OpenType

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.

Hi,
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?

Christine

Can anyone suggest why the OpenTypes I'm generating in Fontographer 5 have sporadic spacing anomalies and the tracking occasionally goes way out. It looks like I've gone insane while kerning. This weirdness is only happening in .otf font files; the .ttf , Mac PostScript and Mac TrueTypes are all exactly as designed.

If I take my Fontographer-generated .ttf file into FontLab and generate .otf files, they have the correct spacing, the problem is only in Fontographer generated OpenTypes. Am I doing something stupid or has Fontographer 5 got a glitch?

Thanks in advance.

I am getting this error when i try to compile a simple opentype subs feature. i copied and pasted the code from another font i made and it works fine there.

cmap{plat=3,script=1,lang=0}: multiple glyphs macron overscore mapped to code

double checked the sub characters they all have the same naming conventions.

any ideas?

thanks you in advance,

-dan

Has anyone ever found a way to output items like the GSUB Feature values, back out to say imagemagick? For example, sending unicode values is no problem, but since items like SALTS don't have a unicode value, how can you print those items to image in say imagemagick/php? Any ideas?

Hi there,
I wondered what website fonts might look good for an internet site. I tried Fakt (Opentype) on one website and I feel it looks better than Arial. ( in case you want to have a look: http://info-buddhismus.de )

For 2 other websites I was thinking maybe I use another opentype font which can be included directly via the @font-face CSS rule. But I checked with Museo Sans or Calluna Sans and it does not look good at all.

Any idea which Font might work well? Verdana and Arial/Helvetica seem to be still the better choice. Also any example or link to a site which uses a well working font (being easy to read and also looking good) would be welcomed.

I've posted the first public version of the Tsukurimashou parametric font family on my Web site at http://ansuz.sooke.bc.ca/entry/160.

さてさてなにが、できるかな?

The main goal of this project is to support my own study of the Japanese language, so the finished product is less important than the process of getting there. However, you might still enjoy looking at it. To my knowledge, there's never been a native MetaFont family with glyph coverage for Japanese; there exist a couple that are conversions from other formats, and there was also the Quixote Oriental Fonts Project, announced more than two decades ago, apparently never usable, and now long abandoned.

For Immediate Release:
Alameda, CA- February 3rd, 2011

Delve Fonts presents Cortina, by Joachim Müller-Lancé.
Available now at: http://www.delvefonts.com/cortina.html

Serendipity often occurs in typefaces from the hand of international, award-winning type designer, Joachim Müller-Lancé. The design of Cortina was inspired by a small shape spotted by coincidence: a tiny triangular tab in a software panel that resembled a futuristic ‘A’. Like a tailor starting a suit from a button he found, Joachim developed the entire concept from this idea into a family of three styles: Cortina Base, Slate, and Plate. Each is modeled on the same conceptual form sharing proportions, but with different features.

I have a new OpenType font I'm working on and when I try to load it into Word X, it shows it in the menu, BUT when you click on it it switches to the font next to it in the list instead and refuses to make it work.

The font works perfectly in Adobe programs and in TextEdit (I'm using Mac OS X).

I have heard many people have problems with Microsoft programs loading various fonts, but I would like to sell this font sometime soon and don't want to have to tell anyone that it doesn't work in some Microsoft programs.

So far I have only heard people saying a font of theirs doesn't show up in the menu because they have the wrong printer drivers installed, but this is something different than that because it does show up in the menu - it just doesn't work!

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?

Does anyone know how to set some parameters that restrict a font to specific sizes? In my case, I need the character to be no smaller than 12pt and no bigger than 72pt. I would like the character to change to another character for sizes smaller than 12pt or bigger than 72pt.

Is this sort of thing possible in FontLab 5 with the OpenType programming panel?

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

smongey's picture

Using opentype for a family

I was wondering is it possible to have several weights and their italics of a particular typeface built into one .otf file. In the same manner that stylistic sets are used to have alternative characters for certain glyphs could this be used to house an entire family?

Cheers

SM

Good evening!

Some languages have problems with f-ligatures. One example is German, where ligatures across Wortfugen can be a source of confusion; another is Turkish, in which the dotless ı requires special treatment.

Have there been any efforts to identify (and compile a list of) such problems, and is it considered good practice to code those exceptions as language-specific OpenType alternates? Say, "ligatures for dflt, no ligatures for german"? Or would that go against users' expecations? How well are such features implemented in software at all?

Another solution, of course, is a Linotype ("Sabon") f, but you know, I do have a thing for nice fi and fl ligatures :)

Hi crowd,

I've been designing a few caps features for one of my text typefaces. Think of the Van Krimpen hyphen, and of course height-adjusted parens, middots, endash and emdash (with hopes of making cap-specific tabular numerals too — one day!). Question is, how do I go about naming them? hyphen.alt is too vague and might clash at some point. hyphen.caps? I was looking for examples, but after ten minutes in the Adobe specification site, I threw in the towel. Is there a convention?

--
Edited title to reflect proper nomenclature; post left intact to keep the thread sensible.

Ascender is pleased to announce that a distribution agreement with the talented lettering artist Laura Worthington. Laura has been in the type design field since 1997 and she has a deep passion type and lettering design.

I have a stylistic alternates in my opentype values, but for some reason the opentype panel in Photoshop/Illustrator will not toggle them. The interesting thing is, the glyph window in Illustrator reads them fine, but toggling the alternates in the opentype window does nothing. In order to select an alternate, it has to be done via the glyph window.

Has anyone ever experienced this, any ideas what is causing this?

Allumi Std was originally created by Jean François Porchez in 2009. This new variation “Std” is the basic version of the tailored Allumi PTF. Allumi is a sleek typeface designed with technology in mind. It’s a perfect font family of 27 series for any communication concerning design, robotics, or functionality.

6 weights pack: from € 140 / $ 145 for 2 users. Buy it!

One weight: from € 50 / $ 65 for 2 users. Buy it!

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.

Hello,

So I am starting a book project for which I am using a very complete and well designed typeface, the files are .otf. I thought .otf meant OpenType and that's it, I just discovered the different OpenType flavored types, which I don't quite understand yet, anyway, not the point...

So I checked and my typeface is an OpenType (Postscript Flavored).

Now... I am using the Book weight, which contains all the basic characters, but not the ligatures. For the ligatures, there is the Book Alt version, which contains all the nice ligatures that I would like to use in my text treatment...

From what I understand, OpenType would contain everything in one font file, these flavored things do not, because of the 256 glyphs limit, right?

Robin is a dingbats font in OpenType format that allows you to compose easily an infinity of arrows thanks to a logical use of the keyboard: as long as you want, as sharp as you want, as simple or decorative as you want.

Trying to learn more about features, focusing on the kerning feature at the moment.

In another post Jens Kutilek kindly offered the following feature as a suggestion to a problem I was trying to solve (http://typophile.com/node/72726):

feature kern {
script grek;
language dflt;
pos space <50 0 100 0>;
} kern;

What I'm wondering about is the script and language statements. I've read about them a bit on Adobe's site but, admittedly, will have to back and revisit to better understand. One thing I didn't see is how these statements get used or activated.

[Cross-posted with the UAFDKOML group]

I'm starting to receive some questions about features not working in InDesign CS5 when a non-Latin language or "No Language" is selected. And this is happening with fonts that worked fine in CS3 and CS4.

From the cases I've seen, the bugs were in the fonts. More specifically, the feature file code lacked languagesystem declarations. Regarding InDesign CS5, what I can tell you is that this version is more strict than CS3 and CS4 were in terms of dealing with language and script tags. So if the fonts don't have lookups for all the necessary languagesystems, ID CS5 will just stick to what's in the font rather than creating them on-the-fly, like CS3 and CS4 used to do.

Is "LeFrancois" a typical french type?
With 3 ranges of capitals, this sans serif font is really smart!
This OpenType font contains 350 glyphs (alternative lettres, ligatures, old style figures, etc.) more than 6000 kernings...
Visit:
http://www.editions205.fr/index.php?/fonderie/lefrancois--new/

I have this lookup for ordinals. It works OK for 1st, 2nd, 3rd, 4th, etc., and for Caps, 1ST, 2ND, 3RD, etc., but not for ordinals in French or Spanish, which use one or three ordinals e.g. 2º or 1ème.

How can I change my code to cater for one or more alpha characters after the digits? One to three superscripts would be OK, but I think one or more would be more flexible.

feature Ordinals ordn {
lookup Ordinals;
}
group @Digits [zero-nine];
group @Alphas [A-Z a-z];

lookup Ordinals{
context (@Digits) @Alphas @Alphas;
sub 0 Super;
sub 1 Super;
} lookup Super {
sub [A-Z] -> [uniEAA1 - uniEABA];
sub [a-z] -> [uniEAC1 - uniEADA];
}

I am using OpenType Compiler.

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