kerning

b.drabbit's picture

Kerning Check

I've been staring at this way to long now and need fresh eyes. I'm most concerned with the "Sw" spacing, but if you see any other pair out of whack let me know. I have 2 versions, the top one has "Sw" a bit looser and the bottom has the pair tighter. I had almost settled on the top one, but at this point I don't think I can make a objective decision on it.

Thanks

Hi all,

Any thoughts on the correct kerning of the lining numeral '1'? Specifically, correct kerning when a sans-serif face whose '1' is simply a stem (dangerously close to an uppercase 'I' or lowercase 'l').

The context would be when old style figures aren't available however proportional spacing would be desirable, such as in body copy.

Thanks

I have a typeface I've been working on tediously for weeks and I've kerned the lowercase and uppercase very carefully.
Then, I went ahead and made the accented characters, etc...

I want to apply my kerning for certain existing (kerned) glyphs into a "class."

For example, I have kerned the "E" and I'd like to make a new class and apply the kerning I've already done for the "E" to all of the other "Egrave, Eacute..."

I'm pretty good about being a fast learner, but this has stumped me.
I really hope there is a way to do this, otherwise, class kerning has to be done after ALL characters/glyphs are complete, which I think would be BS, being a software owner myself.

Any help would be greatly appreciated.

Ken Krugh's picture

Import Kerning from AFM

Using FontLab 5, Windows.
I'm creating an OTF font from a few Type1 fonts. One of the type one fonts is a small cap font. To get the kerning pairs from the old Type1 font into my new font I thought I could pull the Type1 into FontLab and export the AFM file. Then open the AFM in a text editor and change all the lowercase characters to my small cap glyphs.

For instance:
KPX A c -18
becomes
KPX A Csmall -18
where Csmall is the name of my small cap c. But it isn't working and I can't see why!

From the AFM file I'm also deleting all the kern pairs I won't need, like:
KPX A T -74
as it's already in there from having procesed the "regular" text.

I am trying to understand the tracking and leading relationship in typographic specimen sheets.

I see popular ratios of:
6/10
7/11
9/13
10/14
11/15
12/16

Is this sort of the standard or is it subject to the font and the cap height, etc?

Thanks!

I have quite 'weird' problem with my font. For some reason one kerning pair (as far as i know) is not working in Adobe CS3 software (indesign, photoshop etc.). Still its perfectly fine in numerous other softwares (MS Word, NeoOffice, Linotype fontexplorer etc.). The problem appears both in "class kerning" and "flat kerning mode".

The problematic kerning-pair is "Va" so it's too visible in display sizes to ignore.

I've attached detailed picture comparing the pair "Va" and "VA" in multiple softwares.

I hope someone knows something similar and can help me on this.

Thanks

Hey Everybody,
I made a truetype typeface including different kernig pairs. The kerning works fine in all programms of adobe but it doesnt seems to work in programms like motion 4 . The person i made it for however needs it to work in this programm, The strange thing is that i opened the typeface in open office, where also the kerning is not activated but it looks different from the result in motion 4. There for exmple VA looks fine whereas AV doenst seem to be accessed, Is there a way to solve that problem for motion 4 ? or does it have to do with some setting i would need to change in fontlab, respectively did i miss a option to make the kerning work properly in other programms?
Would be great if somebody could give me some input on this!
Thanks and a nice pre-christmas time!
Maxell

I generated a font with just one kerning pair of -60.
The font appeears in InDesign CS5 ME with no kerning visible but the kern values in the menu appear in brackets (-60).

Fontlab 5.04 build 2741

In the prefernces, Generating Open Type... Kerning:
Expand class kerning while building [kern] table.

InDesign CS5 ME

timmyneutron's picture

how to avoid class kerning errors

Hey i am trying to generate my font but always get kerning errors and the kerning of many paris gets irgnored in indesign later, could somebody tell me really basic hot to solve this! Would be great, as iam really stuck here!
Here are the Errors:

[NOTE] Removing duplicate glyph [/Users/timmhaneke/Library/Application Support/FontLab/Studio 5/Features/fontlab.fea 63]
[WARNING] Start of new pair positioning subtable; some pairs may never be accessed: [a] [h i m n] [/Users/timmhaneke/Library/Application Support/FontLab/Studio 5/Features/fontlab.fea 64]
[NOTE] Removing duplicate glyph [/Users/tim/Library/Application Support/FontLab/Studio 5/Features/fontlab.fea 75]

Hi all,

I've been wondering about kerning pairs in fonts. There seems to be a lot of variation in the amount of kerning pairs per font. A font like Frutiger LT Std 55 Roman (251 characters) by Linotype has 441 kerning pairs. URW's version of Frutiger, Frutus (Regular 243 characters), has 979 kerning pairs, and Cartogothic Std (349 characters), A free Frutiger version (ripoff?) by FontSite has 4726 kerning pairs. What does this tell me about the quality of these fonts, if anything?

Of course it all comes down to the quality of the kerning itself, but still, would one spot the difference in a normal text setting to have 4000 instead of 400 kerning pairs?

pixelprank's picture

Logo Kerning

Think I'm about there with this.

Any thoughts on the kerning?

Any comments greatly appreciated.

B

I'm working on a new project for a conference based in Windsor, UK. I'm experimenting with faces like Hoefler Black but I'm struggling with the spacing and kerning between the first two characters of the word Windsor. I'd like tight kerning on the whole word but as you can see with the basic example image (above), the upper case w seems disjointed from the remainder of the word causing an imbalance (to my eyes at least!).
Any input, help and advice from all you Typophiles would be appreciated.

weemac

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?

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