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I'm fairly experienced in Illustrator, but there's a technique that I can't seam to figure out.
Here the designers used some circles as guides. Very sharp and snapping the guide.
I know how to make an object into a guide, but how do I get my objects curves to be as clean as the guides. I can do it by eye, but it's never exactly on point.
Does this technique have a name I can google or can somebody send me some tutorials.
I've been searching and searching how you can create such kind of composition.
The graphic designer Jocelyn Cottencin made those beautiful typography.
I know that for other font he has created he uses a pattern that he transform in scatter brush via illustrator.
I guess he uses this technique in an other way that I can't figure out.
If you guys can share your guesses or solutions, It will be incredible!
Hope you enjoy his work like me...
I'm hoping for some help with FontLab. I'm pretty new to the program and am having some difficulties when pasting in from illustrator. Based on a friend's good knowledge, I think the glyphs are pasting as a background layer, as they are not editable and show as a filled object rather than outlines like they normally would. Hopefully this makes sense. Does anyone know how to turn off [?] pasting as a background layer?
Thanks in advance!!
I have a trouble when I upload my glyph from illustrator to Font Lab. The font is quiet complicated, it's supposed to have a kind of texture. It's all traced and all shapes are supposed to be closed (I used the pathfinder). But when I copy/paste the font, it gives me the result as in the picture attached...
Would any one have an idea of what could be wrong and how could I repare it?
I'm struggling since 3 days. Getting Crazy! Pleaaase.
Does anyone have any suggestions or solutions as to how I can squeeze more 'alternates' into a font for use in Illustrator.
I basically have only 1 ligature, but 6 sets of alternates.
Stylistic Alternatives 1
Stylistic Alternatives 2
Currently Illustrator has:-
I could only put them in the following places...
.....................or could I?
I would be missing
They would only be accessible through the glyphs panel.
IS THERE AN ALTERNATIVE OPTION or SOLUTION?
I’d love to have same feature set in InDesign and Illustrator. I’d love to have the ease of use of Stylistic Sets, Character Variants, OT Dropcaps, Historical Forms, Historical Ligatures, OT Unicase and Nut Fractions. I’ve made this rather raw and quick mockup and I want to share it with you, fellow typophiles. I’m not affiliated with Adobe, these are just my thoughts on how to UI could work.
Maybe you have some other ideas? Firefox Nightly and some other browsers for example, supports almost all OT features by font-feature-settings: "xxxx";. So this support could be done. Maybe it’s possible to convince other software developers to support more OT features?
Do you have any tips on how you approach drawing the letter S?
All I seem to be able to do is make a hot mess of beziers.
Hello typophile fontlab users,
So I have this 5 layered font based on a painted font in fontlab.
I've figured out how to get the kerning exact so it aligns perfectly every time. My issue is the vertical settings.
In Illustrator or Photoshop, when using a text box, as opposed to clicking on canvas with type tool, Illustrator will adjust the baseline for each of the 5 layered styles.
Here is a picture of 2 of the font layers using the text box versus type path tool.
Is this something to do with vertical metrics? Am I missing a checkbox that says "keep original character positioning"?
Appreciate any advice.
i'm a bit new in font building (second one) and i have a problem. The first one was really simple, one stroke, one fill.
I would like to make a 3D font, so i have started with my old one (black stroke, white fill) added the same (stroke/fill black) in background but slighlty shifted down-left and hold filled with triangle. That doesn't work when i copy/paste in fontlab or glyph.
my first post here.
I have a problem that I don't think I have had before and I need help solving it. I can't find the problem on the web.
When I copy my glyphs from Illustrator and paste them into FLS the shapes transforms from smooth rounded corners into just cornered. In Illustrator the anchor points is set to smooth. Why do FLS change my anchor points?
My English is to limited to explain the problem. Please see the attached images.
The black and grey image is in Illustrator and the white image with a black line is in FLS.
While working on a typeface in Illustrator CS6, I came across an aliasing issue, that I'm not sure what to do about. I've attached a screen cap of two different "n"s worked on in different occasions, (same system, same software) there was another post regarding aliasing in illustrator on this forum but it wasn't this particular problem. I tried saving the file in a legacy format and pasting them back in, but I really am just shooting in the dark...
Any help would be appreciated!
I've been wanting to get into type design for a long time and now that I'm getting more serious about this, I find it kind of hard to actually start off because I don't know what the recommended workflow is. Are you supposed to create the shape in Fontlab or is it actually common to design the outlines in illustrator or inkscape, for example (these two seem to have a better range of tools for this task)? I've seen a lot of videos where people create the basic shapes in illustrator and export them to Fontlab later on.
Thanks for your help.
I have a Web/Graphic Design startup I am working on and I have 3 logos I have come down to choosing. The name of the company is NE Elements, which is a play on the word any, so its really "Any Elements." The point being we use the elements of man to design things. Please look at the 3 logos posted in black and white and pick the one you like. I haven't designed any with color yet, and will move on with that once I choose a logo. Thanks all for your help. Feedback is very welcome.
I'm designing a typeface family with three optical sizes (36pt, 72pt, and 144pt) and a few layerable weights per each optical size. I've been experimenting with how I can make each weight line up when layered on top of each other and I'm starting to pull my hair out.
I thought having the same width and left/right sidebearing info would be enough, but that's not the case. Since the weights aren't the same width (I have a regular weight and a 3D weight, for example), having the same metric info results in them not lining up.
Are the Bezier curves found in expanded glyphs the same curves used to create the font files? more points or less points?
I am trying to get more comfortable with vector editing software these days (Adobe Illustrator in particular) and I have sort of a workflow question.
Let's say I'm trying to achieve a kinda extended letter "o" shape.
I would start with the outer vector path.
I have seen some people combining a shape out of several other ones.
Well, the title says it all.
Illustrator has this function that equally distributes space between selected nodes.
I have 2 fonts that work together overlapped. One with letters and no dots, other with dots.
I have a problem I can't solve.
Only when I use a text box, the dots font is not matching, the linebase is different.
This happen in Photoshop and Illustrator. Works ok on InDesign.
I have the same metric values in both fonts, also the TrueType specific ones. I tried in OTF and TTf, nothing works.
Now is the weirdest thing I ever seen.
If I draw a box with the caps height in the letter «d» the font will match the line spacing. Only happen with «d» glyph. The dot font have only dots and little square inside the caps height and baseline space.
I also tried filling all the character set with my letters. It works always, excepting when i put the centered dot in «d» glyph.
I tried searching for this, but had no luck, so sorry if it's been covered.
I noticed in illustrator there are some weird anti-aliasing issues. I don't seem to get this in raster programs like Photoshop, the font look a lot better. They seem to look thinner than they really are, especially when you are zoomed out, but only in illustrator. are there any suggestions or tips you have for designing with fonts in illustrator? I've been told I should use InDesign, but it doesn't have all the design tools I want/need.
I'm using Illustrator CS, though I also downloaded a trial of CS5 and this behavior is the same.
I have a brochure with columns of justified text 5" wide. I noticed that Illustrator wasn't breaking "multi-functional" on the hyphen and instead gave the previous line tons of word spacing. Testing with a new document, I can't get Illustrator to break on a hyphen, which seems baffling.
I don't want auto-hyphenation, but I tried turning it on and fiddling with its settings until it broke at the hyphen. Strangely, it then didn't justify the line ending with "multi-". Not good.
I also tried inserting a soft-return after "multi-" and again Illustrator didn't justify that line.
For some reason in Illustrator I'm getting a giant cursor where text is added to the top. If you look at the picture you'll see the black portion is highlighted text. Despite the huge cursor the leading appears to be perfectly fine.
I'm not sure if this is related, but the ttf is cut off in MS Word and I'm assuming my vertical metrics are off...which is at least one of my problems if not both.
And for my dimensions:
I've read the numerous articles about vertical metrics but something must still be off. Based on these values can anyone lend a hand on my OS/2 and hhea?
I am in the early stages of developing a chromatic face that, by design, employs a lot of slight diagonals (1 to 5 degrees off the horizontal or vertical). The glyphs are made to look as if they were formed by folding strips of paper (I know, I know it's been done before). In addition to the pair of companion chromatic fonts within the family (each representing a different side of the strip of paper), I want to make a monotone version that somehow achieves the 2-sided effect without the use of multiple colors.
The solution I've arrived at to simulate that 2-sided effect is to, in the areas representing the back of the strip of paper, block or mask out strokes that run parallel with the strip. The problem I've encountered in testing the viability of this solution is that the edges of the strokes (set at the aforementioned slight diagonal angles), as well as the edges of some of the solid sections, appear quite "jaggy" when I test the PS OpenType font in Illustrator or InDesign.
I've downloaded some free Japanese fonts and want to use them in programs like Illustrator or InDesign. They come as .ttf for Windows and .suit for OS X. Neither have displayed anything but rectangles in Adobe or word processors. On both operating systems, the fonts seem properly installed but they don't work with the Japanese text I copy and paste in.
The Japanese fonts which appear to have been preloaded on my system work fine, so i know I can display Japanese but no other fonts i acquire work.
A New Tool for Illustrator folks: TypeBridge
Hi. I just wanted to comment in regards to the folks who were having difficulty with the transfer between Illustrator and TypeTool/FontLab. The way that FontLab works is logical, given that in font world there are no decimal numbers. However, for folks who are very comfortable in Illustrator, it would be nice to have a tool that automatically rounds all points (which have already been drawn) to whole points while keeping the integrity of the font.
This is how I do it:
I have a personal selection of typefaces of my liking that I keep in a folder (my "best").
I have imported this folder in a set in Font Explorer.
I have created an illustrator file containing a line for every different typeface, one after the other. I can use the function "find&replace" to change all the dummy text to my desired logo word.
How do you do that? Do you use something online like myfonts? Maybe you use your font manager and then you just activate the ones that might work?
The trick is to create a system that is fast, does note engulf the computer, and is portable (think about a freelancer who is often offsite, working in an agency).