The talk from Bruno Maag and Tom Foley was an interesting insight to the world of typography design.
They talked about their work for LUSH and Intel and the long process type/logo/branding has. It had never crossed my mind that complex script like arabic could come in different typefaces, as silly as that sounds. They talked about how difficult it is to make digital type look handwritten and the use of design variants to make it more convincing, this means having multiple versions of one character that will swap out to give the digital type the feel of inconsistency that hand written type has. They use these design variants for the most common characters and ligatures (a/e/fi etc).
They expanded on script styles and the different problems this creates when designing a world wide typeface like the one they designed for Intel and how in certain scripts you have to incorporate the origins of the letterforms and the weighting of line strokes. They went on to discuss how to create a typeface/family you start with key characters (k/b/a/s/n) because they have all the different components (ascenders/descenders etc). The talk highlighted the level of refinement that goes into professional type design and how many stages are involved.
@brunomaaag_maag @TFEFoley (twitter)