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Hi, all. Long time lurker, first-time poster. I'm working on a font project that includes an integrated set of Hebrew characters (actually, the project started out as a Hebrew font that grew to include a harmonious Latin script). Recently, the Hebrew characters (including the Shequel, but none of the other currency symbols) began "falling back" to TNR or some other default font, but only on Microsoft applications, including Word and Character Map. Other, non-Microsoft applications display the Hebrew characters correctly. I've done nothing to the OpenType script or any of the other "under the hood" stuff; I've just been drawing contours, adjusting bearings, etc. as I have been all along. Any idea what's triggering this?

When I paste a template into FontLab, it turns into a super low-res, ragged, totally useless thing...
Is this how it should be?


I have been spending all day trying to get support for OT fonts on my Linux machine, and the best I have done so far is with XeLaTeX. I have, however, been having a few problems getting Igino Marini´s Fell Types to work properly. I have control over all of the special OTF features, it´s just that the spacing is really messed up and they come out much smaller than I specify. I have gotten a few other OTF faces to work fine, so I´m not sure where the problem is. Can anybody point me to some assistance???

The example below is as follows:

Delicious at 10pt;
Linux Libertine at 10pt;
IM Fell Double Pica Pro at 80pt.


Hi folks.

I'm working at a project to make OpenType(CFF) fonts in FontLabStudio5.
I made a Multiple Master font(1 axis) to make a weight family.
Each master needed to have a differense positioning value (ex. valt or palt),
but I didn't know how to input positioning value to each master.
How do I input these values to each master?
Even if I can input these values into it, how can I get medium positioning value of two masters?
I want to get these values automatically just like the kerning values.
Does anyone know the clue?

Best regards.

Hello there,

I was under the impression that short-cuts to accents were keyboard dependant, but a french friend i'm helping out is having problems...

At this time there is just 2 tiny problems : (it's hard to explain, it's a very specific french rule). I need this : â ê ô î û - when I use first ^ and then the A (^+A) it works only for the cap the "ô" works only when I use alt+^ , and I really prefer ^+o ? and If it's possible I need the same combination for ä ë ï ö ü : MAJ+^+A, etc. can I have the "" when I use directly the " and " one the keyboard, not alt+" and alt+" ?

does that make sense to anyone? all the glyphs exist and I can't for the life of me work out what's wrong... help!


I am trying to make a Type1 Logo Font, with FontLab 4.6 on Mac OS X.

To get the best possible result (details), I am using a UPM value of 5000. If I could, I would go even higher. Does this makes sense or am I off track. Is there a limit on UPM value one can use? At a value of 1000, the shapes gets distorted while at 5000, this is almost perfect.

In Suitcase (OS X) I just can't see the glyph I assigned to the letter "B". Is there an easy way to generate this Type1 font for Mac?

What would be the most important parameters to use (in FontLab -- Font Info), to make sure it works OK?

Kind Regards,


Hello, I am very puzzled. I have created my font, including open type features (contextual and alternative styles). When I view the font in Illustrator Glyph panel (entire font list), I cannot see the very last glyph, which happens to be a contextual style. But everything functions as it should be, and viewing the glyphs with just the styling alternatives I can see the missing glyph. It's just not appearing when viewing the entire glyphs. Is this an Illustrator problem?

I have viewed the font in InDesign, and everything is fine here.

Any advice would be appreciated

Hi there!

Just a basic question:

  1. I build a 5 weight/sans and sans-serif/regular and oblique typeface within Adobe Illustrator which I am quiete familiar with.

  2. I downloaded a Demo-Version of FontLab5 to get myself familiar with the next level, go from designing the letterforms to actually "making" a font out of them.

  3. My question is: how is it possible to set multiple charactes per glyph for an OpenType-font within FonLab?

For example if I have two or maybe three different forms for an "N" character I want to have those accessible from within a sophisticated glyph table menu as it can be found in Adobe-applications like Illustrator or InDesign.

I think i read that it is very possible to set up six characters per glyph. I just can not figure out how to do so within Fontlab.

Some hint or short advise from anyone would be greatly appreciated :)

Very best,


My client has a corporate font (Unit Pro). The company produces many multilingual documents in languages using Latin script as well as in Chinese. Is there a way to tell Windows something like: if Unit Pro is selected and some characters are missing, use "Custom Chinese Font" instead? In other words, is there a way how to define custom fallback font for Chinese glyphs under Windows? Any help appreciated.

Pardon me if this has been asked about, search is useless. This is FL 4.6...

I've got a completed font that I'd like to generate. Both names and unicode numbers are right. But, when I view the font in index mode, the glyphs are all in the wrong position, and this shows when viewing the font in the glyphs window in Adobe Illustrator.

How do I get the index corrected?

Hi all,

I'm designing a handwriten font wich contain many alternate sets of characters and I programmed a calt feature to randomize it. The feature contains a lot of lines mixing and conditioning the substition of each character. I thing the sintaxis is fine and the replacement works fine too, but when I increase the number of characters in each of the classes used in the code the output panel shows the following warning:

[FATAL] GSUB feature 'ÿÿÿÿ' causes overflow of offset to a subtable (0x1140a)

(I don't know why the name of the feature is swhown without the correct name).
I guess it means the code becomes too heavy but searching and reading a lot of posts of similar bugs I concluded that the responsible of this issue was the program. So I decided to try compiling the font in an older version (FL 5.0) and there aren't any problem and the compiled font works fine.
Please tell me what can I do to improve my version of FL to avoid this issue. Any comment will be appreciated.

I thought this might have come up here before, but I can't find any discussions about it...

Is it possible to include an accented character in a font name? FontLab allows it in some name fields, but not others. This leads me to wonder if such a discrepancy (some name fields with the accented character, some without) would lead to technical problems for users.

I've found at least one font with an accent in the name: ITC Odyssée. It appears that the accent is used only in the "trade name" as it appears in specimen books and such, not in the actual font name. I'm not sure if anything usefull can be deduced from this.

Ok, so here's a random question. Some background first... I've been doing some OT conversions for a friend who's done some beautiful work using only FontCreator (he must be more patient than i) and i sent him a couple versions, including a TTF with OT info. Would he be able to make minor adjustments in FontCreator without throwing off the embeded OT instructions? If so what are the limits? Any insight would be helpful. thnx again.

I have generated my first Opentype(.otf) font and I am currently testing/tweaking the font on various Apps.

My Font runs like a dream on Word 2007, but strangely enough the Font won't appear in 'Preview' mode in Illustrator. In 'Outline' mode it is there in black as if it's in 'Preview' mode, but in 'Preview' mode it appears white(invisible). And I can't recolor the font in 'Preview' mode. The Font appears as WYSIWYG in the Font List Menus.

Also, the Glyph Palette shows the individual Glyphs as being invisible. (I couldn't even be bothered trying to insert a Glyph from the Glyph Palette as it is wrong to be invisible to start with!)

The same is happening in InDesign. (Both CS2)

Any ideas?


Hi all,
When using the auto hint macro is it normal to get along list of corrections in the output window.

Are these corrections the macro has made, or are these corrections I need to make. I ask because if I run the macro again on the same font I still get the list of corrections, so I’m sort of thinking the corrections haven’t been made.

I just started working on a typeface for personal use and I want to design it work at a specific point size (11 pts to be exact). For this specific type project, it doesn't matter to me if it works at any other point or if it works in print, just on screen at 11pts.

With that in mind, how should I get started? I've been playing with UPM and different cap, x, ascender and descender heights in Fontlab but I haven't been able to settle on the right starting point. I guess my big question is, how would you get started on a project like this and what should I keep in mind to optimize a font for one really specific situation like this?

What's the best way to avoid an application conflict between the Book and Regular weight of a typeface family?

If there is a problem caused by an application going by the weight number -- and they are both designated as 400 -- rather than the weight name, is the solution to give the Book weight a numerical value of 350?

(The problem is that I already have a Light [300] and a Regular [400] weight, and a further weight in between is to be added, which would seem to indicate Book as a name.)

as participated in the inaugural World Cup in 1930, one of 13 teams, only one Chilean history record of consecutive World Cup, and after successfully reached the World Cup finals in Brazil, Chile, the team was finally able to 2nd consecutive appeared in the World Cup. Team profile: Chile is a traditional South American teams, the team had eight times in the history of the World Cup. Chile coach is 53-year-old Argentine Sam Poly, led by Chile's National University after the team won three league championship trophy, he was December 3, 2012 in charge of the Chilean national team began pointer. Sam Poly took over the team in the South American qualifiers before Chiang Kai-shek suffered three straight, he commanded the first World Cup despite 0-1 loss to Peru, but then 6 has 5 wins and 1 unbeaten team also successfully gained promotion eligibility. History appears: Due South American qualifying tournament is very special, all applicants must each team playing two rounds of the tournament clash, so Chile in their first World Cup qualifier back in October 2011 had already started, but they Argentina 1-4 on the road but was massacred, and the second cycle to the home of Chile defeated Peru 4-2 to get the three points, but the first three on the road they lost to the other enemies Uruguay 0-4 from the first four beat Paraguay 2-0 start, Chile ho to take qualifying three-game winning streak, but three victories seemed to have run out of luck in Chile, from the first eight starts first in the 1-3 home defeat to Chile, Colombia, and subsequently 1-3 away defeat to Ecuador in the first 10 home encounters Argentina, Chile and the strength of incompetence by opponents 1-2 double play, first to 11 guest Peru, Chile Youyi score 0-1 defeat. 4-game losing streak all the way down in the standings in Chile, the team qualify for the World Cup prospects in jeopardy. Turning point arrived in December 2012, replacing the poor record of the Chilean team coach, coaching, such as tool change, from the beginning of this year, on March 26, Chile's first 2-0 defeat at home to the poor state of Uruguay, then in defeated Paraguay 2-1, 14 and 15, Chile has 3-1 and 3-0 at home to win over Bolivia and Venezuela, the first 17 on the road despite being 3-3 draw with Colombia, but in the end round and a direct competitor in the battle, Ecuador, Chile fulfill the mission home game 2-1 defeat opponents, they are also able to score the third in South America directly qualify for the World Cup finals. Core players: the core players and the team's top star in Chile, nature is playing for Barcelona Sanchez, now he has been capped 64 times into 22 balls, the number of active players is up to his goal , but only less than 15 goals top scorer in the history of the Chilean team Salas on next year's World Cup in Brazil, Sanchez's decision to play will be the key to the team can go far. Entry History: The first World Cup in 1930, the Chilean team 2 wins and 1 stop at the first round of the World Cup again in 1950, a Chilean team wins and 2 losses still to be eliminated in the first round. 1962 World Cup in Chile native, the team achieved its best performance of the first three, but then the 1966, 1974 and 1982, this third World Cup, crashed out of the group stage all the Chilean team. 1998 World Cup in France, Chile, for the first time outside the home team finally advance to the last 16, 2010 World Cup in South Africa, they are re-entering the elimination round, and in the World Cup in Brazil, Chile goal will be to continue this success. (Anckie)


I have just introduced myself as a newby in the General Discussions Forum, so I will not repeat that. My question: Does anybody know a English->German Dictionary of the technical terms in type-design or pre-press? An extensive monolingual glossary would do as well. Thanks in advance! MAT

TTHmachine is a new tool for applying hinting instructions to True Type fonts.
It is a Windows based IDE with glyph rendering ability.
This release is a free beta download and is still under development, so any feedback is welcome.

Allan Murray

Does anyone have a list of commonly colliding accents they'd be willing to share? I'm mainly looking for Latin 1,2,3,4.

What I mean is this:
To accomplish drawing a monoline font, are there any font file formats, existing or dead, that make use of a single open vector path shape to trace the spine of a glyph? I seem to recall this in the distant past, but maybe I'm mistaken.

Of course you're asking why? Someone asked me and I thought I'd get a definitive answer here.

thanks all,

SO I'm making parallel paths and there are certain glyphs (K and V) so far that shut FontLab down for some reason, it just quits out of nowhere. Also, when I'm going through the face making parallel paths, my keyboard shortcuts will stop working and then eventually FontLab will just shut off..

Anybody know what's going on?

I can't remember how to get the alternative glyphs to show up in the sub menu in layout applications like the image below. I figured it out about a year ago, but now I can't find any of that information. I'm hoping someone here will help.



I need to find a Fontographer book in pdf, any idea where i can find one.