recorded using it's device and the device as constantly innovated by our predessecors, speaks volumes on it's own behalf.



History is filled to overflow with victor's tale of conquest - violence echoes the intrigue of human exchange.

Type as a story teller is not only non-exempt from those wilds and throws we call history, - it is frought with them. It might in fact be a mistake to denegrate it's very nature of being one and the same. Mysteries abound - Yet those cultures and civilizations we know most about today, had the most to say by way of written language. We cannot only lay open the mysteries of the past by studying what was written about it but how it was written.

Is'nt that friggin' cool?

I am a human without neccessarily being a human-ist. I know and even kinda like some who are and some who are the same in sentiment as I am. Reason: - I guess I just don't trust you guys... apologies.(feel free to do somthing lavishly extravagant to restore my faith in you.

But You don't have to be a humanist to harbour a deep appreciation of the Renaissance/humanist movement in our inescapably humanist history. If it's glass is filled to overflow, you can at least drink it down to half full/half empty.



Drink in the largely Italian renaissance movement - I charge ye!- It's a fruity bouquet,a little more bright than sweet,lighter and more vibrant it's mood - a cornucopia of rediscovery!

...probably began with an hombre' called Marco Polo and his ultra-venturesome travels across the semi-known world. To China using the 'Silk Road' he would have legendary encounters, - the stuff that dreams and nightmares are made of and would later write about them in a book called Le livre des merveilles.

It is more than possible, that Marco Polo did not know what dragon or giant he had awakenened. Those stories and accounts were slowly divulged over generations in Italia and indeed Europe, written in any number of hands and spoken of in square,granite-columned halls and increasingly vernacular circles. It was a stone thrown and all of Europe would be a pond full of ripples.

The education was one of a gradual nature. The world beyond the alps would come crashing in over some centuries, laying waste to any preconcieved ideals concerning the superiority of a nationalistic identity.

The Chinese were written of as being the first to invent and implement block printing. The first actual printing press was devised and in use long before descriptions of it would inspire Europeans. But seeing the genius and economic benefactors of this conceptual wonder from a distant land, would initiate a progression - a ripple in the pond which would affectionately be known as the printing press.


As if in nearly complete parallel, the whole of Italy and residually that of Europe,would begin seeking out their own identity. They would seek to illuminate the former greatness of Rome in all of it's power and glory, - therby laying claim to a history as old and as rich, - as humanistically edifying as that of China itself. It is only fitting that they would look and reach into the annals of artistry to find such legitamacy.

Upon studied review of Polo's disertations, and with a sublime confidence (albiet proportionately unfounded) in the willy-nilly ascertion that the world was actually round, Christopher Columbus would be cajulted into trying an uncharted oceanic voyage to the source of a European awakening. He would find another culture, perhaps equally as interesting in all artistic and cultural respects. He would find...

The New World!

Serif PagePlus X3

If You're like me, you seek out the Pure and utilitarian.You believe there's alot to be said for the unassuming,frugally concieved yet ultimately, empowering stuff in this world.

The level of our artistry never finds it's ascendency in the specific toolboxes we use. A software application find's it's utility in intent. It gives us a tool by which we achieve our artistry.

For that reason, I am attracted to a small list of bang (value) for the buck resources which have those very definite attributes and features which empower the artist for not-alota-mulah.So many of the wonderful rendering capabilities we enjoy today have by now become standards that we cannot do without. Clearly, - without giants leading the way
(Quark XPress_ and Adobe Pagemaker/Creative Suite_etc...), We might have been left in a deep,dark and unfamiliar forest or so one would think.


The unknown darkness can be exciting! It can also get kind of old -A ram's horn pronouncment of greatness becomes as easily, an enticing but eerie whisper from the darkness and murky mire of Proprietary posturings... midnight promises.

Traveling quite merrily along with us all the while, has been Serif Software and their unequalled line of "Software With Imagination"! The software is designed with imagination with your imagination in mind.

Serif's PagePlus X3 gives you all the features and flexibility of the the giant publishing programs while making it affordable for the pro and average user alike!

Serif offers solutions fine crafted to the specific and unique needs of the artisan. If you want or need to build a suite of abilities, Serif accomodates in a most effecient way with their powerful line of products. With PagePlus X3 - You will have customiseable toolbars and keyboard shortcuts,the ability to import and enhance EPS PostScript® graphics,Import PDF Files with in a couple of clicks,it has a new Word 2007 text import filter, overall easy and intuitive environment layout


With Serif Software, you can build as you go -intuitively adding incredible creativity as you need to! once you do, you have the empowerment to transfer text, drawings and images between Serif programs!

I like Serif PagePlus and DrawPlus software
because of it's intent. They have built affordable software solutions which are immediately useful while keeping pace with the latest available (licensed) industry standards to create a very cool, very fun and eloquent workflow which is now powerful enough for the pros!

Font Editing/Rendering Software with a WOW!!!

This Software allows you to have the flexibility neccessary to create powerfully personalized fonts sets with easy to use features! Begin from scratch or use preset points. FontLab FontLabLtd aquired Fontographer


Fontlab font editors

Post Script 1 to OpenType Migration

While seemingly yesterday, Microsoft brought in Adobe to help co - develop a cross-platform type standard which would allow cross outline and encoding support resulting in the "OpenType" format. There were and still are problems with matching up the conventional names and supports of each standard.

Everything is pretty much format/support standard nowadays. You may have your work cut out for you however if you have been working in a purely adequate Mac based graphics environment, and the higher-ups from atop their mountain in P&A were sold at pricepoint on a PC based printer.

Everything is "Beans-n-Gravy" until you go to print if past formatting cannot be found or rendered correctly in the new output environment.

Adobe provided a good read for those faced with the undaunting task of "sinking" their (Postscript based) imput graphics capability with the .OT (Open Type) standards for output. A downloadable, Face to Face format transposition table here in the HOPEFULLY, helpfull following order (From Adobe Forums):
Type 1 PostScript FontName
Type 1 Mac Menu Name
Type 1 Win/PC Menu Name
Type 1 PC File Name
Prefix Type 1 Mac Outline File Name
Matching OpenType format font
Matching OpenType format
Mac Menu Name
Matching OpenType format Win/PC Menu Name


Then there is also the output solution like the HP Multiple Product Adobe PostScript Printer Driver which supports a quasi extensive list of HP products. This is mainly for those graphics departments which use higher quality, inhouse/end-process printers for proofing before,during and after flight.


A much simpler solution available from FontLab is called TransType.


This Universal font format converter for Mac and Windows. Versions SE 2.5.1 and Pro 3.0.2., allows you to convert practically any font into any other format on Mac and PC.What might the advantages of using TransType Pro be?

In my experience, any product that a manufacturer purports to be 'universal' is either too ambitious/too soon in supports, too proprietory or it quietly and efficiently delivers a suprisingly, useful result. The latter fits FontLab's TransType.

Universal is the prefacing key word for this fontlab product and it speaks to ease of use as well as support. For Mac: Mac OS 9.2 with CarbonLib 1.6+ or Mac OS X (10.3 or higher is recommended), Intel-based Mac OS X(* visit FontLab site for details)

For Windows: Microsoft Windows OS (95/98/ME/NT/2000/XP).

Perhaps most important are the encoding conversions which read and convert Unicode, ANSI, ASCII, among many others (international etc...16 for Microsoft,23 for Mac) It is a simple converter environment and interface which already the most standard features and preferences checked and yet is fully customizable!

FontLab has designed a solid, options and features-rich beast of a font conversion tool that is mainly for converting from the major pre-OpenType (TT,GX) to OpenType /PS standard.

The interface is well designed, a familiar layout of font manager and conversion tool which thankfully makes no grandios assumptions. A typical scenario (after lightning quick install) would be to open the program,choose a system font for conversion and then save it to the same or any other folder you create. FontLab TransType has batch and font family save features which once preferences are set, allow for codepage and script exactitude as well as maximized glyph/outline transference.