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I am working on a typeface and I notice these small red rectangles below several glyphs in FontLab.
Can anyone tell me what this indicates? See attached image below.
i'm a bit new in font building (second one) and i have a problem. The first one was really simple, one stroke, one fill.
I would like to make a 3D font, so i have started with my old one (black stroke, white fill) added the same (stroke/fill black) in background but slighlty shifted down-left and hold filled with triangle. That doesn't work when i copy/paste in fontlab or glyph.
I'm currently struggling with the following problem - I have ultra light, regular and ultra bold and want to interpolate them in Fontlab MM space, so I could create an extensive family. As it seems, Fontlab MM space does not allow for the use of intermediate design (Normal) to be place between the two masters - ultra light + ultra black. (or am I mistaken?)
So that leaves me with two choices:
1) to keep two MM files with light - normal and normal - black interpolations and constantly troubling about consistency
or 2) use two weight axis in same MM font and do mind-bending slider-switching so I could achieve tri-master interpolation in four-master space ?!?
I'm working on a hairline typeface right now, something similar to Marian -- http://commercialtype.com/typefaces/marian -- and I'm wondering if there's some Python snippet or something out there that allows you to preview your path without expanding it.
my first post here.
I have a problem that I don't think I have had before and I need help solving it. I can't find the problem on the web.
When I copy my glyphs from Illustrator and paste them into FLS the shapes transforms from smooth rounded corners into just cornered. In Illustrator the anchor points is set to smooth. Why do FLS change my anchor points?
My English is to limited to explain the problem. Please see the attached images.
The black and grey image is in Illustrator and the white image with a black line is in FLS.
Hi! I'm designing a layered typeface with three weights and some extra glyphs (ligatures, swashes and some weird alternates). I made open type feature for ligatures and kerns but I let some extra glyphs without feature. When I use those glyphs and I change the weight, the glyph doesn't change. For example, if I write "BARCELONA" with one of my extra B's, and I change the weight, it change all the word except the B.
I've been looking the generated file and it seems that those extra glyphs without feature doesn't have UICODE names, so when we change the weight, they doesn't change. I've tryied to use the option GLYPHS>GLYPHS NAME>GENERATE UNICODE but it doesn't work.
Anyone knows what can I do to generate the same UNICODE names on the three weights.
I recently completed a failed font experiment, and, although I don't know if it's of any interest to anyone, I thought I'd share it anyway. If my wasted time fuels someone else's creative endeavors, then it wasn't entirely wasted.
The concept was weighting glyphs in a font based on their frequency of use in a given text canon. So, for example, my plan was to have a Shakespeare version of the font, a Brontë version of the font, etc. The less frequently a character is used in the canon, the darker the character would be in the font.
In any case, a more detailed writeup that includes python scripts and examples can be read here.
As a Fontlab beginner I'm still unclear what role sidebearings play.
Should they be used to denote the bounding box of a glyph, in which case letter-spacing is done entirely through kerning classes? Or should they denote a glyph's default letter-spacing, in which case kerning classes are an additional layer of spacing refinement?
Take the letter /I, for example: should you put the sidebearings adjacent to the edges of the glyph (so that the bottom-left corner has coordintes [0, 0]), or should you place them wherever you feel the default spacing should be (e.g. 50 pts away from each side of the glyph)?
thanks in advance!
Hi everybody !!
Im just join to 4rum !! :D
Because i'm come from VietNam, i speak english not well.!!
Hope you understand ! :(
I have a problems when work with Fontlab Studio 5.
I have Aphrodite Font, but it's english font !!
I can't write VietNamese language !!
So i'm changing it to VietNam but dont affect them.
Just add character to this font !!
But when i do it, i want to join 2 character to 1 group like picture !!
The sad thing, i dont know do it !!
Who can show me how to do it !!
Thanks so much !!
Last time, I'm come from VN so i speak E not well.
If i post this topic in the wrong location, please Admin move it to right location !!
Thanks all !!
I'm creating my font by importing from AI -> Fontlab.
For some reason, the letter /T renders very thin compared to all my other glyphs as if it's been stroked with white. I quadruple-checked the proportions and even redrew the glyph in fontlab (i.e. no AI import) but to no avail. I also feel the stems of /V are a bit thin too, but not certain.
Is this a hinting issue? I haven't really delved into that yet.
Thanks in advance!
I'm having a little problem with kerning in fontlab and I hope some of you may shed some light on this...
While kerning character pairs in Fontlab I noticed that some pairs where not kerning at all, with this I mean that while everything looked ok in FL, in InDesign the pair looked without kerning. To test this I gave some bizarre kerning values to the problem pairs, something like +900, and yes, no kerning was being applied in InDesign.
Fiddling around I noticed that the problem characters would change only if one of its members was defined in a kerning class. Right now I'm working in Individual Pair Kerning mode so I'm a bit confused, because I assumed this means kerning classes are not taken into account.
Strange FontLab bug: When I make a guideline global, and select the property "visual descender", the font window view suddenly changes, all characters become much bigger, filling their cells completely, like this:
Has anyone else experienced this?
I'm using FontLab 5.0.4 on Win7. The bug is gone in the 5.2 prerelease, but that is not usable yet, sadly.
Has somebody encountered problems when printing to PDF from FL? I'm trying to generate font samples, but the glyphs are distorted!
Take a look at the screen capture. There are some strokes noticeable darker than others... strangely, when printing to PDF from InDesign everything seems to be OK.
What the problem could be?
I'd like to have a little help on the following problem, thanks a lot!
1.) After exporting as OpenType Ps from Fontlab 5.1.2 (mac), my font looks/works great in Indesign and Illutrator. No problem. All kerning info is okay. But on the same computer (mac osx 10.6.8) in Word: no kerning info(!) AND the characters are cut-off on the upper part. (images below)
2.) On a Windows computer there's a similar problem:
(in Word) No kerning info and the characters are also cut-off. This time they're not cut off on the upper part but exactly on the Baseline.
A newbie question: How do I make guidelines appear in all glyph windows at the same time? Currently, when I add a guideline, that guideline is only visible to the current glyph I'm working on. I need to add certain guidelines to mark certain common points across all my glyphs, let's say the height of stress marks/accents and so on... I haven't figured yet how to do this )
Thanks a lot!
I'm trying to write a simple python script that acts on the glyphs that the user has selected in the FontLab font window:
I'm especially interested in the glyphs (or maybe more accurately "glyph slots") that are in the encoding but are un-filled.
So far I've tried two things:
# 1 - glyph slots
selectedSlots = fl.count_selected
print "Number of selected glyph slots:", selectedSlots
# 2 - selected glyph names
selectedNames = [ fl.font.glyphs[i].name for i in range(len(fl.font.glyphs)) if fl.Selected(i) ]
print "List of selected glyph names:", selectedNames
I'm designing a typeface family with three optical sizes (36pt, 72pt, and 144pt) and a few layerable weights per each optical size. I've been experimenting with how I can make each weight line up when layered on top of each other and I'm starting to pull my hair out.
I thought having the same width and left/right sidebearing info would be enough, but that's not the case. Since the weights aren't the same width (I have a regular weight and a 3D weight, for example), having the same metric info results in them not lining up.
A) Can ligatures be included in Class Kerning
B) If so, how is it done?
It appears to work in the metrics window but in Photoshop it will not. All my classes work properly except where a ligature is involved, when the ligature will not kern at all . I do have the ligatures included in my kerning classes. I fear I am doing something similar to my previous problem regarding the ordering and /or syntax of my OT script, but this was generated by FL and not manually.
Also, strangely, the Class Names I specified were changed after generating the OTF from the VFB,
Can anyone shed some light on this for me please?
in FL 5.1 when you generate a font whiteout copyright info (a beta version, for example) the new FL 5.1 will attribute your font to Adobe.
Adding this into your copyright: "Copyright 2012 Adobe Systems Incorporated. All rights reserved."
And this into your trademark: Please refer to the Copyright section for the font trademark attribution notices.
Also, in some case, it will "replace" your own copyright data.
The old FL 5.0 used to say "Generated in 2012 by FontLab Studio. Copyright info pending."
I've been designing a typeface on Fontlab and been running with this problem, let's take the "#" glyph, to design it I made two vertical shapes and two horizontal ones, they look perfect when unmerged but as soon as I merge them their alignment gets all messed up:
To solve this problem I've increased the size of all my characters, went from 500 height to 1000 height and this kind of problems started to disapear since now I have much more space to move the points around, there's still some unaligned lines, especially the curved ones in complex characters but I've pretty much solved it.
My question is, is it fine to have a typeface with such high height? Will people run into any render problems when they use it?
More and more applications seem to be capable of using the OpenType ›size‹ feature found in some fonts that come in different optical sizes (e.g. Adobe's ›opticals‹, or the Latin Modern fonts). I can't seem to be able to implement that feature to a font I'm designing, though. FontLab, for example, will let me add and save it as part of the .vfb file, but loses it when generating the actual OT file. It won't properly read the size feature, either, when loading a font that has it.
What other ways are there to add it to (a) a font in the making, and (b) to an existing font? Thanks in advance!
Hello Guys, after spending several hours I decided to get some help here. As you can see from the screen shot, this font which I localized into Turkish has a mysterious padding from the bottom. I couldnt achieve in adjusting it after playing with the font info settings. Anyone have a solution is needed. Best regards.
i'm building a font with a lot of alternative glyphs. i wrote a custom encoding file, with a list of alternative glyphs, each with a name suffix, e.g. Ccedilla.gt or Eogonek.ro.
however, when i select this encoding in the font window, in few cases, it shows the default glyphs in places where the alternatives should be. even when i actually create the alternative glyph, it still remains out of place. have anyone experienced this? does anyone know any solution?
This is basically a question of, "What do you wish could be automated in font production?"
i just found purple warning in the metric window, what is this? Why some letter are black others are purple?