Hi everyone. I'm looking to make a hand drawn, brush font that retains the textures and qualities of a thin ink, like a watercolour stroke. Specifically, I like the way the colour tint shifts and changes. Does anyone have any recommendations for the best way to approach this type of font?
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To create a connecting script, for Latin use,
I was searching to get the 'Cursive attachment' working on a script that is written from left to right.
Any chances I get this to work in Latin text?
or any other technique to connect glyphs together with anchors?
If someone can reference to an example, it would make understanding of 'feature curs' easier
On the OpenType Feature File Specification
it is not mentioned it is only possible with right to left scripts.
But on other sources, there is stated it doesn't work with left to right, like
Ps, is it required to work with .init and .fina if I want to work with 'curs'?
Most times it is done so…
Hello 2013, Bellissima Script is the first Sudtipos release of the year.
While in the same vein and spirit as Burgues and Compendium, Bellissima began from an entirely different thread as those fonts. It started with Alex Trochut generously showing me a gorgeous lettering book from his grandfather's library: Bellezas de la Caligrafía, by Ramón Stirling, 1844. Stirling was one of the Latin calligraphy pioneers who introduced a refined version of English calligraphy in Spain and made it popular in the nineteenth century.
I'd like to have a little help on the following problem, thanks a lot!
1.) After exporting as OpenType Ps from Fontlab 5.1.2 (mac), my font looks/works great in Indesign and Illutrator. No problem. All kerning info is okay. But on the same computer (mac osx 10.6.8) in Word: no kerning info(!) AND the characters are cut-off on the upper part. (images below)
2.) On a Windows computer there's a similar problem:
(in Word) No kerning info and the characters are also cut-off. This time they're not cut off on the upper part but exactly on the Baseline.
Hello everyone. I am a novice in type design aiming on making a serif (and if possible, a sans-serif companion) type system aimed at newspaper use. I am still in development, and I am looking at some other fonts that look great on print.
this is my first post here!
I have a little question: I’m currently creating a font which contains 3 different widths for each character.
Imagine condensed, normal, extended.
Is it, and how, possible to let the typeface itself change, or say randomly pick, one of these 3 possible widths while i’m typing it in inDesign? In heard that some handwriting typefaces apply such glyph-exchange-techniques to not let the typeface appear to stiff in a larger text.
Any help or further reading is very much appreciated!
More and more applications seem to be capable of using the OpenType ›size‹ feature found in some fonts that come in different optical sizes (e.g. Adobe's ›opticals‹, or the Latin Modern fonts). I can't seem to be able to implement that feature to a font I'm designing, though. FontLab, for example, will let me add and save it as part of the .vfb file, but loses it when generating the actual OT file. It won't properly read the size feature, either, when loading a font that has it.
What other ways are there to add it to (a) a font in the making, and (b) to an existing font? Thanks in advance!
Stiking out at the Microsoft Community so I thought I'd try here!
We're updating a series we do in Word to 2010 and an OTF. The note reference numbers in the series are "special" so in the 2003 template the Footnote Reference style was set to a different font than the Default Paragraph Font.
For use in the 2010 template the new OTF font has a stylistic set for these "special" numbers that for some reason isn't getting applied to the embedded footnote or endnote references.
For which reason and when are 'subtables' created? Adobe's OpenType Feature File Specification does not help me any further understanding the structure of GPOS/GSUB.
I've been having the same problem as André http://explains in the FontLab forum. Contextual substitutions stop working in the preview panel. Is any way to overcome this headache?
Links to related discussions are also appreciated.
Sometimes a surprise, sometimes as expected – MeM is an interactive type system with a wide range of individual personalities.
The eccentric experimental type system created by Elena Schädel and Jakob Runge in 2012. It produces many personalities, each individual and emotive. You will never know which of the alternating letters is going to occur next. Basically, at the heart of it all is MeM: four different weights and letter shapes melded together into one powerful font and shuffled with the sleek usability of OpenType.
Very happy to announce that Hipster Script is finally published. Hipster got a TDC 20120award and was selected by the Bienal Tipos Latinos.
Featuring more than 1800 glyphs containing ligatures, endings, etc. Hipster is available here:
Check the specimen pdf released with the awesome German Paley's photography collaboration. www.sudtipos.com/downloads/Hipster-Script.pdf
I was wondering is there a way to mirror an glyph in Open Type font?
For example, if I type word:
And K as a last glyph, could it be mirrored on some way automatically?
Yesterday I introduced "IndyFont" to the InDesign community, there might be some interested parties over here as well, both in practical use as in technical details :-)
P22 Cezanne was originally created for the Philadelphia Museum of Art. Upon it’s release it quickly became one of the most popular fonts of the1990’s, and has remained very popular to this day.
Designed by Travis Kochel, FF Chartwell is a fantastic typeface for creating simple graphs. Driven by the frustration of creating graphs within design applications and inspired by typefaces such as FF Beowolf and FF PicLig, Travis saw an opportunity to take advantage of OpenType technology to simplify the process.
Working on generating an OpenType PS font. Been troubleshooting this for over a week. Tried deleting all the classes and features then generating an OpenType PS font. It still gives me, "ERROR: There was a problem while compiling OpenType font. Final .otf font is not saved. Please, check OpenType features definition for errors." Reading through the manual, but still sure of the best way to proceed with troubleshooting – not clear on what to check or where the problem might lie. Thank you for any help.
The Font Testing Page is a tool primarily intended for type designers and independent foundries. It can also be used by art directors, graphic designers, teachers and students interested in seeing how a typeface works on the web.
There is a short video at:
Operation is simple:
- First, you must accept the request from the browser.
- Then drag the font you want to try to the upper area of the Testing Page.
Below you will find 8 buttons: Headlines, Text, Lowercase Only, Adhesion Only, Caps, All Caps, Layout and Kern.
- Headlines: Displays examples: 72, 60, 48, 36 and 30 to 12.
- Text: Displays text blocks, from 20 to 10.
- Lowercase only: Displays examples of 72, 60, 48, 36, 30, 24, 18 and 16 to 10.
I'm trying to write a Opentype code with one-to-multiple glyphs, but Fontlab and FDK won't compile it.
For example, I want to substitute ß by a couple of smallcap S in smcp feature, and I want to make SS separate (spacable, kernable or whatever). Some fonts have smallcap counterpart of ß as SS as a single glyph, but obviously you cannot space it.
There are some other characters that I want to apply this substitution, I really want to figure out how to do it (or whether it is possible or not). I also heard that Adobe apps including FDK do not support this substitution but Microsoft apps do. Is it correct?
I would like to know whatever you know about this.
I've been working on the specimen booklet for my graduation typeface (part digitisation of Manuscript Antikva, part stylistic extrapolation), and have run into the curious situation of not being able to use one of my designed characters.
As Adam Twardoch mentions here, uppercase ß will still map to SS. Oddly, however, InDesign CS5 allows me to input the capital Eszett just fine. However, the small-caps variant is seemingly impossible (I've attached a screenshot of the usual situation upon insertion—small-caps SS). I can only think of placing it in the Private Use Area, but I'd rather not. So, in short, how can I access the actual glyph at codespace uni00DF.sc without InDesign telling me what it's supposed to be?
In my current font project (a cursive conscript*), I have added the OpenType features [aalt], [init], [medi], [fina] and [liga] (along with the usual [kern]). These features compile without any errors and appear to work properly in the OpenType Features tab of the Preview panel (they don't preview properly on the Preview tab, but I've read on the FontLab forums that [init], [medi] and [fina] don't preview at all in FontLab Studio, but still work in applications), but when I generate the font (as a .ttf), none of them work in the applications I use this font in (Photoshop and Word '07-'10). It's as if they're not there. However, they appear in the relevant tabs when I open the .ttf in Studio, exactly as they are in my project file.
I am having an anoying problem generating an opentype font in fontlab:
After merging contours and generating the otf-file, my font looks fine in the preview and in fontexplorer, but when I want to use it e.g. in indesign or illustrator, some of the contours are distorted (in Textedit it works alright though). When I create outlines, all the contours look fine again.
see in the picture how it should be and how some letters are rendered.
this happened in two completely different fonts I drew.
I am using font nuke, so it does not seem to be a cache problem.
Does anyone have an idea why this happens?