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This topic has come up before but... I'm still confused.

I have a font with six weights:

How do I make them appear under one menu name
and also be completely cross platform compatible?

I know I need to style link them but...
I'm unclear as how to do it.

I've studied Brioso Pro and Warnock Pro
but I've only come up dry. I understand
FDK is at work but it should be possible
with FL right?

Any help would be great appreciated.

Eric O.

Is there any way to enter a carriage return into the font notice/copyright fields in FontLab (5.1.3/MacOS 10.5.8)

I've tried all imaginable (I think) combinations of modifier keys (option, shift, command, control) and they all simply dismiss the font info dialogue box, and \n doesn't seem to be recognised either.


I found this via Gerhard Helzel's site.

Classical Text Editor is apparently a well-established and long-maintained Windows program that recently added OpenType support, despite the fact that it's written in... Delphi?!?!! I'm impressed!

I am trying it now and having trouble getting the OpenType features to work, but I'm also using the Windows 7 beta. Let me know if you can control the features. To switch the rendering engine to OpenType, go to Format menu -> Document item -> Font tab, and switch the engine to OpenType. Then you will see OpenType feature checkboxes in the Format -> Font dialog.

I recommend Vista for this. You can supposedly get to it in XP if you transplant the Vista version of Uniscribe, which is tedious yet possible.

I understand that "Nodes at Extremes" are a necessary part of hinting.

And though I do NOT understand the subtleties of hinting (I just click F7) putting nodes at extremes has broadly become the way I draw most curves anyway.

When my glyph has a broad curves at the extremes or corners that turn at the extremes, everything is honky dory...

But things don't always work out that way:

When I put nodes at the extremes of tiny curves (like in A,V and W glyphs with diagonals that have rounded edges) the curve gets wobbly.

Do I need to turn my UPM up to 2000 to handle the fidelity for these fine curves?

Or can I just not worry about it and let my nodes just be really close to the extremes in those few cases?

I DO plan to generate both OT type 1 and Truetype eventually...

May it be, that there is the following bug in Quark XPress 8 (Windows)?:

If an OT feature contains the language statement "language DEU;", Quark XPress ignores all the following features. The feature itself (the one, that contains the language statement "language DEU;") works.

In this case the font was built with FontLab and did contain one languagesystem statement only, namely "languagesystem latn dflt;". (More to the point, that’s the default statement of FontLab, isn’t it?)

And I think, there is another bug:

If a feature file contains the statement "languagesystem DFLT dflt;" only (font built with MakeOTF [AFDKO]), but not the statement "languagesystem latn dflt;", none of the features work, at least not in German.

Oh, maybe another bug:

Quark XPress seems to dislike substituting spaces in features. Example: While "sub space x space by x;" would not work, "sub slash x slash by x;" works as intended.

Can anyone verify one or more of these bugs?

Disclaimer: This posting represents my personal views.

Sometimes, both the font developer and the user would be better off if with several separate fonts instead of a font that is heavily loaded with various stylistic variants. If your font includes four different kinds of decorative initials along with a regular uppercase and regular lowercase, you may decide to offload the decorative initials into separate fonts. Putting various kinds of glyphs into one font file typically makes sense if you wish to minimize manual user intervention (e.g. when certain glyphs should be inserted contextually along with other glyphs), or if you wish to have kerning between specific glyphs.

A typical border-case for a decision whether to put glyphs into a separate fonts or into one font is small caps. Some font developers choose to offer smallcap fonts as separate fonts rather than integrating these smallcaps into the basic fonts.

One advantage of such fonts would be that they would give users access to smallcaps in applications that don't support OpenType Layout features. Also, some typeface designs simply do not have lowercase but only have smallcap forms (e.g. Chevalier or Trajan Pro).

I would like to discuss such scenario. If such font is offered in OpenType format, it should include appropriately defined OpenType Layout features.

A smallcap-only font should include:
— uppercase glyphs named "A", "B", "C", associated with the normal uppercase Unicode codepoints
— smallcap glyphs named "a", "b", "c", associated with the normal lowercase Unicode codepoints

Optionally, it could also include a second set of smallcap glyphs named "A.c2sc", "B.c2sc", "C.c2sc".

Ideally, the font should also include at least two sets of digits, punctuation etc.

One scenario would be that the default glyphs for digits and punctuation named "one", "two", "question" etc. associated with the regular Unicode codepoints are the ones suitable for all-smallcap setting (i.e. smaller). In addition, the font would include a second set of digits and punctuation named "", "", "" etc. that would be sized so that they would work in an all-caps setting.

The other scenario could be that the default glyphs are made so that they work with a mixed uppercase+smallcap setting, and a second set (smaller, named "one.smcp", "two.smcp", "question.smcp" etc.) is provided to work with all-smallcap settings. Optionally, a third set (largest, named "", "", "" etc.) is provided to work in an all-caps setting.

Let's consider the feature definitions for such font:

feature titl { lookup titl1 { sub a by A; sub b by B; sub c by C; sub one by; # Only if you have separate all-uppercase digits sub two by; # Only if you have separate all-uppercase digits sub question by; # Only if you have separate all-uppercase punctuation } titl1; } titl;

feature case {
lookup titl1;
} case;

feature smcp {

This feature definition only substitutes digits

and punctuation from the default forms

(whatever they might be) into forms that work

in a mixed uppercase+smallcap setting.

If the default digits and punctuation work fine,

the "smcp" feature should have one idle substitution,

e.g. sub .notdef by .notdef;

sub one by one.smcp;
sub two by two.smcp;
sub question by question.smcp;
} smcp;

feature c2sc {

This feature substitutes uppercase letters

as well as digits and punctuation

into forms that work in an all-smallcap setting.

sub A by A.c2sc; # Could also be sub A by a;
sub B by B.c2sc; # Could also be sub B by b;
sub C by C.c2sc; # Could also be sub C by c;
sub one by one.smcp; # If your default digits don't work in all-smallcap
sub two by two.smcp; # If your default digits don't work in all-smallcap
sub question by question.smcp; # If your default punctuation doesn't work in all-smallcap
} c2sc;

This is the general principle. If your "smallcap digits" in this font are oldstyle figures, you could also include onum and lnum features, appropriately. You could even be creative and have four sets of capital letters: tall uppercase (as "A", "B"), 85%-sized (as "A.smcp", "B.smcp"), 75%-sized (as "a", "b") and x-height sized (as "A.pcap", "B.pcap"). The font could contain smcp, c2sc, pcap, p2sc and probably also ss01, ss02 and salt to map between the various sets.


The PANOSE System?
Is Panose a necessity?
What implications are there for using it well and not using it properly?
A lot of the various selectable terms seem pretty general.
I'd love to hear from anyone here on this topic.
I've searched here but got generalized usage of the word.
Have been to and understand what it is, but is it a necessity?
Is it up to me to select whether a font is one thing and not another, when some of the terminology break-ups are close in meaning to another word in the list. (I know some are distinct but some seem not that different)
Does getting PANOSE right matter? Does using it?

Any thoughts?
Cheers In Advance


Anybody know a way of programming a font so that it remembers you've typed a letter, and the next time you type that letter an alternate glyph is used? This would be useful in distressed fonts. Ligature substitution is ok for double letters but if I type a word like 'dada' say, and I want to make sure the distressed look isn't repeated, it doesn't help.

I have a feeling it should be simple enough to do this - somehow get typing a letter to flick a switch and then if the same letter is typed while that switch is on, substitute an alternate glyph then reset the switch.

Any ideas?


I know that the encoding of stylistic glyph variants with unicode PUA code points is frowned upon, and all of our commercial OT fonts contain no PUA encoding. But many of our customers are sign makers, and sign making software is generally not OT savvy. The only way for these clients to access stylistic glyphs, is via Windows Character Map, and that requires a glyph to have a unicode codepoint. Is there any "best practice" as to using PUA that will allow this?


There's plenty of info about kerning in the Fontlab manual, but very little about spacing, which is very important to get right before you start kerning.
I've been messing around with Fontlab for ages trying to figure out how to create the equivalent of Fontographer's equivalence classes. Fontographer had a very simple but effective way of applying the same sidebearing values over a range of characters with similar characteristics, ie. take the sidebearing on the left of cap H (the base character, just H by the way, and not _fog0, H) and apply the same value to the left of B, D, E, F, I, K, L, M, N etc. You could copy and paste the characters from the metrics window into the metrics assistance 'apply to these characters' line.
Is there no way to do this in Fontlab? Is typing the characters the only way to do this? It can be particularly long-winded if, say, you are doing a Cyrillic alphabet and you have to type afii10058 (or whatever) for each character.
And another thing: I can't seem to delete a line once it's there - no delete possible? What happens if I want to get rid of the whole lot and start again/or import metrics from another font instead?
Also, when you click on the apply and save button the Metrics Assistance window disappears and you have to go and open it from the menu again.
It's all a bit clumsy and non-designer friendly, more aimed at programmers I'd say.

I'd appreciate any help on this

Thanks in advance

Nick Cooke

Hi all,
I have made a regular weight font. In Microsoft platform, applications still able to get the bold version (lets say when I press the bold button in MS Word). My question is how this default bold behavior is calculated and can we tune this default behavior using FontLab.

And there is a small question what is the difference between "Normal" and "Regular" weight?

Best regards,

the glyph is pasted in the lower left corner and i am unable to move it to the baseline ect. any thoughts? cant move

I have a question with regards to the OpenType ornaments feature (ornm):

How can I activate the feature in Indesign? In case of Adobe Caslon qwwwwe should be replaced by a border. I mean, I know, how to access the characters with the glyph pallet, but can I access them in the same way as the ligatures by activating the feature?

I only found the explanation in the OpenType specs, but it is no help:

Any help much appreciated.

Hello to all!

I've just went live with a simple tool to generate encoding text for FontLab.

It's still in a very early stage (I'm sorry if it's still too painful), but I want to share it with you guys in order to have feedback/suggestions.

Here's the link:


Ok, pretty new to this but anyways...
I have downloaded the .txt kerning pairs document here at typofile long time ago, usefull info. I see in Fontlab - Kerning Assistance - that one is able to open Kerning Assistance files and .txt files as well. How do I do this? And can I use the kerning pairs.txt?

Utilizing Microsoft Word and Windows XP, how could one easily access a font's glyphs (ligatures, old style numerals, etc.) without having to go through the cumbersome process of copying and pasting from the font's character set?

Many thanks!

I'm checking the kerning of an OT font that I thought was close to finished. Everything looked to be working well in Illustrator and InDesign except the OX and ox combination don't kern. XO and xo combinations kern in. But OX and ox don't. I just realized the same thing happens with the small caps.

I can't figure out why. The OT features compile no problem. The Kerning Assistance Tool finds no errors. It all looks good in the Metrics windows. All the OAO, OVO and OYO combinations work properly. The X glyphs are just about the only glyphs not part of any kerning class in this font. The O is part of the C class on the left and the D class on the right. The o is part of the c class on the left and the b class on the right.

I'm not sure what to do to fix it. Does it make sense to put the X into a class by itself? With just the one glyph in the class?

I'm surprised no-one has asked this before on Typophile (my search at least yielded no results). When generating fonts in FontLab I often get the message:

[WARNING] The feature file OS/2 overrides TypoAscender and TypoDescender do not sum to the font bbox size!

I assume this has to do with the metrics settings somehow, but no matter how I play around with the metrics this message won't go away.

O ye wise, what is wrong, how did I cause it, and how do I make it go away?

I know that if I go somewhere over 9000 I will get errors when generating an opentype postscript. I would think that there would not be a limit on how many kerning pairs a font can have.

Thanks for any information pertaining to this.


Does anybody know of a (complete) list of fonts ready for Cufon use? Of course, i'm not looking for "Ten Awesome Free Fonts". I pay good money. Or rather, my customer hopefully does.



Hi all,

I have a TT opentype family that I've generated, which works fine on the mac but when trying it on the PC in Indesign CS 2 it doesn't. I can see the name in the font list but when I select it the font doesn't change and that font style is removed from the font list. I know this could be any number of things, but are there thing I should be checking when I generate the fonts. I've generated the PS font family which works fine on both platforms.


Hi all

I know this is a long shot but is there a macro or method to create glyph components from a mask. I have a large italic font, the accents glyphs were made up from components of the base glyph and accent. These glyphs have been mistakenly decomposed but I need them as components. I could generate the glyphs again with Glyph > Generate Glyphs… , this would give me the components but the accents would be the wrong places. Any ideas.

Anyone know why the g window is pink (see attached)? What does this pink mean in Fontlab terms?

| Attachment | Size | | --- | --- | | Screen shot 2015-01-29 at 4.49.49 PM.png | 11.58 KB |

For those interested in issues involving the Adobe FDK and/or .fea file syntax, UAFDKOML ( U nofficial A dobe F ont D evelopment K it for O penType M ailing L ist) is for you. Signup is here: You'll need to request an invitation (done not to exclude people, but to exclude spam), but that's the only hurdle to joining.

"I have questions about GUI/UI fonts and this is about what are their font design specifications? What are differences between those fonts that are GUI/UI and those that are not? Please tell me all the variables that कeep GUI/UI fonts apart from those fonts that are not them? Are there any tools and experiences required for constructing GUI/UI fonts? Could you refer me to some websites, GUI/UI fonts, any free GUI/UI fonts etc? What are the GUI/UI font criterias? Can you looक at a font and say it will translate to a good GUI/UI font?

Would be grateful for some answers to these questions."