What would be the best/smart/easy way to transform an OT font that is fully featured and has several stylistic variants, into separate fonts for each feature, while still maintaining the kerning pairs etc.?

For example if an OT font has the standard latin characters + small caps + titling characters + alternates... to have the SC and Titling as standalone functional separate fonts.

What would be a good way to do do that?

LeFrançois is a typeface in OpenType format based on 3 series of capitals.
It seems to be classical but some glyphs show that it's not so conventional.
It's seems to be a typical French type, that's why its name is LeFrançois (with the accent please !)
With a particular work on kerning (about 5000 !) and ligatures, you'll be able to compose words as logotypes thanks to capitals and small caps.
It will be soon available at

Does anyone know of an application for Linux that lets me use OpenType features? I'm thinking alternate forms, swashes, dicretionary ligatures.

I would like to migrate from using windows to linux, all the things I do I can do in Inkscape and Scribus, but the OT features would be a nice touch. I'm open to learning TeX or any other piece of software as long as it's usable.


I'm trying to set up a contextual multiple substitution (one-to-many), but FOG 5 keeps choking on the feature file and won't generate a font. The same substitution works in VOLT for TrueType OpenType fonts, although the substitution works only in Microsoft programs, and not in Adobe programs.

In VOLT, I was able to set up the substitution as:

    comma -> special_glyph comma -- when preceded by -- glyph_group

Now I'm trying to use it in a feature file (based on Adobe specs) for generating a CFF OpenType font in Fontographer 5.

Here's the basic syntax for an Adobe spec feature file:

    sub [ @Glyphclass ] comma' by specialglyph comma;

Now that webfonts are supported by all major browsers, more and more professional fonts are available for web linking. These fonts usually contain a large set of OpenType features, which are only accessible in OpenType-savvy applications like InDesign, Illustrator or QuarkXPress. Browsers have barely supported such advanced typographic features so far. But with the latest Beta of Firefox 4 this is about to change …

see also:

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.

ralf h.'s picture

OpenType myths explained

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 for my weblog, I thought it is time to shed some light on this confusing subject …

grayhood's picture

beginer opentype troubles

This is my first attempt at creating an open type font in font lab 4. i thought i would start with the simplest feature i could think of, but already having trouble. any idea what i am doing wrong???

thanks in advance to any kind soul who is willing to help!


205 is a new type foundry founded in 2010 by Damien Gautier (Lyon, France)
Almost display fonts but not only...
Opentype fonts, it's sure! With opentype features (ligatures, alternate glyphs, etc.)

Already available :
– Amiral : a strong stencil typeface (uppercases only)
– Bloo : a four cut font in homage to "Codex80" by Jean Alessandrini
– Caporal : an elegant stencil font
– Colonel : a four cut stencil font – uppercases and lowercases – : cut, rounded and sharp angles
– LeChaufferie : a display font with 1200 ligatures !
– Robin : a dingbats font with infinite possibilities thanks to 5000 kerning pairs

Éditions Deux-Cent-Cinq publishes also books on typography, architecture and contemporary photography.
Visit the website :

i read some time ago that it is possible (and legal) to extract special opentype features from a licensed adobe font and create a (ttf?)-font that could be used in applications that do not support opentype (like office word).

to make things more practical: i would need for a client three weights of hypatia sans (e.g. light, regular, bold) in the stylistic set 1 (no serifs) both itallic and normal and additionally in the stylistic set 13 (unicase).

any ideas if this would work, who could do this and what costs i would have to face?

gerhard donauer

I created a font for a school assignment a while ago, and I'm having a little trouble with Open-Type in order to make it work properly.see the font here:
Since the typeface uses shoes as characters, I needed it to be like this:
Right foot, Left foot,Right foot, Left foot,Right foot, Left foot,

At first I just put all the right feet in uppercase glyphs and left feet in lowercase glyphs, so you needed to type ThIs WaY to make it work (not the best solution, but I had a tight deadline). Now I am trying to find an open-type solution to make it look right regardless of how you write, but I'm not sure about which open-type feature I should use.
I am a bit of a noob at Font Lab, so any help would be appreciated.

During the summer 2009 we’ve been asked by Real Simple to customize Parisine PTF for their own use. We've adjusted few things for Real Simple and created new weights. Today, we've integrated this idea of intermediate weights into Parisine PTF Gris: A new Regular between the original Parisine PTF Clair Bold and Parisine PTF Regular (as on the image above). Bold follow same mechanism. Finally, it’s also why this new sub-family was called *Gris* (Gray in English).

As you might now, the long awaited, 15+ years, version 1.0.0 of STIX fonts have been finally released. However, the release disappointed many people who want to typeset mathematics with STIX fonts, as they neither released LaTeX support files nor supplemented the fonts with the new OpenType MATH table, ruling out any quality mathematical typesetting engine.

Fortunately, STIX were kind enough to release the fonts under Open Font License, so giving the community the power to scratch their itch and not wait yet another 15 years for next release.

Having experimented with an OpenType MATH version of STIX beta release, it was relatively easy to supplement the final release with MATH layout features, thanks to the powerful FontForge who never let me down, and so XITS was officially born.

Parisine Office Std was originally created by Jean François Porchez for RATP in 2005. This new variation “Std” is the basic version of the tailored Parisine Office PTF who feature a smaller xheight and perform better on text setting, editorial projects. The design of the italic lowercases is more cursive than in Parisine PTF. Two sets of figures are provided—standard, oldstyle, and lining—in tabular widths.

All details

Test it online

Full pdf specimen


I'm wondering, if there's any chance to prevent Indesign and other applications from breaking letter combinations when the tracking threshold is exceeded.
I've some kind of (faked) random opentype feature programming in the contextual alternates feature of my font. For it's not a script font and the letter combinations are not meant as ligatures, I'd like to deactivate this behavior in type setting applications, preferably by Opentype programming. I guess it's not possible, but maybe... Any suggestions?



I'm getting in a bit of a muddle with my old style figures, and wonder if somebody can clear this up for me?

Ayita Pro is a cheerful new sans serif design by Jim Ford of Ascender Corp. Ayita is a Cherokee name which translates to 'first in dance' and recalls the exuberant rhythm and flow of these 14 new typefaces. Originally conceived as an upright italic design, the Ayita typeface family remains contemporary, friendly and elegant yet hard working.

sepp88's picture

Opentype Feature - string replacement?

Hi guys,
i'm totally new here. I wanted to ask you if it's possible to do a string replacement via opentype programming? you know, it's possible to replace ligatures

sub f f by ff;

however is it possible to do something like this?

sub a b by c d;

So if i type "ab" i get "cd"?

Thank you for your help and your tips.

Does anyone know if this typeface, Government, which is used by the monument industry, is available in an OpenType or TrueType version? Maybe it has other names? Thanks.


I am nearing the end of a project I'm doing using Opentype features in an experimental way. I call it experimental because my usage isn't particularly informed and there's probably a much easier way to be doing this. That's where I'd like your help.

I have set myself up to translate (I use translate very loosely) "txtspeak" into normal english (hereby called 'txt' and 'text'). I have beginners knowledge of coding Opentype features and my idiocy will probably make a lot the experts squeal, but I don't mind that. Current ignorance has proven to be experimental bliss, but I'm more than willing to dive into deeper grounds to rectify problems I think I will ultimately come across.

Ok, so I was using class based kerning and on the metrics window, everything seems to be working fine... kerning values look like they should. "Class kerning with exceptions" is enabled in the Metrics window.

However, when I open up the preview window, I see that kerning is all messed up and not working like it should (seems like class kerning is being ignored).

I tried exporting the font and I still get that.

Anyone here knows what is happening?
I spent about 10 hours kerning pairs and to know that my kerning is now not working is stressing me out big time :(


Is there anything odd in the calt list of Vista/Windows 7's font "Segoe Script"? I was alerted today by an InDesign user that contextual alternates do work for Latin script, but don't appear to get activated for Cyrillic text.

I examined the OTF tables, and, sure enough, the calt tables for Latin are only defined in the Latin Script part, and the Cyrillic Script section has its own calt list. Nothing out of the ordinary, I presume.

Theoretically, the used program ought to recognize a series of Cyrillic characters and automatically switch over to the Cyrillic section -- right? I think that was the entire purpose of the Scripts sections. Could it be an error in InDesign CS4? Or am I misinterpreting the use of the Script tags and how they would work in practice?

dimitre's picture

25% off *.*

Nobody else seems to have posted this, so I will: The current CSS3 Fonts Module provides a syntax to use CSS to declare use of a few dozen OpenType properties. If I have the list correct, they are:

  1. afrc
  2. calt, clig
  3. calt, clig
  4. cswh
  5. dlig
  6. dlig
  7. frac
  8. fwid
  9. hist
  10. hlig
  11. hlig
  12. hojo
  13. jp04
  14. jp78
  15. jp83
  16. jp90
  17. liga


Anybody know a way of programming a font so that it remembers you've typed a letter, and the next time you type that letter an alternate glyph is used? This would be useful in distressed fonts. Ligature substitution is ok for double letters but if I type a word like 'dada' say, and I want to make sure the distressed look isn't repeated, it doesn't help.

I have a feeling it should be simple enough to do this - somehow get typing a letter to flick a switch and then if the same letter is typed while that switch is on, substitute an alternate glyph then reset the switch.

Any ideas?


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