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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.
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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.
for developing my first typeface I wanted to create a geometric typeface that posesses the advantages of such fonts but is more ‘robust', especially in the caps, than for example Futura.
Currently I am working on spacing my first complete draft. I don't want to presume full capability for continous text with this font-style, but a test to see if the glyphs relate nicely to each other was more of a pleasant surprise than I thought:
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:
I'm looking for a font similar to Gravur of Lineto, with a better kerning and balance of width. I'm also open to a monospaced version.
Thanks for your help, Regards!
Herbie is a uppercase display font with alternates on every character (lowercase), based only on circles and geometric lines. Herbie is inspired by, as the name might indicate, Herb Lubalin's work and the decorative style and kerning of his era.
Hoping I might get some helpful advice on kerning this type. I'm looking at the two Xs as well as the L and S as potential starting places. As it stands the leg of the L is slightly shortened to reduce the amount of negative space between the L and S. The + sign aligns with the center of the H.
My original intent was to keep the type in a tight rectangular shape. Looking at it now I'm not sure what the best strategy would be – tighten the space (possibly overlap the two X's) or instead increase the amount of space around the other letterforms for balance. Perhaps the leading is an issue as well.
Any insights or tips would be appreciated.
I've kerned all 56 characters through Fontographer 5 via the manual kerning pair window. It took a bit but I'm satisfied with the result.
I'm moving on to glyphs with diacritics and realize I don't want to kern the lowercase /a/ 7 times (for each existing pair). I know classes resolve this time issue. How can I access that from Fontographer 5 or from some set .fea file code ("where a then a" for all diacritically marked /a/).
Does this question make sense? I hope I've worded it well enough.
Thanks in advance (for saving me hours).
I began to work on a font on Fontstruct.
I know this is not a real font editor but it was adapted to my project.
Now I have kerning trouble.
Fontstruct exports only .ttf format, what is the best way / software to adjust the letter spacing ?
I'm kerning a font, and the blue characters (that indicate that a glyph is part of a metrics class) in the Kerning palette of the Metrics Window distract me, so I can't as easily see where the kerning problems are.
Is there a way to turn off the blue characters?
why are letter pairs like ›gy‹ and more often ›gf‹ in so many otherwise nice italic fonts so badly kerned? For example:
One of the rare exceptions:
I’ve chosen the two examples, just because I like both typefaces very much.
Some explanations for that fact?
Thank you and kind regards
Spaces need kerning too. I realize this fact from reading about it but have trouble eyeballing/judging it. In fact if I hadn't read this to alert me to the task, I probably would have forgotten this important step in font design, because I don't see anything overtly wrong in the spaces of my new font, except for about 3 places. When I do a google search, I can't find any help on this subject. I would really appreciate it if anyone could give me a few suggestions on what letters usually need kerning between the spaces that follow them, and/or whatever tips they could point me towards or supply me with. Any suggestions at all would help!
Thanks in advance!