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Fontlab Ltd. http://www.fontlab.com Basics of FontLab Studio 5 Ted Harrison OpenType / TrueType fonts exist in two flavors: Windows TrueType (.ttf) and OpenType PostScript (.otf). They can use either TrueType or Type 1 glyphs and work across Windows, Mac and Unix platforms. The font table in FontLab Studio displays information about glyphs and allows editing characters. Cells are color coded to indicate encoding status. Context menus provide glyph editing and encoding options. This document provides an overview of basic FontLab Studio interface and tools for editing glyphs, contours, nodes and performing transformations. Guidelines, layers and hints can be used to aid in

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Fontlab Ltd. http://www.fontlab.com Basics of FontLab Studio 5 Ted Harrison 1 2 Opening a Font File -> Open 2 3 The Font Table 3 4 The Font Table Cells Labels Colors Yellow – encoded Gray – unencoded Red – marked Green – selected Types Background colors White w/ black glyph = character+glyph White w/o glyph = character, no glyph Gray w/ gray glyph = no char or glyph Gray w/ no glyph = no char,glyph,template Dark blue = selected Red, green cyan,…= marked 4
5 The Font Table Cell icons H (LLQ) – character has hint replacement program or overlapping T1 hints Green = good Red = bad T (RLQ) – has TT hints Blue = original Brown = manual M (RUQ) – has mask layer Ylw/grn = compatible Ylw/rd = incompatible Note – has note. RMB/<ctrl> click-hold to read it 5 6 The Font Table Encoding modes Name Unicode Ranges Unicode Codepages Index Save encoding – saves .enc file 6 7 The Font Table Selecting – click cell Drag-and-drop Range drag-and-drop New glyph –dbl click +<ctrl> - multiple windows 7 8 The Font Table RMB/<ctrl>-click menu Width – of table Copy/Paste – all layers Append – to end of table Delete Action Add note Rename Mark – marks and unmarks cells Open – open in new window Properties – glyph properties 8
9 The Font Table RMB/<ctrl>-click menu Width More Select encoding Select glyph as default Remove Unicode 9 10 The font Table Customizing the font table: Size Caption Mode Encoding 10 11 The Glyph Edit Window 11 12 Glyph Edit Window Edit tool Click = select Click-drag = move Dbl-click = select contour Erase tool Knife tool Meter Drawing Pen 12
13 Glyph Edit Window VectorPaint Tools Lasso Pencil Brush Line Polygon Text tool Color Empty Auto Black White Brush Options Brush Style 13 14 Glyph Edit Window Guidelines Horizontal Vertical Diagonal 14 15 Metrics 15 16 Metrics and kerning window Window->new metrics window Mode Text Preview Metrics Kerning 16
17 Metrics and kerning Window Text size Options Tools Text string 17 18 Metrics and kerning window Metrics Mode Sidebearings Auto 18 19 Metrics and kerning window Kerning Mode Manual vs digital Auto 19 20 Font Info 20
21 Font Info Names and copyright Version and ID Metrics and dimensions Encoding and Unicode Hinting settings Type 1 settings TrueType settings 21 22 Font Info Names Font name Family name Menu name Copyright 22 23 Font Info Version Metrics Encoding 23 24 Font Info Font Note 24
25 Font Generation 25 26 Font generation Saving - .vfb format 26 27 Font Generation Windows Type 1 TrueType/OpenType Macintosh Type 1 TrueType/OpenType 27 28
29 30 31 32
33 34 35 36
37 38 39 2    1 PostScript Type 1 created 1 985–1 990 by Adobe Systems declared obsolete in 1 999    exists in two platform variants:   * resource-fork suitcase + “LWFN” printer file(s) works on   and    doesn’t work on Windows    2 4 data-fork files (.pfb, .pfm + possibly .afm, .inf) works on  and some Unix/Linux systems doesn’t work on MacOS 8/9 or Mac OS X * only supported in FontLab for Mac 40
3    OpenType / TrueType created 1 987 by Apple and Microsoft extended 1 996–1 999 by Microsoft and Adobe exists in two flavors:      one data-fork file per style, extension .ttf works on  and   , Unix doesn’t work on MacOS 8/9   (PostScript/CFF) one data-fork file per style, extension .otf works on       Unix doesn’t work on MacOS 8 support limitations on other systems 41 42 Fontlab Ltd. http://www.fontlab.com OpenType the Easy Way Ted Harrison 43 2 OpenType – What is it? 44
3 OpenType – What is it? TrueType with more tables. Uses one file (the same file) for both Mac and PC Allows very sophisticated typography through the use of OpenType features (in applications that support OpenType) Can use either TT or T1 glyphs. 45 4 Readings on OpenType OpenType: The Next Level of Digital Typography (Mark Eastman, Communication Arts) http://store.adobe.com/type/opentype/CA-Aug02.pdf OpenType ushers in new era of typography (Edward Mendelson, Creativepro.com) http://www.creativepro.com/story/feature/6503.html Will Adobe Finally Push OpenType into the Big Time? (Terri Stone, Macworld) http://www.macworld.com/2001/08/bc/20adobe_opentype/ 46 5 OpenType References Specifications Microsoft: http://www.microsoft.com/typography/tt/tt.htm Adobe: http://partners.adobe.com/asn/tech/type/opentype/otover.jsp 47 6 The Hard Way 48
7 OpenType the Hard Way Design Glyphs Do metrics and kerning Hint glyphs Name and encode glyphs Write OT feature scripts Test and debug OT feature scripts Name, ID, and generate the font Test fonts in OT-compatible apps Debug and retest, etc. 49 8 The Easy Way 50 9 OpenType the Easy Way Design Glyphs Do metrics and kerning Hint glyphs Copy/paste characters into FreeFontPro template (or make your own) Name, ID, and generate the font - Voila! You’re done. 51 10 opentype the Easy Way Design Glyphs Do metrics and kerning Hint glyphs 52
11 opentype the Easy Way Copy/paste (special) glyphs into FreeFontPro template (or make your own) 53 12 opentype - Easy Way Name, ID, and Generate the font FFPro already has built in: Alt forms Small caps Lining figures Tab figures Old style numerals Superiors Inferiors Ligatures Diphthongs Currencies Ordinals Cap spacing Fractions as standard OT features 54 13 OpenType the Easy Way Advantages: Avoid tedious re-entry of Font Info data Use a template of known quality to eliminate encoding errors Eliminate debugging and testing by re-using OT feature scripts that have already been debugged and tested 55 14 The Really Easy Way 56
15 OpenType the Really Easy Way Check the „Add OTF features“ checkbox Import a Type 1 font Name, ID, and Generate the font 57 16 OpenType the Really Easy Way Check the „Add OTF features“ checkbox Tools->Options->T1 Import 58 17 OpenType the Really Easy Way Import a Type 1 font FL automatically creates: cpsp frac ordn liga If the appropriate glyphs are available 59 18 Other OT Shortcuts 60
19 Other OpenType shortcuts Use Python Macros to create characters Tim Ahrens’ Auto SmallCap http://www.fontlab.com/html/python.html Write your own! 61 Fontlab Ltd. http://www.fontlab.com Ted Harrison Drawing Power in FontLab Studio 5 62 2 The Glyph Window Scale,zoom Control marks Note icon Rulers and scroll bars Window options Glyphs bar Undo/redo 63 3 Glyph Window controlbar Scale Zoom Meter panel Control marks (T, R, M) Note icon 64
4 Glyphs bar & window options Lock/unlock Toggle meter panel Zoom Expand/close Selecting a glyph for editing 65 5 User interface Meter tool Meter panel 66 6 User interface - Glyph toolbox Edit tool Eraser Knife Meter Pen Add corner, curve, tangent Rectangle, ellipse Transform TT and T1 hinting 67 7 User interface - Contour toolbox Flip: Horizontal and vertical Interpolate nodes Envelope Move node Simplify segment Set contour direction (PS,TT) Merge contours: Get intersection 68
8 User interface - Editing layers Editing layer groups window 69 9 User interface - Editing layers View -> Show layers Dockable toolbar 70 10 User Interface Lock Layers 71 11 User Interface Snap to Layers 72
12 User interface - Rulers and Guidelines Scrollbars Rulers Units per eM (UPM) Guidelines Horizontal & vertical Angled 3 degree constraint <shift> Parallel Remove 73 13 User interface - Guidelines Guidelines menu RMB/<ctrl>click Convert to global Align Delete Create orthogonal Properties Coordinate Angle 74 14 User Interface Exercise Open FontLab; Open a font; Open the glyph window; Select the space character. Make the grid and guidelines layers visible. Remove all other layers. Lock the outline layer. Place a horizontal guide at a level of 402 eM units. Turn it into a global guide. Place a 42 degree angle guide at –28. Create another parallel to it at –20. Remove all guidelines. 75 15 Edit mode – the edit tool Node select <shift> Segment select <shift> Contour select <x2> Node properties <ctrl> Node menu <RMB>/<cntrl>click Node insertion <cmd+opt> Convert to curve <alt> 76
16 Edit mode The Nodes properties panel <ctrl><click> 77 17 Edit mode Edit mode The Node menu (RMB/<ctrl>click) The Node menu The Node menu 78 18 Edit mode Eraser Standard Marquee <cmd> Knife Add node Cut stem Delete line <opt> 79 19 Edit Exercise Open the A glyph cell Select an apex node and delete it. Cut one of the legs; select the lower contour; drag it 10 units to the right. Add a node in the middle of the top of the crossbar; select the segment to the right; delete it to leave an open contour. Select the bottom right node and move it 11 units to the right and two units up. 80
20 Edit mode Bezier drawing tool (pen) 81 21 Edit mode New contour tools Add corner Add curve Add tangent 82 22 Edit mode Transform tools Rotate Scale Slant Transform Box 83 23 Edit Exercise 2 Open a blank glyph window. Draw a D using the contour tools. Select the inner contour and scale it up by 10%. Draw a dot in the counter of the D using the Bezier Pen. Select the D but not the dot and slant it 12 degrees to the left (hint: use a guideline). 84
24 Contours Open and closed Filled and unfilled Startpoint and closepath 85 25 Contours Type 1 (cubic b-spline) TrueType (quadratic b- splines) 86 26 Contours Connections: sharp vs. smooth Changing connection type Double-click RMB/<ctrl>click ->menu 87 27 Contours – node commands Make node first Convert Delete Duplicate Retract BCPs Add anchor 88
28 Contours – contour commands Reverse Contour Make contour first Delete Subtract Select Make parallel path Break contour Make corner Fixed BCP direction 89 29 Contour Exercise Open the 5 glyph Change the extremum node of the bowl to a sharp connection and make it the first node. Break the contour at the node in the upper right corner. Select the top segment and make a parallel path. 90 30 Nodes Moving nodes and segments Selection Click Marquee Magic wand Click-drag Copy-paste 91 31 Nodes Inserting nodes Edit tool Win: Hold RMB then click LMB Mac: <cmd><opt>click Knife tool – click-drag across outline Add corner, curve, tangent 92
32 Nodes Removing nodes Edit tool Win: Hold LMB then click RMB Mac: click-drag node then <ctrl>click Eraser Click Marquee select Node menu Edit menu 93 33 Nodes Non-node editing 94 34 Selection Edit tool <shift>click selects node Double-click selects contour Marquee selects segment Magic wand - <ctrl>+Edit tool Selects nearest contour +<alt>/<optn> selects nearest contour & all contours inside it Lasso – in VP toolbar Segment <Shift>click both ends Marquee select all nodes in segment Edit menu Select All Invert Deselect 95 35 Glyph popup menu RMB/<ctrl>click in blank area Outline commands 96
36 Glyph popup menu Hinting commands Template commands 97 37 Glyph popup menu Actions - transformation Add note Add anchor Add component Decompose Open font window 98 38 Glyph properties window Edit->Properties from Font table Name & Unicode # nodes, #contours, #components Metrics Standard Measured at red line Bounding box Classes 99 39 Contour Toolbox 100
40 Contour toolbox Also available from the menu Flip glyph Horizontal Vertical 101 41 Contour toolbox Interpolate Nodes 102 42 Contour Toolbox Envelope Move Node (Set) Simplify Segment (Curve) Click tool button Click each end of segment 103 43 Contour Toolbox Contour direction Set PS direction Set TT direction Also available from menu 104
44 Contour Toolbox Merge Contours Get Intersection Delete Intersection (in menu) 105 Fontlab Ltd. http://www.fontlab.com Masks & Templates in FontLab Studio 5 Ted Harrison 106 2 Masks & Templates – what are they? Mask – a layer of a glyph that can contain a contour that is not affected by editing the outline layer Template – a global mask layer Bitmap layer – a layer in which a bitmap pattern can be imported or created 107 3 Masks & Templates – where are they? Tools -> Mask/ & Template 108
4 Masks 109 5 Masks Copy to Mask – copies the selected contour (or part) to the mask layer. 110 6 Masks Paste Mask – copies the mask layer into the outline layer. Note that it does not replace what was in the outline layer, nor is the mask removed. 111 7 Masks Clear Mask – removes all contours from the mask layer 112
8 Masks Exchange with Mask – moves the outline layer to the mask layer and the mask layer to the outline layer. All contours are replaced. 113 9 Masks Assign Font Mask – makes one font a mask for another 114 10 Masks Editing the Mask Layer View->Show Layers->Edit mask 115 11 Exercise 1 Open the H glyph. Select the left half and put it on the mask layer. Exchange the mask and outline layers. Paste the mask layer into the outline layer. Clear the mask layer. 116
12 Templates 117 13 Templates Copy to Template – copies the contour (or selected part) from the outline layer to the template layer. 118 14 Templates Copy Mask to Template – copies the active glyph’s mask layer contents into the template layer. 119 15 Templates Paste Template to Mask – copies the contents of the template layer into the active glyph’s mask layer. 120
16 Templates Clear Template – removes the contents of the template layer. 121 17 Exercise 2 Open the T glyph. Copy it to the template layer. Open the a glyph and copy it to the mask layer. Copy its mask layer to the template layer. Open the space character and copy the template to the mask layer. Then copy the mask layer to the outline layer. Clear the template layer. 122 18 The Background Layer 123 19 Background Tools -> Background Create – rasterizes the outline and puts the resulting bitmap into the bitmap layer. 124
20 Background Remove – clears the bitmap layer 125 21 Background Copy – copies the bitmap to the clipboard Edit->Paste – copies a bitmap from the clipboard to the background layer 126 22 Background Move and Scale – allows you to move and adjust the size and shape of the bitmap. 127 23 Exercise 3 Open the Z glyph and create a bitmap background from it. Scale down the bitmap by about half and move it over to one side. Clear the background. 128
Fontlab Ltd. http://www.fontlab.com VectorPaint & sketch mode in FontLab Studio 5 Ted Harrison 129 2 VectorPaint – Painting in a vector mode Bitmap paint tools Vector contours Stroke-based contours 130 3 Tools - Lasso Lasso select – selects enclosed contour LMB – straight line RMB – close contour Edit Tool – move selection 131 4 Tools - Pencil Freehand line drawing 132
5 Tools - Brush Brush tips Brush options Strokes Widths Angle Caps Joins 133 6 Tools - Brush Brush Options 134 7 Exercise 1 Open a new glyph window and draw a swash R that looks something like this. The stem width should be 60 units. Draw a grave accent. Lasso it and drag it over the R. 135 8 Tools - Line Straight lines 136
9 Tools - Polygon Draws polygons RMB to close Normal contour mode Brush trace mode 137 10 Tools - Text Adds text to a glyph Edit tool – moves text Font – choose from any installed TT font 138 11 Tools - Color Black White Empty – the brush takes the foreground color Auto – the brush takes the color where the stroke begins 139 12 Exercise 2 Create a new glyph design in a blank cell using the VectorPaint tools. Add text to make a logo glyph. 140
13 Sketch Mode 141 14 Sketch Toolbar Show outline – creates a template layer copy of the contour. This copy remains unchanged while the contour is edited. Show marks New sketch Import sketch – copies the contour to the sketch layer Replace outline – replaces the existing contour with the sketch Add to outline – adds the sketch to the existing contour 142 15 Sketch tools All the usual toolbox tools work in sketch mode. The main difference between sketch mode and normal outline mode is that the sketch is not WYSIWYG. I.e the character contour does not change as you edit it in the sketch layer. Only when you click Replace Outline or Add to Outline does the sketch get transferred to the real character contour layer. 143 16 Exercise 3 Open the B glyph. Go into sketch mode and put the glyph outline into the sketch layer. Make a copy on the template layer and then scale the glyph 90%. Use the edit tool to enlarge the upper bowl. Put the new contour back into the glyph window, replacing the old contour. 144
17 Expand Strokes & Parallel Paths 145 18 Expand Strokes Draw and or select a line segment Choose stroke width, Caps, Joins, And shape 146 19 Parallel Paths Draw and/or select a segment Choose relative position, Replace or add, Close contour?, And offset 147 Fontlab Ltd. http://www.fontlab.com Transformations in FontLab Studio 5 Ted Harrison 148
2 Transformations Glyph edit transform tool Range transformation Transformation programs 149 3 Glyph transform tools Scale Skew Rotate 150 4 Glyph transform - scale Select segment or contour Click scale tool Position cursor Click and drag 151 5 Glyph transform - skew Select segment or contour Click skew tool Position cursor Click and drag 152
6 Glyph edit transform - rotate Select segment or contour Click rotate tool Position cursor Click and drag 153 7 Glyph transform – free transform Select segment or contour Click free transform tool Click on handles for scale, skew or rotate Drag to position 154 8 Transform Panel Window->Transform panel Enables digital precision transforms 155 9 Exercise 1 Open the S character Scale it down to about 90% Slant it left about 15 degrees Rotate it about 30 degrees 156
10 Range Transformation 157 11 Range Transformation Tools -> Transform (Action) 158 12 Range Transformation Select a range or character Select an action Click OK to apply 159 13 Exercise 2 Open a sample font Widen all the caps by 10%. Make all the lower case characters 20% bolder. 160
14 Transformation Programs 161 15 Transformation Programs Select a range or character (or leave blank to do the whole font) Tools -> Action set 162 16 Transformation Programs Setup Transformation program Choose range Retrieve or create an action set Edit the actions 163 17 Transformation Programs The Preview Panel Run the Action Set 164
18 Exercise 3 Create a transformation program that makes the font 10% bolder, slanted by 6 degrees left, and applies a shadow. 165        166 2       Making a PostScript language implementation of a typeface design involves two essential considerations: The character paths must accurately express the true analog shapes of the original design. Certain conventions must be observed to help the interpreter accurately scale for all sizes. Failure to observe either of these conventions can result in uneven stems, unwanted pixels, poor curve shapes, and poor transitions from straight to curved sections. 167 3      An endpoint (first or last point of a lineto or curveto) should be placed at most horizontal or vertical extremes. This implies that most curves should not include more than 90 degrees of arc. The placement of extreme points aids the rendering algorithms in properly reproducing the major features of characters. Of course, points may be placed anywhere else on the character outline, as long as the important extremes are defined as well. It is not necessary to place an endpoint at extremes of very small curves such as the tips of curved serifs. 168
4     Whenever one path element should make a smooth transition to the next element (for example, straight line to curve, curve to straight line, or curve to curve) the endpoint joining the two elements and the Bézier control points (the off-curve points) associated with that endpoint (for curves) or the other endpoint (for lines) should all be collinear. This is especially important at horizontal and vertical extremes, where slight deviations tend to be magnified by interaction with the pixel grid. 169 5    Be as concise as possible, without breaking the other rules. This achieves minimum memory usage and maximum speed in the rendering system, and simplifies the task of adding hints. Use the fewest Bézier curve segments that accurately represent a shape. Do not use consecutive collinear straight line segments. Do not draw straight lines by using collinear curveto definitions Whenever possible, use the closepath command to draw one of the straight line segments, rather than closing a character with a closepath that results in a zero-length line segment. In general, find the smallest sequence of commands that accurately describe the character shape. 170 6    set of algorithms that analyses a glyph’s outline to find errors that may decrease glyph rasterization quality. To activate, press the ying-yang button on the Show Layers toolbar. To see a description of a possible error, click on the red arrow mark. 171 7   172
8   173 9  Tools / Outline / : FontLab tries to automatically adjust the outline to remove unnecessary elements and correct others. Remove unnecessary curve and line segments. Align imprecisely directed vertical and horizontal lines. Correct the connection types of lines and curves. : Preferences / Font Audit / Optimized Outline Simplification level: The bigger value, the more curves FontLab will try to remove. Auto-alignment level: The bigger value, the stronger FontLab will align curves. 174 Fontlab Ltd. http://www.fontlab.com Metrics in FontLab Studio 5 Ted Harrison 175 2 The Metrics Window Window ->New Metrics Window 176
3 Interface Mode Text Preview Metrics Kerning Size Options Tools String 177 4 Interface Header bar Size String select Load text Open/close 178 5 Metrics button bar 179 6 Metrics button bar Open Metrics – opens a metrics file from disk Save metrics – saves a metrics file to disk Quick Save – saves a metrics file to RAM (not disk) Quick Open – opens a metrics file from RAM 180
7 Metrics button bar Auto Metrics kerning 181 8 Metrics button bar Reset kerning Assistance Add pairs 182 9 Metrics button bar Right-to- left Flip glyphs 183 10 Metrics button bar Measurement line Class kerning 184
11 Metrics button bar Expand panel Open Kerning Table Ruler 185 12 Metrics Modes 186 13 Metrics Modes Text 187 14 Metrics Modes Preview 188
15 Metrics Modes Metrics 189 16 Metrics Modes Kerning 190 17 Working with Strings 191 18 String Field String selections Entering strings Type one in By name: /A.small/ By decimal code: /44 By Unicode: 0445 For slashes use double slashes: // Select from dropdown list Cycle through list using spin buttons 192
19 String Field Loading text strings List comes from preview.txt in data subdirectory of fontlab directory. ASCII editable. Make your own list(s) and use the OPEN button to load them. Second preview allows comparison 193 20 Editing Metrics 194 21 Editing Metrics Select Metrics Mode Select or enter string Select character Adjust sidebearings Manually Drag sidebearing line Drag glyph Digitally Use spin buttons Enter numbers in spinbox or table 195 22 Editing Metrics Or just click the Auto button: And select appropriate parameters: 196
23 Editing Kerning 197 24 Editing Kerning Select Kerning Mode Select or enter string Select character Adjust kerning Manually Drag kerning line Drag glyph Digitally Enter numbers in table 198 25 Editing Kerning Or just click the Auto button: And select appropriate parameters: 199 26 The Measurement Line On/Off button in Metrics toolbar Useful for kerning italics 200
Advanced Metrics an Class Kerning     201 2    FontLab 4.6 202 3    FontLab Studio 5 203 4    New: “Text Mode” that allows live multiline text editing 204
5    New: Permanent Metrics/Kerning table (Metrics mode) 205 6    New: Permanent Metrics/Kerning table (Kerning mode) 206 7     Glyph class A named group of glyphs associated together Used for advanced metrics editing, class kerning and for OpenType Layout features “FontLab classes” and “OpenType classes” FontLab classes Editable in the Collection/Classes panel & in Kerning Assistance Usable in Metrics Window, Classes panel, other UI elements OpenType classes Editable in the OpenType panel or an external .FEA OpenType feature definition file Only usable within the OpenType panel, optional 207 8     FontLab classes vs. OpenType classes 208
9     Converting OpenType classes FontLab classes automatic, upon opening an OpenType font (4.6) manual, “Import FontLab classes” in OpenType panel (5.0) Converting FontLab classes OpenType classes automatic, upon compiling features or generating an OpenType font, if option enabled in Preferences (4.6): manual, “Import features from binary tables” (5.0) Most users only need to deal with FontLab classes! A font creator may use OpenType classes when he/she wants to create a complete .FEA feature definition file – all in one file. Otherwise, always use FontLab classes. 209 10   FontLab kerning classes special FontLab classes used for class kerning name must start with underscore (e.g. “_A”) one glyph in the class must be a “key glyph”: its glyph name in class definition is followed by quotesingle (') 210 11   1. Create   2. Define the   of each kerning class 3. Define   for individual glyphs (for classes, only key glyphs need to be kerned) 4. Use   to copy kerning values from pairs with key glyphs to pairs with dependant glyphs   are made by kerning dependant glyphs explicitly 211 12   1. Create kerning classes by dragging glyph groups into classes panel or writing class definition file. 212
13 2. Define the kerning scope of each class using Kerning Assistance (Save changes): 1st glyph class, 2nd glyph class, both-side class 213 14   3. Define kerning pairs for individual glyphs. For glyphs in classes, you only need to define kerning pairs with key glyphs. 214 15    New: Live class kerning 215 16   4. Use Kerning Assistance to apply changes: Apply and Save build OpenType “kern” feature with class kerning, for OpenType PS and OpenType TT fonts Expand Kerning physically copy kerning values to dependant glyphs, for Type 1 and TrueType fonts to be used in non-OpenType applications 216
17    Improved: Expanding class kerning into plain kerning 217 18    Improved: Expanding class kerning into plain kerning 218 19    New: Compressing kerning into class kerning 219 20    New: Metrics window options 220
Mysteries of the Font Heade   Fontlab Ltd. 221 5   Font Settings Font-centric. Affect a given font regardless of which user and machine it is edited on. They “travel” with the .VFB font file. Control font naming and identification, metrics and dimensions, glyph naming and encoding, screen display settings, other font format-dependant settings. Application Settings User-centric. Affect all fonts edited by the current user on the current machine. Do not “travel” with the .VFB font file. Control FontLab’s behavior, opening and saving, user interface elements, keyboard shortcuts etc. Also control certain aspects of font naming, encoding, screen display settings etc. of fonts that are being generated. 222 7    Font Settings Font Info (“Info”): File | Font Info..., May override format-specific application settings Application Settings Preferences (“Pref”): FontLab | Preferences (Mac) or Tools | Options (Win) Customize: Tools | Customize... File Dialogs: File | Open... | Options... or File | Generate Font... | Options..., Temporarily override Preferences 223 8     User interface Font Window, Glyph Window, colors, fonts, smoothing, keyboard shortcuts, toolbar and menu items*, UI icons*... Behavior of certain functions Optimize, FontAudit, Trace, T1/TT Autohinting, copy-paste, tracking, snapping, selecting, node moving... Importing (opening) and exporting (generating) fonts Decompose composites on import, autohint unhinted glyphs, re-encode glyphs... Read/export: original hinting, complete “name” table, OpenType Layout tables, embedded bitmaps... * only available in FontLab for Windows 224
9     Unicode compatibility: yes: Win TrueType / OpenType TT, OpenType PS, FontLab VFB, Mac TrueType, no: Mac / PC Type 1, Mac / PC MultipleMaster Terminology: The terms OpenType TT and Win TrueType are interchangeable OpenType PS (CFF) is often misnamed as just “OpenType” Settings: OpenType settings apply both to Win TrueType / OpenType TT and to OpenType PS fonts TrueType settings apply to Win TrueType / OpenType TT and to Mac TrueType fonts Type 1 settings apply to Mac Type 1 and Win Type 1 fonts 225 13    Preferences | Type 1 Type 1 import: leave default settings Type 1 export Disable Use WinAscent and WinDescent... Encoding options: Select encoding automatically (more discussion when we will speak of font formats) Preferences | TrueType TrueType import For round-tripping, enable Store custom TrueType tables TrueType export Disable Autohint unhinted glyphs Note: “Type 1 settings apply to Mac & Win. “TrueType” settings apply to Mac TrueType, Win TrueType and OpenType TT (.ttf). 226 14    Preferences | OpenType OpenType import Disable Interpret “mort” table. Set Read all OpenType name records... OpenType export Set Append OpenType name records for Roman fonts or in development mode. For shipping, set Export only OpenType name records and verify all naming in detail. Enable Use OpenType names as menu names on Macintosh. Enable Add all glyph classes to OpenType feature definition... Note: Settings apply to Win TrueType, OpenType TT (.ttf) and OpenType PS (.otf) fonts. Naming settings also apply to Mac TrueType. 227 16     Font names and identification Font names, design credits, vendor information, copyrights and licenses, version numbers, creation date Metrics and dimensions UPM, ascenders / descenders, superscript / subscript Glyph naming and encoding Glyph names, Unicode values, codepages Screen display settings PostScript and TrueType hinting, auto-aliasing Other settings Settings specific to given font format 228
17     Info | Names and Copyright Names of font family and style Font family relations Typographic parameters (width, weight, inclination) Design credits, copyrights, trademark information Licensing information and embedding rights Info | Version and Identification Version information Typeface classification parameters 229 18       “Brief” families on Windows (no more than 4 styles) “Long” families on MacOS and in Adobe applications 230 19       “Brief” families on Windows (no more than four styles) “Long” families on MacOS and in Adobe applications Solution: give each family two sorts of family naming: “brief family naming” and “long family naming”. 231 20    Brief family naming FontLab 4.6 Long family naming (“OT”) Alt. view in FL Studio 5 To switch the views: Improved Fonts panel in FontLab Studio 5 displays both types of naming 232
21       Brief family naming Long family naming 233 22     Start by giving an identical Family Name (here: LabFont Pro) to all styles in your family. Select a Weight and a Width that best matches the true design of each style. For light fonts, avoid the “Thin”, “UltraLight” and “ExtraLight” settings and choose “Light” instead. If your style is italic or oblique, check the “Font is italic” mark, but leave “Font is bold” unchecked at this stage. 234 23     Click on the “Build Style Name” button to automatically build a style name. Abbreviate excessively long style names (e.g. replace “Condensed” with “Cond”). The style name must be unique within the family, so if FontLab builds the same style name for two different fonts, revise one of them. Click on the “Build Names” button to automatically build the remaining names. Click on the “Verify names” button (new in FL Studio 5!) 235 24     Switch between styles and repeat the previous steps analogically for all styles in your family. Go to the “OpenType-specific font names” page and click on “Build OpenType Names”. Repeat for all styles in the family. 236
25     Go back to the “Basic set of font names” page and apply the brief family naming: Enter the brief family name into the Family Name field and into the Menu Name field. Enable “Font is bold” whenever a font is supposed to be “bold style” within the brief family. Revise the “Style Name” field so it only contains one of the following: “Regular”, “Italic”, “Bold” or “Bold Italic”. Leave other settings unchanged. 237 29     238 31     239 33     240
34     241 35     242 36    243 37    244
38     245 39     246 40    Format-specific hinting settings: Pref | Type 1 Pref | TrueType Info | Hinting Settings Info | TrueType-specific settings | Font smoothing Tool: TrueType Hinting | Stems Options 247 41    Finalizing a PostScript design (Type 1 or OpenType PS/CFF) Tools / Transform Range / range: All characters in the font Add actions: Contour / Decompose Contour / Reverse all / Set counterclockwise (Type 1) direction Hints and Guidelines / Remove hints/guides Hints and Guidelines / Autohint Hints and Guidelines / Autoreplace Run the program Font Info Hinting Settings / Auto zones Standard stems (T1 hinting) / Auto stems 248
42    Finalizing a TrueType design (OpenType TT) Complete steps on previous page Font Info Metrics and Dimensions: Change UPM if required or leave 1000, enable “Scale all glyphs according to UPM change” TrueType-specific settings / Font smoothing / “Auto” (green) Tools / Transform Range / range: All characters in the font Add actions: Contour / Convert to TrueType Contour / Reverse all / Set clockwise (TrueType) direction Hints and Guidelines / Convert to instructions Run the program 249         250               251          252
         253          254         255  256
        257  258         259  260
        261  262         263  264
        265  266         267  268
Python Scripting in FontLab     269 4    Python is an open source object-oriented programming language Python is cross-platform, one code can be executed on Mac, Windows, Unix etc. It is easy to learn, very flexible and extremely powerful Why write code? simplify batch processing cut down on repetitive tasks FontLab has extensive Python implementation 270 5       First version of Python was written by Guido van Rossum. Guido van Rossum is the older brother of Just van Rossum, who is type designer (Letterror) and ATypI member. Many years ago, Just van Rossum, Erik van Blokland and Petr van Blokland wrote RoboFog – a scriptable version of Fontographer 3.5. It was written in Python. A few years ago, Just van Rossum wrote TTX, a package that allows you to convert TrueType and OpenType fonts to XML and back. In Python, of course. This year, Just van Rossum, Erik van Blokland and Tal Leming wrote RoboFab – an extension package that uses FontLab. Again, RoboFab was written in Python. Large parts of the Adobe SDK for OpenType (ASDKO, f.k.a. Adobe OTFDK) are written in Python. 271 6     Python 2.3.x must be installed on your system For Mac:  Download and install MacPython-OS9 even if you’re on OS X! After installation, click on “Configure Python” For Windows:  272
7     Macro Edit Panel Output Panel Fonts Panel Context Menus 273 8    Python programs are text files, usually with extension .py Python is case-sensitive Literals: String:   or   Integer value:  Floating value:  List:     Comment:   Statement:  274 9          275 10                           276
11    Condition:  ...  statement Iteration:  statement                    277 12     FontLab’s objects (fonts, glyphs, nodes) represented as Python objects FontLab objects overview 278 13   Go through the macros that come with FontLab and read over them to see how they work. The Python website has some great tutorials for learning basic Python: http://www.python.org The documentation of the FontLab/Python API is available at: http://dev.fontlab.net/flpydoc/ There is a mailing list dedicated to Python in FontLab: http://mail.letterror.com/mailman/listinfo/fontlab-scripting Almost any introductory book on Python will be helpful Write macros in an external editor (UltraEdit, BBEdit) 279 Fontlab Ltd. http://www.fontlab.com Blending & Multiple Masters in FontLab Studio 5 Ted Harrison 280
2 Blending Takes two fonts and creates an intermediate version. 281 3 Blending Open two fonts Tools -> Blend Fonts 282 4 Blending Specify fonts Blend vs. Build MM Destination Glyphs Blend amount Uniform? Interpolate 283 5 Blending Building a single-axis Multiple Master font 284
6 Multiple Master Fonts 285 7 Multiple Masters Theory Masters – the designer creates Master fonts to define the extremes of the design. A single-axis font requires two masters. A two-axis font requires four Masters. A three-axis font needs 8 Masters and a four axis font (the limit of current technology) needs 16 Masters. Axes – FontLab interpolates between the Masters to produce all the intermediate designs (instances). It can also extrapolate beyond the Masters to produce extraneous designs. 286 8 Multiple Masters Theory Standard Axes Weight Width Optical size Style (could be Serif or some other style attribute) 287 9 Multiple Masters Technique 1. Select/create Master 2. Define Axes 3. Create subsequent Masters 288
10 Multiple Masters Technique Open the selected Master font Define an axis Name Short name Axis type Hints to links 289 11 Multiple Masters Technique Create a second Master Select an active Master Edit Transform Blend Assign Mask to Master 290 12 Multiple Masters Technique Assign a second Master Tools->MultipleMaster->Assign Master 291 13 Multiple Masters Technique Mask to Master Assign mask Tools->Mask&Template->Assign Font mask Mask to Master Tools->MM->Mask to Master 292
14 Multiple Masters Technique The Axis Panel Window->Axis Panel The Preview Panel Window->Preview Panel 293 15 Multiple Masters Technique MM Metrics Open Metrics window Select Master to work on Edit metrics as in regular font Save metrics in MMM or AFM files 294 16 Multiple Masters Technique Working with Axes Axis settings Tools->MM->Modify Axis Names Removing an axis Tools->MM->Remove Axis 295 17 Multiple Masters Technique Editing the Axis Graph Tools->MM->Edit axis Graph Choose axis Position ends of dynamic range RMB+LMB(<cmd><opt>) on the line to add a point Drag point to new position 296
18 Multiple Masters Technique Anisotropic Interpolation Button in Axis panel Choose axis Position ends of dynamic range RMB+LMB(<cmd><opt>) on the line to add a point Drag point to new position 297 19 Multiple Masters Technique Hinting MM fonts You could hint each master separately. But it’s easier to use links instead. Links are not dependent on the number of masters. On export links will automatically be converted to hints for each master. 298 20 Multiple Masters Technique Generating a MM font File->Generate font Select MM format 299 21 Multiple Masters Technique Generating Instances Tools->MM->Generate Instance Select from known instances, or Choose a design position for a new instance. OK-> creates new font and opens it in a window in FontLab 300

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fontlab tutorial en inglés.pdf

  • 1.
    Fontlab Ltd. http://www.fontlab.com Basics of FontLabStudio 5 Ted Harrison 1 2 Opening a Font File -> Open 2 3 The Font Table 3 4 The Font Table Cells Labels Colors Yellow – encoded Gray – unencoded Red – marked Green – selected Types Background colors White w/ black glyph = character+glyph White w/o glyph = character, no glyph Gray w/ gray glyph = no char or glyph Gray w/ no glyph = no char,glyph,template Dark blue = selected Red, green cyan,…= marked 4
  • 2.
    5 The Font Table Cellicons H (LLQ) – character has hint replacement program or overlapping T1 hints Green = good Red = bad T (RLQ) – has TT hints Blue = original Brown = manual M (RUQ) – has mask layer Ylw/grn = compatible Ylw/rd = incompatible Note – has note. RMB/<ctrl> click-hold to read it 5 6 The Font Table Encoding modes Name Unicode Ranges Unicode Codepages Index Save encoding – saves .enc file 6 7 The Font Table Selecting – click cell Drag-and-drop Range drag-and-drop New glyph –dbl click +<ctrl> - multiple windows 7 8 The Font Table RMB/<ctrl>-click menu Width – of table Copy/Paste – all layers Append – to end of table Delete Action Add note Rename Mark – marks and unmarks cells Open – open in new window Properties – glyph properties 8
  • 3.
    9 The Font Table RMB/<ctrl>-clickmenu Width More Select encoding Select glyph as default Remove Unicode 9 10 The font Table Customizing the font table: Size Caption Mode Encoding 10 11 The Glyph Edit Window 11 12 Glyph Edit Window Edit tool Click = select Click-drag = move Dbl-click = select contour Erase tool Knife tool Meter Drawing Pen 12
  • 4.
    13 Glyph Edit Window VectorPaintTools Lasso Pencil Brush Line Polygon Text tool Color Empty Auto Black White Brush Options Brush Style 13 14 Glyph Edit Window Guidelines Horizontal Vertical Diagonal 14 15 Metrics 15 16 Metrics and kerning window Window->new metrics window Mode Text Preview Metrics Kerning 16
  • 5.
    17 Metrics and kerningWindow Text size Options Tools Text string 17 18 Metrics and kerning window Metrics Mode Sidebearings Auto 18 19 Metrics and kerning window Kerning Mode Manual vs digital Auto 19 20 Font Info 20
  • 6.
    21 Font Info Names andcopyright Version and ID Metrics and dimensions Encoding and Unicode Hinting settings Type 1 settings TrueType settings 21 22 Font Info Names Font name Family name Menu name Copyright 22 23 Font Info Version Metrics Encoding 23 24 Font Info Font Note 24
  • 7.
    25 Font Generation 25 26 Font generation Saving- .vfb format 26 27 Font Generation Windows Type 1 TrueType/OpenType Macintosh Type 1 TrueType/OpenType 27 28
  • 8.
  • 9.
  • 10.
    37 38 39 2   1 PostScript Type 1 created 1 985–1 990 by Adobe Systems declared obsolete in 1 999    exists in two platform variants:   * resource-fork suitcase + “LWFN” printer file(s) works on   and    doesn’t work on Windows    2 4 data-fork files (.pfb, .pfm + possibly .afm, .inf) works on  and some Unix/Linux systems doesn’t work on MacOS 8/9 or Mac OS X * only supported in FontLab for Mac 40
  • 11.
    3    OpenType/ TrueType created 1 987 by Apple and Microsoft extended 1 996–1 999 by Microsoft and Adobe exists in two flavors:      one data-fork file per style, extension .ttf works on  and   , Unix doesn’t work on MacOS 8/9   (PostScript/CFF) one data-fork file per style, extension .otf works on       Unix doesn’t work on MacOS 8 support limitations on other systems 41 42 Fontlab Ltd. http://www.fontlab.com OpenType the Easy Way Ted Harrison 43 2 OpenType – What is it? 44
  • 12.
    3 OpenType – Whatis it? TrueType with more tables. Uses one file (the same file) for both Mac and PC Allows very sophisticated typography through the use of OpenType features (in applications that support OpenType) Can use either TT or T1 glyphs. 45 4 Readings on OpenType OpenType: The Next Level of Digital Typography (Mark Eastman, Communication Arts) http://store.adobe.com/type/opentype/CA-Aug02.pdf OpenType ushers in new era of typography (Edward Mendelson, Creativepro.com) http://www.creativepro.com/story/feature/6503.html Will Adobe Finally Push OpenType into the Big Time? (Terri Stone, Macworld) http://www.macworld.com/2001/08/bc/20adobe_opentype/ 46 5 OpenType References Specifications Microsoft: http://www.microsoft.com/typography/tt/tt.htm Adobe: http://partners.adobe.com/asn/tech/type/opentype/otover.jsp 47 6 The Hard Way 48
  • 13.
    7 OpenType the HardWay Design Glyphs Do metrics and kerning Hint glyphs Name and encode glyphs Write OT feature scripts Test and debug OT feature scripts Name, ID, and generate the font Test fonts in OT-compatible apps Debug and retest, etc. 49 8 The Easy Way 50 9 OpenType the Easy Way Design Glyphs Do metrics and kerning Hint glyphs Copy/paste characters into FreeFontPro template (or make your own) Name, ID, and generate the font - Voila! You’re done. 51 10 opentype the Easy Way Design Glyphs Do metrics and kerning Hint glyphs 52
  • 14.
    11 opentype the EasyWay Copy/paste (special) glyphs into FreeFontPro template (or make your own) 53 12 opentype - Easy Way Name, ID, and Generate the font FFPro already has built in: Alt forms Small caps Lining figures Tab figures Old style numerals Superiors Inferiors Ligatures Diphthongs Currencies Ordinals Cap spacing Fractions as standard OT features 54 13 OpenType the Easy Way Advantages: Avoid tedious re-entry of Font Info data Use a template of known quality to eliminate encoding errors Eliminate debugging and testing by re-using OT feature scripts that have already been debugged and tested 55 14 The Really Easy Way 56
  • 15.
    15 OpenType the ReallyEasy Way Check the „Add OTF features“ checkbox Import a Type 1 font Name, ID, and Generate the font 57 16 OpenType the Really Easy Way Check the „Add OTF features“ checkbox Tools->Options->T1 Import 58 17 OpenType the Really Easy Way Import a Type 1 font FL automatically creates: cpsp frac ordn liga If the appropriate glyphs are available 59 18 Other OT Shortcuts 60
  • 16.
    19 Other OpenType shortcuts UsePython Macros to create characters Tim Ahrens’ Auto SmallCap http://www.fontlab.com/html/python.html Write your own! 61 Fontlab Ltd. http://www.fontlab.com Ted Harrison Drawing Power in FontLab Studio 5 62 2 The Glyph Window Scale,zoom Control marks Note icon Rulers and scroll bars Window options Glyphs bar Undo/redo 63 3 Glyph Window controlbar Scale Zoom Meter panel Control marks (T, R, M) Note icon 64
  • 17.
    4 Glyphs bar &window options Lock/unlock Toggle meter panel Zoom Expand/close Selecting a glyph for editing 65 5 User interface Meter tool Meter panel 66 6 User interface - Glyph toolbox Edit tool Eraser Knife Meter Pen Add corner, curve, tangent Rectangle, ellipse Transform TT and T1 hinting 67 7 User interface - Contour toolbox Flip: Horizontal and vertical Interpolate nodes Envelope Move node Simplify segment Set contour direction (PS,TT) Merge contours: Get intersection 68
  • 18.
    8 User interface -Editing layers Editing layer groups window 69 9 User interface - Editing layers View -> Show layers Dockable toolbar 70 10 User Interface Lock Layers 71 11 User Interface Snap to Layers 72
  • 19.
    12 User interface -Rulers and Guidelines Scrollbars Rulers Units per eM (UPM) Guidelines Horizontal & vertical Angled 3 degree constraint <shift> Parallel Remove 73 13 User interface - Guidelines Guidelines menu RMB/<ctrl>click Convert to global Align Delete Create orthogonal Properties Coordinate Angle 74 14 User Interface Exercise Open FontLab; Open a font; Open the glyph window; Select the space character. Make the grid and guidelines layers visible. Remove all other layers. Lock the outline layer. Place a horizontal guide at a level of 402 eM units. Turn it into a global guide. Place a 42 degree angle guide at –28. Create another parallel to it at –20. Remove all guidelines. 75 15 Edit mode – the edit tool Node select <shift> Segment select <shift> Contour select <x2> Node properties <ctrl> Node menu <RMB>/<cntrl>click Node insertion <cmd+opt> Convert to curve <alt> 76
  • 20.
    16 Edit mode The Nodesproperties panel <ctrl><click> 77 17 Edit mode Edit mode The Node menu (RMB/<ctrl>click) The Node menu The Node menu 78 18 Edit mode Eraser Standard Marquee <cmd> Knife Add node Cut stem Delete line <opt> 79 19 Edit Exercise Open the A glyph cell Select an apex node and delete it. Cut one of the legs; select the lower contour; drag it 10 units to the right. Add a node in the middle of the top of the crossbar; select the segment to the right; delete it to leave an open contour. Select the bottom right node and move it 11 units to the right and two units up. 80
  • 21.
    20 Edit mode Bezier drawingtool (pen) 81 21 Edit mode New contour tools Add corner Add curve Add tangent 82 22 Edit mode Transform tools Rotate Scale Slant Transform Box 83 23 Edit Exercise 2 Open a blank glyph window. Draw a D using the contour tools. Select the inner contour and scale it up by 10%. Draw a dot in the counter of the D using the Bezier Pen. Select the D but not the dot and slant it 12 degrees to the left (hint: use a guideline). 84
  • 22.
    24 Contours Open and closed Filledand unfilled Startpoint and closepath 85 25 Contours Type 1 (cubic b-spline) TrueType (quadratic b- splines) 86 26 Contours Connections: sharp vs. smooth Changing connection type Double-click RMB/<ctrl>click ->menu 87 27 Contours – node commands Make node first Convert Delete Duplicate Retract BCPs Add anchor 88
  • 23.
    28 Contours – contourcommands Reverse Contour Make contour first Delete Subtract Select Make parallel path Break contour Make corner Fixed BCP direction 89 29 Contour Exercise Open the 5 glyph Change the extremum node of the bowl to a sharp connection and make it the first node. Break the contour at the node in the upper right corner. Select the top segment and make a parallel path. 90 30 Nodes Moving nodes and segments Selection Click Marquee Magic wand Click-drag Copy-paste 91 31 Nodes Inserting nodes Edit tool Win: Hold RMB then click LMB Mac: <cmd><opt>click Knife tool – click-drag across outline Add corner, curve, tangent 92
  • 24.
    32 Nodes Removing nodes Edit tool Win:Hold LMB then click RMB Mac: click-drag node then <ctrl>click Eraser Click Marquee select Node menu Edit menu 93 33 Nodes Non-node editing 94 34 Selection Edit tool <shift>click selects node Double-click selects contour Marquee selects segment Magic wand - <ctrl>+Edit tool Selects nearest contour +<alt>/<optn> selects nearest contour & all contours inside it Lasso – in VP toolbar Segment <Shift>click both ends Marquee select all nodes in segment Edit menu Select All Invert Deselect 95 35 Glyph popup menu RMB/<ctrl>click in blank area Outline commands 96
  • 25.
    36 Glyph popup menu Hintingcommands Template commands 97 37 Glyph popup menu Actions - transformation Add note Add anchor Add component Decompose Open font window 98 38 Glyph properties window Edit->Properties from Font table Name & Unicode # nodes, #contours, #components Metrics Standard Measured at red line Bounding box Classes 99 39 Contour Toolbox 100
  • 26.
    40 Contour toolbox Also availablefrom the menu Flip glyph Horizontal Vertical 101 41 Contour toolbox Interpolate Nodes 102 42 Contour Toolbox Envelope Move Node (Set) Simplify Segment (Curve) Click tool button Click each end of segment 103 43 Contour Toolbox Contour direction Set PS direction Set TT direction Also available from menu 104
  • 27.
    44 Contour Toolbox Merge Contours GetIntersection Delete Intersection (in menu) 105 Fontlab Ltd. http://www.fontlab.com Masks & Templates in FontLab Studio 5 Ted Harrison 106 2 Masks & Templates – what are they? Mask – a layer of a glyph that can contain a contour that is not affected by editing the outline layer Template – a global mask layer Bitmap layer – a layer in which a bitmap pattern can be imported or created 107 3 Masks & Templates – where are they? Tools -> Mask/ & Template 108
  • 28.
    4 Masks 109 5 Masks Copy to Mask– copies the selected contour (or part) to the mask layer. 110 6 Masks Paste Mask – copies the mask layer into the outline layer. Note that it does not replace what was in the outline layer, nor is the mask removed. 111 7 Masks Clear Mask – removes all contours from the mask layer 112
  • 29.
    8 Masks Exchange with Mask– moves the outline layer to the mask layer and the mask layer to the outline layer. All contours are replaced. 113 9 Masks Assign Font Mask – makes one font a mask for another 114 10 Masks Editing the Mask Layer View->Show Layers->Edit mask 115 11 Exercise 1 Open the H glyph. Select the left half and put it on the mask layer. Exchange the mask and outline layers. Paste the mask layer into the outline layer. Clear the mask layer. 116
  • 30.
    12 Templates 117 13 Templates Copy to Template– copies the contour (or selected part) from the outline layer to the template layer. 118 14 Templates Copy Mask to Template – copies the active glyph’s mask layer contents into the template layer. 119 15 Templates Paste Template to Mask – copies the contents of the template layer into the active glyph’s mask layer. 120
  • 31.
    16 Templates Clear Template –removes the contents of the template layer. 121 17 Exercise 2 Open the T glyph. Copy it to the template layer. Open the a glyph and copy it to the mask layer. Copy its mask layer to the template layer. Open the space character and copy the template to the mask layer. Then copy the mask layer to the outline layer. Clear the template layer. 122 18 The Background Layer 123 19 Background Tools -> Background Create – rasterizes the outline and puts the resulting bitmap into the bitmap layer. 124
  • 32.
    20 Background Remove – clearsthe bitmap layer 125 21 Background Copy – copies the bitmap to the clipboard Edit->Paste – copies a bitmap from the clipboard to the background layer 126 22 Background Move and Scale – allows you to move and adjust the size and shape of the bitmap. 127 23 Exercise 3 Open the Z glyph and create a bitmap background from it. Scale down the bitmap by about half and move it over to one side. Clear the background. 128
  • 33.
    Fontlab Ltd. http://www.fontlab.com VectorPaint & sketchmode in FontLab Studio 5 Ted Harrison 129 2 VectorPaint – Painting in a vector mode Bitmap paint tools Vector contours Stroke-based contours 130 3 Tools - Lasso Lasso select – selects enclosed contour LMB – straight line RMB – close contour Edit Tool – move selection 131 4 Tools - Pencil Freehand line drawing 132
  • 34.
    5 Tools - Brush Brushtips Brush options Strokes Widths Angle Caps Joins 133 6 Tools - Brush Brush Options 134 7 Exercise 1 Open a new glyph window and draw a swash R that looks something like this. The stem width should be 60 units. Draw a grave accent. Lasso it and drag it over the R. 135 8 Tools - Line Straight lines 136
  • 35.
    9 Tools - Polygon Drawspolygons RMB to close Normal contour mode Brush trace mode 137 10 Tools - Text Adds text to a glyph Edit tool – moves text Font – choose from any installed TT font 138 11 Tools - Color Black White Empty – the brush takes the foreground color Auto – the brush takes the color where the stroke begins 139 12 Exercise 2 Create a new glyph design in a blank cell using the VectorPaint tools. Add text to make a logo glyph. 140
  • 36.
    13 Sketch Mode 141 14 Sketch Toolbar Showoutline – creates a template layer copy of the contour. This copy remains unchanged while the contour is edited. Show marks New sketch Import sketch – copies the contour to the sketch layer Replace outline – replaces the existing contour with the sketch Add to outline – adds the sketch to the existing contour 142 15 Sketch tools All the usual toolbox tools work in sketch mode. The main difference between sketch mode and normal outline mode is that the sketch is not WYSIWYG. I.e the character contour does not change as you edit it in the sketch layer. Only when you click Replace Outline or Add to Outline does the sketch get transferred to the real character contour layer. 143 16 Exercise 3 Open the B glyph. Go into sketch mode and put the glyph outline into the sketch layer. Make a copy on the template layer and then scale the glyph 90%. Use the edit tool to enlarge the upper bowl. Put the new contour back into the glyph window, replacing the old contour. 144
  • 37.
    17 Expand Strokes &Parallel Paths 145 18 Expand Strokes Draw and or select a line segment Choose stroke width, Caps, Joins, And shape 146 19 Parallel Paths Draw and/or select a segment Choose relative position, Replace or add, Close contour?, And offset 147 Fontlab Ltd. http://www.fontlab.com Transformations in FontLab Studio 5 Ted Harrison 148
  • 38.
    2 Transformations Glyph edit transformtool Range transformation Transformation programs 149 3 Glyph transform tools Scale Skew Rotate 150 4 Glyph transform - scale Select segment or contour Click scale tool Position cursor Click and drag 151 5 Glyph transform - skew Select segment or contour Click skew tool Position cursor Click and drag 152
  • 39.
    6 Glyph edit transform- rotate Select segment or contour Click rotate tool Position cursor Click and drag 153 7 Glyph transform – free transform Select segment or contour Click free transform tool Click on handles for scale, skew or rotate Drag to position 154 8 Transform Panel Window->Transform panel Enables digital precision transforms 155 9 Exercise 1 Open the S character Scale it down to about 90% Slant it left about 15 degrees Rotate it about 30 degrees 156
  • 40.
    10 Range Transformation 157 11 Range Transformation Tools-> Transform (Action) 158 12 Range Transformation Select a range or character Select an action Click OK to apply 159 13 Exercise 2 Open a sample font Widen all the caps by 10%. Make all the lower case characters 20% bolder. 160
  • 41.
    14 Transformation Programs 161 15 Transformation Programs Selecta range or character (or leave blank to do the whole font) Tools -> Action set 162 16 Transformation Programs Setup Transformation program Choose range Retrieve or create an action set Edit the actions 163 17 Transformation Programs The Preview Panel Run the Action Set 164
  • 42.
    18 Exercise 3 Create atransformation program that makes the font 10% bolder, slanted by 6 degrees left, and applies a shadow. 165        166 2       Making a PostScript language implementation of a typeface design involves two essential considerations: The character paths must accurately express the true analog shapes of the original design. Certain conventions must be observed to help the interpreter accurately scale for all sizes. Failure to observe either of these conventions can result in uneven stems, unwanted pixels, poor curve shapes, and poor transitions from straight to curved sections. 167 3      An endpoint (first or last point of a lineto or curveto) should be placed at most horizontal or vertical extremes. This implies that most curves should not include more than 90 degrees of arc. The placement of extreme points aids the rendering algorithms in properly reproducing the major features of characters. Of course, points may be placed anywhere else on the character outline, as long as the important extremes are defined as well. It is not necessary to place an endpoint at extremes of very small curves such as the tips of curved serifs. 168
  • 43.
    4     Wheneverone path element should make a smooth transition to the next element (for example, straight line to curve, curve to straight line, or curve to curve) the endpoint joining the two elements and the Bézier control points (the off-curve points) associated with that endpoint (for curves) or the other endpoint (for lines) should all be collinear. This is especially important at horizontal and vertical extremes, where slight deviations tend to be magnified by interaction with the pixel grid. 169 5    Be as concise as possible, without breaking the other rules. This achieves minimum memory usage and maximum speed in the rendering system, and simplifies the task of adding hints. Use the fewest Bézier curve segments that accurately represent a shape. Do not use consecutive collinear straight line segments. Do not draw straight lines by using collinear curveto definitions Whenever possible, use the closepath command to draw one of the straight line segments, rather than closing a character with a closepath that results in a zero-length line segment. In general, find the smallest sequence of commands that accurately describe the character shape. 170 6    set of algorithms that analyses a glyph’s outline to find errors that may decrease glyph rasterization quality. To activate, press the ying-yang button on the Show Layers toolbar. To see a description of a possible error, click on the red arrow mark. 171 7   172
  • 44.
    8   173 9  Tools /Outline / : FontLab tries to automatically adjust the outline to remove unnecessary elements and correct others. Remove unnecessary curve and line segments. Align imprecisely directed vertical and horizontal lines. Correct the connection types of lines and curves. : Preferences / Font Audit / Optimized Outline Simplification level: The bigger value, the more curves FontLab will try to remove. Auto-alignment level: The bigger value, the stronger FontLab will align curves. 174 Fontlab Ltd. http://www.fontlab.com Metrics in FontLab Studio 5 Ted Harrison 175 2 The Metrics Window Window ->New Metrics Window 176
  • 45.
    3 Interface Mode Text Preview Metrics Kerning Size Options Tools String 177 4 Interface Header bar Size String select Load text Open/close 178 5 Metricsbutton bar 179 6 Metrics button bar Open Metrics – opens a metrics file from disk Save metrics – saves a metrics file to disk Quick Save – saves a metrics file to RAM (not disk) Quick Open – opens a metrics file from RAM 180
  • 46.
    7 Metrics button bar Auto Metrics kerning 181 8 Metricsbutton bar Reset kerning Assistance Add pairs 182 9 Metrics button bar Right-to- left Flip glyphs 183 10 Metrics button bar Measurement line Class kerning 184
  • 47.
    11 Metrics button bar Expand panel Open Kerning Table Ruler 185 12 MetricsModes 186 13 Metrics Modes Text 187 14 Metrics Modes Preview 188
  • 48.
    15 Metrics Modes Metrics 189 16 Metrics Modes Kerning 190 17 Workingwith Strings 191 18 String Field String selections Entering strings Type one in By name: /A.small/ By decimal code: /44 By Unicode: 0445 For slashes use double slashes: // Select from dropdown list Cycle through list using spin buttons 192
  • 49.
    19 String Field Loading text strings Listcomes from preview.txt in data subdirectory of fontlab directory. ASCII editable. Make your own list(s) and use the OPEN button to load them. Second preview allows comparison 193 20 Editing Metrics 194 21 Editing Metrics Select Metrics Mode Select or enter string Select character Adjust sidebearings Manually Drag sidebearing line Drag glyph Digitally Use spin buttons Enter numbers in spinbox or table 195 22 Editing Metrics Or just click the Auto button: And select appropriate parameters: 196
  • 50.
    23 Editing Kerning 197 24 Editing Kerning SelectKerning Mode Select or enter string Select character Adjust kerning Manually Drag kerning line Drag glyph Digitally Enter numbers in table 198 25 Editing Kerning Or just click the Auto button: And select appropriate parameters: 199 26 The Measurement Line On/Off button in Metrics toolbar Useful for kerning italics 200
  • 51.
    Advanced Metrics an Class Kerning    201 2    FontLab 4.6 202 3    FontLab Studio 5 203 4    New: “Text Mode” that allows live multiline text editing 204
  • 52.
    5    New:Permanent Metrics/Kerning table (Metrics mode) 205 6    New: Permanent Metrics/Kerning table (Kerning mode) 206 7     Glyph class A named group of glyphs associated together Used for advanced metrics editing, class kerning and for OpenType Layout features “FontLab classes” and “OpenType classes” FontLab classes Editable in the Collection/Classes panel & in Kerning Assistance Usable in Metrics Window, Classes panel, other UI elements OpenType classes Editable in the OpenType panel or an external .FEA OpenType feature definition file Only usable within the OpenType panel, optional 207 8     FontLab classes vs. OpenType classes 208
  • 53.
    9    Converting OpenType classes FontLab classes automatic, upon opening an OpenType font (4.6) manual, “Import FontLab classes” in OpenType panel (5.0) Converting FontLab classes OpenType classes automatic, upon compiling features or generating an OpenType font, if option enabled in Preferences (4.6): manual, “Import features from binary tables” (5.0) Most users only need to deal with FontLab classes! A font creator may use OpenType classes when he/she wants to create a complete .FEA feature definition file – all in one file. Otherwise, always use FontLab classes. 209 10   FontLab kerning classes special FontLab classes used for class kerning name must start with underscore (e.g. “_A”) one glyph in the class must be a “key glyph”: its glyph name in class definition is followed by quotesingle (') 210 11   1. Create   2. Define the   of each kerning class 3. Define   for individual glyphs (for classes, only key glyphs need to be kerned) 4. Use   to copy kerning values from pairs with key glyphs to pairs with dependant glyphs   are made by kerning dependant glyphs explicitly 211 12   1. Create kerning classes by dragging glyph groups into classes panel or writing class definition file. 212
  • 54.
    13 2. Define thekerning scope of each class using Kerning Assistance (Save changes): 1st glyph class, 2nd glyph class, both-side class 213 14   3. Define kerning pairs for individual glyphs. For glyphs in classes, you only need to define kerning pairs with key glyphs. 214 15    New: Live class kerning 215 16   4. Use Kerning Assistance to apply changes: Apply and Save build OpenType “kern” feature with class kerning, for OpenType PS and OpenType TT fonts Expand Kerning physically copy kerning values to dependant glyphs, for Type 1 and TrueType fonts to be used in non-OpenType applications 216
  • 55.
    17    Improved:Expanding class kerning into plain kerning 217 18    Improved: Expanding class kerning into plain kerning 218 19    New: Compressing kerning into class kerning 219 20    New: Metrics window options 220
  • 56.
    Mysteries of the Font Heade  Fontlab Ltd. 221 5   Font Settings Font-centric. Affect a given font regardless of which user and machine it is edited on. They “travel” with the .VFB font file. Control font naming and identification, metrics and dimensions, glyph naming and encoding, screen display settings, other font format-dependant settings. Application Settings User-centric. Affect all fonts edited by the current user on the current machine. Do not “travel” with the .VFB font file. Control FontLab’s behavior, opening and saving, user interface elements, keyboard shortcuts etc. Also control certain aspects of font naming, encoding, screen display settings etc. of fonts that are being generated. 222 7    Font Settings Font Info (“Info”): File | Font Info..., May override format-specific application settings Application Settings Preferences (“Pref”): FontLab | Preferences (Mac) or Tools | Options (Win) Customize: Tools | Customize... File Dialogs: File | Open... | Options... or File | Generate Font... | Options..., Temporarily override Preferences 223 8     User interface Font Window, Glyph Window, colors, fonts, smoothing, keyboard shortcuts, toolbar and menu items*, UI icons*... Behavior of certain functions Optimize, FontAudit, Trace, T1/TT Autohinting, copy-paste, tracking, snapping, selecting, node moving... Importing (opening) and exporting (generating) fonts Decompose composites on import, autohint unhinted glyphs, re-encode glyphs... Read/export: original hinting, complete “name” table, OpenType Layout tables, embedded bitmaps... * only available in FontLab for Windows 224
  • 57.
    9    Unicode compatibility: yes: Win TrueType / OpenType TT, OpenType PS, FontLab VFB, Mac TrueType, no: Mac / PC Type 1, Mac / PC MultipleMaster Terminology: The terms OpenType TT and Win TrueType are interchangeable OpenType PS (CFF) is often misnamed as just “OpenType” Settings: OpenType settings apply both to Win TrueType / OpenType TT and to OpenType PS fonts TrueType settings apply to Win TrueType / OpenType TT and to Mac TrueType fonts Type 1 settings apply to Mac Type 1 and Win Type 1 fonts 225 13    Preferences | Type 1 Type 1 import: leave default settings Type 1 export Disable Use WinAscent and WinDescent... Encoding options: Select encoding automatically (more discussion when we will speak of font formats) Preferences | TrueType TrueType import For round-tripping, enable Store custom TrueType tables TrueType export Disable Autohint unhinted glyphs Note: “Type 1 settings apply to Mac & Win. “TrueType” settings apply to Mac TrueType, Win TrueType and OpenType TT (.ttf). 226 14    Preferences | OpenType OpenType import Disable Interpret “mort” table. Set Read all OpenType name records... OpenType export Set Append OpenType name records for Roman fonts or in development mode. For shipping, set Export only OpenType name records and verify all naming in detail. Enable Use OpenType names as menu names on Macintosh. Enable Add all glyph classes to OpenType feature definition... Note: Settings apply to Win TrueType, OpenType TT (.ttf) and OpenType PS (.otf) fonts. Naming settings also apply to Mac TrueType. 227 16     Font names and identification Font names, design credits, vendor information, copyrights and licenses, version numbers, creation date Metrics and dimensions UPM, ascenders / descenders, superscript / subscript Glyph naming and encoding Glyph names, Unicode values, codepages Screen display settings PostScript and TrueType hinting, auto-aliasing Other settings Settings specific to given font format 228
  • 58.
    17    Info | Names and Copyright Names of font family and style Font family relations Typographic parameters (width, weight, inclination) Design credits, copyrights, trademark information Licensing information and embedding rights Info | Version and Identification Version information Typeface classification parameters 229 18       “Brief” families on Windows (no more than 4 styles) “Long” families on MacOS and in Adobe applications 230 19       “Brief” families on Windows (no more than four styles) “Long” families on MacOS and in Adobe applications Solution: give each family two sorts of family naming: “brief family naming” and “long family naming”. 231 20    Brief family naming FontLab 4.6 Long family naming (“OT”) Alt. view in FL Studio 5 To switch the views: Improved Fonts panel in FontLab Studio 5 displays both types of naming 232
  • 59.
    21      Brief family naming Long family naming 233 22     Start by giving an identical Family Name (here: LabFont Pro) to all styles in your family. Select a Weight and a Width that best matches the true design of each style. For light fonts, avoid the “Thin”, “UltraLight” and “ExtraLight” settings and choose “Light” instead. If your style is italic or oblique, check the “Font is italic” mark, but leave “Font is bold” unchecked at this stage. 234 23     Click on the “Build Style Name” button to automatically build a style name. Abbreviate excessively long style names (e.g. replace “Condensed” with “Cond”). The style name must be unique within the family, so if FontLab builds the same style name for two different fonts, revise one of them. Click on the “Build Names” button to automatically build the remaining names. Click on the “Verify names” button (new in FL Studio 5!) 235 24     Switch between styles and repeat the previous steps analogically for all styles in your family. Go to the “OpenType-specific font names” page and click on “Build OpenType Names”. Repeat for all styles in the family. 236
  • 60.
    25    Go back to the “Basic set of font names” page and apply the brief family naming: Enter the brief family name into the Family Name field and into the Menu Name field. Enable “Font is bold” whenever a font is supposed to be “bold style” within the brief family. Revise the “Style Name” field so it only contains one of the following: “Regular”, “Italic”, “Bold” or “Bold Italic”. Leave other settings unchanged. 237 29     238 31     239 33     240
  • 61.
    34    241 35     242 36    243 37    244
  • 62.
    38    245 39     246 40    Format-specific hinting settings: Pref | Type 1 Pref | TrueType Info | Hinting Settings Info | TrueType-specific settings | Font smoothing Tool: TrueType Hinting | Stems Options 247 41    Finalizing a PostScript design (Type 1 or OpenType PS/CFF) Tools / Transform Range / range: All characters in the font Add actions: Contour / Decompose Contour / Reverse all / Set counterclockwise (Type 1) direction Hints and Guidelines / Remove hints/guides Hints and Guidelines / Autohint Hints and Guidelines / Autoreplace Run the program Font Info Hinting Settings / Auto zones Standard stems (T1 hinting) / Auto stems 248
  • 63.
    42    Finalizinga TrueType design (OpenType TT) Complete steps on previous page Font Info Metrics and Dimensions: Change UPM if required or leave 1000, enable “Scale all glyphs according to UPM change” TrueType-specific settings / Font smoothing / “Auto” (green) Tools / Transform Range / range: All characters in the font Add actions: Contour / Convert to TrueType Contour / Reverse all / Set clockwise (TrueType) direction Hints and Guidelines / Convert to instructions Run the program 249         250               251          252
  • 64.
            253          254         255  256
  • 65.
           257  258         259  260
  • 66.
           261  262         263  264
  • 67.
           265  266         267  268
  • 68.
    Python Scripting in FontLab    269 4    Python is an open source object-oriented programming language Python is cross-platform, one code can be executed on Mac, Windows, Unix etc. It is easy to learn, very flexible and extremely powerful Why write code? simplify batch processing cut down on repetitive tasks FontLab has extensive Python implementation 270 5       First version of Python was written by Guido van Rossum. Guido van Rossum is the older brother of Just van Rossum, who is type designer (Letterror) and ATypI member. Many years ago, Just van Rossum, Erik van Blokland and Petr van Blokland wrote RoboFog – a scriptable version of Fontographer 3.5. It was written in Python. A few years ago, Just van Rossum wrote TTX, a package that allows you to convert TrueType and OpenType fonts to XML and back. In Python, of course. This year, Just van Rossum, Erik van Blokland and Tal Leming wrote RoboFab – an extension package that uses FontLab. Again, RoboFab was written in Python. Large parts of the Adobe SDK for OpenType (ASDKO, f.k.a. Adobe OTFDK) are written in Python. 271 6     Python 2.3.x must be installed on your system For Mac:  Download and install MacPython-OS9 even if you’re on OS X! After installation, click on “Configure Python” For Windows:  272
  • 69.
    7    Macro Edit Panel Output Panel Fonts Panel Context Menus 273 8    Python programs are text files, usually with extension .py Python is case-sensitive Literals: String:   or   Integer value:  Floating value:  List:     Comment:   Statement:  274 9          275 10                           276
  • 70.
    11    Condition: ...  statement Iteration:  statement                    277 12     FontLab’s objects (fonts, glyphs, nodes) represented as Python objects FontLab objects overview 278 13   Go through the macros that come with FontLab and read over them to see how they work. The Python website has some great tutorials for learning basic Python: http://www.python.org The documentation of the FontLab/Python API is available at: http://dev.fontlab.net/flpydoc/ There is a mailing list dedicated to Python in FontLab: http://mail.letterror.com/mailman/listinfo/fontlab-scripting Almost any introductory book on Python will be helpful Write macros in an external editor (UltraEdit, BBEdit) 279 Fontlab Ltd. http://www.fontlab.com Blending & Multiple Masters in FontLab Studio 5 Ted Harrison 280
  • 71.
    2 Blending Takes two fontsand creates an intermediate version. 281 3 Blending Open two fonts Tools -> Blend Fonts 282 4 Blending Specify fonts Blend vs. Build MM Destination Glyphs Blend amount Uniform? Interpolate 283 5 Blending Building a single-axis Multiple Master font 284
  • 72.
    6 Multiple Master Fonts 285 7 MultipleMasters Theory Masters – the designer creates Master fonts to define the extremes of the design. A single-axis font requires two masters. A two-axis font requires four Masters. A three-axis font needs 8 Masters and a four axis font (the limit of current technology) needs 16 Masters. Axes – FontLab interpolates between the Masters to produce all the intermediate designs (instances). It can also extrapolate beyond the Masters to produce extraneous designs. 286 8 Multiple Masters Theory Standard Axes Weight Width Optical size Style (could be Serif or some other style attribute) 287 9 Multiple Masters Technique 1. Select/create Master 2. Define Axes 3. Create subsequent Masters 288
  • 73.
    10 Multiple Masters Technique Openthe selected Master font Define an axis Name Short name Axis type Hints to links 289 11 Multiple Masters Technique Create a second Master Select an active Master Edit Transform Blend Assign Mask to Master 290 12 Multiple Masters Technique Assign a second Master Tools->MultipleMaster->Assign Master 291 13 Multiple Masters Technique Mask to Master Assign mask Tools->Mask&Template->Assign Font mask Mask to Master Tools->MM->Mask to Master 292
  • 74.
    14 Multiple Masters Technique TheAxis Panel Window->Axis Panel The Preview Panel Window->Preview Panel 293 15 Multiple Masters Technique MM Metrics Open Metrics window Select Master to work on Edit metrics as in regular font Save metrics in MMM or AFM files 294 16 Multiple Masters Technique Working with Axes Axis settings Tools->MM->Modify Axis Names Removing an axis Tools->MM->Remove Axis 295 17 Multiple Masters Technique Editing the Axis Graph Tools->MM->Edit axis Graph Choose axis Position ends of dynamic range RMB+LMB(<cmd><opt>) on the line to add a point Drag point to new position 296
  • 75.
    18 Multiple Masters Technique AnisotropicInterpolation Button in Axis panel Choose axis Position ends of dynamic range RMB+LMB(<cmd><opt>) on the line to add a point Drag point to new position 297 19 Multiple Masters Technique Hinting MM fonts You could hint each master separately. But it’s easier to use links instead. Links are not dependent on the number of masters. On export links will automatically be converted to hints for each master. 298 20 Multiple Masters Technique Generating a MM font File->Generate font Select MM format 299 21 Multiple Masters Technique Generating Instances Tools->MM->Generate Instance Select from known instances, or Choose a design position for a new instance. OK-> creates new font and opens it in a window in FontLab 300