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Trying to figure out how to get the non-breaking space ( uni00A0 ) working for me in InDesign. I have a type family that I'm working on that uses it contextually. So if you are typing in French and use quotes with a space between text you will get no line breaks even if you type a regular space. I also made the non-breaking space narrower to work better optically.

In Illustrator this feature works just fine, but in InDesign I can't even type in a non-breaking space (option space on mac). The only way I can access it is by double clicking it in the glyph palette. Since its in the feature code, there is a submenu under the regular space for accessing it, but that doesn't switch it either. I'm wondering if InDesign has some way of handling spaces that is disabling this. Any ideas?

I am sure I am not the only one that has fallen victim to the font book badness. I had all of my fonts neatly collected into the folders in which they should be. House industries, Carson.... yada yada...

Apparently when I activate them in font book it pulls them from that folder. Does anyone know a way to recollect them from font book and put them back into the folders they were pulled from?

Has anyone else experienced this? In the Metrics window I'm typing characters directly and they won't appear. i can get them to show up if i type a slash before the character name, ie /ampersand for &, but it shouldn't be that hard. any ideas?

A friend of mine gave me set of typefaces. When I try to download it, every single typeface is called "regular", even though in finder they are all titled differently. Is there anyway I can change the name of these typefaces?

Hey guys. I'm working on some OpenType funnies for a project where I replace letter combinations with ligatures that contain visual "dirt", or are actually misspellings, or interfere with the text around it. This is easy: in the liga feature I sub the combos. But here's the thing. The combinations happen every single time, so a pattern still surfaces. If I can loop through a list of three or four variations for a few of the more common ones, it won't be so obvious and people will bang their head to the wall in irritation a lot more effectively.

I've tried wrapping my mind around the "Phinney" OpenType randomisation bit, but if that's the method, could someone give me a pointer as to how to get that? I sure as hell don't right now.

I can't for the life of me figure out how to set up fontographer to let me draw an 18 pixel (maximum difference between longest ascending bit and lowest descending bit) font.

Whats the magic formula for the Ascent, Descent, Em Square, for me to be able to draw a 18 pixel tall grid in the Guides layer, that'll let draw pixels into it and then generate 18 pixel bitmaps that are identical? (13 px above the baseline, 5 below).

I'm an Asian font newbie utterly flummoxed with trying to find appropriate web fonts for a website.

For western European languages the site will use Helvetica Neue Light, Helvetica Neue Bold and Baskerville Italic.

But the site will also appear in Mandarin, Cantonese, Japanese and Korean, and I'm trying to find web fonts for those languages that are appropriate equivalents of Helvetica Neue and Baskerville Italic.

Googling for recommendations has just confused me further. Some people even suggest there's no sense using web fonts for Asian character sets because the file sizes would be impractically large. Others suggest that italic fonts aren't appropriate.

Can anyone help suggest what approach I should take here?

Any advice very much appreciated.

OK, so it's not really a contest. As FontLab would kick TypeTools ass.

However it's time for me to purchase some font software for use at home (I'm still rocking Fontographer at work....gotta love them whoosh and bleeps!) but I'm wondering if TypeTool would be suitable for use at home, or is it gonna be a case of tying a hand behind my back for the sake of a few hundred quid?

Obviously, it down to what I intend to do, but; I don't want to count anything out. I have grand intentions for my sketches and scribbles and would be super vex if I found something I desperately want is missing from the cheaper option. So I'm interested in full featured opentype with ligatures galore, serious kerning tools, and also a heavy duty proofing system...and quite probably in the future numerous things I don't understand yet.

Slightly random, but I'm definitely a freehand tool style fan, as opposed to Illustrator style method of handling points etc. Do either lean towards one of those methods?
From what I've picked up reading the forum, a majority of you use FontLab, I rarely see anyone discussing TypeTool. I guess it's case of you get what you pay for?

Thanks in advance for any advice imparted, and apologies if there's already an existing thread discussing this.
Peace y'all!

Hello everyone.
Has anyone tested to see if Fontlab works okay in Apple's newest OSX, Yosemite?

Hi,

I am really very new in Typeface design and need your help and suggestions in use of various softwares. I have designed few fonts using Illustrator and they are in illustrator pdf or eps format. Now I want to digitalize them and convert them to Opentype or Truetype or Potscript type format. How to go about it from the files I have? I have Fontlab, Corel Draw, Adobe softwares. Can these files be directly imported to any of these softwares and then convert them to one of the Type formats?

I will really appreciate your help and suggestions. I have never used Fontlab studio before and I was trying to open these files but it didn't open in Fontlab and I couldn't find any Import option as well.

Thanks in advance,
Typomaniac.

I have done all the spacing and kerning for my font, except the "foreign" letters, like

i am currently investigating possibilities to randomizing handwritten fonts to enable the placements of variable glyphs. i am new to this subject, so any input would be highly appreciated. thanks.

Hi all,

I've been having a problem with my ascenders and descenders brushing up against each other when lines of type are set in my new typeface. I'm using FontLab, and from what I can tell from reading the manual, my problem lies in adjusting the line gap. When I do this, regardless of the amount I put in, the baseline never changes. I'm completely stuck. Any suggestions?

Pretty please? Screen grab of FontLab

I regularly create fonts for scripts encoded outside of Plane 0 of Unicode. I haven't been able to properly encode these in FontLab (which is all I have), so I have to continue using a legacy encoding which places these characters in the Latin-1 range.

Specifically, I'm talking about my fonts for the Shavian alphabet, but I use others as well. After searching the forum history, I've found nothing that looks like a solution to this problem, so I appeal to you for assistance. I considered simply creating a new codepage (something with which I'm not really very familiar), but FontLab doesn't seem to recognize the correct Unicode code points anyway. I suppose I could go ahead and try it, but failing that, does anybody have any suggestions?

hi, everybody
i just completed a font with about 1200 ligatures (Grec du Roi) and I need to know if it's possible to make all that substitutions in one Liga feature. Is there any limit? Can I add more than one Liga feature in the same font (Liga1, Liga2...)?

Konstantinos Siskakis
Anagrafi
Greece

Hi,

when I look into the font folder of, let say Palatino, I find 5 files. One is the “Font Suitcase” and the icon bears the letters FFIL. The 4 other files are “Postscript Type 1” and the icons bear the letters LWFN.
My questions are:

What do FFIL and LWFN stand for? Is the “Font Suitcase” a bitmap font?

To rephrase the previous question:

What's the FFIL file for and what does it do?

Cheers,

Seb

I'm still trying to wrap my head around the OpenType Layout Algorithm. Here's what I have currently, largely adapted from Pecita and OTFPOC:

``

lookup calt_pass_1 {

    sub @can_2s' lookup plain_to_2s
        @can_s2' lookup plain_to_s2;

    sub @can_s2' lookup plain_to_s2 # matched in [roe][it] 
        @can_2s' lookup plain_to_2s;


    sub @can_2b' lookup plain_to_2b
        @can_b2' lookup plain_to_b2;

    sub @can_b2' lookup plain_to_b2
        @can_2b' lookup plain_to_2b;

} calt_pass_1;

I'm trying to figure out what happens when this sort of thing is applied to an arbitrarily long text string. I'm making a script font for Quikscript (3 MB PDF), and I'd like to be able to correctly represent the highly-ligated Senior Quikscript when 'calt' is turned on. If you'd like to see Quikscript, both Junior and Senior in action, turn to the antepenultimate page of the manual. Note that Senior Quikscript has a lot of abbreviations that're in use in the "As written in" section; you may want to have a look at the last word on the page, which is "impossible" written with only one penlift.

Questions:

  • If I apply calt_pass_1 to a four-letter string, letters 2 and 3 won't shape each other. How do I design subs/lookups so the middle letters can affect each other, as well as the letters they're already (maybe) connected to? As I've written things in my font, I can't guarantee that a second pass will start at the second string instead of the first if there's nothing to change about the first character in the string.
  • Words with an odd number of letters occur frequently. How can I design my subs so I'm guaranteed to be able to change them too if I'm subbing letters two at a time?

Please chime in if I'm not being clear; I've tried to strip out some detail that depends on knowing how Senior Quikscript letters are formed. If it'll help, I'll be more than happy to draw pictures of what things should look like.

Salutations,

I have been having some problems lately.
I transfer my letters from Illustrator into Fontographer (holding down option while copying and pasting), clean it up, kern it, and finally suitcase it. Yet when I use it in Illustrator it's always smaller than other fonts (ie. Any 24pt script font appears larger than my script font at 24pt ).

Anyone have any suggestions as to what I am overlooking? I would greatly appreciate it if you could!

Thanks
dave

Hi all, this is my first post here.

I'm quite a newbie on font creation. I always wanted to create a font, but only recently I got the chance. I am trying to make a font to match my company's logo, so that I can use it in its corporate identity (I didn't use a font for the logo, the characters are crafted "by hand", so it was a great opportunity to finally design a font of my own, based on the logo's characters).

I have designed all the glyphs in Illustrator CS3, I inserted them in FontLab after reading lots of tutorials on the matter, and then exported the font in .otf format.
The otf format looked terrible on small sizes on screen (I'm using Windows Vista, if has anything to do with it), so I tried TrueType (.ttf). That looked much better, but in sizes less than 12pt, the characters look like they have different heights (and they don't!). In print the font looks very nice, and in sizes more than 12pt, it looks nice on the screen as well.
Any ideas about that? I read something about hinting here, but I'm not sure its related to the issue I'm having.

Another issue: I added some ligatures and they work fine in applications like Notepad or MS Word (strangely enough, judging by the issues that I read other people have with MS Word). However, when I type a text with that font in Illustrator CS3 and that text contains a ligature, I get the message "Can't finish previewing. There is not enough memory" and I can't switch to the normal preview until I delete the part of the text that contains the ligature. Any ideas about that?

Thanks in advance!!

PS: Sorry for any english mistakes, its not my native language.

1) I can't get them to work in Photoshop. Details, please!

2) Has anybody used them?

3) Has anybody made them?

hhp

Has anybody made the switch from Fontographer to FontLab? If so what do you think? Ive downloaded a demo and Im going to have a gander.

The SignWriting script is universal for the sign languages of the world. Any sign language can be written by hand or with a computer using the SignWriting script.

For computers, individual symbols were designed that represent hands, actions, locations, timing, dynamics, punctuation, and more.
http://signbank.org/iswa

The individual symbols are used in 2-dimensions to create meaningful signs that equate to a word.

The SignWriting standard currently uses SVG and a lite ASCII markup to support the script. The ASL Wikipedia is a great example. It has over 50 articles. It uses the Vertical Writing Mode which is available everywhere but in Firefox.
http://incubator.wikimedia.org/wiki/Wp/ase

3 years ago, Typophile members helped me automate the construction of a truetype font using FontForge. We were able to load 37,811 glyphs indexed against 674 PUA Unicode characters.
http://signpuddle.net/iswa/#smartfont
http://typophile.com/node/78542

Additionally, we were able to leverage Graphite to support the 2-dimensional nature of SignWriting with an additional 505 PUA Unicode characters.

If you install the 6 MB font file, you can see the experimental smart font in action on the SignWriting Font test page. It requires Graphite which is enabled in Firefox by default.
http://signpuddle.net/iswa/swfont_test.html

For the official Unicode specification, the SignWriting symbols were split from the 2-d layout characters. The first proposal has passed through the various committees and will be released in Unicode 8 next year.

The second proposal to handle the 2-d layout has not been started. A working character prototype is available with Private Use Area Unicode characters and the TypeType Font listed above.

Currently, there is no font that supports the Unicode 8 characters for SignWriting symbols. I would like to help to create such a font. Recently, I found the specifications for SVG Glyphs in OpenType Fonts. I wish this would have existed 3 years ago.

The ISWA 2010 SVG Refinement is a 2-color font where every symbol is a described as a unique glyph with an SVG string. Each glyph is identified by 1 to 3 Unicode characters on plane 1. There are 37,811 glyphs in the font.
http://signpuddle.net/iswa/#unicode8

I have a data file which contains the raw material needed to create a working OpenType Font based on SVG Glyphs. Inside is a text file with 37,811 lines. Each line starts with the Unicode 8 name, followed by a tab, followed by the SVG.

ISWA 2010 SVG Glyphs with Unicode 8 names 1.1 MB zipped, 24 MB unzipped
http://signpuddle.net/iswa/iswa_unicode.zip

The first 2 lines look like this
u1D800 <g><path... u1D800_u1DAA1 <g transform=...

I am hoping to automate the construction of an OpenType Font for SVG Glyphs. If any additional information or data is required, I can provide or reformat as needed.

If you have any ideas, I would appreciate the help. In theory, the project should be quick if I knew the right tools or knew the right freelancer.

Thanks for reading.
-Steve

I have a number of fonts that I'd like to remove permanently from my computer. (windows XP),
these include:
Frankin
Marlett
Microsoft Sans
Sydnie
Webdings
ZWAdobeF
ITC American Typewriter
Antiaue Olive
Banco
ITC Bookman
Carta
BrushScript
Adobe Caslon
Cooper
Eccentric
ITC Eras
ITC Flora
Kaufmann
ITC Machine
ITC Officina
Serpentine
Sonata
Listho
ITC Lubalin

these are the worst offenders, there are others.
I've tried searching for the files but the system doesnt find them, and have deleted everything except the essentials (Arial, Courier, Verdana, Tahoma) from the Fonts folder in the control panel.
Some fonts appear in some applications and not others. Eventually I'd like as few typefaces loaded permanently as possible.
Anyone know how to acheive this?

Hi all

Is it possible for a Robofab script to affect all the masters in a Multiple master font ?

I have a MM font with a Light and a Bold Master. I'm kerning this fonts and to speed thing up slightly I wrote this little script to transfer the kerning amount to glyph pairs with the same shape. The script works but only on the light master - is it possible to haveit work on both masters.

` from robofab.world import CurrentFont f = CurrentFont() kerning = f.kerning

OA = kerning[('O','A')] AO = kerning[('A','O')] OV = kerning[('O','V')] VO = kerning[('V','O')] OW = kerning[('O','W')] WO = kerning[('W','O')] OY = kerning[('O','Y')] YO = kerning[('Y','O')] OX = kerning[('O','X')] XO = kerning[('X','O')] OT = kerning[('O','T')] TO = kerning[('T','O')] KO = kerning[('K','O')]

kerning[('A','C')] = kerning[('A','G')] = kerning[('A','Q')] = kerning[('A','OE')] = AO kerning[('D','A')] = kerning[('Q','A')] = OA

kerning[('V','C')] = kerning[('V','G')] = kerning[('V','Q')] = kerning[('V','OE')] = VO kerning[('D','V')] = kerning[('Q','V')] = OV

kerning[('W','C')] = kerning[('W','G')] = kerning[('W','Q')] = kerning[('W','OE')] = WO kerning[('D','W')] = kerning[('Q','W')] = OW

kerning[('Y','C')] = kerning[('Y','G')] = kerning[('Y','Q')] = kerning[('Y','OE')] = YO kerning[('D','Y')] = kerning[('Q','Y')] = OY

kerning[('X','C')] = kerning[('X','G')] = kerning[('X','Q')] = kerning[('X','OE')] = XO kerning[('D','X')] = kerning[('Q','X')] = OX

kerning[('D','T')] = kerning[('Q','T')] = OT kerning[('T','C')] = kerning[('T','Q')] = TO

kerning[('K','C')] = kerning[('K','G')] = kerning[('K','Q')] = kerning[('K','OE')] = KO

f.update() print "UpperUpperKern Done" `

Hello to all,

I am working in a "confidential" project and I need to generate a font with the open contours.
FontLab closes the contours when generating the font (in any format)...

this is possible from FontLab?

thanks in advance!

Eduardo Manso [www.emtype.net ]