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โดยที่หากพูดถึงการสื่อสารขั้นพื้นฐาน อักขระปกติก็นับว่าเพียงพอต่อการใช้งานเพื่อสื่อความอย่างเข้าใจได้แล้วในระดับหนึ่ง แต่หากการสื่อสารชุดนั้นต้องการชุดเครื่องมือบางอย่างเพื่อเสริมให้รูปประโยคนั้นสมบูรณ์ ตรงกับเจตนาที่ต้องการจะสื่อได้ชัดเจนและเข้าใจอย่างไม่ผิดเพี้ยน ในบางกรณีอาจมีปัญหาหรือข้อจำกัดบางอย่างที่ตัวอักขระพื้นฐานบนแป้นพิมพ์นั้นไม่สามารถตอบสนองการใช้งานได้อย่างตรงจุด การเกิดขึ้นของอักขระอีกชุดหนึ่งที่ช่วยตอบสนองการใช้งานที่เพิ่มเติมให้กับผู้ใช้งานจึงถือกำเนิดขึ้น และสิ่งนั้นเรียกว่า ‘อักขระทางเลือก’
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ซึ่งสองสิ่งอย่างการได้รับการอนุญาตทำใหม่อย่างเหมาะสมเมื่อถึงเวลาและได้รับการอ้างอิงที่ถูกต้อง เป็นสิ่งที่ต้องคำนึงถึงอย่างใส่ใจในรายละเอียด ส่วนเรื่องอื่นๆ อย่างความซื่อตรงต่อแบบต้นฉบับ ความถูกต้องของแบบที่เกี่ยวโยงแสดงให้เห็นถึงช่วงยุคสมัย รวมไปถึงข้อดีและข้อเสียของ ‘การปรับปรุง’ หรือ ‘การนำมาทำใหม่’ ของแบบเก่า ก็ล้วนเป็นเรื่องที่สามารถคุยถกกันได้ไม่รู้จบ และเป็นเรื่องที่ชาวนักออกแบบมักจะรู้กันดี
➜ ไม่ว่าจะเป็นคนที่เคยใช้งานเครื่องพิมพ์ดีดหรือไม่เคย ก็อาจได้ผ่านตาแบบตัวอักษรที่เกิดขี้นจากเครื่องพิมพ์ดีดกันมาบ้าง หรือถ้าเฉพาะเจาะจงไปแต่ละวงการ อาทิ วงการดนตรีหรือภาพยนตร์ แบบตัวอักษรที่ใช้ในการเขียนโน้ตดนตรี หรือแบบที่ใช้สำหรับการเขียนบทก็เป็นไปในลักษณะเดียวกัน นั่นคือแบบตัวอักษรที่เรียกว่า ‘โมโนสเปซ’ (Monospace)
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เมื่อคลุกคลีอยู่กับภาษาตลอดเวลาเช่นนี้ ย่อมทำให้มนุษย์เกิดการเรียนรู้ภาษาในทุกขณะของการมีชีวิต ส่งผลให้ภาษา (ซึ่งเป็นกลุ่มความรู้ชนิดหนึ่ง) ตกอยู่ในสภาวะที่พร้อมจะถูกเปลี่ยนแปลงอยู่เสมอ ฉะนั้นสิ่งที่เรียกว่าภาษานอกจากจะเป็นเสมือนรหัสของการสื่อสารแล้ว ยังเป็นหนึ่งในภาพสะท้อนวัฒนธรรมที่สำคัญของแต่ละสังคมในช่วงเวลาหนึ่งๆ
➜ ก่อนที่จะทำความเข้าใจว่าทำไมฟลูธิเกอร์ภาษาไทย (Frutiger THAI) จึงถูกออกแบบมาทั้งสองลักษณะ ครอบคลุมสองแนวทางของตัวอักษรไทย ทั้งตามแบบแผนนิยมที่มี ‘หัวกลม’ (Loop Terminal) และตัวอักษรไทยร่วมสมัยแบบ ‘ไร้หัว’ (Loopless Terminal) เราควรทำความเข้าใจเรื่องการจัดแบ่งประเภท (Classification) ของตัวอักษรไทยกันเสียก่อน
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EQ ที่ไม่ได้เกี่ยวข้องอะไรกับ Emotional Quotient แต่มาจากคำว่า Equalizer ซึ่งเป็นอุปกรณ์ด้านระบบเสียงชนิดหนึ่งที่ใช้สำหรับลด เพิ่ม หรือชดเชยย่านความถี่ของเสียงที่เกินหรือขาดหายให้อยู่ในระดับสัญญาณที่เหมาะสม การหยิบชื่อ EQ มาใช้จึงเป็นการใช้ภาพอุปมาระหว่าง ‘เสียงที่ได้ยิน’ กับแบบตัวอักษรที่เป็น ‘เสียงที่มองเห็น’ จำนวนฟอนต์ในครอบครัว EQ จึงมีความหลากหลายกว่าฟอนต์ไทยโดยทั่วไป เพื่อรองรับการลด เพิ่ม ปรับเสียงที่เกินหรือขาดหายให้อยู่ในระดับที่เหมาะสมกับการสื่อสาร
➜ ฟอนต์ คือสินค้าและบริการหนึ่งของ คัดสรร ดีมาก ที่เป็นที่รู้จัก แต่โดยส่วนมากลูกค้ามักไม่ทราบว่าสินค้าและบริการของเรามีรายละเอียดปลีกย่อยลงไปอย่างไรบ้าง หรือหากสนใจสั่งซื้อฟอนต์ ต้องคำนึงถึงเรื่องใด มีปัจจัยใดที่ควรทราบก่อนการตัดสินใจไหม
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หากเรามีความเข้าใจและสามารถใช้สองสิ่งนี้ในการตัดสินใจเหนืออารมณ์ที่มักเข้ามาปะปนในกระบวนการการตัดสินใจ งานสำเร็จจะมีแนวโน้มออกมาดี และเป็นที่น่าพึงพอใจกับทุกฝ่ายที่เกี่ยวข้อง
➜ มนุษย์เป็นสิ่งประดิษฐ์ของอะไรสักอย่าง ที่แม้เราจะค้นหากันมาจนจบไปหลายชีวิตก็ยังไม่พบคำตอบ แต่ที่แน่ๆ มนุษย์เราไม่ต่างจากสิ่งมีชีวิตอื่นๆ ที่มีความสามารถทางการสื่อสารติดตัวมาแต่กำเนิด การได้ครอบครองความสามารถนี้โดยไม่ต้องใช้เวลาเรียนรู้อะไรมากนัก ประกอบกับสามารถเรียนรู้ได้ด้วยตนเองจากการใช้ชีวิต มักทำให้มนุษย์เชื่อว่า ‘การสื่อสาร’ ไม่จำเป็นต้องได้รับการเรียนรู้ และลงท้ายด้วยการเชื่อในทักษะที่ติดตัวมาแต่กำเนิด
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has not been smooth; there had been hiccups on the road towards digital typography. Many of the hiccups were due to the desire to confine the technical know-how to only a limited circle of practitioners. But the picture is changing. Today practically anyone could learn how to create a workable font file.
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➜ As with many other areas of design, the crafting of new typefaces was once subject to entrenched prejudices that regarded the traditional forms of Thai lettering as inviolable; any attempt to alter traditional letterforms would be considered sacrilegious, a debasement of Thai literary values. Such an attitude had prevailed until very recently.
Introduction / Prolog ➜ If someone had mentioned to you some fifteen years ago that the production of Thai fonts could be carried out as a business, you might have scoffed at the idea for you could have thought it impossible. In fact, a person with that vision would have been quite remarkable in an age when most people did not know what a font is. Back then fonts, typography and type design were esoteric subjects in Thailand, known to only a very small group of people.
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ตัวอย่างเหล่านี้แสดงให้เห็นว่าการบรรจุตัวอักษรจำนวนมากลงในพื้นที่ที่จำกัดจำเป็นต้องมีแบบฟอนต์ที่มีขนาดใหญ่พอที่จะอ่านได้ เห็นชัด และสามารถบรรจุคำที่ต้องการทั้งหมดลงไปได้ เงื่อนไขและข้อจำกัดเหล่านี้สามารถตอบโจทย์การใช้งานด้วย คอนเดนสด์ ฟอนต์ (Condensed Font) หรือแบบอักษรตัวแคบ
➜ หากคุณคือคนหนึ่งที่เคยเห็นข้อความเหล่านี้
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