Otherwise, 64 masters would have been necessary, many of which would contain identical glyphs. Now, as a variable font, it gained more axes (the ascender/descender length axis has been split into two separate ones, and a contrast axis has been added), but fortunately OpenType Variations don’t require to double the number of masters for each new axis. His largest project in progress is an extension of the Floris family which had 4 axes and 2⁴ = 16 masters in MM technology – the maximum number that can be used in FontLab Studio 5. Luc(as) has been using Multiple Master technology to the extreme for all his type families. TrueType segments mixed with PostScript segments.

1 In my opinion, as long as most type designers see TrueType conversion as an afterthought, as simple font post-processing, this will not be seen as a pressing issue. For example, TrueType curves have just one off-curve point per segment, which is an advantage for very shallow curves, where PostScript curves would need to place two off-curve points on the grid in a small restricted area. He gave examples of common curve configurations that are better represented in one or the other format. Luc(as) regrets that Font War I, as he called it – PostScript against TrueType – has led to OpenType fonts in both formats, but separate: you have to choose one or the other, and can not combine the curve types whichever are best suited for a specific segment of a letterform. Being well-known for taking pride in perfect solutions for technical and aesthetic problems, he is dissatisfied with the current state of affairs and gave a lot of illustrated proof for us to follow along. At TypoLabs 2018, Luc(as) gave a fast-paced and nerdy-funny presentation about his concerns with current font curve mathematics and variable font technology.

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