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This FontLab tool allows to import and export kerning and classes between FontLab and MetricsMachine. https://github.com/typedev/MMK_FL_kerning_exchange
I have a trouble with the kerning pair exceptions. When I compile the font some kerning pairs exceptions (Bï, Cï, Fï) are ok, but others like Dï, Eï, Gï, Kï etc ... not recognize the exceptions. However in Fontlab seems ok and the classes for those glyps are similar.
Anyone know what could be the problem
Can you please explain to me the basics of kerning and how to do that with Hebrew fonts (I've heard that its a little bit tricky...)
- Or Harel
Hi everyone, first post here.
I found typophile while looking for some infos about Bembo Std (picked up from the Adobe shop) which I'm using for a book.
First of all in the Adobe page there's the following statement:
"Bembo Std family is designed to be used at a text size of 8.0 points"
So, is it a problem if I set size to 11pt ?
I also have a little problem with kerning (I'm using InDesign).
I set "Metric" in the paragraph style (I read "Optical" is not the best choice for text ) but the result is not so good.
Especially for the "V". The kerning is automatically set to -175 with the result that there's almost no space between the "V" and previous character.
When kerning fonts with both Lining and Oldstyle proportional numerals what is the generally accepted form when it comes to kerning? Are all numbers kerned with every other glyph or is it best just to kern 0-9 with all punctuation and parenteses/brackets/braces only? Interested to hear thoughts. Thanks.
Can you guys educate me about some general rules to be followed while kerning Helvetica. And can you point out the shortcomings in terms of kerning in the piece below and suggest any improvements. It looks alright to me but you guys are better at this. I really want some help with kerning lowercase "r" and "t".
Thanks, I really appreciate the help.
I'm a new member, I signed up to ask a question as I have been scouring the web for a week and couldn't find anything.
I'm an artist and was recently asked to make a font for my studio. I had never done anything like this before and other than photoshop could only use freeware. So I used photoshop to make the paths, exported to Inkscape to make the font file and then to fontforge to do the kerning and then generating as a TTF.
I have hit a few snags however and try as I may I cannot sort them out so I have come here to hopefully beg some help from people with much more experience in this area than I.
A client with a TrueType font wanted some glyphs added but were not able to contact the person who created it the font initially.
Because it uses has at least MKMK, which FontLab doesn't support, I used ttx to create a text file and through a combination of FontLab and the ttx file was able to add the glyphs they wanted.
They now want some kerning added, which I did in the ttx text file and recompiled. The new kerning works when the font is used in Word 2003 but NOT in Word 2010 or InDesign. There is SOME sort of kerning working in InDesign as I can see that the characters pairs listed in the font have kerning between them. Likewise for Word 2010, turning the kerning on and off with some text selected makes definite changes at some kerning pairs.
I'm currently designing my first font set in Fontographer and am having an issue when generating it.
Apologies if this has been asked numerous times, but I would appreciate the help.
I've kerned all my individual pairs to a point I'm happy with, but when I generate the font it seems that the changes aren't taking place. I'm viewing in Linotype Fontexplorer. I've also tried activating the font and testing it in Illustrator to check, and I still don't have the kerning I wanted.
I licensed a font the other day, a recently released family of 10 weights * 2 styles * text + display version. I was a bit suspicious of the whole thing, as there didn't seem to be a PDF specimen available anywhere. But the introductory offer was a nice one, and the font seemed perfect for my purposes.
What I got was a font that, as expected, does have its qualities in some respects, but is kerned so horribly that it's pretty much useless for the application it was design for -- it's meant to be a ›legible‹ sans for body text.
I have a family of fonts I'm building in FontLab. They are all using the same exact kerning data and kerning classes. For some reason, one of the fonts is giving me a "serious error" in Font Book that says there is a "System Validation" error, with no further details.
I've tried taking a .vfb file from one of the working fonts, copying over glyphs from the font that's giving me trouble, and generating again. Same error. I think I've pinpointed the problem to be something kerning/class related, as if I copy/paste glyphs that AREN'T in a class and generate the font, I don't get an error in Font Book. But once I copy glyphs that are in a kerning class, I start getting the error.
Type@Cooper is offering a series of public font tech workshops this June.
Registration is open now.
June 1 & 2 Robofont with Frederik Berlaen and Andy Clymer
June 3 Interpolation with Andy Clymer
June 4 Kerning with Ben Kiel
June 5 & 6 Accents with Ben Kiel
June 8 & 9 Intermediate Python with Andy Clymer
June 17th Building Open Type Features with Andy Clymer
Just wanted to get some feedback on the problem areas (kerning-wise) on this word mark that I'm in process on for a client. (Created by heavily modifying Carisma Light (http://www.myfonts.com/fonts/castletype/carisma/ in case anyone was curious) Any thoughts are appreciated guys, thank you,
I'm new on the forum so I introduce myself
i'm a swiss student, and I tried for my studies In ancient history to build a font.
I used fontforge and finally fontlab. Everything works perfectly except the kerning.
MS word 2010 doesen't take count of the kerning of my new font...
Kerning works perfectly on Oppen office, but I have to make it work on MS word. Is it possible ?
Somebody knows what is the problem ? Can somebody help me ?
Thanks for help :)
I am trying to generate my new font I have created, but am having serious trouble with the kerning. I have tried a plethora of different options, but nothing seems to be working. Basically, I export my font, but the kerning rarely shows up in applications. I know there is a kerning table, though, because the font works correctly in TextEdit (mac).
I am using Fontlab Studio. When I try the font in Photoshop and Microsoft Word, it does not kern. Are there any ideas as to why this would be? Thank you very much in advanced.
Hello, all. Is there a way to break up the kerning table into smaller ones in plain TrueType? As far as I can tell, the issue is simply that this table is too large in my font(s). I flattened my kerning classes to pairs, removed OT data, but while TypeTool, FontForge, and InDesign all see the pairs, Word doesn't. (Yes, I do have kerning enabled in Word.) However, when I remove glyphs (I have a lot of diacritics), Word can see them just fine. So, I'm pretty sure I need to break up the table or something; how do I do this?
It's probably worth mentioning that I didn't need to insert subtable statements in the OT code for the CFF version.
I'm stumped; I'm not seeing kerning changes exported in FontLab, with I process that I *thought* had worked before. Here's what I do:
I go to Window->New Metrics Window. I change to Text Mode, and type:
I change the Metrics Window to Kerning mode, and nudge the 'o' far enough to the right it's obviously wrong. I go to Tools->Quick Test As . . .
And . . . I see no change.
Maybe someone could tell me what steps I'm missing? I have Class Kerning with exceptions, and I've also tried rebuilding the Kern feature.
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.
I've just purchased the URW++ version of Baskerville, and I'm encountering a bizarre problem when using quotation marks. Oddly, the same problem seems to exist in ITC Baskerville — but not in other typefaces.
I've uploaded a screenshot to show what's happening. For some reason, the quotation marks in Baskerville have far too much space around them. I can't manually correct the problem by adjusting the tracking on the character, either.
Again, this is only happening in Baskerville, and I'm using a brand new version that I just purchased from Linotype.
Has anyone else encountered this problem, and if so, did you find a solution?
I've upgraded Fontlab to 5.1.2 and my Mac to 10.8.1 and (now?) no kerning classes are working.
Existing files have stopped working; existing sets work for only the main glyph, and new/fresh attempts fail as well.
Typical sets look like this for my existing file left-side classes:
_VW_L: V' W Wacute Wcircumflex Wdieresis Wgrave
This had been working perfectly for the last few years of development.
So I've tried this:
• Make a new file with only A, V, and W
• Drew new shapes in each (no copy, all new info and shapes)
• Built a kerning class called _V with _V: V' W as the class
• Went to Kerning Mode and typed AVAWA
• Dragged the second A towards the V
The A is closer to the V as I moved it, but the third A doesn't move closer to the W
I was curious if there is a definitive list of accented character pairs that have a tendency to 'clash' and that are most likely to occur in extended languages.
I generally know what they are and have made pairs with exceptions in the past to handle the ones that I believe would be common.
I was thinking that if there was a list I could prevent having to kern pairings that would potentially never occur.
Hi all !
I would be very pleased to get some advice and suggestions about the font pairing and global appearance of this combination. At the moment, it is just a start on a business card. The company is specialized in high-end microelectronics and wants to contrast radically from the other companies in their sector... I made some boards with different variations and identity elements, but I need to know what you are thinkning about those two simple lines : logo and font pairing... Thank you by advance to all of you !
Alright so I'm quite new to the font design world but I'm working on a geometric sans (ala Avant Garde, Futura, and the like). I've got most of my glyphs made up and now comes the fun and hard part: spacing and kerning. I'm mostly interested in workflow, since a lot of you are quite experienced I figured I'd try to gleam some information from the veterans. Do you start by setting all your glyphs' side bearings to 0 and work out from there? Do you set all your glyphs to a certain width and bring them in or out? What's the best method?
Thanks so much for any help.
I'm designing a display face in Fontlab, and I'm only creating uppercase letters. I planned on finishing the uppercase letters (metric and kerning included) and then just copy them to the lowercase letter spots so the same A shows up whether you type a or A.
However, it doesn't seem like metric and kerning data gets included when I copy and paste letters. I don't know much about Fontlab, but I would've thought I could somehow copy this data. Any ideas?
I'm working on an auto-kerning tool. It's free and open source. If you're interested in taking a look, I'd love to hear your feedback.
As a demonstration, I've used Autokern to re-kern two popular open source fonts: League Gothic and Linden Hill (both from the League of Type). Here are direct links to before-and-after comparisons: