kerning

therealbrendan's picture

Kerning Help

I have four words here that could use some letter spacing critique.

therealbrendan's picture

Kerning

I've got four words here that could use some critique!

We are using a version of century gothic that has a lot of kerning issues. I believe this was a free version downloaded off the internet. Does anyone have recommendations for a high-quality version of this typeface?

Hi,

I'm seeking some advice on kerning of Cyrillic glyph afii10093, picture attached. My question is: Since it's made up of two separate 'mini-glyphs', should it be kerned as two glyphs or one? That is, should the spaces either side equal the space in between the two sections, or be larger (so that the glyph appears more as a unfied whole)?

So,

My first font. So far I made all the glyphs of all the 6 families of my font and spaced them as best as I could. Created oldstyle-, ornament-, smallcaps-, ligatures- and discretionary ligature features.

Now come the tidious part I understand. Kerning. What is the best way to go about it??
I was thinking about beginning to kern the Capital A next to lowercase glyphs with classes.
then B, C, etc. etc.

Question 1:
If I do it this way, can I work with classes in the kerning panel? Like this:

_kern1: A' @_lc @_sc

Question 2:

If I want to kern the lowercase a next to the capital A, do I have to drag in all of the a-diacretics symbols as well? Or do those composite glyphs just follow a when it is kerned

We are developers of an online game and as we develop more using dynamic text we are finding that we need to fix font issues on a font by font basis in order for them to publish correctly within that environment. The main issues that we are running across are with special characters in the Latin character set, primarily accented characters. Sometimes these characters will drop out altogether or will push the following character out by two spaces or so when published. This doesn't happen when the fonts are used statically, only dynamically.

Just spotted the packaging:

Is it only me that wants to stick that balloon in between R & A?

I've been trying to get in touch with Christian Robertson of Betatype for the last 2 months. Long story short I purchased multiple cuts of the font Pill Gothic for a large scale project. I work in the broadcast industry in Canada and need some modifications made to the font. They are as follows:

1. Convert the Open type to true type
2. Tweak the kerning on a number of character sets
3. Replace the lowercase "a" with the alternate a

Chris agreed to make these modifications but has been missing in action for the last two months. I've sent numerous emails with no response. Our deadlines are fast approaching and I need to get in contact with him. If anyone can provide me with any help or direction it would be much appreciated.

Kerning isn't one of my super-powers, and certainly isn't something I do on a daily basis.
So, I'd love to get some hints and pointers on the kerning in the text below, because things are starting to look all the same...
Particulary the "TSUTV"-part is hard to balance evenly against the rest, and the loose tracking doesn't really make it easier.
Did I just mess it up? Be harsh. It's alright.

Thanks in advance

Simon

Ps. It says "Property Development" in swedish, in case you wanted to know. Ds.

Kerning:


Auto-set:

Typo_808's picture

Kern opinions

Hello all

I have recently created a logotype that is spaced quite generously for various reasons, however because of the characters involved and the slightly unorthodox forms that I have created it's taking me a while to decide whether I have got the kerning right here.
I've already consulted a very good typographer on this already and it was given a thumbs up, but Im interested to see if anyone else agrees.

Thanks!

Dear readers,

i am wondering how to best handle case sensitive punctuation (opentype CASE feature) and kerning of these characters with uppercase letters. Depending on the vertical position of the character (let's say "{"), the horizontal kerning has to change too to make everything look well alligned.

I can imagine of these solutions (working with fontlab 5):

- kern as if CASE was always applied (looks ugly if the user just types with capslock)

- kern as if CASE was never applied (often looks bad just when it should actually look good)

- fiddle with the horizontal pos values in CASE feature - but it would mean to change them for every possible combination manually - lots of work ...)

Hi there!

I'm a 3d motion designer learning more about Typography, an interest of mine which sadly has not been of great importance in the projects that I do for work.

So while I have some spare time I'd like to re-educate myself and learn how to use it better.

For starters I have question about tracking and kerning.

Often when I kern and track some letters, I do it by eye, but who knows if I have a good eye for this sort of detail? ;)

I'm wondering are there any good online resources that can show me good kerning/tracking and perhaps show me a few do's and don'ts?

Also any books perhaps?

Thanks!

I'm designing business cards and I would like for the kerning/letter spacing of the letters to look right.. i dont have 2 much knowledge on the subject so thought I would ask here.. is there any tips/guidelines I can look at? I'm concerned about some letters like V,K,W,A.. letters with slants in them confuse me so before I go ahead and submit the design to have these cards printed I would like to figure this out.. Where can I find information on which letters should get tighter kerning than others? What about spaces in words? is there a way to figure out how big the space should be?

In Quark 6.5, on Max OS 10.4.11, the bold weights of some fonts are not displaying correctly.
This issue is becoming too much to endure, and getting InDesign isn't an option.
Any advice or suggestions are most appreciated.

Example:


As you can see, the bold version of the font doesn't seem to have its kerning info. I don't use the kerning table in Quark.
This is a PostScript Type1 font file. Only Quark seems to botch the kerning like this: Photoshop, etc. are fine.

I've wiped the jaws folder, and that hasn't helped. This is how they appear in font lists.

Font Book list:

Quark list:


Does this strike anyone else as odd?

Good evening,

I'm finally working on my first typeface! Yay. It's a conservative, old-style text serif and it will look like this. It'll be an open source project that I work on in my free time.

Since I have no typographic education whatsoever (I'm an engineering freshman straight out of highschool with a type addiction), I need some help: how do I space letters horizontally? I just finished the lowercase letters and I already spend most of my time changing side bearings and kernings instead of drawing letters. That is annoying and frustrating. It's a constant shifting of letters back and forth, and I never seem to get the spacing quite even.

esquire's picture

Correct spacing between letters

Hello everyone.

I've been wondering for a long time about kerning and wonder if anyone can help me out with this specific issue I have, I've tried to illustrate it as clearly as I can.

On the attached image I've tightened the whole word as an example without manually kerning anything. Usually if I wanted to keep it at this general tightness my first instinct would be to match the space between each letter to the space either side of the "o". However, I've always been slightly confused as to what should be correct spacing (in this example) for the letters circled.

A) I assume l's should have more space than anything else so I'd leave it as is.
B) The "s" and "t" are touching here, how much space would I put between those?
C) The "r" and "a" - nearly touching?

Problem:

Solution:
While InDesign CS4 doesn't feature a kerning table, it does support GREP styles, which can be used to apply custom kerning values to extended text settings. Because I haven't seen this documented in a truly helpful way (not that I've looked too hard) and some peeps have asked about it, here's a quick writeup of a possible procedure. Maybe if some of you have corrections or suggestions how to do it better, we can put together a killer workflow. (Scuse the atypically looong post… I figured Typophile was still the best place to put this.)

So in the text above, note the absence of a kern pair for «Tó» while «To» looks fine.

Step 1: Kern the pair manually, once.

.
.

Google "rebrands."

iviero.l's picture

Kerning Help

Hi everyone,

I'm having issues with the kerning on a new logo. I've been staring at it for so long that I don't know what looks right anymore (weeks). If anyone can give me some pointers or tell me how it looks to them, it'd be appreciated!

Thank you!

Logo here

Hello,
please help me with kerning in this logo.
I am trying 2 hours but I am not satisfied...

The font is like Futura, but it was handmade.

Thank you!

M.

Hi, I am working on a project where the style and theme is to late 1800s, early 1900s (hunting genre). We have chosen to use "Cochin" for titles... but found just out that there is no kerning settings. And that there is some problems with some ligatures like "fj" which is used quite a lot here in Norway. As an alternate we have found "Engravers' Oldstyle 205", which looks almost identical, but we don't know anything about the kerning. Anyone got another alternate tips or can confirm if there is any Cochin or Engravers' Oldstyle 205-variations that has ligatures and good kerning?

Any help is deeply appreciated!

Ok, so I was using class based kerning and on the metrics window, everything seems to be working fine... kerning values look like they should. "Class kerning with exceptions" is enabled in the Metrics window.

However, when I open up the preview window, I see that kerning is all messed up and not working like it should (seems like class kerning is being ignored).

I tried exporting the font and I still get that.

Anyone here knows what is happening?
I spent about 10 hours kerning pairs and to know that my kerning is now not working is stressing me out big time :(

Thanks!

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