Ligature error in INDD CC 2014


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.

Jabana & Jabana Alt & Jabana Extras — 52 fonts for tea parties


Jabana & Jabana Alt & Jabana Extras — 52 fonts for coffee and more

In 2014 Jabana was released as just a single font. One year later, after some hard work Nils Thomsen rounded it up to a very useful and complex typeface system. Inspired by having a “Schorle” at Hamburgs bars. Super compressed to extended letter shapes in 5 widths and 4 weights – smooth handwritten marker curves and especially a wide range of opentype features define the large character set of Jabana.

Each letter and punctuation got three simple varieties of alternates. This gives a nice looking handwritten nature to the font. They will be randomly chosen by the contextual alternates feature or even by hand via stylistic set (ss01, ss02).



Hi all, I expect find you fine in this new year. This is my first entrance of 2015, now releasing my latest type project CAMINITO, a layered font family inspired in Argentinean art craft «Fileteado Porteño». I started this project 2 years ago, taking inspiration from numerous ads, posters and signs installed along the city of Buenos Aires. Now the font family is available at

Wallington Pro (The Wallington Update)


Hello guys! Happy New Year 2015!

Today i have released new version of Wallington : it's Wallington Pro!

Wallington Pro is a decorative-serif font embodying vintage and elegant curves with functional structure. Style is adopted from Old English cultures with their descendants around mid-12th century and Art nouveau in 19th century, it was inspired by natural forms and structures and the curved lines. Crafted with love and easy-to-read letter design.

Wallington Pro consists of 721 glyphs including 268 unique ligatures, 30+ catchwords and 10 stylistic sets.

Get Wallington Pro Discount - 63% OFF until 7 January!

Find out more at

ttfdiet by Karsten Lücke and Adam Twardoch


Dave Crossland informs about new tool:
"ttfdiet (TTF DIacritics Encoding Tool) applies a “diet” to a .ttf font: it modernizes the way in which glyphs for precomposed Unicode characters are stored in a TrueType-flavored OpenType font, and reduces the font's file size." [from]

I installed Behdad Esfahbod's FontTools and wrote diet.bat file:

python c:\ %1

- be sure Python (2.6 or higher) is installed and added to the PATH
- "c:\" it is where file is stored

How to substitute two letters for alternates rather than a ligature


I continued working on this handwritten typeface and while I made alternates to replace double vowels before, I would prefer to replace both vowels individually.

So, right now I have the following feature:
sub a a by a_a;

/a_a features two variants on /a that are both different from the default /a. Essentially what I want to do is replace /a /a by /a.alt1 and /a.alt2 instead of /a_a, because I want to maintain the ability to apply tracking to all the letters.

Now, I actually have this feature working with the following code:
sub a' a by a.alt1;
sub a.alt1 a' by a.alt2;

DTL OTMaster 5.0 released


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:

Best place to set anchors


I'm currently experimenting with the best position to set anchors in an OpenType font.

Now, when I ask the app Glyphs to place my anchors, it takes the width of the total letter, and set the anchor in the middle of the width.
And it does the same for the punctuation.

But when the punctuation (automatically) is merged on the letter, this default behaviour does not always result in the best combination: some punctuation has to shift to the left, other to the right.

Are there some guidelines for the best placing of the anchors or is it totally up to the taste of the designer? (Read; the designers eye...)

Lookup calls and lookup types


I think I'm getting to grips with OpenType coding - I just birthed my first contextual one-to-many substitution, and am as proud as you'd expect - but I'm still puzzled by one thing and unsure about another.

The puzzle is that when I define-and-run a lookup, the layout engine goes back to the start of the glyph run, as I'd expect. But when I call a lookup, it doesn't, at least in FontLab. Is that just how it is?

The uncertainty is over whether all kinds of lookup types are allowed in all features, or whether it's better to stick to the lookup types specified for features at the Microsoft OT spec site. I know FontLab is liberal, but are all apps?

Thanks very much for any help!

Accessing OpenType features

Former Typophile moderator Zara Vasquez-Evens has written an interesting article on Medium (, prompted by the recent petition for a better user interface for accessing OpenType features in design software (

A few selected quotes:

Mapping fists


So, as a sort of oddity I'm adding fists/manicules to my latest typeface and I figured arrows would be handy as well. Now, I have them mapped with the appropriate unicodes as far as possible. To make them more accessible I figured I would create a stylistic set so you can type >> to make an arrow. However, when I add the code and I click on compile OpenType program it tells me it has to abort because of errors.

I must be doing something wrong. How do you usually map these kind of symbols to OT functions, or don't you?

feature ss07 { # Stylistic Set 7
sub > > by arrowright;
sub < < by arrowleft;
sub > > > by blackmaniculeright;
sub < < < by blackmaniculeleft;
} ss07;

Single storey "g" for German 'locl' substitute?

I'm making a big multilingual sans serif and by default, the "a" and the "g" are double storey. I do include the single story versions available by "salt" because this feature works virtually everywhere, where there is Opentype).

However, I've heard that the Germans mostly use the single story g. I've searched pictures of various street signs in Germany and Austria and I haven't found any double story g's.

Would it be ok to include 'locl' feature for German language to substitute only the g (while leaving the "a" double story)? I do understand that the single story g has its roots in Fraktur. And is it a German-only preference or the neighbour languages like Dutch, Danish, Swedish, etc. look more natural with a single storey g?

Help with OpenType fractions


If I generate an OTF font, and I have a glyph created for onehalf, will "1 slash 2" automatically be replaced by onehalf, or do I need to build a feature for it?

Tried building a feature, but an "aborting because of errors" error:

feature frac {
lookup frac1 {
sub one slash 2 by onehalf;
} frac1;
lookup frac1;
} frac;

Also, what is the easiest way to code for all "(number) slash (number)" to change into nut fractions? I'd like this to work up into the thousands (333/1028 for example). Creating a "sub" line of code for every possible fraction is obviously impractical.

Advanced OpenType features


I'm wondering if it's possible to script any advanced features. Primarily I'm looking to solve a specific problem, but more generally I'm curious if more can be done with OT scripting than the standard "sub" script to replace one glyph with an other.

I'm tired of people over-hyphens so I wanted to script a fix for that, so in the standard ligatures I put the following code:
sub comma hyphen by comma_endash;

This replaces the comma followed by a hyphen with a ligature glyph where I have a comma followed by a line which is in between the hyphen and the en dash in length, which is more appropriate for denoting prices ($50,–).

OpenType Titling (titl) Feature?


To preface, this is my first post to the forum and I've done a fair amount of digging on the issue, but haven't found any solution to my question. Apologies in advance if it has been answered somewhere else. And I must say, that the community here has been extremely invaluable so far!

I have designed Titling Alternates (labeled titling in OpenType Classes) for the Uppercase (upcs in OpenType Classes) glyphs in my font.

For this, my feature is as follows:

feature titl { sub @upcs by @titling; } titl;

The Wallington


Wallington Typeface

Hey guys! allow me to introduce my first release font.

Wallington is a decorative-serif font embodying vintage and elegant curves with functional structure. Inspired by Old English cultures and their descendants between the mid-5th century and the mid-12th Century. Made up of two styles, Wallington Regular that consists of 491 glyphs and Wallington Small Caps with 365 glyphs. All glyphs are divided into several OpenType features such as Ligature, Contextual Alternates, Old Style Numeric and some astonishing special characters that allows you to mix and match pairs of letters to fit your design.

Find out more :

DTL OTMaster Summer Promotion


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.

Stylistic Alternates on Non-OpenType Software?


I want to use Stylistic Alternates on a program without OpenType support; namely, the alternate a and W/w on Raleway.
So I would like to make a copy of Raleway where the a and W/w are their alternates.
Is there a way to do it without expense, or is there another workaround solution?

Desired OpenType UI

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?

Toggle through 1 set of alternates


Hi there

I'm looking to add a simple alternate feature to a font. The font is purely uppercase but in the lowercase glyphs the font has one set of of alternates (also uppercase design).

We're not after any cutting edge attempts at randomisation, just a simple toggle effect, cycling through so every other time you type a letter the alternate displays. So typing "aaaa" will pull out "aAaA" from the glyphs.

I have looked through a lot of posts and articles and have found much useful information, but can't quite pin down the exact code. I understand it's quite simple and I'm almost there I think. I have created two classes - class1 (uppercase) and class2 (lowercase).

Now I believe I just need a simple piece of code to place here in the opentype panel:

feature xxxx {

Can I implement this in opentype: an overbar if a "t" is in a word

I'm prototyping a cursive font where, at least on paper, any word with a "t" in it has the crossbar on the t extended to the left and right over letters as long as this fits; verticals in h, l, d, etc. will cut off the bar, so something like:

becomes something like:

I'm not entirely sure how to implement this, though. I was thinking of using many-to-many GSUB rules based on glyph classes, but no matter how I look at it, it turns into needing recursive GSUB behaviour...

1) t [low] ->[t with bar that continues right] [low with left-connecting overbar]