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Annoying, but seems harmless... font designed in TypeTool 3 and FDK 2.5 on Win 7. There's a similar issue with the League of Movable Type's Linden Hill (but its icon shows a sigma, square root, notequal). My guess is something to do with codepages. TIA
It is possible to make proportional Oldstyle figures default in a Opentype font?
And, is there a way to make it work on a «non-design» software (for example MS Word)?
Thank you very much guys.
Juan Pablo del Peral
Is there a way of simultaneously selecting a bunch of kerning pairs in a font (not all), e.g. in the Kerning Table, so that you could then modify them using the Adjust metrics command? I'm running FontLab Studio 5.0.4 on Mac OS 10.4.10.
Sorry if this has already been addressed; my search of Typophile wasn't so thorough.
I'm very close to finish the ' italic' version of Geogrotesque, it took me about 3 months for correct optically the distortion of slanted and now I have serious doubts about the naming. Although it have changes in some glyphs (for example 'a' and 'f') is more an ' oblique' version than an italic.
What do you think about the naming?
Oblique have a 'negative' connotation in the customers?
In conclusion, I need your help:
Geogrotesque Italic or Geogrotesque Oblique?
Thank you, em.
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I'm trying to find Miscellaneous Symbols and Pictograms (1F500 to 1F5FF) in FontLab. I can't seem to locate the relevant page under Codepages or Unicode ranges.
Is there any way to search in FL?
I'm quite new to this so don't expect too much.
I made a font in FontLab and I am trying to generate it.
The font works well apart from the fact that some special characters (for example accented capitals:
Does anyone know a good way to batch process fonts into UFO format? I don't have RoboFont so unfortunately that's not an option.
Recently I noticed that AB has snuck into my type palette. I can't seem to find it on my system. I've looked for visible and invisible files. Nothing against this fine specimen, but I feel as if my system is in control and I don't like it. Ideas?
I have reached the final stage in a type design project
for my degree and I seem to have encountered a problem with my kerning pairs.
FL 5 seems to be ignoring my kerning classes and the values in
my (metrics) kerning mode window and using the basic metric set for kerning etc.
When I quicktest the typeface within FL it uses the kerning settings, but not when exported!?
Has anyone encountered this problem before? I thought it might be an exporting preference that I have not selected but I think I have tried nearly everything.
I have been lurking this forum for quite awhile and now that I have run into a serious fontmaking problem myself I could think of no better people to turn to than the Typophiles.
So here is my project: this is part of my final thesis, so I am pretty desperate in making it work. The basic idea behind it all is create a font that will—via script–generate the outlines of each glyph that is typed. So if a user were to type one line, erase it and then type the same line afterwards, the glyphs would come out completely different.
This is why the working title for this font is “Aaaargh!!”.
Unlike with Beowolf, whose PostScript method will render the changes applied to the letters only in print, this font is supposed to do it on screen. From what I have gathered so far, this is possible with OpenType-fonts as they allow the inclusion of Python scripts. These in turn can manipulate glyph outlines, positioning, etc.
I have no idea how to script Python. And while I do have some experience with actionscripting in Flash and the syntax is pretty similar, what I need here is way beyond the scope of my skills. First, let me show you what I mean to do:
Phase 1: Generating random glyph outlines by interpolation of several “Master Phases”.
Fig 1: The master phases, shown with very little variance here. This will effect on the degree of “mutation” the interpolation will output. Compare Fig. 5 and 6.
Fig 2: Master phases, with more variance between the glyphs this time.
Fig 3: The master phases, overlayed. The blue areas show the boundaries of of movement the interpolation has for placing the nodes. The green areas stand for the possible positions of the handles. These polygons are created by the x/y-coordinates of the respective points in the master phases.
Fig 4: This figure demonstrates why four master phases are in use. Interpolation requires, naturally, a minimum of two phases. If more than two are used however, the degree of possible variations multiplies. This also enables a better simulation of variation within characters that ahndwriting would produce as body machanics and the flow of writing influence the appearance of characters in writing.
Fig 5: Variation is even more noticeable when more differently styled masters are used. Enjoyably, the interpolated phases are very consistent in style, so even though a degree of randomness is introduced into the character outlines, they still look like they belong together.
Fig 6: Masters and interpolated characters in a row (low variance).
Fig 7: Masters and interpolated characters in a row (high variance).
Fig 8: The introduction of two additional parameters that randomly rotate and scale one out of five characters are supposed to further simulate the changing angles of strokes in handwriting.
Phase 2: Expanding the basic lines with tools to true outlines
Fig 9: Now that the characteres base strokes are randomized, they get expanded by a “tooltip” which is a geomtrical shape–although more complex shapes would also be concievable–that is applied over the length of the path.
In this stage, the tooltip is still static, I am however considering adding another parameter to its rotation to make it react to changes in the path.
Fig 10: After the base strokes are expanded, terminators that simulate the dynamics of starting/ending a stroke and the slight bleeding that occurs when the writing tool rest on or is pulled away from a surface.
As of now, the method in creating these is rather primitve, taking the last position of the tool applied to the outline, moving a copy of this along the direction of the path, rotating an scaling it and the connect the extrema of those two shapes.
This will change though, as soon as I can find a method for doing so.
Phase 3: Altering the baseline
Fig 11: The circular movement of the wrist when writing left to right results in the lines moving slightly upward until the hand is moved to the right for an easier writing position. To encorparate this effect, the first character of the first syllable is moved slightly below the baseline and a random character between 10-15 characters to the right is chosen and has its baseline lifted. The positions of the characters in between those extrema are interpolated in non-linear fashion, resulting in a slight curvature of the baseline.
I am still working on the selection criteria, so they remain subject to change.
Still I would like the frequency and amplitude of the basline undulation to be controllable factors.
So far this is what I would like to. Which leads me to the problem of how to do it.
Is what I have cooked up here possible in Python? Has anybody tried to implement this before? Do you know of anybody who would like to collaborate in such a project or can be hired for it? Your help would be much appreciated!
Hello type lovers!
I'm currently designing a typeface with two layers or colors. I think it is more useful to program this kind of things than doing them manually when you set some text. So, my doubt is about opentype programming, how can I make this using an OT feature? I'm pretty sure it is possible to do it, I've been looking up for information about it and so far I haven't find anything.
Sorry, I could not upload the image to the forum, so I uploaded it to my flickr gallery.
Thanks in advance.
I have made an Arabic font. In Word 2007 when I apply low, medium or high justification the Kashidah i.e. the stretching line within the words sometimes appear at wrong places as shown by the red arrows in the picture below. Is it a font problem? what would be the solution ?
When I tried in OpenOffice there appear three problems.
1). The kashida appeared at wrong places as indicated by green arrows in the 2nd picture below.
2). The Marks disappeared from the last letters of each line as indicated by red arrows.
3). The last marks of some words slipped forward from their respective places as shown by orange arrows.
Is there any solution for these problems ?
Hi -- Just setting up overprinting options in Illustrator CS2 and viewing them with Overprint Preview. Is there a way to export these so I can post them to Typophile and still retain the overprint effects?
Does anyone have experience trouble shooting this less than stellar program?
I've found that large PostScript T1 families (in this case 12 fonts or more) will cause
some styles to show up and others disappear. And sometimes the reverse,
or sometimes somewhere in between the two.
This is OS9.
Maybe both FR and OS9 will quietly vanish from the earth...
Dear Type Technicians,
I have posted a little piece of software in your favorite script language that you can use to hack your OpenType features into your fonts.
Dancing Shoes does not invent the features for you. But it takes care that they are put out in the correct order and syntax, and works around some possible bugs with FontLab’s built-in FDK compiler that should work according to the manual. For instance some script and language tags must not be preceded by others, although that should not be important according to the manual.
Dancing Shoes is especially useful if you generate feature code with multiple scripts, languages and lookupflags within one feature.
But it can also ease the recurring task of applying features to all your fonts. Because you’ll most likely always use the same naming scheme for your glyphs (.sc for SmallCaps etc), you can keep these in a separate, hard-coded file, and re-apply them with one click or from within another script.
You initialize the DancingShoes object:
from dancingshoes import DancingShoes
shoes = DancingShoes(glyphs, features)
glyphs is a list of your font’s glyph names and features your hard-coded and ordered list of feature names.
Then you can add substitutions like this:
shoes.AddSubstitution('liga', 'f i', 'fi')
or, more complicated:
shoes.AddSubstitution('rlig', 'afii57457 afii57455', 'uniFC61', 'arab', '', 'RightToLeft,IgnoreBaseGlyphs', 'ARABIC LIGATURE SHADDA WITH DAMMA ISOLATED FORM')
You can then print the feature code like this:
or, in case of a FontLab font object, use the helper funtion (font being your FontLab’s font object:
from dancingshoes.helpers import AssignFeatureCodeToFontLabFont
For now, only substitutions and positioning lookups (Type 1 and 2) are supported. Which should be enough for most use scenarios. Other lookup types (like mark positioning) will be added later.
You’ll find it here, along with documentation:
But as always: Should you use it for production of your professional fonts, a donation is highly appreciated.
I'm having an issue with a family of windows postscript fonts that I've generated from Fontographer on the PC. When you go into ATM, only the regular and bold weights show up in the window.
When dragging and dropping the files onto the fonts folder, it says the .PFB is invalid or damaged for each font, but it still installs and I can use the fonts in any application.
Question: What encoding option should I be choosing when I generate the fonts (Windows 95, Windows 3.1, Adobe Standard?). Would that make a difference?
The fonts are named normally like Bold, BoldItalic, Black, BlackItalic etc. So I don't think it's a naming issue.
Any help is appreciated.
i have a litl question about how to make extra glypsh in fontlab
i have drawn 2 types of paragraph symbols and also an alternate capital Q now i would like to have both of them in the font.
could someone maybe tell me how to make new glyphs for these, don't know if this is to anny use but i'm working in MACOSroman mode
thank you kindly for the help
I don't know if it's an intelligent question, but I am trying to understand.
When you have to generate an OpenType font (OTF or TTF), is it better to consider the glyph coverage in terms of "Unicode Ranges" or "Codepages"?
Hi, I'm dropping some substitution features into a new font, and I'm wondering about how to code OpenType ranges.
For example: [a-z] will cover your basic alphabet, but won't cover accented characters.
Is there a way to write out a range that includes, for example, all lowercase characters?
Is there any documentation on this, or basic principles involved?
Obviously, I can do write out every character manually, but would rather do it efficiently if possib.e
I read through a bunch of old threads about Ornaments and Opentype. At the end of the day I'm still confused about how to implement my specific situation. I'm up to my old tricks with banners. In addition, i have small illustrations of things like people and such, plus some flower-type things. All total about 50 glyphs.
For making the 9 styles of banners I have it set up thusly: Using ornm or SS02 typing 1====1 yields a style one banner with four extensions. 2=2 a style two banner with one extension. The = is contextually replaced to match the appropriate banner endings. This seems very user friendly. The argument against is that the actual output has nothing to do with two's or equals. Is the only alternative to hunt and peck in the glyph palette? That would be tricky even when well-ordered because the banner extensions (=) vary slightly which is hard to detect.
What about the non-banner illustrations? Currently there is no feature to access them. I had considered subbing a-z -> orn1-orn26 but that was frowned on elsewhere. These seem less of an issue to hunt and peck for glyphs. Any advice appreciated.
Are there any FontLab users out there that know how to round corners for all the glyphs in a font without changing the weight of the glyph? There is no simple transform that does this function.
i'm actually creatin a new font and i want to create ligatures in the font. but i've problems with it. i am able to create ligatures as new characters but they doesn't work in the preview panel, not as fontlab data and neither as opentype or truetype. can anyone help me, what's my problem.
As most of contents are now written in unicode, there are some cases where two (or more) slightly different character from different language are emerged into one unicode codepoint, making them shared the same codepoint, but usually two (or more) different fonts would required to display them correctly because one glyph style are pointing to one codepoint only. So, what I'm thinking now is how can I merged them and include both glyph in one font because I am using both in same article, and there are some programs which can only load one font at one time despite have language tag support in it.
In my website, currently I'm using a language tag so that it would appear correctly according to the user-installed font's language. Maybe if I can create a font which contains all the glyphs inside it, I can embed it inside my website and user can loads them properly even if they didn't have the fonts (as it's embedded).
Maybe, or maybe not??
How about point the glyph to codepoint in different systems while pointing to unicode at the same time? Example, Unicode U+76F4 "CJK Ideograph" which is appearing as 直 (Wiktionary here) should render as the first image in simplified Chinese (China), Hong Kong Chinese, Singapore & Malaysia's Chinese and render as second image in Taiwanese Chinese, Japanese and Korean.
First image: Second image:
Maybe it's impossible to make distinction between Taiwanese and Hong Kong either Unicode or their own codepoint because it's still the same codepoint, but it might be possible to differentiate between Simplified Chinese, Traditional Chinese and Japanese in general? For example U+76F4 (直) that I used above, maybe different glyph can be pointed to character 0xD6B1 in Code 134 (GB2312, simplified Chinese), character 0xAABD in Code 136 (BIG5, traditional Chinese), and character 0x92BC in Code 128 (Shift JIS, Japanese) respectively and one "general" glyph when no selection made OR fall back to some kind of language tags between font itself??
I don't want to create three (or four) different font files just because it looks slightly different in a lot of characters in simplified Chinese, traditional Chinese, Japanese and Korean (Hanja) ... and that still not count to include the additional Vietnam's Chữ Nôm script which also came from Chinese and have same codepoints but displayed differently (I didn't include Chữ Nôm because I don't use it, but I do use Chinese and Japanese, in Malaysia both simplified and traditional are being used and we will write them differently in par with situations)
Sample text of Chinese in Malaysia:
The two looks different because the person who wrote it has tagged language code and it loads two different fonts to display, one for simplified Chinese and another for traditional Chinese (and it's in same paragraph). If only one font loaded, it would look the same (either one will display for both).
If you say that just make one glyph for all Chinese Japanese Korean Vietnamese, then it is same like "make one glyph for the latin letter 'a', Greek letter 'ɑ', and Cyrillic letter 'а' too" as they also looks identical. LOL
Even though Truetype font might not support, OPENTYPE FONT should be supporting some kind of things like this, right????
If there's really a way to make, please teach me how to get workaround, I'm making my own font.
Note that I'm using Font Forge (open-source) because it's just a hobby (though I really like to see my own font design) plus paid font creators are expensive
(basically anything over RM100 (US$29.88) is expensive because I'm a student dependent on study loan money only, which is RM2500 (US$750) (the loan amount will be decreased in future because of unstable economy), or after subtract study expenses become RM2000 (US$597.55) for 6 months or when converted to monthly will become only around RM333 (US$99.49) and many other basic things are already expensive, even food is RM10 per day in cafeteria now (RM5 for lunch and RM5 for dinner, no breakfast), food itself makes RM300 per 30 days (a month) and no one is allowed to cook food ourselves at this residential college. No jobs for students either, whether offline or online. That not include internet yet, my parent had to send me additional RM10 for buying internet as it's RM40 a month, for 100KB/s, with 1GB quota only, I can't hope on parents so much because my parents also only have RM900 (US$268.90) salary per month and need to pay more things at home)
Sorry for writing so long, though...
I'm following all replies to my posts...
After reading this post explaining the concept of using a separate stylistic set for each stylistic alternate:
I recalled I had learned that because of Illustrator's OpenType panel's limitations (i.e. it's not easy to access 'sets') you could, if you were so inclined, group SS01 with aalt and salt, and group SS02 with calt… although this was highly debated…
The reason I wanted to bring this up is that I'm about to complete a font that will have up to five or more 'sets', (where previously I've only used up to two SS01 & SS02) and obviously there's not enough other feature definitions (or buttons on the Illustrator Glyph panel) to make it easy to activate these sets…
How would you recommend moving forward, I like the idea of breaking the rules for usability, but I also like being consistent with how I do things…
What is the best way to implement multiple 'sets', yet still utilize aalt, salt, and possibly calt, and additionally titl, and why doesn't Adobe sync the OpenType panels interface between all of their apps? (Let alone all software brands)
I have just given a folder of font by a friend - however the formats are unrecognizable in my Mac OS X 10.6. The files are all in .afm .inf .pfb .pfm formats and I could not find the TrueType or OpenType format at all.
I have looked up on Google, they said it's a kerning format, etc.
But I need help on how to compile all of them into the .ttf format? So that I can use this typeface.
Thanks so much.