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A new version of DTL OTMaster (OTM), the highly sophisticated tool for reviewing, editing, and altering tables and glyphs of fonts with a SFNT-ﬁle structure, has become available since today. OTM is a must-have for professional font developers. To quote Adam Twardoch, product and marketing manager at Fontlab Ltd.: ‘OTMaster works with surgical precision: it will only modify the portions of the font that the developer wishes, leaving all other structures unchanged. This makes OTMaster a great companion to any font editor and an indespensable element even in the most complex OpenType font production workﬂow.’
Version 5.0 contains a range of additional functionality, among which:
From the 1st of July till 21 September the latest edition (3.7) of DTL OTMaster will be offered with a 50% discount on the standard licensing price of €255.
Version 3.7 contains a lot of new functionality. From the import/export of Ideographic Variation Sequences (IVS) to the editing of feature parameters, and from an autohinter for edited or newly added glyphs to support for COLR+CPAL tables. One can read about all details in Karsten Lücke’s wonderful manual.
I made a font recently and it worked fine. Then I decided to do the Arabic unicode block, then the Arabic presentations A and B.
Now that I generated the font, Word crashes (but not InDesign) when I copy an arabic text (from Wikipedia) and paste it in a document using my font. I used UnicodeView and the Character Map to see the font and it all works, except when selecting the Arabic block (0600 - 06FF). CharMap crashes and Unicode View fills the screen with error messages saying some dll crashed and a memory segment was violated, blah blah blah.
Apologies for the nerdiness on a first post.
In the midst of some last checks before releasing my first real font, I noticed an unpleasant beating frequency effect on repeated characters at smallish ppems when testing on Windows 7 with the "Natural" mode of DirectWrite ClearType rendering (tested via Firefox with the Anti-aliasing Tuner add-on). The characters phase in and out of different degrees of bluriness.
With a bit of investigation, it looks like this is due to fractional advance widths. I was hoping to be able to control for this by slightly adjusting the advance width phantom point via TrueType hinting. However, it looks like Windows is ignoring that in this rendering mode and using only the designed width instead.
A client with a TrueType font wanted some glyphs added but were not able to contact the person who created it the font initially.
Because it uses has at least MKMK, which FontLab doesn't support, I used ttx to create a text file and through a combination of FontLab and the ttx file was able to add the glyphs they wanted.
They now want some kerning added, which I did in the ttx text file and recompiled. The new kerning works when the font is used in Word 2003 but NOT in Word 2010 or InDesign. There is SOME sort of kerning working in InDesign as I can see that the characters pairs listed in the font have kerning between them. Likewise for Word 2010, turning the kerning on and off with some text selected makes definite changes at some kerning pairs.
I'm having some issues with a truetype web font conversion on FontSquirrel. The resulting truetype hints look as good as they can on Windows, but at 13 pt and 18pt only, the overshoots on rounded glyphs render strangely. I haven't found a solution for this yet, but I'm hoping someone might be able to help me get to the bottom of this.
Is it possible that the truetype hinting instructions are affecting rendering on OSX? I've read that hints are mostly ignored by this operating system in favor of something more built in, so I'm a little confused.
Are there certain tests I should run, or is there more information that would be helpful in understanding the issue?
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’ve experience a quite fuzzy thing: Exporting a font two times from FontLab, no known changes in the output settings.
The 1. font is the red text below, the 2. is the white text.
The only thing that was changed in between the 2. font-exports was the numbers (0 – 9) and the punctuation (,.;!?“”…) not displayed here.
It appears to be that now the Bitmaps are not the same anymore (especially the horizontal stems in a, e, s and h in the attached 300% example).
Anti-aliasing method is set to sharp in Photoshop, but this it seems has nothing to do with the different jittering in the result.
Any help or hint is highly appreciated!
I'm trying to generate a font so I can layout a decent proofing sheet. Two problems:
I am able to generate a Win TrueType/OpenType TT file, but when I try OpenType PS, it gives me this message: "ERROR: There was a problem while compiling OpenType font. Final .otf font is not saved. Please, check OpenType features definition for errors." Does anyone know what this is referring to? I looked through the fonts features panel, but didn't see any red flags. Feel like I'm missing something on how to preflight these files before generating.
I have taken a TrueType font with a free license, DejaVu Sans. Then created a new empty glyph, and copy-paste one of its glyphs to the empty one.
However, I saw that the hinting for the two is not exactly the same. When viewing the two glyphs in a word processor, I saw a difference between the two. So how can I make an exact copy of a glyph? Should I also duplicate some information inside the font’s table? Any simpler solution?
I have been wondering about the following: It used to be recommended to use Postscript T1 for print production (rather than truetype, I guess?). Would you use TT for print production, and if not, why?
With the dawn of opentype I don't know if this is still valid. There still is postscript (PST1) and truetype (TT) but now there is Open Type TTF and OTF as well. Opentype, as I understand it, is basically an enhanced truetype format, with either postscript or truetype outlines.
But does that mean that OTF (postscript outlines) is still better suited for print production than TTF (truetype outlines)? What relevent differences are there, both in print as on screen?
I have an OpenType font I am trying to convert to TrueType format with FontLab 4.5 and it just crashes when I try.
Any ideas out there?
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!
I am trying to produce a scaleable dot-based font family in Fontlab as Mac flavoured Opentype. I’ve had a lot of trouble with getting small circles to be geometrically correct in Truetype (the beziers flatten the arcs) but Opentype keeps them geometrically consistent.
However, I have a bigger problem which I can't seem to fix.
Over a year ago I started thinking of new font names, er...a theme of different font names for a different family of different styles :P At last, Beefcakes is in the final stages and is scheduled for release on August 20th, w00t! It is the first of the "Cakes" series, a collection of display fonts inspired by various brush lettering styles. The series will include Beefcakes, Babycakes, Hotcakes, Paddycakes and Sweetcakes, and as each typeface is unique (not to mention time-consuming to draw!) they will be released as they're finished...
Beefcakes, Babycakes, Hotcakes, Paddycakes and Sweetcakes are trademarks of Rebeletter Studios and may be registered under certain jurisdctions.
OpenType ist the standard font format of these days. But even 14 years after its introduction, many users don’t really know what the term OpenType implies and how it differs from other font formats. Since I use the domain opentype.info for my weblog, I thought it is time to shed some light on this confusing subject …
I'm trying to find Garamond Premiere Pro in truetype, and unless I've missed the secret button, there doesn't seem to be an option to do so at fontshop, Linotype, Adobe, or myfonts.
Unless I should buy the OT and convert to TT? Does anyone have suggestions?