The interface is convenient and easy to use. And more than that, I find the support from the people behind Glyphs incredible: no question unanswered, no matter unattended.
Since I have started using Glyphs, font production is way more fun. It has never been so easy to get the last production steps right.
Ever since I have switched to Glyphs, I have more time for my family.
There have been three major technological breakthroughs for Arabic type: Unicode, OpenType—and Glyphs.
Glad we switched to Glyphs. Feels like flying business class instead of economy.
You just rock.
I am continually astonished at what a well-thought-out, well-designed piece of software Glyphs is.
Glyphs has loads of killer features that satisfy newcomers and veterans alike. I can’t work without it anymore.
The Devanagari workflow is so much easier. I am saving weeks, if not months, of time.
Just generated 54 fonts with over 26,000 glyphs in less than a minute using Glyphs. That’s pretty epic.
I notice that my students find Glyphs much easier to use. They pick up most of it immediately.
The integrated work model of Glyphs makes a difference in the learning curve of new designers, and their rate of work.
The UI is so much cleaner, and you can actually see what you are doing!
Working with monoline designs and masters in Glyphs is awesome. It’s all there, no need for add-ons or app switching.
Glyphs constantly introduces new useful features, accommodating designers’ needs. I am excited about new developments for South Asian scripts.
Glyphs provides great support for complex writing systems, which makes designing multi-script fonts really easy.
Glyphs makes the process of publishing high-quality fonts easy for independent foundries like mine.
After using Glyphs, the pen tool in Illustrator feels like carving a chicken with a chainsaw.
It doesn’t make sense to design Arabic in anything but Glyphs. I like showing people who don’t use it how much simpler their lives can be.