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Good morning, everyone. I’m new at this forum, although I’ve been reading it since a very long time. My name is Mauricio Villamayor, I'm designing a calligraphic typeface for my thesis and I have a problem in doing it. I hope if you can help me with this situation.
Basically, the problem is with the ligatures. The typography has a lot of them, since the calligraphic characters are more complicated to bond harmonically. The ligatures work in all the combinations, except in the accented (acute accent) letters.
For example, a specific ligature exists for the combination “yo” (which works), but when I create the combination “yó”, it doesn’t work, indicating an error when I compile the ligaduras.
This is the specific error that shows:
I’ve been trying to figure this out on my own for weeks now and thought I’d run it by the forum. My ligatures, which are pretty basic, are working properly in AI CC, but not in INDD. The character space is being placed on top of the glyph. I’m not sure if the error is cased by FontLab or INDD. I’ve thought maybe it is because it is a reversed font. Can anyone point me in a direction to expire to help solve this? Below are screen grabs of the error and the Open Type code. Thank you.
The HapticScript family is a connected brush script with a warm, personal and soft character. The typeface family has five styles from Light through Black. It was designed as a companion and extension to the Haptic sans-serif family.
HapticScript has up to 14 variations for each glyph. The almost 2,000 characters per font including 40+ ligatures enable designers to give each word an individual look. Many swash characters for initials and word endings make words looks as if they were hand lettered.
Five Styles: Light, Regular, Semibold, Bold and Black
OpenType features: Ligatures, Contextual Alternates, Stylistic Sets, Old Style figures, Tabular figures
Peace be upon all my friends!
I want to create my own font for honorifics, to use in my website.
The challenge is that I would like to create ligatures to ensure that entire phrases are replaced by glyphs.
Could you guide me on which is the best tool for this purpose? I am new to this, and would love to have a tool that is intuitive. Paid options will also do.
Hi everybody! I am happy to announce the release of Cavatina: an experimental font for musical notation. It is the result of two years of work in design and programming.
What, if any, accented characters (i.e., glyphs with diacritical marks such as Aacute or tcaron) are found in combinations that are commonly covered by ligatures? For example, c_t is a somewhat common ligature to include in well-rounded OpenType fonts. Would it also make sense to have c_tcaron or c_tbar? What about L_Aacute in an all-caps font that includes an L_A ligature?
I am looking for guidance, because I'm just not yet familiar enough with some of the languages that use these diacritics. I would appreciate any help. Pointing out useful references on the topic would be especially helpful.
I'm working to extended my font to new alphabets, as arab, now is available, in latin, cyrillic.
But the arab is becoming one of the hardest steps of my work. Unlike the latin now I having problems to evaluate the space between the letters and the high of some of the glyphs.
I do not know the Arabic language, nor Russian.
Below are a few words written in Arabic, can you tell me if they are spelled correctly?
Greetings! I'm a real newbie here.
I've got a homegrown font (which I didn't make), but need to modify. It was developed before unicode and UTF-8 allowed the millions of character possibilities for foreign languages. Specifically, Lithuanian. The Lithuanian letters were placed in un-needed places, like certain mathematical symbols, currency symbols, etc.
It's easy enough to take the letters and put them in their correct unicode places. HOWEVER, there are no unicode-defined characters for the Lithuanian letters with accents. How does one go about making this happen? I know it's possible because there are other fonts that can do it. If someone can help, I can explain why using these other fonts aren't a good option.
First, I’m kind of new to this.
I’m about to create a Script font and I have some problems with the lower “r” and the other lower glyphs connected to it.
Am I supposed to do a ligature for every lower letter connected to the lower “r”? That sounds weird.
When I look at my script fonts installed on my computer there are no big amount of ligatures.
There must be some other solution to it.
When I look at fonts on MyFonts, like Ciao Bella, there are no ligatures for the lower r but when I write it in the “Sample text” field there is a more accurate connection between the lower “o” and the lower “r” and the “e” and the “r” and so on.
Any smart and simple solution to this?
Please help me.
Im not enough experienced with FontLab and I need some help. Im facing the following problem while working in InDesign (CS6 - v.8.0.2, MacOSX 10.9.2). OpenType fonts with Greek ligatures do not show old texts correctly when OT features are enabled, in contrast with texts typed from scratch.
Result: no ligatures
Result: corrupted text with ligatures
Result: ligatures ok
Has anyone encountered also this problem? Is this an Adobe or a FontLab issue? Any help or suggestion will be very much welcomed. Thank you very much in advance!
I would appreciate if you could fill in this short survey below about generating ligatures automatically as part of my final year project for my Degree in ICT, Thanks I really appreciate it :)
Bengala is a trendy new type system. The family is made up of a script style, an extended all-caps style, and an ornament set that includes the animal illustrations shown here.
Internet Explorer and MS Word understand ligatures but a bug is causing them to display spaced out. IE10 displays ligatures correctly when new and degrades after updates. See the problem explained here
I'm working on customizing Myriad Semibold for a suite of products for my organization. One place I'm having difficulty is with the word "Talks," specifically the way the foot of the k bumps into the s when spaced tightly. (Myriad Semibold with -25 letterspacing is the base for all the wordmarks, which I've then modified.)
Here are some attempts at resolving the k/s pair.
The one I've been leaning towards the most is the last one - I like the way the k bumps into the s and suggests script or a serif, but only on the bottom. I don't like the way the s' tail (terminal? finial??) ends above it, so I've tried a few things. But it's proving tricky and downright unsatisfactory:
I'm new in the typography design.
I did an arabic font with Fontographer 5 but I didn't finish because I need some help.
I need to know how I can create Open type standard ligatures feature with Fontographer 5, font lab or Volt.
or I need to know how I can create ligatures feature.. when I type some letters together the glyph replaces.. for example AL-JALALAH WORD (ALLAH), in some fonts if you type LAM LAM HAA it will have specific shape.
any tutorials, lessons or hints will be very helpful.
I'm currently trying to talk somebody (trying to reproduce late 1700s style in an English text) out of using the OpenType ›Contextuals‹ feature as a tool to substitute every (!) non-final
s by an
ſ -- as ſ usage is a lot more complex than that.
Now what this issue reminded me of was having seen a
longs_s ligature in an English text once -- an
ß, effectively. 17th or 18th century, I guess. I just can't find it. Un-ligated
s are everywhere, but that's not what I'm looking for.
do you have some ideas on the appropriate use of ligatures like æ and œ? If I decide to use them in cases like "mediæval" or "œuvre", how much consistent should I be in forcing this spelling in quotations, in titles of various works (for example, if an article is cited which is titled "Sets Are Haecceities" (thus spelled), should I retain the digraph or should I force the ligature on it? Likewise, when transcribing Latin, should I keep the original spelling in the sources (and their titles), or should I unify it to my style?
Thanks for your ideas,
Hello. I am a publisher who will be re-publishing some old & out of print books. And I'm setting them in the original faces that were used. I am running into the problem, though, of not getting all the ligatures (or old style figures) I need in the font sets available. What do I do?
Should I contact these big name vendors and ask if they can design the missing ones I need?
Or should I hire a freelancer (work for hire) for this kind of stuff?
If the latter, what kinds of questions should I ask in order to know that I'll get someone who can do the job right?
Any input appreciated.
Hi to everybody, from Greece!
I would appreciate if someone would give me an answer to the following problem:
I can not see any of the 1100 ligatures of an OpenType font in MS Word 2010 (PC).
Has it to do with the OS or with the otf font itself? I think there wasn't such a problem in the previous version.
I have been using the Unifraktur Maguntia font in Microsoft Word, and had this idea to use a macro to automatically insert ligatures and special characters such as the long s. Does anyone know if this has been done before and if there is already such a tool in existence? David Manthey used the same idea on his 18th century Caslon font:
One of the nice things about Unifraktur Maguntia is that it includes all the necessary ligatures and historic characters. Here is some more information:
I am looking for a script that would have been used in Germany (specifically the Hessen-Kassel region) in the last quarter of the 18th century. As I understand it, this would have been some type of Fraktur with the long s and ligatures. Perhaps someone here could point me in the right direction?
Hi my friends, today I have a question for you, WHAT IS YOUR OPINION of this f-i ?
the language is catalan, and the meaning of the word FINNISIM in english is FINE in spanish is FINISIMO (more easy to traslate)
I attach the pic only of the word, and also attach the pic with the context of the text,
I was read a book, and can see this kind of ligature, very particular.
Can anyone help me find an alternative titling face to Matthew Carter's Mantinia for use on the cover of a fantasy novel?
My biggest, perhaps only, complaint with Mantinia is how heavy it appears at larger sizes—especially when it comes down to flowing nicely, not being in competition, with the imagery of a fantasy novel's cover. The current interior typeface is Minion Pro. A titling face that pairs well with Minion Pro would be a big plus. However, I do not know if that is the finalized interior face, so it is not an absolute necessity.
The Power of the Engine
Victorian revivals and inspirations often seize on the period’s tendency toward florid decoration. However, the times were also the final surge of the industrial revolution, a time that witnessed the ultimate development in steam, diesel and oil: engines of all kinds. Engine Nine captures the nitty-gritty of a hard-boned indomitable age, boundless in its faith in the technologies of iron and steel, tempered by half-remembered neo-classical details such as the verticality of neo-gothic windows, and finely detailed finials. It’s all here in the brute strength of the verticals, the blackness of the tight setting, the contrasting delicacy of the terminal serifs.
sub A A by A_A;
sub K A by K_A;
sub R A by R_A;